The Henry Ford’s 1951 Studebaker Champion, a cousin to Fozzie Bear’s 1951 Commander. / THF90649
Cars and movies go together like peanut butter and jelly, or cake and ice cream. It’s only natural. The two industries appeared almost simultaneously around the turn of the 20th century. Southern California became a major center of American automobile culture and, of course, the center of the U.S. film industry. Over time, certain movies even came to define certain marques. Aston Martin had Goldfinger, DeLorean had Back to the Future, and Studebaker had… The Muppet Movie.
For those who haven’t seen The Muppet Movie, which brought Jim Henson’s creations to the big screen, for the first time, in 1979, stop reading and go watch it right now. Seriously. I’ll wait.
But if a summary has to suffice, then I’ll tell you that The Muppet Movie is in the tradition of the Bing Crosby-Bob Hope “Road” movies, where a simple trip turns into a series of misadventures. But instead of Bing and Bob, you get Kermit the Frog and Fozzie Bear. (Well, you get Bob too, but I digress.) The movie follows Kermit as he makes his way from the Florida swamps to the bright lights of Hollywood, chasing his dream to “make millions of people happy” in show business. Along the way he meets Fozzie, the Great Gonzo, Miss Piggy, and all the usual Muppet favorites.
Paul Williams, seen on a 1980 visit to The Henry Ford, co-wrote The Muppet Movie’s songs. He’d previously penned hits for Three Dog Night, the Carpenters, and Barbra Streisand. / THF128260
Kermit begins his journey on a bicycle, but, after meeting Fozzie Bear, the two continue the trip in Fozzie’s uncle’s 1951 Studebaker Commander. The Stude doesn’t make it all the way to Hollywood—they trade it in for a 1946 Ford station wagon partway through—but it features in two of the movie’s memorable musical numbers: “Movin’ Right Along” and “Can You Picture That?,” both co-written by Paul Williams and Kenny Ascher.
The Muppet Movie is more than great songs and story. The film set new standards in puppetry by convincingly putting its characters into “real world” settings. Prior to Henson’s work, puppets were largely stationary figures, stuck behind props that hid puppeteers from view. Even early Muppet projects, notably The Muppet Show, suffered from this limitation. But in The Muppet Movie, Kermit rides a bicycle, Gonzo floats through the sky below a bunch of balloons, and Fozzie, of course, drives his Commander.
The Studebaker’s “bullet nose” served a practical purpose for the filmmakers. / THF90652
In a way, these elaborate special effects were responsible for the Studebaker appearing in the film. The 1951 Commander’s most distinctive feature is the chrome “bullet nose” between its headlights. The special-effects Commander used in The Muppet Movie had its bullet removed and replaced with a small video camera. The car’s trunk was fitted with a TV screen connected to the camera, a steering wheel, throttle and brake controls, and a seat. With these modifications, a small person was able to operate the car, hidden from view and able to see the road ahead via the camera. With Fozzie placed in the driver’s seat; his puppeteer, Frank Oz, hidden under the dashboard; and the car’s operator concealed in the trunk, it appeared as though the comic bear himself was driving the Studebaker in several scenes. The trick worked so well that, more than 40 years later in the age of computer-generated special effects, Fozzie’s driving is still remarkably convincing. The crew used a second, unmodified Commander for shots where driving effects weren’t needed.
Practical concerns weren’t the only reasons a Commander was used in the movie. In comments published in Turning Wheels, the newsletter of the Studebaker Drivers Club, The Muppet Movie screenwriter Jerry Juhl described the ’51 Commander as perhaps the “goofiest” looking car ever put into production. Goofiness, Juhl added, was a highly-respected quality in the Henson organization, so it seemed only fitting that Fozzie should drive that particular car.
Studebaker’s bullet nose was part of a long, productive relationship between the automaker and industrial designer Raymond Loewy. / THF144005
That bullet nose is a story unto itself. Credit for the feature goes to designer Bob Bourke, working for Studebaker contractor Raymond Loewy Associates at the time. As Bourke later recalled, Loewy told him to model the car’s appearance after an airplane. Bourke responded with the bullet, more properly described as a propeller or a spinner, since it’s a direct reference to that crucial aviation device. And a divisive device it was. People either loved the Studebaker bullet nose or they hated it (and so it goes today).
It’s worth noting that the feature wasn’t without precedent. Ford had used a similar device on its groundbreaking 1949 models. (In fact, Bob Bourke later said that he had contributed informally to the design of the 1949 Ford. You can read Bourke’s reminiscences here.) Studebaker used the bullet nose for just two model years, 1950 and 1951, but it remains one of the company’s most memorable designs.
