Inside front cover detail from Technical Low Rider magazine, 1981, showing a 1976 Chevrolet Caprice Classic. / THF206772
Some people customize their cars as a creative way of expressing cultural identity, as many lowrider builders do. Lowriding flourished in Southern California’s Mexican American working-class neighborhoods after World War II. Members of this community transformed older-model, family-size cars into stylish rides with street-scraping suspensions and ornamental paint jobs. Lowriders use style to show pride in cultural identity and to stand out from mainstream American culture.
Lowrider customizers prefer American automobiles—especially Chevrolets. The 1940s Chevy Fleetline below appeared in Technical Low Rider in 1981.
Contests let lowrider owners show off the hydraulic technology that makes their cars “hop” and “dance.” The remote-controlled model shown below is based on a 1964 Chevrolet Impala lowrider. It’s equipped with a height-adjustable suspension that makes the car appear to "dance" up and down as it travels.
Dancin' 1964 Chevy Impala Model, circa 1999. / THF151539
Lowriders traditionally cruise for anniversaries, weddings, and quinceañera celebrations—a 15th-birthday observance in Hispanic culture.
Low Rider Magazine, Wedding/Quinceanera Issue, October 1979. / THF104135
Lowrider enthusiasts often form clubs and enjoy cruising together. These collectible toys are models of some of the everyday vehicles they have transformed into stylish showstoppers.
1964 Chevrolet Impala, 1976 Chevrolet Monte Carlo, and 1984 Cadillac de Ville lowrider collectibles, 2000–2003. / THF150054, THF150052, and THF150053
This post was adapted from an exhibit label in Henry Ford Museum of American Innovation.
In the latest installment of our series examining horse-drawn vehicles, we take a closer look at a couple of vehicles in the collections of The Henry Ford related to P.T. Barnum and the circus.
P.T. Barnum, Entertainer to the World
Phineas Taylor Barnum, aka P.T. Barnum, circa 1891. / THF277050
During the early and mid-19th century, education was considered a primary responsibility of all citizens. The urge for self-improvement manifested itself in libraries, public lectures, and the creation of public museums.
P.T. Barnum emerged as the key figure in developing, promoting, and popularizing museums. He recognized the potential market in the restless urban masses, sensing what they wanted (or could be made to want), and gave it to them. In 1841, he purchased the American Museum in New York and transformed what had been considered an unimpressive collection of historical and scientific curiosities into an entertaining diversion that was patronized by viewers of all classes and ages.
Four-year-old Willie Bagley performed at Barnum’s American Museum in 1864, billed as the “Wisconsin Infant Drummer.” / THF226454
At a time when the theater was still widely regarded as somewhat disreputable, Barnum marketed his Grand Colossal Museum and Menagerie as highly educational and strictly moral. In its 3,000-seat “lecture room,” dramatic performances and variety acts were staged under the guise of “chaste scenic entertainments.” By 1850, Barnum claimed to have amassed more than 600,000 curiosities in his museum, including living serpents, waxwork figures, models of new machines and of Niagara Falls, and fortune tellers. His offerings were infinitely varied and always changing. They were “democratic,” geared to everyone at a time when this idea was highly esteemed.
Barnum also sent major exhibitions out on the road, and he promoted such personalities as General Tom Thumb and singer Jenny Lind to the status of national (and even international) celebrities.
General Tom Thumb and Lavinia Warren, 1863–1870. / THF212034
General Tom Thumb, a little person, was born Charles Sherwood Stratton in Bridgeport, Connecticut. He was taken under Barnum’s wing at the age of four, and Barnum renamed him. He learned to sing, dance, and do impersonations. When fully grown, he was slightly more than three feet tall. General Tom Thumb appeared at Barnum’s American Museum and toured through part of the United States and then Europe, creating a sensation wherever he went. In 1863, Stratton married another little person employed by Barnum, Lavinia Warren, at a much-publicized wedding in New York City.
P.T. Barnum Vehicle in The Henry Ford’s Collection: General Tom Thumb’s Brougham, circa 1875
This carriage was made in England; it was said that Queen Victoria presented it to General Tom Thumb and his wife when they were visiting Aberdeen, Scotland. It was drawn by small ponies and was one of at least six miniature horse-drawn vehicles used by Tom Thumb during his lifetime. It was used in Barnum & Bailey circus parades until Thumb’s death in 1883.
This 1896 Barnum & Bailey circus poster captures a child’s exotic dreams of a circus. / THF81696
The formal circus, which evolved into a distinct entertainment form in the mid-19th century, combined three different types of traveling performances: staged equestrian shows, animal displays, and acrobatic performances. When the three finally merged, the more prominent troupes set up large tents that provided seating for their audiences and used specially constructed wagons for transportation and parades. Circuses would continue to grow in number and scope during succeeding decades. P.T. Barnum entered the circus business around 1870.
Circus Vehicle in The Henry Ford’s Collection: 1917 Circus Calliope
This calliope was made by Bode Wagon Works of Cincinnati, Ohio, for Mugivan and Bowers’s American Circus of Peru, Indiana. The “steam organ” or calliope, which made its first appearance in American circuses in the 1850s, attracted tremendous crowds to circus parades with its colorful appearance and resounding musical productions. The keyboard and whistles at the top of this calliope were originally inside the vehicle.
