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Women Writing Cars

Harriet Edquist

Posted on by Chris Lezotte

I first ‘met’ Harriet Edquist when presenting at Wheels Across the Pacific: Transnational Histories of the Automobile Industry, a virtual conference organized jointly by the AHA [Automotive Historians Australia] and the SAH [Society of Automotive Historians]. The objective of the symposium was to explore ways in which the Australian and North American auto industries shared parts and components, staff, expertise and skills, engineering, design and studio practices, business and management structures, and advertising and trade practices. Dr. Edquist, a professor of architectural history at RMIT [Royal Melbourne Institute of Technology] and Director of RMIT Design Archives, was both an organizer and presenter. She was also, as it turns out, an integral presence in my own paper, which focused on women’s automotive history scholarship in both the United States and Australia. As I noted in my presentation, automotive history has been slow to incorporate the influences and practices of women. It wasn’t until the later part of the twentieth century that women’s absence from the automotive archives was noticed and addressed. Feminist scholars in Britain, the US, and Australia took upon the arduous and important task of writing women into automotive history. Edquist is one of the more recent contributors to this critical chronicle of women and the automobile.

Although Edquist’s research projects focus primarily on architectural and design history, her automotive interests have broadened the scope of her scholarship to include automotive design and women’s participation in the Australian auto industry. Through her investigation of women’s automotive experience in the early decades of the twentieth century – women as drivers and mechanics; their opportunities as production workers; and as designers and engineers – Edquist has effectively built on the research of fellow Australians Kimberley Webber and Georgine Clarsen to bring attention to the various ways women have engaged with the automobile over time. “In Women in the Early Australian Automotive Industry: A Survey“, co-authored with Judith Glover, Edquist calls upon variety of sources – photographs, newspaper articles, mail correspondence, RACV archives, online resources, automotive forums, journal articles, dissertations, and automotive design archives and publications – to recover Australian women from automotive obscurity and bring attention to how they experienced automobility as workers and drivers. 

In this engrossing essay, Edquist and Glover examine women’s efforts to become recognized as legitimate drivers through long distance auto tours and participation in the growing sport of auto racing. Both automotive activities provided opportunities for women to gain proficiency not only behind the wheel, but under the hood as well. The authors cite Clarsen’s argument that the media’s fascination with female drivers ‘criss-crossing’ the continent was an important component of nation-building as well as a means to present Australia as modern and civilized. This was particularly interesting to me as an American, as women’s long distance tours in the US during this time served primarily as marketing tools for various auto manufacturers. Edquist and Glover also call upon case histories and recovered photographs to illustrate women’s participation in the car industry as production workers as well as automotive engineers and designers.

The recent work of Edquist and Glover presents new evidence of Australian women’s engagement with cars as drivers, workers, and designers. Important in its own right, the study also suggests the possibilities of further research into women’s automotive history and hopefully prompts additional investigative projects in both Australia and the United States.

Auto MuseumsCar Culture

The ‘First Ladies’ of Oldsmobile

Posted on by Chris Lezotte
R.E. Olds Transportation Museum in Lansing, Michigan

I continued my investigation of women’s representation in automotive museums by stopping by the R.E. Olds Transportation Museum in Lansing, Michigan. As I work my way through this project, I am discovering that the focus of a particular museum is most often determined by the interests and intention of its founders. While the museums I have visited thus far have been structured around either a place or a collector’s interest, the Olds Museum – like its name – is an automotive collection assembled based on a major car manufacturer and the man who lent it its name. The layout of the museum reveals its two identities: first, as a [literal] road through early Oldsmobile history, and second, as a looser collection of more recent Olds automobiles, additional REO endeavors, artifacts, related businesses and industries, and a bit of 1950s car culture. While the first section of the museum is tightly organized, the large back ‘dealership’ room is a little more hodgepodge, encompassing a wide variety of Olds, GM, Fisher Body, and tangential industry paraphernalia.

Oldsmobile Girls Club Artifacts

Because the museum is centered on a man and a car, women are not well represented. Like many of the museums I’ve visited, [visual] references to women are primarily related to fashion. There are many female mannequins placed throughout the museum garbed in the styles of a particular time related to the automobile. Other references to women include those who have donated vehicles to the collection, advertisements and promotional material, photos of [unidentified] female factory workers, and ephemera [such as employee nametags]. A glass case includes a small display of items related to the Oldsmobile Girls Club – a 1950s-60s women’s community organization – that includes photographs, programs, mugs, sewing kits, charm bracelets, vanity items, ashtrays, and a cookbook.

Metta Olds Reading Desk

While women – as workers, drivers, and club members – take a back seat to the major automotive leaders on display, there are two that are named, and thus deserve special attention. The first is Metta Olds, who was married to Ransom, popularly known as ‘R.E.’ The tour through the museum begins with a focus on the Olds family and homestead. Much of that is devoted to Metta – photos, family trees, furniture, personal items, and clothing. Metta was very much a silent partner and supporter of her husband; a book titled Loves, Lives, and Labors was written about their strong relationship and Metta’s roll as ‘woman-behind-the-man’. While, as the wife of the founder, Metta could easily be referred to as the ‘First Lady of Oldsmobile’, that title was, in fact, bestowed on Helen Earley, a longtime employee who, through a number of positions, created a position for herself as the resident Oldsmobile historian. Automotive historian Robert Tate writes that Earley, as a scholar, historian, and archivist, ‘contributed a great deal of knowledge to the automotive community.’ During her career, Earley and another retiree helped establish the Oldsmobile History Center. She also co-authored two books on Oldsmobile history: Setting the Pace: Oldsmobile’s First 100 Years written with James R. Walkinshaw, and Oldsmobile: A War Years Pictorial. Earley was also one of the founding task force members responsible for creating the R.E. Olds Museum; she also served as a board member for the National Automotive History Collection, the Library and Research Center for the Antique Automobile Club of America, and was a recipient of the prestigious James J. Bradley Award from the Society of Automotive Historians. This award recognized the ‘Outstanding contributions to the preservation of historical materials related to the automobiles produced by Oldsmobile and for the spirit of helpfulness to writers, researchers, historians and restorers’.