Studebaker emphasized the aviation influence on the bullet nose design in this 1950 advertisement. / THF100021
The Henry Ford’s collections include a Maui Blue 1951 Studebaker Champion coupe. The lower-priced Champion featured a six-cylinder engine, while the Commander came with a standard V-8. Other than their different badges, the look of the two models is nearly identical. But if you’d like to see the actual car that Fozzie and Kermit used in The Muppet Movie, then head over to South Bend, Indiana. The effects car survives in the collections of (where else) the Studebaker National Museum. It still wears the psychedelic paint scheme applied by Dr. Teeth and the Electric Mayhem in a clever plot device—faded with age, but unmistakable.
Matt Anderson is Curator of Transportation at The Henry Ford.
The multisensory theater in Driven to Win at The Henry Ford.
American innovation knows no bounds, and racing, which combines technical excellence with the human endeavor, speaks to our constant need to push the limits of what’s possible. That’s why Henry Ford Museum of American Innovation has gathered one of the finest collections of innovative, powerful, record-busting race cars and automotive artifacts in the world.
Building on this unparalleled collection, The Henry Ford’s newest exhibition, Driven to Win: Racing in Americapresented by General Motors, gives guests a visceral sense of just how thrilling it is to “go faster and push the limits of racing.” BRC Imagination Arts partnered with The Henry Ford to help bring its incredible collection to life through emotional storytelling, and to get guests excited about “the lives of those who invented their way into the winner's circle and often changed the world in the process.”
The result: Fueled by Passion, the exhilarating, immersive experience at the heart of the new exhibition. The 15-minute sensory-filled experience shares the stories of five people who have empowered themselves to push their personal limits, and ignites the drive we all have to power our passions.
We are truly living in unprecedented times. On Friday, March 13, 2020, The Henry Ford closed its doors due to the worldwide coronavirus pandemic. We did not open them again until Thursday, July 2—and even then, only on certain days, with many new guidelines in place about masks, social distancing, and capacity, to protect our visitors and staff. None of us predicted that we would remain closed for 16 weeks—but then, there is much happening now in the world that would have been difficult to predict.
One of the many unusual things that happened over that four-month period is that the most-viewed section of our website was our Digital Collections. While our online collections typically get tens of thousands of views each month, they’ve always fallen well short of our “Visit” section—until COVID-19 shut our doors. Between mid-March and late June, visitors viewed artifacts in our Digital Collections about 285,000 times. This whetted our curiosity about what artifacts people were looking at during our closure, and why—so we decided to put a list together and take a closer look.
The Quadricycle was the third-most viewed artifact in our Digital Collections during our pandemic closure in 2020. / THF90760
One group of artifacts that was not on last year’s list, but that was highly viewed during our closure (and since), is items related to the challenging history of race in America. Given the nationwide protests sparked by the death of George Floyd, many Americans are seeking to broaden their understanding in this area, which might explain this uptick in interest. A slave collar, a “Whites Only” drinking fountain, a Ku Klux Klan robe and hood, and an Emancipation Day photograph are all artifacts on exhibit in “With Liberty and Justice for All” in Henry Ford Museum of American Innovation illustrating this disturbing history—and all were sought out by hundreds to thousands of online visitors between mid-March and late June.
This slave collar was featured in an online article called “Why We Can’t Stop Thinking About George Floyd’s Neck.” / THF13425
Another group of items that seems pandemic-specific are documents and photographs from the World War II era. In George Washington Carver’s last agricultural bulletin, published in February 1942, he encourages Americans to consider wild plants (what many might call weeds) as an alternative to green vegetables, should the war cause shortages. In March, journalist Nicholas Kristof referenced our Willow Run expert set as an example of ramping up production in a short timeframe in a New York Timeseditorial about the coronavirus. Likely as a result, a B-24 Liberator bomber production flowchart and a photograph of a B-24 in flight made it into our top artifacts over this period. A “United We Win” poster speaks to both World War II and issues of race relations.
Ford Motor Company’s fast ramp-up of B-24 Liberator bomber production during World War II provides insight on the ramp-up of coronavirus testing and treatment supplies in 2020. / THF251440
The last pattern we noticed was the popularity of artifacts related to recent films, at a time when many Americans stayed at home and increased their movie watching. Three auto racing photos—including the single-most viewed item during our closure, this photograph of race car driver Ken Miles at the 1966 24 Hours of Le Mans—demonstrate the continuing popularity of Ford v Ferarri, the 2019 movie about that very race. This letter, allegedly from Clyde Barrow to Henry Ford, has been popular ever since last year, when Netflix released The Highwaymen, a movie about the race to apprehend Bonnie and Clyde. During our closure, it was the fifth-most viewed artifact in our online collections.
This portrait of Ken Miles at the 24 Hours of Le Mans Race in 1966 was the most-viewed artifact from our Digital Collections during our closure. / LeMans06-66_441
It’s interesting to see patterns in views of our digital artifacts that map so closely to what has been going on in the world. To see if you can find any additional patterns we missed, check out the entire list of the most-viewed digitized artifacts during our COVID-19 closure here. And check out our Digital Collections for yourself—you might just find something there of value to you during these strange times.