Bob Casey is former Curator of Transportation at The Henry Ford. This post is adapted from an educational document from The Henry Ford titled “Transportation: Past, Present, and Future—From the Curators.”
Drop the top and cruise like a movie star! It sounds like fun. But movie stars live in sunny California— most of us don’t. Convertibles may draw people into showrooms, but sedans take them home. In 1956, only about 2.6% of Chevy customers drove home in ragtops. Despite that fact, the carefree appeal of 1950s convertibles has made them a symbol of that era. Let the wind blow through your hair!
Many entry-level brands—such as Chevrolet—made sleek, powerful convertibles to boost their image. It didn’t matter that convertibles weren’t big sellers.
1956 Chevrolet Bel Air Advertisement, "Man, that Chevy's Really Got It!" / THF100023
After enclosed cars became inexpensive enough for everyone to buy in the 1920s, open cars gained an aura of luxury and adventure. Ads associated the ’56 Chevy with youth, appealing not only to the young but also to those wanting to appear young.
1956 Chevrolet Bel Air Advertisement, "Youth, Beauty, Chevrolet, Action!" / THF100024
Convertibles became show-off cars, perfect for cruising around town, impressing dates, and hanging out. In 1949, these teenagers posed at a drive-in with their Ford convertible. / THF101124
This post was adapted from an exhibit label in Henry Ford Museum of American Innovation.
Ford Motor Company was approached by the Vatican in 1965 to provide a vehicle in which to transport Pope Paul VI during a visit to New York City that October. It was an unprecedented occasion—no sitting pope had ever visited the United States before—and Ford was determined to meet the challenge. The automaker approached George Lehmann and Bob Peterson of Chicago. The two men had specialized in “stretching” and customizing Lincoln Continentals since 1962, and their firm had earned a reputation for the high quality of its work. Lehmann-Peterson did not disappoint, rushing a special car to completion in fewer than two weeks.
The papal Lincoln was lengthened to 21 feet (from the standard 18). Step plates and handrails were added for security personnel. Additional seats, arranged in a vis-à-vis (i.e., face-to-face) layout, were placed in the rear compartment. Supplemental interior lighting and a public address system allowed the pontiff to be seen and heard by the crowds, and an adjustable seat—capable of being raised several inches—further improved his visibility. A removable roof panel and added windscreen allowed the pope to stand and wave when conditions permitted.
Pope Paul VI Pictured Visiting New York in 1965 / THF128756
Pope Paul VI spent a whirlwind 14 hours touring New York on October 4, 1965. He gave a blessing at St. Patrick’s Cathedral, met with President Lyndon Johnson at the Waldorf Astoria hotel, addressed the UN General Assembly, and led an outdoor mass at Yankee Stadium. The pontiff ended his tour with a visit to the Vatican exhibit at the New York World’s Fair.
The modified Lincoln returned to Chicago where it served as a city parade car for visiting dignitaries. In 1968, the Vatican called once again, this time requesting the car’s use during a papal visit to Bogotá, Colombia. The car again performed flawlessly, despite Bogotá’s high altitude and the engine modifications made to the vehicle as a result.
Apollo 13 Astronauts Jack Swigert and Jim Lovell in a Parade, Chicago, Illinois, May 1, 1970 / THF288386
The car went back to Chicago and soon carried a new series of dignitaries. Apollo 8 astronauts Frank Borman, Jim Lovell, and William Anders—the first men to orbit the Moon—were paraded in the car on a visit to the Windy City in January 1969. Seven months later, Apollo 11 astronauts Neil Armstrong, Buzz Aldrin, and Michael Collins enjoyed a similar honor. The crews of Apollo 13 and Apollo 15 would later have their own parades in the Lincoln.
Art Arfons and Wally Parks with the Trophy for Top Speed, NHRA Nationals, Detroit Dragway, 1959 / THF122663
Loud, fast, intense. On the surface, drag racing looks fairly simple, but it’s much more complex than it appears. Especially in the professional classes of the National Hot Rod Association (NHRA)—Top Fuel, Funny Car, and Pro Stock—the cars are technologically ultrasophisticated, with truly awesome capabilities. A Top Fuel dragster—today’s ultimate—has a supercharged, 500-cubic-inch V-8 engine that can produce 11,000 horsepower burning nitromethane fuel. It propels that car and driver to well over 300 mph in a 1,000-foot charge that can take as little as 3.7 seconds.
Drag racing’s roots come from the 1930s on California’s dry lakes and the country’s back roads, where people raced each other in a straight line to see which car was fastest. Especially after World War II, speeds were getting up over 100 mph, and Wally Parks, who himself was a performance enthusiast, decided it was time to “create order from chaos.” Parks formed the NHRA in 1951, with the goal of getting hotrodders off the streets and into safer, more controllable, and legal venues. The NHRA legitimized the sport with safety rules, as well as performance and performance regulations, and today it is America’s largest, most important drag racing organization, with a multitude of classes for professional and amateur racers.
