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Other Name
"LETHBRIDGE HERALD AGENT"
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
TIN, INK
Catalogue Number
P20180004000
  2 images  
Material Type
Artifact
Other Name
"LETHBRIDGE HERALD AGENT"
Date Range From
1950
Date Range To
1960
Materials
TIN, INK
No. Pieces
1
Length
30.6
Width
25.8
Description
METAL SIGN WITH DOUBLE-SIDED PRINTING ON LIGHT BROWN BACKGROUND. SIGN SHOWS BLACK SQUARE BACKGROUND WITH RED TRIM AND LIGHT BROWN TEXT WITH RED TRIM READING “AGENT FOR THE LETHBRIDGE HERALD HERE, THE LETHBRIDGE HERALD SERVES THE SOUTH”; SIGN HAS SMALL BLACK TEXT PRINTED AT BOTTOM RIGHT CORNER “TMOS. DAVIDSON MFG. CO. LTD. MONTREAL”. BACK OF SIGN IS PRINTED THE SAME. SIGN HAS PAPER TAG FIXED WITH BROWN CORD TO HOLE PUNCHED IN SIDE; TAG IS DISCOLORED WHITE AND HAS BLACK HANDWRITTEN TEXT “DAN, LETHBRIDGE HERALD SIGN, $349.95, $250 KEVIN”. BACK OF TAG HAS HANDWRITTEN BLACK TEXT “SOLD” WITH UNDERLINE. SIGN HAS JAGGED METAL EDGE BENT DOWN ON LEFT SIDE; SIGN IS RUSTED FRONT AND BACK AND FADED; SIGN IS SCRATCHED IN FRONT UPPER RIGHT CORNER AND CORRODED LOWER LEFT CORNER. OVERALL GOOD CONDITION.
Subjects
ADVERTISING MEDIUM
Historical Association
BUSINESS
PROFESSIONS
History
ON MARCH 19TH, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN CONTACTED DAN PLOURDE, THE "AGENT FOR...HERALD" SIGN'S SELLER. THE SIGN WAS PURCHASED BY THE GALT MUSEUM AT URBAN PRAIRIE ANTIQUE MALL ON MARCH 21, 2018. PLOURDE, A PICKER, LEASES MALL SPACE AT URBAN PRAIRIE AS A LOCATION TO SELL HIS PICKS. PLOURDE TOLD MACLEAN THAT THE HERALD SIGN CAME FROM A RURAL PROPERTY NEAR CHIN LAKE. THE RURAL LOCATION FEATURED "QUONSETS" FULL OF OTHER ITEMS, INCLUDING GAS MEMORABILIA AND FURNITURE. THE ORIGINAL OWNER OF THE SIGN, WHO LIVED AT THE PROPERTY, WAS, SAID PLOURDE, NO LONGER LIVING. THE OWNER, CONTINUED PLOURDE, CONDUCTED HIS OWN PICKING "IN BACK ALLEYS IN LETHBRIDGE 60 YEARS AGO". PLOURDE ATTEMPTED TO SELL THE SIGN IN FORT MACLEAD BEFORE RECOGNIZING THAT ITS MARKET WAS GREATER IN LETHBRIDGE. FOR COPIES OF INFORMATION REGARDING THE SIGN, PLEASE SEE THE PERMANENT FILE P20180004000-GA.
