From Instagram reels to glossy magazine spreads, we’re constantly bombarded with promises of quick fitness fixes—whether it’s the latest walking routine or a high-tech exercise bike with every gadget imaginable. My own memories of flipping through my mother’s Redbook and Ladies Home Journal magazines in the 1980s show this isn’t new. Curious about how exercise fads have evolved, I took a gander through our museum collections in search of exercise gadgets and gimmicks over the years.

1. Pulling Your Way to Glory—and Muscle

Chest expander fitness device. SHSND 1991.5.8

This circa 1960s SAF-TEE Handle Chest Expander, made in the USA, features two plastic-and-steel handles connected by three elastic ropes. Designed to build strength in the shoulders, chest, and arms, it also includes black handles for a firm, secure grip.

2. My, That’s a Firm Handshake …

Wrist developer hand grip. SHSND 2003.21.12

Hands are an important part of the body that we often overlook when it comes to exercise. A hand grip strengthener helps train not only the hands but also the wrists and forearms. Tiny but mighty, these grippers from 1960 make it easy to sneak in a workout anywhere—a perfect travel-sized gadget.

3. Ready to Step Up Your Fitness?

Kettler Step Machine. SHSND 2009.37.206

The Kettler Step Machine uses two adjustable hydraulic cylinders to offer varying levels of resistance. With adjustable resistance and an electronic step counter, this machine brings high-tech flair to a classic cardio routine. This machine, dating to the waning days of the Cold War, was among the furnishings at the Oscar-Zero Missile Alert Facility when the State Historical Society of North Dakota acquired the deactivated Minuteman missile site in 2007.

4. Now for a Roundabout Way to Better Balance and Strength

Stability ball. SHSND 2025.2.6

Marketed as a fun way to strengthen your core, improve posture, and boost balance, this GoFit stability ball made in 2021 tries to do it all. This model even features names and diagrams of 10 different exercises printed around its circumference—just in case you forget.

5. Dumbbells: Simple, Solid, Superior

Dumbbells. SHSND 17360.A

These 1-pound hand weights, turned from solid maple in the early 1900s, were easy to use and effective. In the evolution of exercise gear, the humble dumbbell has managed to outlast many fancier gadgets.

From elastic ropes to high-tech step counters, exercise gadgets have promised big results in small packages. Yet some of the simplest tools have proved their staying power. Maybe the real secret to fitness isn’t in the bells and whistles but in sticking with the basics.

If you’re me, sometimes you see an artifact and exclaim, “Look at this little guy!” I do not have a true definition for a little guy, but I do get a feeling—a charm, a delight, a sense of whimsy—whenever I come across one. Smallness is often a factor but not required. And in line with the Midwestern use of “guy,” being a little guy knows no gender. It’s just a little guy. You know them when you see them.

For your viewing pleasure, I have selected some of my favorite little guys preserved in the state’s museum collections and photographed them alongside a dime for scale.

1. Little but loud!

Male hippo. SHSND 1989.74.231 G

He’s just yelling. All he does is yell, and I love him. This hippo is one of a pair that belongs to a Noah’s Ark toy set. The set was made for and played with by children at the North Dakota School for the Deaf in Devils Lake sometime prior to 1969. Older students at the school crafted the set in their woodworking class. I like to imagine a student painting the eyes on this hippo to convey as much maniacal fervor as possible.

Our hippo with his more composed female partner. SHSND 1989.74.231 G

2. Get a load of these little guys!

Old lady on a donkey. SHSND 1990.25.101

The littlest guy on this list is in fact two little guys. Among a collection of very small santon terra-cotta figurines is an elderly lady riding a donkey. These santons, or “little saints,” were gifted to North Dakota as part of the French Gratitude Train. In 1948, French citizens filled train cars with a variety of items as an expression of gratitude for the food and clothing Americans sent them after World War II.

3. Whose little guy is this?

Purple guy. SHSND 2021.34.9

This little guy was made by donor Lauren Ritterbush of Bismarck when she was a teenager in the late 1970s. She made many similar stuffed creatures for her friends at this time.

What even is it? I do not know. But what I do know is that this guy is friend-shaped and brings me so much joy whenever I look at it. The blissful face, the little round ears—this guy is just here to hang out and have a nice time.

4. The best little guy in the West!

Slouching man block print. SHSND 2013.111.159

North Dakota artist Clell Gannon created this block print of a slouching man with a relatable “what am I even doing” energy sometime between 1920 and 1940. The sketches behind the print make it appear as if he’s walking through a cloud of spectral cats. According to a note on the backside, this fellow is named Holling A. Planey, possibly a character in one of Gannon’s comics.