Despite Earley’s importance to Oldsmobile history and the museum, one has to search to find out anything about her. There is her name over the board room, a portrait on the board room wall, and a card clipped to a driving outfit on one of the displays. I finally discovered a glass case containing some photos and her self-authored obituary in a hidden away corner of the ‘dealership’ room. Although recognized as the designated ‘first lady’, Earley receives what can be described as second-class attention.

Helen Earley ‘The First Lady of Oldsmobile’

The RE Olds Transportation Museum was an interesting stop on my tour of automotive museums. While the collection focuses on a specific individual and the company he founded, women’s unique contributions to Oldsmobile can be uncovered if one looks hard enough. 

Car CultureWomen & Car Advertising

Ramblin’ Woman

Posted on by Chris Lezotte

Paul Niedermeyer, writing for Curbside Classics, penned a couple of interesting articles over the past year on the 1950s era Rambler Cross Country. Calling on automotive advertising of the time, Niedermeyer notes how the Rambler was often marketed specifically to the female driver. The Rambler, as ‘the first lifestyle wagon ever,’ was heralded not only for its suitability for growing families, but also for its bold style and unusual, somewhat radical appearance. Advertising was directed not only to suburban moms, but also to fashion-conscious women who desired both practicality and pizazz in the cars they drove. A  key part of making the Rambler appealing to women was drawing attention to its interior fabrics and trim, designed by the renowned Helene Rother. As Niedermeyer remarks,  ‘a woman’s touch can’t be easily faked.’ Advertising for the Rambler often featured famous women – including American theatre star Margaret Sullavan and the wife of actor Jimmy Stewart – to associate the vehicle with glamour, luxury, class, and discriminating taste. Unlike other automotive advertising of the time, Rambler had a fair amount of success by targeting more affluent and better educated buyers, especially women.

More than a year after the original article appeared, Niedermeyer responded to a previously posted comment that had apparently been gnawing at him for some time. The reader, focusing specifically on the notion that women were important Rambler purchasers, posted, ‘In defense of men, though, many of those 50s women buyers were spending lavishly their husband’s and father’s money.’ Niedermeyer, taking great offense at this comment, countered with multiple examples of how the scenario painted by the defensive reader was unlikely. Calling upon his own experience, he recalled how his father traded in his mother’s car without her knowledge or blessing. As he writes, ‘she was furious, but what was she going to do?’  Niedermeyer also notes that during the 1950s, a growing number of women had careers. In fact, he argues, the targeting of female consumers by Rambler was instrumental in allowing the automaker to survive the early to mid 1950s, when other domestic compacts were failing. Surprisingly [at least to me] Curbside Classic readers – primarily men – joined Niedermeyer in expressing offense to the stereotypical response. Many offered examples of how the women in their respective lives – i.e. strongly opinionated moms, older maiden aunts, and [assumed] lesbian teachers – made their own car buying decisions. Rather than reinforce the generalized stereotype of hapless and uninformed women drivers, the commenters offered a variety of car-purchasing scenarios influenced by family dynamics, finances, marital status, sexual orientation, and the progressiveness of women and men alike.

The Curbside Classic articles caught my attention not only because of the focus on female consumers, but because the author’s comments, as well as those of his readers, brought to mind those of a group of elderly women I interviewed for a project a few years ago. In 2016 I spoke to 21 women in their 80s and 90s – of the same generation of those targeted in 1950s automotive advertising – about their early automotive experiences. Included in the conversations were reminisces regarding individual car histories. Although automakers such as Rambler attempted to lure female customers, the majority of the women I spoke to, when entering marriage, did not have a vehicle of their own, but shared one with husbands. When children appeared on the scene, women fought hard for cars of their own to make their lives easier. However, the majority of these vehicles were not shiny new Ramblers; rather, they were most often described as ‘jalopies’’, ‘clunkers’, or ‘old and cheap’. While there were a few women whose husbands ‘surprised’ them with fancy cars for birthdays or special occasions, most were grateful for anything that offered them a degree of independence.

Since many of the women interviewed were located in the greater Detroit area, it was not uncommon for them to work in auto-related industries, or to have friends or relatives who did. This allowed them to purchase a car a family member had previously driven, secure the inside track on a good used vehicle, or take advantage of an automotive employee discount. Others took over the old family car when a new automobile was purchased. Yet no matter how the car was acquired, the women had a definite say in automobile selection, and would accompany husbands to the dealership to make their desires known. If spouses purchased cars without their wives’ input, they often found themselves heading back to the sales office. Not surprisingly, single women – whether unmarried, widowed, or divorced – had the freedom to purchase the car they wanted without male influence or intervention. What became clear from these conversations is that what women wished for in a car – i.e. functionality, economy, and reliability – often differed from the qualities desired by men. Consequently, making their own automotive needs and requirements known was a very important element of the car purchase process. The responses from the women in this project – as well as the Curbside Classic comments – suggests that women were exceptionally influential in car purchases, particularly if it was a car they would be driving. In the present day, it is estimated that women buy 65 percent of all new cars sold in the USA, and influence 85 percent of car buying decisions (Findlay). It is a practice that, as the responses suggest, began as soon as women took the wheel.