Catalogue Number
P20180004000
Acquisition Date
2018-03
Collection
Museum
Images
Less detail
Other Name
CANDLESTICK TELEPHONE
Date Range From
1950
Date Range To
1970
Material Type
Artifact
Materials
METAL, COTTON, PLASTIC
Catalogue Number
P20180007000
  2 images  
Material Type
Artifact
Other Name
CANDLESTICK TELEPHONE
Date Range From
1950
Date Range To
1970
Materials
METAL, COTTON, PLASTIC
No. Pieces
1
Height
31
Diameter
13.4
Description
BLACK CANDLESTICK-STYLE TELEPHONE WITH RECEIVER AND SPEAKER. TELEPHONE SPEAKER IS ATTACHED TO BLACK ROUND BASE AND BLACK MIDDLE ROD WITH HOOK FOR HANGING THE RECEIVER; METAL STAND ON BROWN PADDED BASE WITH BLACK PLASTIC SPEAKER AT THE TOP. BASE HAS WHITE STAMPED TEXT AROUND BASE OF THE STAND “WESTERN ELECTRIC, MADE IN U S A, PAT IN U S A JAN 26 15”. TELEPHONE HAS BLACK METAL PLATE BENEATH PLASTIC SPEAKER WITH ENGRAVED TEXT “9298W, WESTERN ELECTRIC, MADE IN U S A, PAT IN U S A JAN 14 1919”. BASE HAS TWO BROWN CLOTH-COVERED CORDS EXTENDING FROM BACK OF BASE; FIRST CORD IS CUT OFF, SECOND CORD IS ATTACHED TO BLACK PLASTIC RECEIVER. RECEIVER IS CONE-SHAPED WITH WIDER MOUTHPIECE AT END. RECEIVER IS WRAPPED WITH BLACK TAPE AROUND MIDSECTION; RECEIVER HAS ENGRAVED TEXT AROUND CORD, “PAT. IN U.S.A. APRIL 16, 1918, MAY 20, 1913, JUNE 3, 1913”. RECEIVER HAS ENGRAVED TEXT AROUND BACK EDGE OF MOUTHPIECE “WESTERN ELECTRIC MADE IN U S A 143”. TELEPHONE HAS CHIPPED PAINT ON RECEIVER HOOK; SPEAKER OF TELEPHONE IS CHIPPED WITH LOSS IN PLASTIC; TELEPHONE BODY AND RECEIVER ARE STAINED WITH WHITE PAINT. OVERALL VERY GOOD CONDITION.
Subjects
TELECOMMUNICATION T&E
Historical Association
AGRICULTURE
BUSINESS
INDUSTRY
History
ON HOW HE CAME INTO POSSESSION OF THE TELEPHONE, WENSVEEN ELABORATED, “WHEN I RETIRED [IN THE FALL OF 1989] FROM THE ELEVATOR, THESE PHONES WERE NOT USED ANY MORE SO THEY WERE MORE OR LESS DISCARDED. WHEN I RETIRED I [WOULD] JUST TAKE ONE HOME. SO I DID. I DIDN’T STEAL IT OR ANYTHING BECAUSE THEY WEREN’T USED ANYMORE.” “[I WORKED FOR] THE CANADIAN GOVERNMENT ELEVATOR LATER KNOWN AS ALBERTA TERMINALS LIMITED.” “THESE [PHONES] WERE IN THE ELEVATOR AND AS LONG AS THEY WERE WORKING, WE USED THEM. [THE COMPANY] DIDN’T WANT TO GO TO ANOTHER PHONE AND HAVE THE SAME THING SITTING IN THE OFFICE…THE PHONE WOULD RING AND THEN YOU WOULD HAVE TO GO OVER THERE AND ANSWER IT. THEY DECIDED WE’VE GOT TO GET SOMETHING THAT WE CAN CARRY WITH US AND THAT’S WHAT WE DID. WE COULD HAVE GONE THROUGH A REGULAR PHONE AS SUCH BUT, AGAIN, YOU WOULD HAVE TO GO THROUGH THAT OFFICE AND ANSWER THE PHONE.” “WE HAD A BOX, [THE] WIRE WAS CONNECTED ON TO THE BOX…IT WAS ON THE WALL AND IT HAD DIFFERENT FLOORS MARKED IN A LITTLE SPACE [WITH] A LITTLE BUTTON BEHIND IT. IF YOU WANTED TO CONTACT ANOTHER FLOOR, YOU WENT IN THERE AND YOU PRESSED THAT BUTTON FOR THAT PARTICULAR FLOOR. THEN THE PHONE WOULD RING. THEN YOU WOULD GET IT OVER THERE AND YOU WOULD ANSWER THE