In the 1950s and 1960s, drag racing fans loved the “gasser wars”—duels between gasoline-burning coupes and sedans. "Ohio George" Montgomery was among the most famous, and most frequent, winners. He owned, built, and drove this Willys gasser, and scored class wins in NHRA national championship events six times. It is based on the Willys coupe—a small economy car from the 1930s, favored by drag racers for its light weight.
Montgomery called his car the "World's Wildest Willys," and frequently used his considerable talents as a mechanic and machinist to modify the car to make it even wilder. He kept it winning races and championships from 1959 through 1967.
This is its final version, with the top chopped four inches; fiberglass hood, fenders, and doors; and a supercharged, single-overhead-cam Ford V-8 engine.
Dragsters are designed for a single purpose: cover a quarter-mile from a standing start as quickly as possible. Builders throw out anything that does not contribute to that goal, and they concentrate weight as close to the rear wheels as possible to maximize traction.
Slingshot dragsters were popular from the mid-1950s through the early 1970s, so named because the driver sat behind the rear wheels "like a rock in a slingshot." This design was the ancestor of today’s Top Fuel dragsters.
Bob Thompson and Sam Buck, from Lockport, Illinois, built and drove this car and were very successful in the Midwest from 1960 to 1963. They bought the chassis as a kit and did extensive modifications to the 1948 Ford V-8 engine, with special cylinder heads, crank, pistons, magneto, camshaft, and fuel injectors.
Essentially a factory-built race car designed more for the track than the street, this next-generation, ultra-high-performance Camaro is designed and executed for “out-of-the-box” weekend racing.
In addition to a supercharged 6.2L V8 engine rated at 650 horsepower, the ZL1 carries a track cooling package with engine oil, differential, and transmission coolers. Additionally, an exposed weave carbon-fiber rear wing adds up to 300 lbs. of downforce, and integrated front dive planes contribute to ultimate downforce and grip.
Engineers also paid extra attention to ensure the Camaro ZL1’s immense power could be reined in just as effectively with a short stopping distance. The Camaro ZL1 can go from 60-0 mph in just 107 feet, ensuring both remarkable track time and safety, thanks to its specifically designed performance brakes.
Overall, the Chevrolet Camaro ZL1’s incredible performance is the end result of carefully considered engineering decisions that have resulted in a vehicle that redefines what a sports car can do on-track, without compromising its on-road manners.
Carmen Osbahr-Vertiz and Rosita. / Photo courtesy of Sesame Workshop
Carmen Osbahr-Vertiz shares her journey to becoming a professional puppeteer, how she met Jim Henson, and what it’s like being a part of the Sesame Street family.
As a curator at The Henry Ford, I gained renewed appreciation for Jim Henson while researching the 50th anniversary of Sesame Street in 2019, then again while commemorating Henson’s legacy on the 30th anniversary of his passing in 2020. So it was with great anticipation that I looked forward to interviewing Carmen Osbahr-Vertiz, puppeteer for the Sesame Street character Rosita and someone who had worked for and personally known Jim Henson.
Carmen enchanted us with her stories: growing up in Mexico; her personal interests and love of family; her passion for puppetry and how this turned into her involvement with Jim Henson Productions; how she helped create her Sesame Street character, who was vibrant, outspoken, and passionate—much like Carmen herself.
Carmen struck us as fearless—a young, raw talent beating out more seasoned professionals for work, leaving Mexico behind to attend a puppetry workshop in New York City because she desperately wanted to learn more, and staying there because Jim Henson himself asked her to. She regrets that she never returned home, but recognizes that, through her work, she can proudly represent and keep close to her heart her love of her homeland, community, and family.
—Donna R. Braden
Did you know from an early age that you wanted to work with puppets, become a professional puppeteer?
No. Of all my friends growing up in Mexico City, I was the one who had no idea what she wanted to do. Nothing that gave me a sign. At one time, I thought I wanted to go to the Olympics—I was good in sports, very competitive. I even wanted to work with and talk to the dolphins until I found out about all the science I would need.
When I was 5 or 6 years old, I did love to watch Topo Gigio [a character on a children’s puppet show on Italian television in the early 1960s] every Monday on TV. He was so alive. And then when I was 8, I remember having a playdate at a friend’s house watching Plaza Sésamo [Mexico’s Sesame Street, one of the first international co-productions of the show, which started running in 1972] for the first time. We laughed and sang.
I think my curiosity was there—I wanted to know how they did it. I watched the Muppets, too, when that show came out. But I didn’t know much about Jim Henson until a friend of my brother brought me a book, Of Muppets and Men [Of Muppets and Men: The Making of the Muppet Show, written by Christopher Finch], when I was in high school. The book had pictures of the puppeteers and explanations on how they did it. It was the first time I saw how it worked, and it blew my mind that they had to work with their arms above their heads, that they did the voices themselves.
Was reading that book your light bulb moment?