Niedermeyer was correct to question the stereotypical comment of one of his readers; i.e. that women’s car purchases were made possible by lavishly spending their husband’s or father’s money. While certainly there were some women who were ‘surprised’ by car purchases made by husbands, the majority of women made their own automotive decisions. As the Curbside Classic articles and my own research suggest, if a woman drove a Rambler, it was most likely because she had the means and the desire to do so.

Findlay, Steve. ‘Women in Majority as Car Buyers, But Not as Dealership Employees.’ Wardsauto.com 20 Sept 2016.

Lezotte, Chris. ‘Born to Drive: Elderly Women’s Recollections of Early Automotive Experiences.’ The Journal of Transport History 40(3) (2019): 395-417.

Niedermeyer, Paul. ‘How Rambler Won the Compact and Price Wars of the 1950s and Saved American Motors.’ Curbsideclassic.com 25 Jan 2021.

Niedermeyer, Paul. ‘She Drives a Rambler’, and No, She ‘Wasn’t Lavishly Spending Her Husband’s Money.’ Curbsideclassic.com 3 October 2022.

Auto Museums

Visit to the Ypsilanti Automotive Heritage Museum

Posted on by Chris Lezotte

One of the benefits of living in Southeastern Michigan is the plethora of automotive museums – from small local sites to large curated collections – within a reasonable driving distance. I had the opportunity this weekend to visit a small but fascinating museum just 20 minutes from home – the Ypsilanti Automotive Heritage Museum. The YAHM is located in a former Hudson dealership in Ypsilanti’s Depot Town. Ypsilanti, which borders Ann Arbor, was an important site of automotive manufacturing in the early to mid 20th century; the collection reflects the important role Ypsilanti played in the history of the automobile. Each room in the museum focuses on automotive stories that originated in Ypsi: the Chevrolet Corvair, Tucker, Hudson, Kaiser-Frazer, General Motors Hydra-Matic, the Ford Motor Company Generator Plant, and local car dealerships. A section of the museum is devoted to the Willow Run assembly plant – also located in the Ypsilanti area – which was originally constructed in 1941 by the Ford Motor Company for the mass production of the B-24 Liberator military aircraft. In 1959 the facility was converted for the production of automobiles which included the Corvair, Nova, X-bodies, the GM-H body, and the Chevrolet Caprice. The National Hudson Motor Car Company Museum is also housed within the YAHM. The mission of the museum, as stated on the website, is ‘to archive information relating to the automotive industry and its relation to the city of Ypsilanti and surrounding communities.’

Automotive dealer paraphernalia

The museum not only houses automobiles with Ypsilanti connections, but also paraphernalia and promotional materials associated with automotive brands and local dealerships. These include, but are not limited to, signage, uniforms, badges, pencils, watches, bottle openers, keyrings, rulers, matchbooks, baseball bats, knives, pins, and small model cars. Go down any hallway and you will find walls covered in photos of Ypsilanti based car clubs, histories of local dealerships, signage from car lots and showrooms, and cases crammed full of automobilia. Every inch of available space is covered in automotive artifacts that relate to Ypsilanti’s role in automobile manufacturing, sales, and culture.

Letter from Amelia Earhart

While on first glance the museum appears to have a very male-oriented collection, women are present, albeit subtly, in almost every exhibit. The representation of women reflects their rolls in automobile manufacturing and culture at various times in local automotive history. The three main themes that emerged through my tour through the YAHM were famous women as promotors of automobiles [such as Mary Astor and Amelia Earhart – who in 1933 christened the first Hudson Terraplane], women who conveyed positive automotive model attributes through advertising and promotional materials, and women who served the country in WWII as Willow Run factory workers. This imagery was interspersed through various museum exhibits. There were also photographs of female employees in the various automotive environs, although the women were not always identified. Some of these autoworkers served as models in various promotional materials. The museum also includes automobiles owned and or/donated by women, including a 1951 Kaiser Speical Traveler placed in the YAHM by Blanche Mericle – the former head of the Seaway region of Kaiser-Frazer Owners Club International.

Women workers at Willow Run

While there is little direct reference to women, the museum offers a multitude of clues as to how women influenced and participated in the automobile industries of Hudson, Kaiser-Frazer, and the production at Willow Run. Their representation suggests they were an important albeit silent component of the various automotive interests and industries that took place in the greater Ypsilanti area. While not prominent in the displays, they are visible and suggest that women had an unspoken but valuable impact on the automotive activities of the major Ypsilanti associated automakers.

Hudson promotional banner

As I am discovering as I make my way through this project, automotive museums serve a variety of purposes. While the first two I visited reflected the automotive interests of the museum founders and major contributors, the YAHM is very much focused on a time and place in Michigan’s rich automotive history. In its cluttered yet purposeful way, the Ypsilanti Automotive Heritage Museum reveals how the car culture of specific manufacturers emanated throughout the area to touch and affect many aspects of Ypsilanti life, including those of its female citizens and workers.