5. The Little Guy

Former North Dakota Gov. Bill Guy. SHSND 2010.80.1

May I present a promotional button with a little depiction of North Dakota Gov. William Guy. Guy was born in Devils Lake and served as governor from 1961 to 1973. These buttons were given out as promotional items during the 2010 premiere of the documentary “The Charisma of Competence: The Achievement of William L. Guy.” Among the many, many buttons in our collections, this one is the only one I would call … a little Guy.

Want to see more little guys? Check out my colleague Lori Nohner’s post about things in the collection shaped like dogs! After all, what are dogs, really, but little guys.

The architectural work of the Ritterbush family has left a lasting impact on North Dakota. Responsible for a vast range of public spaces and civic buildings, their legacy touches all corners of the state. As interns this summer, we worked directly with the Ritterbush architectural drawings and family photograph collection at the State Archives, helping to scan and catalogue the agency’s holdings.

Migrating from New England in 1882, the Ritterbush-Dyer family settled in Oakes, where they met the Nichols family, early homesteaders in Dakota Territory. Robert A. Ritterbush married Ruth Nichols, a deeply involved community member active in teaching, homemaking, and the local church. The couple later moved to Bismarck, where they had two children, Robert H. and Elizabeth Ritterbush.

The Ritterbush family pictured at the Montana state line sign, circa 1930. From left: Robert A., Robert H., Elizabeth, and Ruth Ritterbush. The Ritterbushes celebrated art, nature, and adventure, and this was taken on one of their many road trips around North Dakota. SHSND SA 11636-02070

The Oakes High School Glee Club was organized by the local Presbyterian minister and consisted of male students, including Robert A. Ritterbush (front row, right), 1920. SHSND SA 11636-05113

Clarence Ritterbush, the younger brother of Robert A., was considered an unconventional gentleman. Standing 5 feet, 5 inches tall with an outgoing nature and dapper style, he remained an adventurous bachelor until the age of 58, when he settled down with his wife, Caroline (Boehrnsen) Ritterbush.

The brothers began their career at an early age. Robert A. and Clarence Ritterbush received training in construction and design from their contractor father in their hometown of Oakes. Rarely apart, the brothers attended the Ohio Mechanics Institute in Cincinnati, until the death of their father prompted their return. Enlisting in the Navy in 1917, the brothers served together in World War I before returning home to partner with their former mentor, Arthur Van Horn, to found the Van Horn-Ritterbush, Inc. architectural firm in Bismarck. Their firm quickly established a name and reputation around the state, with Robert A. writing in 1931 that 90% of buildings in downtown Bismarck were designed by Van Horn-Ritterbush.

Though this photograph has no story or date attached to it, it shows the brothers as they were throughout their youth—inseparable. Here, Robert A. (left) and Clarence Ritterbush pose while rowing a boat. SHSND SA 11636-01693

Even while living apart later in life, the brothers continued their partnership for decades. While working in cities such as Chicago and Skagway, Alaska, Clarence often sent sketches back to Bismarck, where Robert A. resided. Eventually their firm was passed down to Robert A.’s son Robert H. and took on the name Ritterbush Associates. Following in his father and uncle’s footsteps, Robert H. Ritterbush continued to grow the firm as a well-known and trusted name.

Like his father, Robert H. Ritterbush enlisted in the Navy. In this photo, father and son pose in their Navy uniforms from two global conflicts (World War I and World War II) decades apart, circa 1945. SHSND SA 11636-04830

Today, the Ritterbush legacy can still be seen on business streets across western and central North Dakota. Their highly detailed blueprints, donated by the Ritterbush Associates of Bismarck in 1985, highlight their meticulousness and dedication to construction and design. Sharing a passion for history, family, and photography, the family also amassed a vast collection of letters, portraits, and postcards from around the world. Many items are accompanied by a humorous story, revealing their humility in the face of success. The Ritterbushes are truly a family who represent the growth of North Dakota, its people and communities.

The town of Medora is a gem of western North Dakota, but how much do you really know about the person it was named for? An exciting exhibit opening later this month at the North Dakota Heritage Center & State Museum celebrates the accomplishments, fascinating life, and artistic skill of the town’s namesake, Medora Manca.

Medora von Hoffman was an American heiress from New York when she married into French aristocracy, and her history has often been eclipsed by that of her more flamboyant husband, Antoine Amédée Marie Vincent Manca Amat de Vallombrosa (commonly known as the Marquis de Morès). In addition to learning about the often-overlooked life story of Medora (the person), visitors will have the opportunity to view more than two dozen of her spectacular watercolor paintings. Many of these watercolors were painted between 1883 and 1886, and some are publicly displayed for the first time in the exhibition.