The light bulb really went on for me when my brother, who was working for Televisa [a Mexican mass media company] at the time, invited me and my friends to attend a workshop with Americans for a children’s show that had puppets. I was the only one called back. I was with a bunch of professional actors from university—the youngest in the group at 18 with no idea of acting. On the third day of the workshop, they brought the puppets out, and we had to work with the cameras and monitors and learn how, when you move the puppet one way, it appears the other way on the monitor—it’s inverted. That is when it really clicked for me. I started remembering all I had watched on TV, how the puppets breathe and walk. They live. I was mesmerized by the challenge to make this thing with no expression have expression.
While working on the children’s television show Super Ondas for Mexican mass media company Televisa in the 1980s, Carmen Osbahr-Vertiz (at right) was one of a small group of professional female puppeteers in the industry. / Photo courtesy of Carmen Osbahr-Vertiz
I loved it. I was in heaven. While the professional actors were having problems because their expressions were happening below, not above, I was making this puppet come alive. It didn’t matter that I was shy or didn’t have the acting skills.
I think my brother knew when he invited me to that workshop. After that, it all came together for me—why I loved the puppets, the magic, the joy, the curiosity.
And I got a job working for Televisa.
How did you cross paths with Jim Henson?
I was working as a puppeteer at Televisa on The Treasure of Knowledge show when I met Kermit Love from the Henson group. He was in Mexico to train puppeteers from Plaza Sésamo. I asked him if he could help me. I felt that I was the only person in Mexico that was passionate about the puppets, that I had respect for them that no one else did. Most puppeteers were actors who were quick to move on to other things. I started asking questions about why we couldn’t do our own voices. I wanted to get better at my craft. I wanted our work to be better.
Kermit invited me to the U.S. to attend a workshop. So I went to Manhattan. One day, he came by and said, “We’re going to a party. Here’s your mask.” Suddenly, I was at a masquerade party thrown by Jim Henson at the Waldorf Astoria. That’s when I met Jim for the first time. It was so amazing. He was so amazing. He invited me to come observe production of his next season of Sesame Street. Just to see them working as a team. They were brilliant, geniuses, magicians. I thought to myself I would love to stay here. This is a dream.
Carmen’s Calls to Action
Go Ahead and Dream
“Never be afraid of your dreams. And if things don’t work out quite the way you hoped now, you will find a way to make them work in the future.”
Making Mistakes Is OK “Making mistakes is actually more than OK. It’s wonderful. It’s how we learn.”
Keep Growing “Don’t be scared to try something new. Even now, I feel like me and Rosita still have a lot of space to grow, and we’re always learning new things, talking about topics I never thought we would be.”
Be Prepared to Work Hard “Being a puppeteer in the Muppet style is so much fun, but it is difficult, hard work. If you like a challenge, teamwork, laughing a lot, and throwing out ideas and solving problems all the time, then this is for you.”
When Jim did call me and said he decided he wanted me to be a part of the Muppet family, that he wanted a strong female puppeteer, I raised my hands and was like, “WAAAWWW!”
That was 1989, just a year before Jim died.
What role did you play in bringing your Sesame Street character Rosita to life?
When Jim was alive, he told me he always wanted a bilingual character for Sesame Street. I told him I didn’t really speak a lot of English. I was probably at 25%. He said no worries. We will work together. It will come out naturally. It’ll be fun.
Designer Ed Christie first asked me to help write a bio for my character because he wanted to create someone I would be comfortable with. So I told him I wanted her to be colorful and present. We Latinos like to hug and kiss. She needs to be cuddly with flowing hair. I wanted her to play the guitar and be musical like I was.
I wanted to name her Rosita, after my best friend in Mexico City, Rosa. I really liked the idea of how people could R the R’s—RRRRRosita.
Meet Rosita, a Bilingual Turquoise Monster
Full name: Rosita la Monstrua de las Cuevas (the Monster of the Caves) Age: 5 Birthday: December 7 Birthplace: Mexico Parents: Rosa and Ricardo Puppeteer: Carmen Osbahr-Vertiz Designer: Ed Christie First TV appearance:Sesame Street, season 23, episode 2888 (1991) Favorite Friends: Zoe, Elmo, Grover, Telly Monster, Prairie Dawn, and Abby Cadabby Likes: Presenting the Spanish Word of the Day and playing her guitar. She’s very good with history as well as geography.
Ed heard all that and made a puppet that wasn’t tiny but had a presence. She has a round belly, live hands and wings like a flying squirrel. He said he designed her like that thinking of a flamenco skirt. And she’s turquoise, which is an important color in Mexican culture, representing life and hope.
I just loved her from the start. Rosita is my immigrant girl, a happy, family-oriented monster that speaks better English than I do. She’s confident, doesn’t mind making mistakes and has explosive feelings.
Is it difficult to bring Rosita’s explosive personality to life?
When you’re a puppeteer, you quickly learn that it is not just about your character above. It’s also about the layer underneath.
We are in a very physical situation that is often very uncomfortable. You can’t be claustrophobic and you can’t be smelly. We all joke about eating no onions or garlic, brushing your teeth.
With Rosita, I have someone else doing her right hand as well, so he has to match what I am doing so carefully. If you move the puppet slightly the wrong way, for example, it won’t look like it is listening. It is very specific, and you’re sharing a small, cramped space with others, looking at monitors and trying to work in extremely coordinated ways.