Car Culture

Boys and their Toys

Posted on by Chris Lezotte

A recent Jalopnik article asked its readers to elaborate on how they ‘got into cars.’ While the responses included references to racing, car magazines, and movies, the majority fell into two categories. The first route to a life as an auto enthusiast was through a relationship with a male relative or mentor, most often one’s dad. The second was a childhood preoccupation with ‘toys that move,’ whether those vehicles were the popular Hot Wheels, Matchbox cars, model cars, slot cars, Tonka trucks, or racing sets. Although women compose over half of US licensed drivers, cars are very much perceived as a male interest. This was evident in the comments accompanying the Jalopnik article which were, as far as I could tell, posted overwhelmingly by men. This suggests that while women are engaged with the automobile as drivers, they are less likely than their male counterparts to take on the mantle of ‘auto aficionado.’ If the Jalopnik article does, in fact, reflect the most common routes to automotive interest, it would appear that such influences are absent in women’s early lives.

In my own research into women’s relationship with the car – particularly as participants in automotive cultures traditionally associated with the male driver [i.e. muscle cars, pickup trucks, and motorsports] – the encouragement of a male family member or mentor was instrumental in instigating and maintaining a girl’s or young woman’s automotive interest. Many of the women interviewed in these various projects noted the importance of fathers, boyfriends, and husbands in acquiring a love for all things automotive. It is significant to note that the majority who responded in this manner were without male siblings, which suggests that dad would not have had as much concern in encouraging his daughters if he had sons [one has to wonder if the Force sisters would have made such an impact on the drag racing world if John Force had a son or two.] A much smaller percentage of the women noted how they developed in interest in cars by ‘borrowing’ the matchbox cars of brothers or male playmates. Young girls are rarely gifted toy cars; toys that move have always been promoted as proper toys for boys. While the notion that ‘girls just aren’t interested in cars’ has become somewhat of a rationale for women’s general lack of participation in automotive culture and industry, the gendered division of playthings -particularly toy cars and trucks – has deprived girls from the likelhood of developing a passion for the automobile.

Toys often serve as introductions to and reinforcements of cultural and gender expectations. As among the earliest and most influential technologies with which children come into contact, toys ‘transmit to children […] particular views of gender relations, examples of appropriate behavior, and character models’ (Varney 2002, 153). The gendered demarcation of toys was well established by the early twentieth century. The transition from horse drawn carriages to gasoline-powered automobiles was reflected in the playthings available to young boys – horse and buggy toys were replaced by miniature cars. Young girls also experienced a gendered progression – the Victorian sewing doll was superseded by the baby doll. While baby dolls reinforced the expectation that women would live quiet and unassuming lives as mothers, ‘toy vehicles captured the variety of men’s life of automobility, as drivers of status cars, as deliverers of useful goods, as roadmakers, and race car drivers. These were male machines that opened up a dynamic modern world to their drivers’ (Cross 2009, 56). Much like the vehicles they imitated, toy cars were irrefutably associated with technological aptitude, risk taking behavior, and maleness. As Ruth Oldenziel (2001) suggests, ‘toys were intended not only to amuse and entertain but also as socializing mechanisms, as educational devices and as scaled-down versions of the realities of the larger adult-dominated social world’ (42).

The lack of automotive exposure in childhood can have significant repercussions in adulthood. As I noted in an examination of women’s car advice websites (Lezotte 2014), without a grasp of automotive knowledge women are likely to experience significantly more discrimination in purchasing and servicing automobiles than their male counterparts. And without early exposure to cars, women are less likely to consider careers in auto-related industries or professions. Links between machinery and masculinity, originating in the assignment of mechanical toys to boys, has kept particular skills and professions within male domination. ‘In a society which thinks highly of technology and which there is an elaborate relationship between power and technology,’ notes Wendy Varney (2002), ‘this exclusion from that domain can effectively lock one out of a vast area of influence’ (168). Not only does this lack of auto interest and education limit women’s occupational opportunities, but can lead to a scenario in which decisions in vehicle engineering, design, production, and use are left primarily to the men in charge. As Wheel writer Emily Fritz (2018) asserts, ‘As we neglect to involve girls in car culture from a young age, we are also neglecting to involve them in the opportunity to learn and gain skills such as the ability to use tools, the ability to formulate basic civil engineering, and the ability to come in contact with the ways in which moving parts work—all of which are found in many car-based boy’s toys.’

The Jalopnik article – and the overwhelmingly male responses – is not only indicative of what is certainly a mostly male readership, but also demonstrates the importance of toys that move in the development of automotive interest in young boys. Since the majority of young girls grow up to be drivers, it is puzzling [but not surprising] that they are dissuaded from engaging with cars at the age in which they are most impressionable. But then again, most boys grow up to be fathers, yet are discouraged, if not ostracized, when demonstrating any interest in dolls. Such is the gendered power of toys.

Note: some of this material is taken from an article-in-progress on the Barbie car.

Cross, Gary S. 2009. Toys and the Changing World of American Childhood.

DaSilva, Steve. 2022. ‘These Are the Stories of How You Got Into Cars.’ Jalopnik 10 Oct.

Fritz, Emily. 2018. “The Harm of Gender Roles in Car Culture: An Argument for Getting Girls Involved.” Wheel.

Lezotte, Chris. 2014. ‘Women Auto Know: Automotive Knowledge, Auto Activism, and Women’s Online Car Advice.’ Feminist Media Studies.

Oldenziel, Ruth. 2001. ‘Boys and Their Toys: The Fisher Body Craftsman’s Guild, 1930-1968, and the Making of a Male Technical Domain.’ In Boys and Their Toys: Masculinity, Class and Technology in America, edited by Roger Horowitz, 139-168.

Varney, Wendy. 2002. ‘Of Men and Machines: Images of Masculinities in Boys’ Toys.’ Feminist Studies 28(1): 153-174.