Ellice Engdahl is Digital Collections & Content Manager at The Henry Ford.
June 1955 magazine advertisement for the release of Lady and the Tramp. THF145583
Although this animated feature film received mixed reviews when it was first released on June 22, 1955, Walt Disney’s Lady and the Tramp has since become a classic. It is beloved for its songs, its story, its gorgeously rendered and meticulously detailed settings, and its universal themes of love and acceptance—not to mention that scene with the spaghetti! Numerous story artists and animators contributed their talents to creating this film, but it would take years before Walt Disney would finally give it his nod of approval.
Unlike other Disney animated films of the time, Lady and the Tramp is not based upon a venerable old fairy tale or a previously published book. Its origins can be traced back to 1937, when Disney story artist Joe Grant showed Walt Disney some sketches and told him of his idea for a story based upon the antics of his own English Springer Spaniel named Lady, who was “shoved aside” when the family’s new baby arrived. Walt encouraged Grant to develop the story but was unhappy with the outcome—feeling that Lady seemed too sweet and that the story didn’t have enough action. For the next several years, Grant and other artists worked on a variety of conceptual sketches and many different approaches.
In 1945, the storyline took a drastic turn, which ultimately led to its final film version. That year, Walt Disney read a magazine short story called, “Happy Dan, the Cynical Dog.” Here, in the story of a cynical, devil-may-care dog, Walt found the perfect foil for the prim and proper Lady. By 1953, the film had evolved to the point that Walt asked Ward Greene, the short story’s author, to write a novelization of it. It is Greene—not Joe Grant—who received credit in the final film. Walt couldn’t resist adding a personal tidbit to the story. According to his telling of the story, the opening scene came from his own experience of giving his wife a puppy as a gift in a hat box to make up for having forgotten a dinner date with her.
Interestingly, the spaghetti-eating scene was almost cut, as Walt Disney initially thought it was silly and unromantic. But animator Frank Thomas had such a strong vision for the scene that he completed all the animation for it before showing it to Walt, who was so impressed he agreed to keep in the now-iconic scene.
1955 charm bracelet of the dogs in Lady and the Tramp, likely a souvenir obtained at Disneyland. THF8604
Since the dogs were the main characters of the film, it seemed only natural to both show and tell the story from the dogs’ point of view. The animators studied many real dogs to capture their movements, behaviors, and personalities, while the scenes themselves were shot from a low “dog’s-eye-view” perspective.
A depiction of Main Street, U.S.A. at Disneyland from the 1955 Picture Souvenir Book to the park. THF205154
The film’s setting—early 20th century small-town America—referenced Walt Disney’s own return to his roots, particularly his growing up in the small town of Marceline, Missouri. As the setting was coming to life on film, a real live 3D version of it was being constructed at Disneyland, Walt Disney’s new park in Anaheim, California. Disneyland opened a mere three weeks after the film was released.
Although the setting hearkened back to the past, the filmmaking technique that Walt chose was typically state-of-the-art. As Walt marked the growing interest in widescreen film technology, he decided this would be the first of his animated films to use CinemaScope. To fill in the extra-wide space of this format, the animators extended the backgrounds—resulting in settings that are unusually breathtaking, detailed, mood-setting and, when the story called for it, filled with dramatic tension. Unfortunately, many theatres were not equipped with CinemaScope, so Walt decided that two versions of the film had to be created, forcing layout artists to scramble to restructure key scenes for a standard format as well. CinemaScope ultimately proved too expensive and did not last past the early 1960s. But its influence on Lady and the Tramp lives on—a testament to Walt’s commitment to filmmaking innovation.
Although souvenirs related to Lady and the Tramp are hard to come by these days, I was thrilled to find these salt-and-pepper shakers and collectible pins over several visits to Walt Disney World.
I saw Lady and the Tramp when it was re-released in theatres in 1962. I was nine years old at the time and I was completely enraptured. The details and setting—from the frilly ladies’ dresses, dapper men’s suits, and overstuffed furniture inside Lady’s house to the horses’ clip-clopping down the cobblestone streets—seemed like old photographs come to life. Taking in these details on the big screen as a girl, I was transfixed. Is this where my interest in history began?
After seeing Lady and the Tramp at the movies, I also became obsessed with wanting a dog. Not just any dog. I wanted Lady, or a cocker spaniel as close to Lady as I could get. I dreamed of her, drew pictures of her, transferred her personality onto the stuffed dogs I inevitably got as presents. When I was in eighth grade, my parents finally relented. One day my Mom surprised us and took us kids down to the animal shelter to get a dog. It wasn’t a cocker spaniel. But we did find a little golden-haired puppy that was a fine substitute.