Carmen bringing Rosita to life on the set of Sesame Street. / Photo courtesy of Richard Termine/Sesame Workshop
As puppeteers, we are solving physical problems all the time, learning new ways to trick the cameras into presenting our characters as living, breathing things. It’s about subtle movements, creating reactions that match with the other characters.
In your creative community, in the entertainment industry in general, do you feel as if Jim Henson’s legacy is still alive and well?
Jim was amazing. His mind was brilliant. He was curious and put together this world around all the things he liked. He was ahead of his time, and we keep trying to keep his legacy alive because he had it right.
For me, I can see that he still touches people. I have so many young people come up and say, “I want to be a puppeteer. Jim Henson changed my life.” And so many of them are very, very clever. They are bringing all of these new ideas and technologies to the conversation. I’m so proud of everyone that comes to us that were inspired by Jim. It’s so rewarding.
What about with audiences? Does Jim’s vision resonate with the next generation?
I know animation is where it’s at today, but it’s just so flat, and Jim’s characters are just so alive. When we did Sesame Street’s 50th anniversary concert live a few years ago, I was so worried about the audience’s reaction to seeing us rolling around, sweating on the stage. What I felt instead was absolutely incredible. I saw grandparents with their grandkids, parents with their children singing and crying, connecting with each other. Because of Jim. It was so touching, so inspiring.
In terms of your impact, how has your career influenced others? Can you speak to the appreciation you have for how your role as Rosita is helping children learn and grow?
What this job has brought to me has been amazing, and impact really goes both ways. The impact Rosita has had on others and the impact people have had on my life because of her.
Rosita. / Photo courtesy of Sesame Workshop
Rosita is part of lots of outreach within communities where so many see her and the other characters as friends. Today, we are working on racial justice messages, and Rosita and I have also been working with military families for 10 years. We’ve created videos for young parents so they can help explain deployment to their children. We’ve also had a script where Rosita’s dad comes back home from a tour of duty and is injured and in a wheelchair. The words in that video—how military families have to deal with both invisible and physical injuries, the suffering they face and sacrifices they make—I took it very personally. I even asked myself if I thought I was ready to become an American citizen. It was something I had researched before, but I was never sure if I was ready—I’m so proud of my Mexican heritage. After working with military families, though, I said to myself that I was definitely ready, and I became an American citizen.
Released in 1992, The Muppet Christmas Carol was the first Muppet film produced after Jim Henson’s death in 1990. His son Brian, along with his siblings, had taken over the company. Brian had previously worked on several of his father’s projects, including building the first penguin puppet for The Muppet Show, helping create the bicycle sequence in The Great Muppet Caper, and providing voices for the film Labyrinth (as Hoggle) and the TV series The Storyteller (as Dog).
Bill Haber, the Hensons’ agent, was the first to pitch the idea of creating a version of A Christmas Carol. While Brian—who was interested in continuing his father’s work, but wanted to avoid too much of a direct comparison—considered the idea, Haber took the initiative to sell the rights to ABC TV, who planned to make a television film. When longtime Muppet writer Jerry Juhl submitted his final script for approval, however, executives at Walt Disney Pictures opted to purchase it and make it into a feature film.
1876 edition of Christmas Stories, which included A Christmas Carol / THF624009
Charles Dickens’s novella A Christmas Carol, first published in 1844, was hugely popular during its time. The first edition, published on December 19th, sold out by Christmas Eve, and four more editions would follow by the end of the year. During his lifetime, Dickens would adapt the piece for public readings, which he himself would perform until his death in 1870. Stage productions would soon follow, and even today it is common to see A Christmas Carol on offer from theater companies during the holiday season. The earliest surviving screen adaptation is Scrooge, or Marley’s Ghost, from 1901. Between then and 1992, 14 other adaptations had hit the silver screen, and the plot of A Christmas Carol was familiar to many, even if they had not read the original story.
Portrait of Charles Dickens, 1865-1870 / THF121158
Originally aiming to make The Muppet Christmas Carol into a parody of the original story, in keeping with the irreverence for which the Muppets were famous, Henson and Juhl soon realized that no previous film adaptations had truly captured Dickens’s prose. Rethinking their approach, they decided to cast Gonzo in the role of Charles Dickens, and make him the omniscient storyteller—a device that not only allowed them to include dialogue that was 95% faithful to Dickens’s original work, but also mirrored the earlier public readings of the story. Rizzo the Rat joined in as Gonzo’s sidekick and a form of Greek chorus, interjecting often-humorous commentary throughout the film.
Gonzo as Charles Dickens, Kids’ Meal Toy, 1993 / THF304876
Having decided on this approach, it was time to “cast” the rest of the story’s characters. As Brian Henson explained in a 2015 interview, “Bob Cratchit was a natural role for Kermit. He was almost playing himself.” The role of Mrs. Cratchit went to Miss Piggy, Tiny Tim was assigned to Robin the Frog, Fozzie Bear became Fozziwig (previously known as Fezziwig in Dickens’s original), and Statler and Waldorf served as the ghosts of the Marley brothers (a notably drastic change from the original, where there is only one Marley ghost—yet a necessary one, as you can’t have Statler without Waldorf, or vice versa). Other Muppets filled out the rest of the supporting cast, and brand-new Muppets were created for the Ghosts of Christmas Past, Present, and Future, to detract less from the ghosts’ ominous nature.