These two images of Medora from the upcoming exhibit celebrate the duality of her background, that of a wealthy heiress and an adventurous spirit living in Dakota Territory during the years 1883-1886. SHSND SA 00097-00038, 00042-00081

Medora painted landscapes and scenes around their home at the time, the Chateau de Morès (now a state historic site). The scenes were painted outdoors (“en plein air” in French), and many of the landscapes and buildings depicted will be familiar to visitors acquainted with the rugged beauty of the Badlands.

The Little Missouri River, the city of Medora, and Theodore Roosevelt National Park are all visible in this image captured via an uncrewed aerial vehicle operated by agency staff in June 2025.

State Historical Society of North Dakota archaeologists recently conducted research in Medora related to a military encampment (called a cantonment) that housed soldiers guarding the early railroad being built in the area. The cantonment was active from 1879 to 1883. The research we’re doing is helping document the former location of the cantonment in advance of a planned project.

To accomplish this, researchers are using historical documents, field research, geophysical remote sensing equipment, and uncrewed aerial vehicles (or drones). The work is a cooperative project of the State Historical Society and the Theodore Roosevelt Medora Foundation. The research and analysis are ongoing, and we continue to learn more.

Above left: Troops stand in formation in front of a barracks located at the Medora cantonment in this 1880 photograph. Note the Badlands landscape visible in the background of this historical photo. H-00305b, Montana Historical Society Library & Archives, Helena, Montana
Above right: An image of that same location from June 2025.
Below: Architectural plans of the cantonment barracks from 1879. National Archives (photo no. 205135316)

The research location also provided an opportunity to try to replicate some of the vantage points Medora used while painting these watercolors. Aerial photography with the drone allows us to consider the beauty of the rugged landscapes around Medora (the city) and to appreciate them as Medora (the artist) may have. Her paintings document a significant period of history in North Dakota, and her skill as an artist is impressive!

The author and colleague Erica Scherr use an uncrewed aerial vehicle to capture images around Medora, June 2025. The Little Missouri River, the Chateau de Morès State Historic Site, and the town of Medora are all visible in the background.

In June 2025, Historic Preservation Specialist Erica Scherr and I captured drone images that will be paired with several of Medora’s watercolor paintings from the exhibit. The images depict many of the same Badlands landmarks visible in Medora’s 1880s artwork. The perspectives are shifted slightly, as she obviously didn’t paint from the same height as a drone. But you can still get a sense of the relationships among objects and the landscapes that Medora Manca experienced as she painted.

Left: Watercolor of the Chateau de Morès and nearby outbuildings by Medora Manca. SHSND 1972.91
Right: A State Historical Society drone image of the same location, June 2025.

Left: Watercolor painting landscape by Medora Manca. SHSND 1982.29.73
Right: State Historical Society drone image of the Chateau de Morès, June 2025. Note the Badlands formations depicted in the painting above are visible in the background. View is to the east.

Aerial photography is a valuable tool that allows us to both document the history of Medora (the city) and appreciate how Medora (the artist) interpreted the beauty of western Dakota around her. A view of the area from the air is a unique way to further appreciate Medora’s adventurous spirit and admire the way she expressed herself through art.

Since the name of our agency is the State Historical Society of North Dakota, I’m sure many people believe we are only interested in “old” things. But that’s not true. We are just as committed to preserving today, and even tomorrow, especially in this digital age.

The North Dakota State Archives has a vast and robust 2D collection stretching from the Dakota Territory days of the 1860s, ’70s, and ’80s into the mid-20th century. Now, in addition to those eras, we are on a mission to gather and preserve materials from the 1970s to the present. These materials might not feel historic, but they are crucial to sharing the story of North Dakota and capturing everyday lives here for future generations.

While visiting my parents recently, I pulled out hundreds, maybe thousands, of photographs my mother had taken of me and my siblings while we were growing up in the 1980s, ’90s, and early 2000s. As I flipped through the many memories, I began to feel the same awe I experience when looking at similarly themed photos in the State Archives collections. Both sets of photos showed people dressed in their Sunday best, dolled up for dances, attending community events, standing with their siblings, and students in desks at school. I decided to gather some of these everyday photos of my family to donate to the State Archives so that people in 60, 80, or 100 years can experience the same awe.

Everyday photos from yesterday? You may wonder why these would be important to the State Archives. But we make it our mission to preserve and share stories from all North Dakotans from all time periods. Just because something is recent doesn’t mean we shouldn’t save it. We, as a society, must commit to preserving the now to ensure future generations will understand the past and see themselves in history.

So what kinds of materials are we looking for? Photos, videos, posters, programs, yearbooks, letters, diaries, screenshots of instant messages, emails, social media—anything that documents the life of North Dakotans. Below are a few of the categories we are particularly keen to collect.