Auto MuseumsCar Culture

Visit to the Gilmore Car Museum

Posted on by Chris Lezotte

This past weekend I had the opportunity to visit the Gilmore Car Museum in Hickory Corners, Michigan as part of my newest project that focuses on women’s representation in automotive museums and collections. I last visited the Gilmore a number of years ago during a muscle car event as part of research conducted for my book. As that car show was held outdoors, I never had an opportunity to explore the many buildings on the expansive Gilmore complex.

‘Quiet, Clean, and Easy to Operate’

The Gilmore Museum was originally established in the early 1960s as a place to store and display the growing automobile collection of Donald Gilmore. Although the museum has grown significantly since that time, inhabiting a number of buildings on the 90 acre parcel, it is still very much a collector’s museum, centered on the particular automotive interests of its founder. While the collection includes popular cars from the 1950s and 60s, the overwhelming majority of vehicles on display hail from the early auto age. Not only are there rooms in the main building devoted to steam powered automobiles, the Franklin Automobile Company of the early 20th century, cars of the 1920s and 30s, as well as early Lincoln models, but there are separate on site buildings featuring the Ford Model A and Cadillac LaSalle. These automobiles represent eras in which automobile production and car culture participation was very much a white male enterprise. This narrow focus on a particular automotive experience is no doubt responsible for the invisibility of women as owners, drivers, or influencers within the automotive collections and exhibitions. The introductory video – which visitors view before entering the museum – states that the museum’s mission is ‘to tell the story of America through the automobile.’ However, the stories that are told – beginning with those of the youngest car enthusiast – are filtered through a determinedly male perspective.

1886 Benz

Of the over 400 cars currently on display, only a handful have any female reference. One of those is the 1886 Benz. Bertha Benz, the wife and business partner of automobile inventor Karl Benz, is recognized as the first person to drive an automobile over a long distance. In doing so, notes the display placard, she brought the Benz Patent-Motorwagen worldwide attention and got the company its first sales. Mrs. Benz is often rightly regarded as an ‘exceptional’ woman in automotive history, as both an influencer and outspoken proponent of women’s automobility.

The only other car directly linked to a woman is a 1971 Dodge Challenger Convertible donated to the museum by its original owner. Lena Plymale purchased the car at the age of 19, used it as a daily driver until 1978, and kept it in storage until its 2008 restoration.

Lena Plymale’s 1971 Dodge Challenger Convertible

The Benz and the Challenger are the only vehicles in the massive collection in which the ‘story’ is told by a woman. There are two others that refer to women in a general sense. The 1931 Buick Victoria Coupe is displayed alongside advertising that reflects the manufacturer’s efforts to promote this particular vehicle to women drivers; as the ad reads, the synchro-mesh transmission ‘makes every woman an expert driver, enabling her to shift gears smoothly and easily at any speed.’ The display for the 1915 Rauch & Lang Electric noted that both Mrs. Henry [Clara] Ford and Mrs. Thomas [Mina] Edison drove electric vehicles. Whether this was the women’s choice or whether they were ‘encouraged’ to drive electrics by their husbands is impossible to say.

The majority of reference to women in the museum is related not to cars, but to fashion. There are photographs, advertisements, display cases, female mannequins, and signage which link women to styles of the respective eras scattered among the various automotive displays.

What I found most disconcerting in my tour of the museum was the Automotive Activity Center geared toward the young car enthusiast, an enclosed area with auto-related play activities and information. Two of the walls were devoted to a display of vehicle designs produced by winners of the Fisher Body Craftsman’s Guild competition held from the 1930s to 1960s. This national auto design contest, sponsored by the Fisher Body Division of General Motors, ‘helped identify and nurture a whole generation of designers and design executives’ (Jacobus 2). As the poster on display indicates, the competition was for boys only. This production of male technological knowledge, Ruth Oldenziel writes, ‘involved an extraordinary mobilization of organizational, economic, and cultural resources’ (139) in which ‘girls found themselves excluded as a matter of course’ (141).  A large collection of early automotive toys fills two display cases on an adjoining wall. Of the hundreds of toy cars on display, only two feature a female behind the wheel. A young girl entering this activity center would not see herself; rather, she would walk away with the impression that the automotive world is a male one, reinforcing the gendered assumptions that have permeated car culture for over 100 years.

For the future [male] Cadillac owner

Certainly much of women’s invisibility in the collection can be attributed to the original intentions and interests of its founder. The Gilmore is, in fact, a reflection of an older [white] male sensibility, an expression of an automotive education in which women were absent or excluded. However, what is distressing is that in the 60 years of its existence, very little effort has been made to integrate women into the history of the automobile. While the museum claims to tell the story of America through the automobile, it is a story in which women are most often absent in other than the most stereotypical of ways.

Jacobus, John. The Fisher Body Craftsman’s Guild: An Illustrated History. Jefferson NC: McFarland, 2005.

Oldenziel, Ruth. “Boys and Their Toys: The Fisher Body Craftsman’s Guild, 1930-1968, and the Making of a Male Technical Domain.” In Boys and Their Toys: Masculinity, Class and Technology in America, edited by Roger Horowitz, New York: Routledge, 2001: 139-168.