CALL.” “I STARTED IN ’58 AND I THINK WE USED THEM FOR ABOUT 15 YEARS AFTER THAT [UNTIL ABOUT 1972]." “WE WENT OVER TO WALKIE TALKIES…[WHEN] I STARTED WORK THERE...WE WERE USING ALL THESE PHONES AND THEY HAD ONE OF THESE PHONES ON EACH FLOOR. IF YOU WANTED TO CONTACT SOMEBODY, THAT’S WHAT YOU HAD TO USE. THAT’S WHAT WE DID AND, LATER ON THEY WERE OFF-LISTED AND PUT IN THE BASEMENT, AND MORE OR LESS FORGOT ABOUT. SO I DECIDED TO TAKE ONE HOME.” “THESE PHONES WERE NOT THAT CLEAR. WALKIE TALKIES WERE MUCH CLEARER…[YOU] HELD THE MIC CLOSE TO YOU. IF YOU WERE TOO FAR AWAY FROM THE PHONE AND SOMEONE WAS TALKING YOU COULDN’T PICK IT UP VERY WELL. IT WAS SOMETHING AT THE TIME, IT WAS GOOD AT THE TIME BECAUSE THERE WAS NOTHING ELSE. BUT WALKIE TALKIES WERE MUCH BETTER.” “WE USED THIS PHONE ALL THE TIME WHEN WORKING THERE, SO IT WAS SOMETHING THAT WE WERE USED TO USING…THAT’S THE MAIN REASON [I BROUGHT IT HOME]. I THOUGHT IT WOULD BE NICE TO TAKE ONE AS A REMEMBRANCE OF THE ELEVATOR AND I’LL USE IT HOW IT USED TO BE.” “I PUT IT OUTSIDE, I HAVE A SHED, AND I PUT IT IN THE SHED AND IT MORE OR LESS STAYED THERE...I THOUGHT EVENTUALLY IT WOULD BE A KEEPSAKE AND WOULD BE A REMINDER OF MY PLACE WHERE I WORKED. [NOW] I’M DOWNSIZING. I’M GOING TO BE MOVING OUT OF THE HOUSE AND I KNEW I HAD THIS IN THE SHED OUTSIDE. I THOUGHT MAYBE THIS IS A GOOD TIME TO SEE IF I CAN DONATE IT AND I DIDN’T WANT TO THROW IT OUT.” ON HIS TIME WITH ALBERTA TERMINALS LIMITED, WENSVEEN RECALLED, “I WORKED ON THE SCALE FOR 8 YEARS. THE SCALES WERE UPSTAIRS AND THEY HAD 6 PITS DOWN BELOW WHERE THE GRAIN WOULD BE DUMPED. IN THE EARLY DAYS THEY USED BOXCARS, CPR, AND THEY WOULD HOLD 1500 BUSHELS. THEY WERE MADE FOR [TRANSPORT] AND THE GRAIN WOULD COME UP…ABOVE THE SCALE AND WE COULD CONTROL THAT AND WE WOULD WEIGH IT. I WORKED UP THERE FOR ABOUT 8 YEARS. THEN A POSITION CAME AVAILABLE DOWNSTAIRS FOR RECEIVING AND SHIPPING SO I PUT IN FOR IT AND I GOT THAT POSITION. I DID THE RECEIVING AND SHIPPING LATER ON, TAKING GRAIN IN AND SHIPPING GRAIN OUT.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180007000-GA.
Catalogue Number
P20180007000
Acquisition Date
2018-04
Collection
Museum
Images
Less detail
Date Range From
1980
Date Range To
1990
Material Type
Artifact
Materials
PLASTIC, STEEL, GLASS
Catalogue Number
P20180005000
  2 images  
Material Type
Artifact
Date Range From
1980
Date Range To
1990
Materials
PLASTIC, STEEL, GLASS
No. Pieces
1
Height
30.5
Length
57
Width
11.3
Description