I don’t know that I thought much of Tramp when I was a girl. He was wayward, a nuisance, too different. But from my older perspective, I see that Lady meeting, and ultimately falling for, Tramp was really a symbol of what happens in your life. Forced out of your comfort zone, broadening your horizons, seeing things from new perspectives, taking life’s curves with grace until, rather than resisting it, you accept it—even embrace it.
Who knew, when I was a girl, that this movie was not just about dogs but about life?
Note: The complete story of the making of Lady and the Tramp, including Joe Grant’s contributions, can be found in the bonus feature, “Lady’s Pedigree: The Making of Lady and the Tramp,” in the 50th Anniversary DVD of Lady and the Tramp.
Donna R. Braden is Curator of Public Life at The Henry Ford.
An early version of Kermit the Frog appeared in Henson’s Sam and Friends TV puppet show, but Kermit became a breakout star during The Muppet Show. THF304042
It’s hard to believe that May 16, 2020 marks the 30th anniversary of Jim Henson’s passing. His influence can still be seen in so many places: on-demand TV shows, movies, and specials; related books, toys, games, and other merchandise; and modern-day puppets, puppet performances, and puppeteers.
In his lifetime, Henson’s titles included puppeteer, writer, director, producer, and entrepreneur. But titles can be misleading because he was so much more than these. A brilliant innovator, he continually questioned the status quo, broke boundaries, and experimented with new ideas. By stretching the known capabilities of both puppetry and the medium of television (and, then, of motion pictures), he created a new art form. And, in the process, he inspired us—the viewers—to use our imaginations, to take ourselves less seriously, and to treat others with greater tolerance.
Jim Henson (born 1936) was drawn to the arts at a young age, including an early fascination with puppetry. When he entered college, he thought about majoring in fine arts. But he found—buried in the course list of the home economics department at his school—a class on puppetry. So, even though most of the students majoring in home economics were females learning domestic skills for future homemaking, he decided that would be his major.
Henson was inspired by early radio and TV puppets, including Charlie McCarthy, a “cheeky” boyish dummy voiced by ventriloquist Edgar Bergen.THF106436
As a freshman in college, Henson developed his own TV puppet show called Sam and Friends, which appeared briefly twice each evening. While working on this show, Henson started questioning many long-standing puppetry traditions. Why not, for example, use the entire frame of the TV screen as the actual puppet theater stage rather than bringing a separate puppet stage into the TV studio? Wouldn’t it follow, he then asked, that the puppet operators could work from off-camera rather than appearing to viewers on the screen?
Henson moved from there to questioning the puppets themselves. Why not make them more lifelike, with flexible fabric-covered foam rubber rather than the traditional carved wood? Why not use rods to move their arms—rather than the more traditional strings—to give them greater flexibility? Why not make the puppets’ mouth movements more precise to match their dialog—enhancing their believability and letting their full range of emotions be conveyed through words as well as actions? Finally, why not give the characters distinct personalities? Better yet, imbue their personalities with whimsy, playfulness, and humor. As Henson continued to refine his ideas and his characters, an entirely new kind of puppet was born—part puppet, part marionette, and all Henson. He called his new creations Muppets.
During his early career, Henson studied the artistry of traditional wood-carved marionettes when he spent time in Europe. THF38105
The publicity that Henson gained with his Sam and Friends show led to his invention of a host of new Muppet characters for a range of TV commercials. By this time, the 1960s, it seemed that people were coming to appreciate humor, irony, and satire more than the serious “hard sell” that had been the norm.
Adding life-size Muppets like Big Bird to the regular cast of Sesame Street increased the show’s popularity. THF97451
Though he was initially reluctant to collaborate on a TV show aimed specifically at kids, Henson experienced their first major breakthrough with Sesame Street, which premiered in 1969 (for more on Sesame Street, see this post).
But Henson’s greatest claim to fame came with The Muppet Show (1976-81)—produced in England because American TV networks wrongly assumed that Muppets would just appeal to kids. Hosted by his somewhat “bolder” alter-ego, Kermit the Frog (whom he controlled and voiced), this show introduced millions of viewers to Henson’s unique blend of humor and imagination. The Muppet Show would go on to air in more than 100 countries, win several Emmy awards, and lead to several spin-off motion pictures.
The song “Rainbow Connection,” first written to provide depth and humanity to Kermit the Frog’s character for the 1979 film, The Muppet Movie, has gone on to become a sort of Muppets anthem. THF182956
Jim Henson went on to contribute his talents and ideas to new fantasy/adventure films, most famously aiding in the creation and articulation of Yoda for the 1980 film, The Empire Strikes Back. He tried his hand with a few of his own fantasy/adventure films, including The Dark Crystal (1981) and Labyrinth (1986)—both of which were destined to become cult classics. He also created two additional popular TV series—Fraggle Rock (1983-87) and the Saturday morning animated show, Jim Henson’s Muppet Babies (1984-91). Just before his passing, Henson worked with The Walt Disney Company to develop the themed attraction, Muppet*Vision 3D at Walt Disney World.