Kermit the Frog as Bob Cratchit, Kids’ Meal Toy, 1993 / THF304874
The one principal human actor in the production was Michael Caine, who played Ebenezer Scrooge. Upon accepting the role, Caine said, “I’m going to play this movie like I’m working with the Royal Shakespeare Company. I will never wink, I will never do anything Muppety. I am going to play Scrooge as if it is an utterly dramatic role and there are no puppets around me.” This choice continued the tradition of blending the world of the Muppets with the real world, seen in other Henson projects such as Labyrinth, Sesame Street, and Fraggle Rock, arguably adding to the “realness” and accessibility of the works and worlds Henson created.
Although it opened to mixed reviews, and achieved only modest box-office success, the film went on to become a beloved part of the Muppet filmography. For some, the appeal lies in its faithfulness to Dickens’s original story. Others appreciate the film’s songs, written by Paul Williams (who also wrote “The Rainbow Connection”). For many, though, the best way to sum it up is that the film is simply delightful, marrying the best of the Muppets with the traditions of Dickens. In doing so, The Muppet Christmas Carol serves an example of the power of imagination to transform the familiar into something totally new.
Tiny Tim’s famous final line in A Christmas Carol, "God bless us every one," featured on the title page of Christmas Stories, 1876 / THF624011
Operating the Marionettes in Writer’s Cramp: A Review in Little Marionette Show at the A.B. Dick Company Exhibit at the New York World’s Fair, 1939 / THF623950
The A.B. Dick Company, a major copy machine and office supply manufacturer, wanted to draw a crowd to its 1939 New York World’s Fair exhibition. The company decided that a musical marionette show, Writer’s Cramp: A Review in Little, was just the ticket. A.B. Dick selected Tatterman Marionettes, a high-quality touring company managed by Edward H. Mabley (1906–1986) and William Duncan (1902–1978). Mabley wrote the musical comedy and Duncan produced the show, staged at the entrance to the A.B. Dick display in the Business Systems and Insurance Building.
A.B. Dick Company Mimeograph Exhibit and Writer’s Cramp Marionette Show at the New York World’s Fair, 1939 / THF623944
Writer’s Cramp featured changes in communication technology from “the days of the cave man” to the efficient modern office mimeograph machine. Marionettes represented Miss Jones, the secretary, and Mr. Whalen, the executive, trying to rush distribution of important correspondence. Father Time helped inform Mr. Whalen of his good fortune at present (1939) by escorting him through millennia of changes, starting with Stone Age stenographers, and including tombstone cutting, monks with their quill pens, and typists with their typewriters. The play culminated with the unveiling of A.B. Dick Company’s Model 100 Mimeograph, “the World’s Fairest writing machine!”
Writer’s Cramp: A Review in Little Marionette Show at the A.B. Dick Company Exhibit at the New York World’s Fair, 1939 / THF623948
Mabley and Duncan organized Tatterman Marionettes in Detroit, Michigan, in 1922, and had relocated to Cleveland, Ohio, by 1930. They established a reputation through high-quality performances to a range of audiences.
Panel 4 of promotional material, “A Modern Adult Program and a New Children’s Program for the Tatterman Marionettes,” 1931-1932 / THF623902
Edsel B. Ford contracted with the company to perform for children in his home during March 1931. At that time, the always entrepreneurial Mabley recommended his and Duncan’s product, Master Marionettes, as “unusual gift favors” for the children attending that show.
Master Marionettes: Professional Puppets for Amateur Puppeteers, 1930-1940 / THF623904
Tatterman Marionettes’ reputation grew through work with the Century of Progress exposition in Chicago in 1934, where the company presented 1,300 plays. More World’s Fair performances followed. A.B. Dick Company and General Electric both contracted with Tatterman to produce marionette performances during the 1939 World’s Fair. General Electric’s Mrs. Cinderella promoted electrification as part of the modernization of Cinderella’s drafty old castle. (Libby, McNeill & Libby also featured marionette performances, and other corporations staged puppet shows.)
The A.B. Dick Company spared no expense to ensure a first-class production. Tatterman provided the marionettes and experienced operators, while industrial designer Walter Dorwin Teague (1883–1960) prepared blueprints for a detailed stage set. Teague’s exhibit work for A.B. Dick and several corporations during the 1939 World’s Fair helped solidify his reputation as “Dean of Industrial Design.” The company invested in a conductor’s score by Tom Bennett (1906–1970), who would go on to join NBC Radio as staff arranger and musical director after the World’s Fair.