CAMCORDER COMPRISED OF LENS, BETACAM DECK, AND COLOR CAMERA. BETACAM DECK AT BACK OF CAMERA IS TWO-TONE GREY WITH TWO PLUG-INS FOR “AUDIO IN, CH-1, CH-2” AND ONE PLUG-IN FOR “DC-IN, 12V”. BETACAM DECK HAS TWO BLACK SLIDE BUTTONS ON TOP LABELLED IN WHITE “EJECT” AND “REW”. BETACAM DECK HAS GREY METAL HANDLE AT TOP THAT FASTENS TO BETA CASSETTE DECK. BETACAM DECK HAS YELLOWED PLASTIC WINDOW ON SIDE TO VIEW INSIDE MECHANISMS; BELOW WINDOW IS GREEN, RED AND BLUE DECAL READING “45 NEWS, 45”. REVERSE SIDE HAS SILVER “POWER ON/OF” SWITCH ABOVE METER MEASURING BATTERY CHARGE, “SONY VU”; BETACAM DECK HAS TWO ROUND BLACK BUTTONS LABELLED “RESET” AND “LIGHT” ABOVE BLACK SWITCH LABELLED “TAPE TIMER, TIME CODE”; SIDE HAS DIGITAL DISPLAY SCREEN READING “HOUR, MIN, SEC”. SIDE HAS ROW OF SIX RED LIGHTS NEAR BOTTOM LABELLED WITH WORN WHITE PAINT WITH FIRST TWO ILLEGIBLE, “HUMID, SLACK, TAPE END, BATTERY”. SIDE HAS PANEL THAT OPENS AT BOTTOM EDGE WITH SIX DARK GREY BUTTONS LABELLED IN PAIRS “HOUR, MINUTE, SECOND” AND TWO BLACK SWITCHES LABELLED “U-BIT, TIME” AND “REC RUN, FREE RUN”. SIDE HAS SILVER PLATE FIXED READING “SONY”. BACK OF BETACAM DECK HAS SILVER LABEL WITH RED, GREEN AND BLUE LOGO “45 CFCN TELEVISION”; BACK HAS BLACK LABEL WITH SILVER TEXT “SONY BETACAM, MODEL BVV-1, VIDEOCASSETTE BETACAM DECK, DCIN, 12V, 10W, NO. 11085, SONY CORPORATION, MADE IN JAPAN, 3-676-119-01”. TOP OF BETACAM DECK HAS BLACK LABEL WITH SILVER TEXT “SAVE MODE ONLY”. COLOR CAMERA IN MID-SECTION IS LIGHT GREY WITH SMALL PIECE OF SILVER TAPE FIXED TO TOP. SIDE OF CAMERA HAS YELLOW LABEL WITH BLACK “1”; SIDE HAS DARK GREY CONTROL PANEL AT BOTTON EDGE WITH EMBOSSED TEXT AND SILVER SWITCHES AND BUTTONS, “AUTO WHITE BAL, CAMERA, PRE HEAT/ON, VTR, SAVE/STOP, GAIN, 12/6/0, OUTPUT, BASS/CAM, WHITE BAL, PRE SET/AUTO”. SIDE HAS DARK GREY BUTTON ABOVE CONTROL PANEL LABELLED “VTR START”. SIDE HAS SILVER FITTING BESIDE PANEL LABELLED “PEDESTAL”. SIDE HAS SILVER LABEL WITH WORN BLACK TEXT “SONY MODEL NO. BVP-1, COLOR VIDEO CAMERA, DC, 12V, 11W, NO. 10505”. SIDE HAS SILVER LABEL WITH BLACK TEXT “FILTER, 1 3200’K, 2 5200’K + 1/4ND, 3 5200’K, 4 6800’K”. REVERSE SIDE HAS BLACK PLATE FIXED WITH SILVER TEXT “SONY” ABOVE BLACK LABEL WITH RED, GREEN, BLUE AND WHITE LOGO “TRINICON”. SIDE HAS SILVER FITTING AT LOWER EDGE WITH EMBOSSED LABEL “MONITOR OUT”; LOWER EDGE HAS SILVER KEY HOLE WITH EMBOSSED LABEL “BATTERY”. CAMERA HAS ATTACHED BLACK ABOVE-VIEWFINDER WITH RUBBER GUARD OVER GLASS LENS. VIEWFINDER IS FIXED TO FRONT OF CAMERA; VIEWFINDER HAS WHITE TAPE ATTACHED TO TOP WITH BLUE HANDWRITTEN TEXT “PASS JULZ DAMAGE TO TUBE OR MULT.PLER”. BACK OF VIEWFINDER HAS SILVER SWITCH “TALLY, ON/OF” AND TWO BLACK METAL TURN-KNOBS “BRIGHT, CONTR”. FRONT OF VIEWFINDER HAS BLACK PLATE ATTACHED WITH SILVER TEXT “SONY”. BLACK LENS AT FRONT FIXED IN LENS STAND WITH LEATHER STRAP ON SIDE AND BLACK PLASTIC BUTTONS “VTR, RET, IRIS M”; SIDE OF LENS STAND HAS BLACK SWITCHES “W/T” AND “IRIS, A/M”. LENS HAS WHITE LABEL AROUND MID-SECTION “CANON MACRO TV ZOOMJ13X9C, 9-117MM, 1.1.6, NO.80581, CANON, JAPAN”. LENS ROTATES TO ADJUST FOCUS AND DEPTH. BETACAM HAS WEAR ON LABELS AND DISCOLORATION ON PLASTIC WINDOW; COLOR CAMERA HAS WEAR ON LABELS AND ADHESIVE RESIDUE ON SIDE; HANDLE ON TOP HAS WORN AND CHIPPED PAINT; VIEWFINDER IS WORN; OVERALL VERY GOOD CONDITION.