Fraggle Rock characters Wembly and Boober in a pickle-shaped vehicle from a 1988 McDonald’s Happy Meal promotion.THF308672
Inspired by a flashback sequence in the film, The Muppets Take Manhattan, Jim Henson’s Muppet Babies were represented in the McDonald’s 1994 Happy Birthday Happy Meal promotion.THF319291
Today, Jim Henson’s Muppets delight children of all ages. Henson once claimed that, with puppets, you can deal with subjects in a way that isn’t possible with people. The Muppets may not be people, but they certainly reflect who we are as people, providing a mirror to our thoughts, hopes, and dreams.
Jim Henson had plenty of his own dreams. He wanted to make a difference in the world, to change people’s lives in positive ways—through laughter, delight, and imagination. Henson once said that, “I decided that there are many situations in this life that I can’t do much about: acts of terrorism, feelings of nationalistic prejudice, cold war, etc. So what I should do is concentrate on the situations my energy can affect.” Wise and timeless words for the times we live in today!
Appearing in short segments on Sesame Street, ultra-serious Bert and fun-loving Ernie demonstrate to kids that good friends can be tolerant of each other’s differences. THF309817, THF309818
During his lifetime, Henson was deeply committed to encouraging, mentoring, and recognizing the talents of a new generation of puppeteers. In 1982, he established the Jim Henson Foundation to promote and develop puppetry in the United States. Today, the Jim Henson Foundation’s web site is the go-to place to find out what’s happening in contemporary puppet theatre and currently features extensive listings of online puppet shows to “help people collectively navigate the COVID-19 Health Crisis.” Instructions for making your own puppets are included here as well. Through his efforts, and those of his family who carry on his vision, Jim Henson’s legacy has ensured that puppetry is no longer relegated simply to home economics classes but has become a highly respected art form.
Jim Henson and his legacy live on, through Muppet programs and specials; Muppet operators and performers; those who have cherished memories of growing up with Muppet characters and pass these on to younger generations; new audiences who have discovered the old classic characters and shows; and the modern-day puppeteers Henson has inspired.
At a special tribute by the Muppets for Jim Henson back in 1990, Robin the Frog (Kermit’s nephew) remarked that, “Jim Henson may be gone, but maybe he’s still here too, inside us, believing in us.”
I like to believe this is true.
Donna R. Braden is Curator of Public Life at The Henry Ford.
Additional Note: Just down the road from The Henry Ford, The Detroit Institute of Arts recently brought out on exhibit a 1969 version of Kermit, donated to them by Jim Henson himself in 1971. See more here.
Hot Hatch Heaven! Hyundai’s 275-horsepower Veloster N, one of several new models unveiled at this year’s North American International Auto Show.
Detroit is the capital of the global automotive industry once more as the 2018 North American International Auto Show arrives at Cobo Center. Carmakers from around the world have come to share peeks at their 2019 model lines, and hint at new technologies that may be coming in the years ahead. As usual, the exhibits range from exciting, to informative to downright unreal.
This is exactly what it looks like: a 1979 Mercedes-Benz G-Class frozen in amber.
Mercedes-Benz takes the cake for most unusual display. The German automaker unveiled a new version of its venerable G-Class SUV, in continuous production since 1979. To emphasize its endurance, Mercedes encased a vintage G-Class in a giant block of amber. (Think dino-DNA mosquitoes in Jurassic Park.) The block is located outside, along Washington Boulevard, rather than in the Mercedes-Benz booth. But don’t miss that either – you can see a 2019 G-Class splattered with faux mud, and the G-Class driven to victory by Jacky Ickx and Claude Brasseur in the 1983 Paris-Dakar Rally.
The Chevrolet Silverado – now lighter thanks to a blend of steel and aluminum body panels.
With gas prices down and the economy up, Americans have reignited their romance with pickup trucks. Chevrolet and Dodge both revealed new full-sized models, while Ford trumpeted the return of its mid-size Ranger. The 2019 Chevy Silverado rolled out under the headline “mixed materials.” In response to the Ford F-150’s aluminum bed (premiered at 2014’s NAIAS) and fuel efficiency targets, the bowtie brand is now building Silverado bodies with a mix of steel and aluminum components, shedding some 450 pounds from the truck’s overall weight. Chevy, celebrating a century in the truck business this year, is quick to point out that Silverado’s bed remains an all-steel affair. (Silverado TV commercials have been cutting on the F-150’s aluminum bed for some time now.)