ConferencesEvents

Argetsinger Motorsports Conference @ Watkins Glen

Posted on by Chris Lezotte

After a three year hiatus due to COVID, the Michael Argetsinger Motorsports Conference, held at the legendary Watkins Glen International, was back. I had the opportunity to present my current-but-still-very-much-in-its-early-stage project focused on women who participate in autocross. It was a two-day conference, with a variety of presentations conducted via Zoom, in-person, and of the hybrid variety. The topics were varied, ranging from very detailed looks at a certain aspect of motorsports, in-depth examinations of the famous and obscure in motorsports history, as well as investigations of racing through the lens of popular culture. My presentation was the last of the last day, followed by a roundtable on women in motorsports. It was an exhausting two days, but I was able to catch up with scholars I have met on previous occasions as well as meet and connect with others in the field. The conference was well attended and live streamed. It was an excellent venue in which to present new work and get important feedback.

My own presentation went pretty well, my clumsy oral skills notwithstanding. The responses were primarily positive and I received a number of helpful suggestions. The audience was composed primarily of older white men, which is a microcosm of the motorsports academic community. While there were a number of female speakers, there was only one other presentation in which women in motorsports was the focus.

As a female who writes about women and automobiles from a decidedly feminist perspective, I often feel that the mostly male audience just doesn’t get it. Women’s experience with cars differs greatly from that of men, which I attempt to address in all of my work. While men tend to look at motorsports as a masculine competition, with the ultimate objective of taking home the grand prize, women often look beyond the contest to consider other aspects of the event. In the autocross project, as I discovered, the primary focus was on camaraderie; the competition was, in fact, a means to a broader and more rewarding experience. As one of the women interviewed expressed, ‘without the community it’s just driving fast around cones.’ But as I have noted, it is often difficult for those who have always looked at motorsports from the dominant male frame of reference to consider alternative perspectives. The men in the audience appeared quite puzzled as they looked at photographs of women joyfully joining together before and after each run. I’m sure ‘but where are the cars?’ was a question they repeatedly asked themselves during the presentation.

The lack of male understanding became especially evident in the roundtable that concluded the conference. The roundtable started off fairly well; the initial discussion focused on the state of women in motorsports scholarship, a topic very much in need of attention. However, when the microphone was turned over to the audience for comments, it quickly devolved into men telling women what they should write about. While some of the comments had merit, many were downright dreadful. The most egregious suggestions included an inquest into the wives of male racing legends, an in-depth examination of Linda Vaughn, the infamous ‘Miss Hurst Golden Shifter,’ and my personal favorite [not], a survey of women in automotive advertising, with the recommended and cringeworthy title ‘Broads on Buicks.’ Yikes. As it turns out, the attitudes of men who write about motorsports are not much different than those women encounter each weekend at the track.

While I was somewhat frustrated in my attempts to get through to some audience members, I believe that the conference was ultimately a success. I was able to partake in a lively conference in a unique in an inspiring setting; I had the occasion to take in new and important motorsports research; I had the chance to network and connect with renown scholars and historians in the field; and had the opportunity to present my own research and perhaps change some minds about the role of women in motorsports. All in all not a bad weekend.

Car Culture

TV Cars & Masculinity

Posted on by Chris Lezotte

While in graduate school during the 2000s, I devised an independent study focused on my growing interest in the relationship between women and cars. What follows is one of the response papers in which I examine how, in an appeal to male viewers, TV producers relied on the automobile to add masculinity to television programming during the 1960s and 70s.

Since its inception, television has been blamed for a wide variety of society’s ills. The lowering of our nation’s mores, and the rise in illiteracy, indolence, violence and promiscuity have all, at some point, been attributed to television programming. However, during the industry’s infancy, television posed an even greater threat to its growing audience. As Katie Mills argues in “TV Gets Hip on Route 66,” it was the influence of television as a feminizing medium that had both sociologists and programmers up in arms.

George Maharis, Martin Milner, and a 1960 Corvette in Route 66

During this period, intellectuals, such as those of the ‘Beat’ generation, expressed anxiety about the inevitable cultural impoverishment of TV audiences. The notion of a “wasteland,” taken from the poem of the same name by TS Elliot, was often invoked to describe women’s and children’s TV programming. What television required, it was suggested, was a dose of masculinity. This infusion of manhood was necessary not only to increase the television viewer base, but perhaps more important, to avoid the feminization of the American audience as well. To attain this goal, a television program was created which featured two handsome young men accompanied by the ultimate symbol of masculine power: the American sportscar. Thus in 1960, Route 66 was born, in which Buz and Tod travel the US highways in a Chevrolet Corvette, rescuing the TV audience from femininity.

Mills writes, “In this ‘cool’ cultural climate of television, the series Route 66 began airing in 1960 as a weekly road story about two non-conforming travelers” (69). The program aired during the prime Friday night time slot, when “exurbanite” fathers were most likely to be home watching television with their families. This road genre series offered CBS a way to dispel the notion of television as a feminine media. In addition, the narrative of the program, which found the male heroes in a different town along Route 66 each week, often provided stories that addressed liberal moral stands, which was quite progressive given the social climate of the postwar era. The Corvette provided mobility, both literally and figuratively, for the two young men, enabling them to travel to new locations and social situations each week. Storylines of the disenfranchised, such as victims of domestic violence or racial bigotry, were made possible by automobility. The automobile provided masculinity to the genre, yet also provided the opportunity for narratives that were not exclusively about men.

However, despite the initial success of Route 66, it appears that television executives did not believe the show was masculine enough. The CBS president insisted that Route 66 be revamped to include “more broads, bosoms and fun” (76). While Route 66 had tried its best to avoid gender politics, the networks were anxious to attract a larger male audience. Thus, as Mills tells us, television honchos relied on “such male-oriented gimmicks as fast cars, macho conflict and big busted actresses” (77). Such associations have pervaded the use of the automobile in television throughout much of its history. While TV shows that preceded Route 66, such as Danny Thomas, Ozzie and Harriet, and Father Knows Best, used cars to reflect and codify suburban lifestyles and mores, the advent of the muscle car during the late 1960s and its appearance in television dramas reaffirmed the automobile as a symbol of masculinity.