With the script finalized (February 27, 1939), experienced operators put the marionettes to work. After the World’s Fair opened on April 30, 1939, they delivered programs on a set schedule published in official daily programs. On Sunday, October 22, 1939, for example, Tatterman Marionettes performed 15 shows—at 10:20, 11:00, and 11:40 in the morning; at 12:20, 1:00, 1:40, 2:20, 3:00, 3:40 in the afternoon; and at 5:40, 6:20, 7:00, 7:20, 8:00, and 8:20 in the evening.
“Brighten Up Your Days,” Song for the Writer’s Cramp Marionette Show, New York World’s Fair, 1939 / THF623906
At the end of each Writer’s Cramp performance, A.B. Dick mass-produced the feature tune using a mimeograph machine and photochemical stencil. Attendants distributed this sheet music, calling attention to the modern conveniences: “Just a moment, PLEASE! The young lady right behind you is running off some of the words and music from our show—they’re for you to take home with our compliments. Don’t go away without your copy!”
The Tatterman marionettes from Writer’s Cramp featured prominently in World’s Fair promotional material intended to draw the attention of office outfitters to the Business Systems and Insurance Building. Their little stage set conveyed big lessons to the hundreds of thousands of professionals who flowed through the A.B. Dick exhibit at the New York World’s Fair.
Debra A. Reid is Curator of Agriculture and the Environment at The Henry Ford. Thanks to Saige Jedele, Associate Curator, Digital Content, for editorial guidance.
Several stars of The Muppet Show pose for a group shot on one side of "Jim Henson's Muppets" Lunchbox, 1979 / THF187292
By the time The Muppet Show premieredin 1976, numerous Muppet characters had already been introduced to the public through a host of TV shows and commercials. However, this new weekly TV series that lasted for five seasons offered the opportunity for Jim Henson and his collaborators to further develop certain characters while introducing several new ones. The relatable personality traits of the main characters in The Muppet Show became part of their unique charm and lasting appeal.
What character from The Muppet Show are you most like? To find out, look at the following character traits of eight main characters from The Muppet Show, choose the group of traits that best fits you (or most intrigues you), then see which character matches those.
You have your own hopes and dreams, but you often find yourself helping others in need. Because of this, others gravitate to you. You, in turn, treat them with patience and kindness. Well, at least you try.
In school, you were the class clown, always trying to make people laugh. Even though they often didn’t get your unique sense of humor, that never deterred you from trying again. And again. Underneath that wise-cracking exterior, you are a friendly, loving, sensitive soul.
You may be willing to go along with the crowd for a while, but underneath, you crave attention. You are bold, strong-willed, and, when pushed around, you have a tendency to be stubborn and single-minded. You know what you want and possess the steely determination for go after it.
You are a risk-taking adventurer. You prefer excitement and thrills to patience and planning. This may not always turn out the way you had hoped, but you don’t give up. You are on a continual search for the meaning in life and have a strong desire to find a place where you belong.
With a steady hand and a level head, you make sure that everything is functioning behind the scenes. You enjoy solving problems and assisting others. Staying in the background lets you get involved, in a low-pressure way, with everyone and everything. Which is not to say that you don’t enjoy the limelight every once in a while.
You are extremely enthusiastic in everything you do. While some might say that you get carried away too easily, or are too obsessive about certain interests, you just think of yourself as passionate and devoted. Because why go just halfway when you really love something?
Unlike friends and colleagues whose talents are hidden or still evolving, you already have real talent! This gives you the confidence to be calm, steady, easygoing, and charming. You are friendly with most everyone and willing to lend a hand when needed.
You are studious, serious, and thoughtful. You feel that it’s important to live by the rules and you have little patience with those who don’t. Some might say you are judgmental, but you just feel that you have high standards—without those, everything would just descend into chaos. Unfortunately, it usually does.
Pick your set of traits, then scroll down to discover which Muppet you are most like!
Kermit the Frog
Closeup shot of Kermit, depicted on "Jim Henson's Muppets" Lunchbox, 1979 / THF187305
If you chose #1, you are like Kermit the Frog. Introduced in 1955 on Jim Henson’s first TV show, Sam and Friends, Kermit evolved from a sort of abstract lizard-like creature to a definite frog with flippers, a fringed collar, and a distinct personality. Kermit was not initially intended to host The Muppet Show, but his warm personality and ability to get along with others won him the starring role. Only occasionally did he panic, get annoyed, or become frustrated by the chaos around him before he would once again resume the calm, easygoing demeanor that drew others to him in the first place.
Closeup shot of Fozzie Bear, featured on one side of "Jim Henson's Muppets" Lunchbox, 1979 / THF187309
If you chose #2, you are like Fozzie Bear. Fozzie is known as The Muppet Show’s resident stand-up comedian and Kermit’s best friend. In fact, the full range of his personality took a while to emerge. At first, his inability to deliver a punchline made him seem inept, embarrassing, even depressing. Eventually, as Fozzie developed a wider range of emotions, audiences began to connect with his newfound sense of optimism, enthusiasm, and just plain fun-loving nature.