Eyeing the American market, China’s GAC Motor makes a splash with its Enverge concept car.
China is a bigger factor in the American auto industry each year. Buick’s Envision crossover is already made in China, and Ford will shift production of its compact Focus there next year. It’s only a matter of time before a Chinese automaker starts marketing cars in the United States. GAC Motor hopes to be the first, announcing plans to sell vehicles stateside in 2019. (Yes, Chinese-owned Volvo is already selling cars here, but it first came to the U.S. in 1955 in its original Swedish guise.) It could be a tough sell – U.S. automakers and politicians aren’t too pleased with the steep tariffs imposed on American cars sent to China. In the meantime, GAC tempts NAIAS visitors with its Enverge concept SUV. The all-electric Enverge is said to have a range of 370 miles on a single charge – and can be recharged for a range of 240 miles in a mere 10 minutes.
Detective Frank Bullitt’s 1968 Ford Mustang, among Hollywood’s most iconic cars.
Ironically, one of the most talked-about cars at NAIAS is 50 years old. Ford Motor Company tracked down one of two Highland Green Mustangs driven by Steve McQueen in the 1968 thriller Bullitt. As any gearhead knows, the movie’s epic 11-minute chase scene, in which McQueen and his Mustang go toe-to-toe with a couple of baddies in a black 1968 Dodge Charger, is considered one of Hollywood’s all-time greatest car chases – even half a century later. Its lasting appeal is a credit to McQueen’s skill (both as an actor and a driver – he did some of the chase driving himself), the “you are there” feel of the in-car camerawork, and – obviously – the total absence of CGI. Those are real cars trading real paint.
The current owner’s parents bought the Mustang through a 1974 classified ad in Road & Track magazine. For years they used one of pop culture’s most important automobiles as their daily driver! With the movie’s 50th anniversary this year, the owner decided it was time to bring the car back into the spotlight. Ford agreed and, in addition to the movie car, its booth also features the limited edition 2019 Bullitt Mustang, a tribute car that hits dealer lots this summer.
Digital license plates may one day eliminate sticker tabs – or be remotely updated to alert police of a stolen vehicle.
The youngest, hungriest companies at NAIAS are on Cobo Center’s lower level. More than 50 start-ups, along with colleges and government agencies, are in Detroit for the second annual AutoMobili-D, the showcase for fresh ideas and innovative technologies. Reviver Auto hopes to revolutionize an accessory that hasn’t changed in more than a century: the license plate. The California company proposes swapping the tried and true stamped metal plate for a digital screen. The new device is more visible in low light and poor weather, and resistant to the corrosion that plagues metal plates. In lieu of adhesive registration tabs, your digital plate could be renewed remotely each year by the DMV. Plates could also broadcast Amber Alerts to other drivers, or be updated by authorities if you report your car as stolen. Some will argue that current license plates are fine – as functional and intuitive as need be. But based on the number of randomly-placed renewal tabs I see out there, I’m not so sure there isn’t room for improvement.
Matt Anderson is Curator of Transportation at The Henry Ford.
Sunday November 22, 2020, is the 25th anniversary of Disney-Pixar’s first Toy Story movie, which came out in 1995. Learn about the real history of toys that inspired the characters in this hit animated film.
In 1995, Disney-Pixar’s Toy Story made history as the first feature-length computer-animated film. The movie was a surprise box-office hit, far exceeding estimates. In 1996, it won an Academy Award for Special Achievement and was the first animated film ever nominated for Best Original Screenplay.
In fact, Disney took a real chance on Pixar, a young unproven tech startup at the time. Indeed, the staff at Pixar knew computer technology but they had never created a full-length feature film. But, in the course of developing the film, they made a key decision that laid the foundation for Pixar’s success, both then and now. They decided to put the story first—to focus attention the characters, the plot, the action. So, sure, the computer animation of the first Toy Story movie looks really primitive today. But pretty soon, you forget about that because the story still grabs you. Even though the main characters are toys, it’s a universal human story, about who your friends are, or aren’t, or could be.
In addition to the very relatable human story, both children and adults embraced the film right from the beginning because of the choices of the toys themselves. Why are those the toys in Andy’s room? In fact, they primarily come from the filmmakers’ own memories playing with their childhood toys—leading to a motley assortment of toys from the mid-20th century to the 1990s that reflects the varied ages of the film’s creators. Some of these evoke a specific era; others have become classics, continually produced over decades for successive generations of kids. We dug into our own collections to find some of the real toys that appear in Toy Story and reveal their true stories.