1. Family moments: These could be holidays, birthdays, family portraits, and special moments. They capture cultural traditions, relationships, and celebrations through the decades.

The author with her father welcomes her new baby brother in 1996. This photo offers a glimpse into 1990s fashion, newborn care, and the hospital room design of the decade. SHSND MSS 11674-00059

2. Sporting events: Whether youth leagues, high school championships, or amateur events, sports photos show what we played, how we played, and the stylish uniforms we wore.

IMCA Stock Cars lined up for the feature race at the 2024 Dakota Classic Modified Tour in Mandan. This photo captures what North Dakotans did for fun in 2024 and offers future researchers a look at car styles, paint schemes, and local culture. SHSND MSS 11674-00103

3. Daily life: These are time capsules of everyday experiences, showing the clothing, furniture, and social interactions of the era.

The author’s mom and brother enjoy an evening bike ride in 1987. Photos like this help us study 1980s house styles, landscaping trends, light fixtures, window designs, and, of course, everyday fashion. SHSND MSS 11674-00071

4. Community events, organizations, and businesses: These could include parades, festivals, church picnics, 4-H meetings, civic clubs, even street views and business fronts. They represent the spirit and values of our towns and neighborhoods.

The author poses with her 4-H demonstration “Cookie Dough To Go.” This photo offers a glimpse into early 2000s youth programs, showcasing 4-H activities, uniforms, classroom setup, and cookie recipes of the time. SHSND MSS 11674-00004

5. Personal perspectives on major events: These are newsworthy happenings as seen through your lens. What did it feel like at the time? How was it experienced locally? Such materials personalize and deepen our connections to history.

A family sandbags their home during the 1997 Red River flood in Fargo. This photo shows more than just flood mitigation—it documents how families came together in a time of crisis and provides a snapshot of neighborhood layout, vehicles, clothing, and daily life in 1997. SHSND MSS 11674-00069

One day, people will want to know what volleyball looked like in 2007, how North Dakotans protected homes from floods in 1997, or what families did for fun in 1987. What we experience and participate in today is important to document. Take a look through your family photos (both print and digital) to enjoy the nostalgia and see today’s history. For more information on donating to the North Dakota State Archives’ collections, visit history.nd.gov/data/donate_archives.html.

When Meriwether Lewis and William Clark were staying at Fort Mandan during their famous expedition in winter 1804, they often traded blacksmith work with the local Mandan and Hidatsa villages in exchange for surplus farm crops. The Mandan and Hidatsa people had a long history of trade. French, British, and Spanish fur traders had established trade with the local people for at least a century prior. But trade among the Indigenous nations of North America goes back much further.

The villages along the Missouri River were part of a trade network among various Indigenous nations that stretched across the continent. People traded natural resources found in each region. The area along the Knife River offered flint. Raw copper came from the Great Lakes region. Shells were traded from the Pacific, Atlantic, and Gulf coasts. And the Rocky Mountains were a source of obsidian.

The Lewis & Clark Interpretive Center in Washburn features examples of archaeological remains found at former village sites, including trade goods such as copper projectile points and ornaments, shell pendants, and obsidian arrowheads.

Archaeological evidence suggests that this trade had occurred for many centuries prior to contact with European fur traders and explorers. One archaeological site, the Menoken Indian Village State Historic Site east of Bismarck, dates to the Late Plains Woodland period, around A.D. 1200. Archaeological digs at the site have revealed artifacts made of these same resources, including coastal shells, copper, and obsidian. Experts believe these resources were being traded through down-the-line exchange, a practice where recipients of supplies keep a portion and pass the remainder forward.

The Lewis & Clark Interpretive Center in Washburn stands at this crossroads where commerce and culture once intersected. Some of our exhibits showcase the resources from this area that would have been offered for trade. Programs such as our tour of Fort Mandan State Historic Site offer hands-on education into the role played by these trade networks in President Thomas Jefferson’s goals for expanding U.S. commerce. During the tour, we explore not only Jefferson’s mission but also the impact it had on the Native American people here. The Interpretive Center’s exhibit on Fort Clark explores the continued exchange of culture and trade 30 years after the expedition, diving deeper into the implications of westward expansion and the negative effects that came with it.

Lewis and Clark were witness to this exchange not far from this site. They saw firsthand a trade of knowledge, resources, and culture already taking place between the Mandan and Hidatsa nations and the fur traders. This not only aided the expedition but was one of the reasons they selected this area to be their winter home. To explore more about this trade and the fascinating history of the area, plan a visit to the Lewis & Clark Interpretive Center and Fort Mandan State Historic Site.