Closeup shot of Miss Piggy, depicted on "Jim Henson's Muppets" Lunchbox, 1979 / THF187310
If you chose #3, you relate to Miss Piggy, The Muppet Show’s resident diva, best known for her unrequited love for Kermit the Frog. Miss Piggy was also The Muppet Show’s most unexpected breakout character. Just like a true Hollywood movie star, she got her start as a little-known background singer and chorus girl named Miss Piggy Lee (a homage to singer Peggy Lee). But during the first episode of The Muppet Show, her true character began to emerge—that trademark determination hidden behind a coy exterior. Her newfound stardom pushed hapless Fozzie Bear to the background as a supporting character.
Gonzo the Great
Closeup shot of Gonzo, depicted on "Jim Henson's Muppets" Lunchbox, 1979 / THF187306
If you chose #4, you are like Gonzo the Great. Gonzo traces his origin to the purple hook-nosed creature, Snarl, who appeared in Jim Henson’s 1970 TV special, The Great Santa Claus Switch. Newly recycled and slightly remodeled, Gonzo appeared on The Muppet Show as its resident stuntman. Well, Gonzo would not consider himself merely a stuntman. He would describe his stunts as avant-garde acts of performance art.
Closeup shot of Scooter, depicted on "Jim Henson's Muppets" Lunchbox, 1979 / THF187307
If you chose #5, you are like Scooter, The Muppet Show’s gofer and jack-of-all-trades. Scooter appeared most frequently in scenes that took place behind the scenes at the Muppet Theatre. He ostensibly got the job as the show’s backstage assistant because his uncle owned the theatre, but over the years—despite his moderate pestering of Kermit—he proved his worth and stayed on. He also occasionally appeared on stage, even hosting the show once. He was one of the few true aficionados of Fozzie Bear’s jokes, and the two occasionally performed acts together.
Closeup shot of Animal, depicted on "Jim Henson's Muppets" Lunchbox, 1979 / THF187311
If you chose #6, you have the tendencies of Animal, the exuberant drummer of The Muppet Show’s house band, Dr. Teeth and the Electric Mayhem. Despite popular legend, he was not based upon any real-life drummer. However, he does consider Buddy Rich, Gene Krupa, Keith Moon of The Who, and Ginger Baker of Cream and Blind Faith to be among his musical influences. His most memorable moment on The Muppet Show was when he performed a drumming contest with legendary jazz musician Buddy Rich. Animal’s unrestrained style made him popular not only with young people but also among many of the guest stars on the show.
Closeup shot of Rowlf, depicted on "Jim Henson's Muppets" Lunchbox, 1979 / THF187308
If you chose #7, you are like Rowlf, the resident piano-playing dog of indeterminate breed who performed on several episodes of The Muppet Show. Rowlf’s origins date back almost as far as Kermit’s—he first appeared on commercials for Purina Dog Chow in 1962. He gained fame soon after, making regular appearances on The Jimmy Dean Show—a variety show hosted by the country singer of that name, who became famous for his hit, “Big Bad John.” Rowlf’s confidence lent an air of stability to The Muppet Show, as he brought his years of experience to the cast of new, unformed, and unproven characters.
Closeup shot of Sam Eagle, depicted on "Jim Henson's Muppets" Lunchbox, 1979 / THF187297
If you chose #8, you are like Sam Eagle—short for Sam the American Eagle. With that name, it goes without saying that Sam is ultra-patriotic, especially about all things American. He also fashions himself as The Muppet Show’s moral compass, always on the lookout for acts of dignified, high-brow culture. The fact that he knows nothing about culture and never finds these types of acts on The Muppet Show does not seem to deter him.
Donna R. Braden is Senior Curator and Curator of Public Life at The Henry Ford.
Barney Oldfield and Lincoln Beachey Racing, Columbus, Ohio, 1914 / THF228829
In racing, a skilled driver means everything, but if that person is blessed with charisma and an ability to attract attention, then the fruits of promotion are close at hand. Ability behind the wheel is essential for winning races. But from the sport’s earliest days, success in auto racing also has been augmented by a driver’s ability to attract attention and build a relationship with fans. This helps generate public awareness, fundraising, and sponsorship. In our new racing exhibit, Driven to Win: Racing in America presented by General Motors, two exceptional examples—one from the early days of the sport and one from today—are featured, along with their cars.
In the early 1900s, Barney Oldfield made himself larger than life with his widely publicized exploits on racetracks. Oldfield had a reputation as a fearless bicycle racer, and the very first automobile he ever drove was Henry Ford’s “999.” That was about a week before he raced it in the Manufacturers' Challenge Cup on October 25, 1902. Oldfield won handily, which launched his colorful auto racing career. It also produced the first of many opportunities for Henry Ford to promote Oldfield’s exploits to continue building his own reputation on the way to founding Ford Motor Company a year later.
Ken Block has successfully used his charisma, along with his unquestionable car-control skills, to create a name for himself and to build public awareness for his sponsors and their products. Barney Oldfield was largely limited to personal appearances, posters, and newspaper stories and ads to build his brand and those of his backers, but Ken Block has been able to add video, television, the Internet, and social media to his arsenal for attracting attention. His viral “Gymkhana” videos alone have generated hundreds of millions of views around the world. The car you’ll see in Driven to Win was used in “Gymkhana FIVE: Ultimate Urban Playground; San Francisco.”