Let’s start with the main character, Sheriff Woody. Woody wasn’t a real toy; instead, he represented a whole group of toys. During the 1950s, cowboy movies and TV shows were huge. This was an era during which the West was greatly romanticized, something Walt Disney was on to when he created Frontierland at Disneyland in 1955. Cowboys, in particular, were revered as rough and tough, independent, honest, and hardworking characters—at the time considered laudable traits for young boys (and girls) to emulate. In Toy Story 2, we find out that Woody indeed comes from a 1950s-era TV show entitled Woody’s Roundup. This game from our collection was named after a real TV show called Cheyenne that ran from 1955 to 1963.
Buzz Lightyear also represented an era and a larger group of toys and games. During the mid-20th century, outer space was considered really mysterious and it fascinated people. At first, it was depicted as pure science fiction, as represented by the aliens and Pizza Planet in Toy Story and shown on the cover of this Rocket Darts game from the 1940s. Increasingly, outer space became a real destination as part of the 1960s-era “Space Race”—leading to Americans actually landing a man on the moon in 1969. Buzz Lightyear is reminiscent of this era, equipped as he is with special features that seem more advanced and sophisticated than Woody’s primitive pull string.
Mr. (and Mrs.) Potato Head were and still are real toys. They were introduced in 1952 and 1953, respectively. Back in the 1950s, when this playset was produced, it included 28 different face pieces and accessories—like eyes, noses, mouths, and mustaches—that kids would stick on real potatoes! Hasbro began supplying a plastic potato with each kit in 1964.
Slinky Dog or, as Woody called him—“Slink”—was also a real toy, as show in this 1957 Christmas ad. He evolved from the invention of the Slinky, along with a host of other rather bizarre-looking Slinky-related toys shown in this ad. The original Slinky was introduced in 1946, when a marine engineer was trying to invent a spring for the motor of a naval battleship.
Real Toy: Toy Soldiers
Toy army men, mid- to late 20th century. THF 170098
The green army men from the “Bucket O Soldiers” referenced the long history of toy soldier playsets. Toy soldiers made of lead or tin date back to the 19th-century Europe. With advancements in plastics, green army men made of plastic like these became popular after World War II. Molding these figures in one piece with the base attached was less expensive to manufacture, leading to the stiff-legged maneuvers of the “troops”—as Woody called them—in the film.
Woody’s Doodle Pad may be a mashup between the Magic Slate and the Magna Doodle. The Magic Slate, marketed as the “erasable blackboard” is essentially a cardboard pad covered with a clear plastic sheet that “wrote” when a wood or plastic stylus was impressed on it and “erased” when the plastic was lifted up. It dates back to the 1920s, when it was offered as a free giveaway by a printing company. People finally realized that it would make a great plaything and it was heavily marketed to kids after World War II. The Magna Doodle, introduced in 1974 as a “dustless chalkboard,” can be considered a later magnetic version of the Magic Slate, with an erasable arm that swept the “board” clean.
The Etch A Sketch fell somewhere between the Magic Slate and the Magna Doodle. It was invented in 1958 by a French mechanic and tinkerer, who called it “L’Ecran Magique,” or “The Magic Screen.” It used a mixture of aluminum powder and plastic beads with a metal stylus guided by twin knobs and it erased when it was turned over and shaken. The rights to the toy were sold to Ohio Art in 1960, where it became the company’s biggest hit.
What better way to use the Barrel of Monkeys game than to make a chain of monkeys to try and save a toy that had fallen out of a second-story window? Unfortunately, the monkeys didn’t save Buzz Lightyear but, when this game was introduced in 1966, it was advertised as being—what else?—“more fun than a barrel of monkeys.”
Real Toy: TinkerToys
Junior TinkerToy for Beginners playset, 1937-46. THF 135602
Woody used the classic TinkerToy box as a lectern for his meeting with the other toys in Andy’s room. TinkerToys were the brainchild of a man who cut out tombstones for a living but saw how much fun kids were having sticking pencils into spools of thread. He came up with the idea of the TinkerToy playset in 1914, billing it as the “Thousand Wonder Builder.” Over the years, TinkerToys were produced in a huge array of colors, sizes, and variations including plastic sets for younger kids introduced in 1992.
Bonus “Toy:” Nursery Monitor
Playskool Portable Baby Monitor, circa 1990. THF170094
The Nursery Monitor is technically not a toy, but it played a key role in the “Toy Story” film for the troops’ reconnaissance mission to report out on Andy’s presents. So we’ll consider it an honorary toy. It is the only item here, and one of the very few in the film, that dates uniquely from the era of Andy’s own childhood. This device would have connected immediately with young viewers who were Andy’s age in 1995, and who would grow up with him in succeeding Toy Story films.
Donna R. Braden, Senior Curator and Curator of Public Life at The Henry Ford, enjoyed viewing Toy Story several times as “research” for this blog post.
It's that time of year again when the eyes of the automotive world turn to Detroit. The North American International Auto Show attracts automakers, suppliers, press and enthusiasts from around the globe to the Motor City to revel in the industry's latest technologies and trends.