David Soul [Hutch], Paul Michael Glaser [Starsky], and a 1976 Ford Gran Torino

The automobile in Route 66 was never considered a character in the drama. Rather, its significance rested in its use as a metaphor for mobility and masculinity. During the late 1960s and early 1970s, however, the role of the TV car often equaled, if not exceeded, that of its human counterparts. Unlike programs such as Route 66, in which the car contributed masculinity in an understated, almost subliminal manner, automobiles were inserted into 1970s shows to attract a male audience interested primarily in the car. Writing about the Batmobile, in Hollywood TV and Movie Cars, William Krause asserts, “ the enormous popularity of the car primed the pump for countless television cars to become as famous as their human costars” (103). Cartoon-type dramas, such as Batman, The Green Hornet and the Monkees, featured outrageous automobiles constructed from stock muscle cars. In programs that followed, such as Starsky and Hutch, The Dukes of Hazzard, and Magnum PI, “hot” cars often served to divert the male audience from weakness in storyline and character development. Krause writes of the “General,” a 1969 Dodge Charger with a 440-ci V8 Magnum engine and an A-727 automatic transmission featured in Hazzard, “the car was really the only redeeming portion of the show” (120). Whereas the original intent of Route 66 was to attract the male viewer through “masculine” content and subject matter, shows such as Hazzard dismissed such lofty ambitions, and simply concentrated on “fast cars, macho conflicts and big-busted actresses.” 

Jerry Van Dyke and his “Mother,” a 1928 Porter Stanhope touring car

One of the few attempts to disrupt the conflation of masculinity and automobiles on television was in the 1965 ill-fated comedy My Mother the Car. The series, which only lasted one season, revolved around the antics of the protagonist’s mother, reincarnated as a car. However, she does not come back as a cool Corvette or fast Trans Am, but rather, as an antique and antiquated 1928 Porter. Described in the series theme song as “my very own guiding star,” the Porter’s main activity is keeping her grown son, played by Jerry Van Dyke, out of trouble. Speaking only to her son through the car radio, the Porter is the cast character with the most smarts and common sense. However, as Deborah Clarke writes in Driving Women, “despite the fascination with technology – or maybe because of it – the American public wanted no part of a show that insisted that a woman and a car could be one and the same” (74). As a car’s primary function in television is to infuse it with masculinity, My Mother the Car suggests that the automobile as a mother has very little appeal. 

As the car in television suggests, the automobile is not only an American symbol of masculinity, but is often called upon to make TV programming more masculine as well. In American society, that which is feminine has less value. Faced with the possibility of a feminized, and therefore, undesirable medium, TV producers and programmers have traditionally called upon technology, in the form of an automobile, to add masculinity, and therefore intrinsic value, to what is viewed on the television screen.

Clarke, Deborah. Driving Women: Fiction and Automobile Culture in Twentieth-Century America. Baltimore: The Johns Hopkins University Press, 2007.

Krause, William. Hollywood TV and Movie Cars. Minneapolis: Motorbooks, 2001.

Marling, Karal Ann. “America’s Love Affair with the Automobile in the Television Age” in Design Quarterly 149 (1989): 5-22.

Mills, Katie. The Road Story and the Rebel: Moving Through Film, Fiction, and Television. Carbondale, IL: Southern Illinois University Press, 2006.

Auto Museums

A Visit to Hershey & a New Project

Posted on by Chris Lezotte

While there have been many histories devoted to the automobile since it first appeared on the American scene in the early twentieth century, very few pay particular attention to women’s automotive involvement or interest. This absence is not only evident in the thousands of publications devoted to automotive history, but in locations such as the automotive museum as well. My newest project examines the representation of the woman driver in a dozen or so automotive museums. It will consider how each museum positions the role of women in automotive history, the methods by which women’s automotive involvement and impact is displayed, how women’s position in automotive history is regarded in comparison to that of men, and perhaps offer suggestions as to how museums might better address the role and influence of women in automotive history and American culture. While most of the museums I plan to visit are located in southeastern Michigan and neighboring states, I took the opportunity to stop by the AACA Museum in Hershey, Pennsylvania while in town for meetings and events of the Society of Automotive Historians. 

The AACA Museum was originally conceived as an ‘automobile collector’s’ museum. While the museum has expanded to include both permanent and special exhibits, its foundation as a holding place for collected automobiles is evident. Many of the automobiles are accompanied by a placard which provides information about the car as well as the donor. Included are the specifications of the automobile as well as personal stories about how the car was obtained and used. As I walked through the building, I noted that there were a few cars donated or previously owned by women. These included a Berkshire green and white 1961 Nash, with a “Patti’s Met” front license plate, a 1940 Mercury handed down from father to daughter, and a 1935 White built especially for a prominent female Boston ophthalmologist. 

While female mannequins were featured in some of the displays, and photographs that pictured women in or around historical automobiles were placed in a few of the exhibits, how women used the automobile or women’s influence in automotive history was not addressed. Some of this has to do with the nature of the museum – the exhibits were often constructed around the donated automobiles in the collection. However, someone visiting the museum could easily get the impression that women were not, in fact, a part of automotive history at all. The absence of women reinforces the notion that automobiles and automotive history are a strictly masculine enterprise.