If you're a racing fan, the fun starts the moment you enter Cobo Center's lobby. Ford Performance has set up shop with four significant Blue Oval racers. The headliner is the new GT that will return Ford to Le Mans in June, in celebration of its historic 1-2-3 finish over Ferrari 50 years ago. But visitors will also enjoy the 2017 NASCAR Fusion, the first-built 1965 Shelby Mustang GT350, and - my unabashed favorite - the 1967 Mark IV that Dan Gurney and A.J. Foyt drove to an all-American victory at that year's Le Mans 24-Hour. (The latter, of course, is a part of The Henry Ford's collection.) Once you get inside the exhibition hall proper, don't miss Juan Pablo Montoya's winning car from the 2015 Indianapolis 500, displayed prominently with the Borg-Warner Trophy.
Just a few years after cinema made its public debut in 1893, the marketing of home projectors began. Though by 1912 the market was flooded with them, the appeal had been limited. That was about to change. Soon two of the biggest companies in the movie business—one French, one American—went head-to-head, marketing their own home projectors as well as offering films for rent by mail, making them available through pioneering delivery systems. Yet only one of these companies would succeed.
Thomas Edison is considered the father of motion pictures. He invented the original movie camera, the kinetograph, which was used to film movies shot at his movie studio, the Black Maria, the foremost of its kind. His lab developed the earliest films in motion picture history, and those movies were exhibited on a peep hole-like device, the kinetoscope—yet another Edison creation. On November 30th, 1897, Edison’s Projecting Kinetoscope was used to show movies on a screen in a commercial setting for the first time. In December 1903, the Edison Manufacturing Company released The Great Train Robbery, which would go on to be the initial motion picture blockbuster. The film industry would prove to be successful, yet rocky, for Edison over the next few years, but in 1912, the year his company launched the Home Projecting Kinetoscope, optimism was in the air.
Charles Pathé, previously a phonograph importer, established the French company Pathé Frères in 1896. In 1902, the company introduced an improved movie camera, and soon it would become the leading model used in filming movies across Europe and America. The same year, they began shooting their own productions—completing them at a very fast clip—and distributing them, as well. They would soon dominate the European industry, so much so that Pathé Frères had few serious rivals. The Pathé K-O-K home projector was launched in 1912 in Europe, and the following year they introduced the device in the United States under a different name: the Pathescope. It was in this environment that home projectors finally became a product that the public could get behind.
The Pathescope and the Home Projecting Kinetoscope (also known as the “Home P.K.”) were similar products in many ways, yet had distinct differences. Both Edison and Pathé produced their own unique film size, which meant the films they rented out could be played only on their respective projectors. The companies also introduced a non-flammable film stock—a positive development in the minds of the general public—thus playing a major role in the appeal of the projectors to homeowners. The cost of the machines differed significantly, with Edison’s Home P.K. selling in the $75-$100 range (roughly $1,770-$2,360 in 2013 dollars), while the budget-priced Pathescope would set one back set one back $150 (about $3,540 today). Pathe's premium offering was priced at $250 (a whopping $5,900 in today’s dollars), making it far and away the priciest home projector available.
Kinetoscope Film "Professor and the New Hat," Thomas A. Edison Co., 1913, object ID 63.85.3.
The fact that the companies offered movies for rent was also of considerable appeal to consumers, as was the system of home delivery by mail. In order to accomplish this, both Edison and Pathé established “exchange” hubs to ship and receive their films. Owners of the Home P.K. initially had to purchase a film, which ran in the $2.50 to $20 range ($59-$472 if priced today), and then pay an exchange fee of $0.30-$1 ($7-24 in 2013) when swapping one movie for another. Pathé’s method differed, as Pathescope owners instead paid a yearly subscription of $50-$100 ($1,180-$2,360 today), fees based on how many movies were rented at a time. Edison offered 50 films at launch, a number that grew to 160 by 1914; Pathé had 700 films by that time—a momentous disparity.
Due to a number of factors, including that it was notoriously difficult to operate, the Home P.K. never caught on. Edison’s company manufactured 4,600 projectors, but in the end sold just 500 (more than 8,000 Pathescopes had been sold at that point). Pathé Frères had a huge advantage not only in the number of titles available, but because their projectors were superior. It seems quality and quantity was just too much for Edison, and the Home Projecting Kinetoscope was retired in 1914.
Fast forward to the home video era: 1972 marked the year films became available on videocassette to rent, but it would take the arrival of the DVD format in 1997 before an entity had great success with home delivery of movie rentals. That same year, a new company called Netflix was founded. Their concept of offering films for rent by mail seemed revolutionary, and for modern America it most certainly was an innovative (and appealing) model. It was also an idea whose time had come—again.
Bart Bealmear is a research support specialist in the Archives & Library at The Henry Ford.