There was one exhibit – tucked away in a corner – that included a small section devoted to the role of “Women on Road Maps.” This was part of a special exhibit earlier in the year that was transferred to the permanent road map display. As the press from the April event reads, the display highlights “how women were portrayed on map covers through the 20th century. As motoring became more accessible and popular with women and families, women were portrayed sometimes as navigators, sometimes drivers, sometimes in glamorous style, and sometimes as moms. We salute the role of women in motoring and the artistic renderings gracing map covers and travel promotion.” While the information on the map collection was interesting and informative, with full-color samples of the representative map covers, the signage was placed so high above the main display it was nearly impossible to read. It is unfortunate that the only display to address women’s automotive history in any fashion was hidden in a corner and inaccessible to all but the most determined museum visitor.

This first stop on the museum project – the AACA Museum in Hershey – was not only a nice break from the myriad of SAH activities, but further convinced me that women’s representation in automotive museums is a topic very much worth investigating. 

Car Chicks

Women Drivers in Wartime & ‘Princess Auto Mechanic’

Posted on by Chris Lezotte


Since the beginning of the auto age, women’s driving has been subject to both restriction and ridicule. In the early twentieth century, when the gasoline-powered automobile made its debut, female motorists were purposefully and insistently directed toward the electric vehicle. While its cleanliness and ease of handling were promoted as perfect for the woman driver, the electric car’s lack of power and range assured that the lady behind the wheel never ventured too far from home. Such efforts to constrict women’s driving were based on the fear that the freedom and opportunity automobility promised would lead to the abandonment of women’s traditional gender roles. 

Once women dismissed the electric in favor of the faster, more powerful gasoline driven automobile, the female motorist became a subject of ridicule in the popular press. In an attempt to curtail and question women’s driving ability, the stereotype of women as too weak, nervous, mechanically inept, and distracted to safely and effectively handle an automobile was indelibly instituted into American folklore. As Michael Berger writes, ‘The development and support of a stereotype likely to limit the number of women on the road and the mileage they drove, together with the folklore that accompanied it, were reasonable developments from the perspective of those who sought to minimize the impact of the automobile as a vehicle for the liberation of women’ (259). A century later, women’s driving skills continue to be denigrated through the recirculation of women driver stereotypes. And women drivers continue to be directed toward safe, spacious, and reliable vehicles that fulfill the role of wife and mother rather than to the rugged, powerful, and performance driven vehicles typically marketed to men. 

However, while efforts to constrain women to gender-appropriate vehicles continue well into the twenty-first century, there have been periods within the past 100 years in which such restrictions have been temporarily lifted. And that is during periods of war. During the two World Wars, women from the US and abroad were called on to take jobs not only in home town factories producing munitions, building ships, and airplanes, but also overseas as drivers of fire engines, trucks, buses, jeeps, and ambulances. They delivered medical supplies, transported patients to hospitals, and drove through artillery fire to retrieve the wounded. Suddenly, the weak, incapable, and timid women – as described in the ubiquitous stereotype – were deemed eminently suitable if not necessary to carry on the transportation needs of countries at war.

US Women serving in WWII

Women who could not only drive but also work on vehicles were especially valuable. Many mechanically-inclined women left domestic chores behind to serve their respective countries through the maintenance and repair of wartime trucks and jeeps. Perhaps the most famous of these volunteers was the late Queen Elizabeth II. Dubbed the ‘gearhead monarch’ by a few automotive writers, the young Princess ‘donned a uniform and learned not only how to drive heavy trucks for the war effort but also how to wrench on them’ (Strohl). At the age of 18, Elizabeth joined the Auxiliary Territorial Service, a branch of the British Army as a second subaltern, eventually earning a promotion to Junior Commander. She was, in fact, the first woman from the royal family to serve in the military. As part of her training, the young Elizabeth had to pass a driving test, learn to read maps, and take instruction in vehicle repair and maintenance. Dubbed ‘Princess Auto Mechanic’ by the British Press, Elizabeth took her military roll seriously, driving army ambulances and learning to repair heavy trucks on the battlefield. Her wartime experience led to a lifelong love of trucks [particularly Land Rovers] and driving; she reluctantly gave up driving public roads in 2019 at the sprite age of 93. [Here’s a video of the Queen behind the wheel on the royal estate.]

Princess Auto Mechanic at work

Although discouraged from engaging in men’s work after the war, there can be little doubt that many of those women who fulfilled similar wartime roles as the ‘Princess Auto Mechanic’ emerged with a sense of purpose as well as a newfound confidence in themselves and their capabilities. As historian Kathryn Atwood writes, ‘[…] most of these women – the famous and the obscure – had one thing in common: they did not think of themselves as heroes. They followed their consciences, saw something that needed to be done, and they did it.’ Despite a century of attempts by auto manufacturers, marketers, and the media to restrict and demean women’s driving, women have demonstrated time and time again that they are not only capable if not exceptional drivers, but when called upon can draw upon inherent mechanical and driving skills in the service of their countries as well as to serve and empower themselves.

Atwood, Kathryn. Women Heroes of World War II: 32 Stories of Espionage, Sabotage, Resistance, and Rescue. Chicago: Chicago Review Press (2019).

Berger, Michael. ‘Women Drivers!: The Emergence of Folklore and Stereotypic Opinions Concerning Feminine Automotive Behavior.’ Women’s Studies International Forum 9.3 (1986): 257-263.

Strohl, Daniel. ‘United Kingdom’s First Truck-Driving Queen Dies at 96.’ hemmings.com