Subjects
TELECOMMUNICATION T&E
Historical Association
PROFESSIONS
BUSINESS
History
ON MARCH 22, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED DARREN KRONLUND REGARDING HIS DONATION OF A SONY BVV-1 BETACAM AND CAMCORDER. THE CAMCORDER WAS USED IN THE 1980S BY THE CTV LETHBRIDGE FILM CREW. ON THE FUNCTION OF THE CAMERA IN THE CTV STUDIO, KRONLUND ELABORATED, “THE TECHNOLOGY WITH CAMERAS PROGRESSED QUICKER THAN THE DECKS DID. THESE CAMERAS AND DECKS ARE USED FOR ELECTRONIC FIELD PRODUCTION [AND ARE] CALLED THE EFP CAMERAS. THE DECKS KIND [ARE] THAT TECHNOLOGY WHICH THE MAJORITY OF STATIONS USED FOR THE LONGEST TIME [IN] SONY BETA CAM FORMAT. THAT’S WHAT THE DECK IS, BUT THE CAMERAS THEMSELVES HAD AT ONE TIME THREE TUBES FOR COLOUR CAMERAS. THEN TECHNOLOGY CAME WHERE THEY COULD DO IT WITH JUST SENSORS…SO YOU DIDN’T HAVE TUBES. IT WAS MORE SENSITIVE TO LIGHT AND THAT WAS AN IMPROVEMENT. YOU DIDN’T HAVE TO HAVE TO BRING A BUNCH OF LIGHTS ALONG WITH YOUR SHOOTS. AS THOSE CAMERAS CAME OUT, THEY JUST DID SUCH A BETTER JOB, THAT THESE CAMERAS WERE NO LONGER USED. ALTHOUGH THEY WORKED, THEY WOULD JUST GET STORED AND NEWER TECHNOLOGY, BETTER PICTURES AND LIGHTER [WOULD BE USED].” “[THIS CAMERA] IS A COMPOSITE. AS TECHNOLOGY EVOLVED, THEY COULD SUPPLY [THE] UPPER HALF, THE CAMERA HALF, [AND] YOU COULD CONTINUE TO USE THE OLDER DECK.” TO ME [THE DECK AND CAMERA] ARE DIFFERENT [AGES]. I THINK THE DECK IS NEWER THAN THE CAMERA. OTHERWISE THEY’D BE THE SAME COLOUR. I CAN’T REMEMBER THE OLD, ORIGINAL DECK BUT YOU COULD SWAP OUT DECKS BECAUSE THEY DID MAKE IMPROVEMENTS WITH DECKS AS WELL. THERE WAS A TIME THEY USED METAL TAPES WHICH WAS FOR AUDIO. IT HELPED, YOU COULD GET BETTER AUDIO QUALITY. THEY CALLED THEM METAL, IT’S JUST METAL PARTICLES IN THE TAPE.” “I WOULD SAY THIS CAMERA PROBABLY GOT USED, I’M GOING TO GUESS ’84…IT MIGHT HAVE BEEN IN SERVICE WHEN I GOT HERE…I PROBABLY SERVICED THE] CAMERA AND/OR DECK…[BY 1990 IT WAS] PROBABLY REPLACED WITH THE NEWEST TECHNOLOGY. NOT THE NEWEST TECHNOLOGY BUT NEWEST TO US, CALGARY WOULD HAVE HAD THE NEWEST TECHNOLOGY.” “BETA WAS THE STAPLE FORMAT FOR VIDEO FOR MANY YEARS. PROBABLY LEADING RIGHT UP TO INTO THE DIGITAL WORLD IT WAS THE KING. PANASONIC HAD A FORMAT [TOO]…HITACHI HAD THEIR OWN TOO, BUT THEY EVEN MADE THEIR CAMERAS COMPATIBLE WITH BETA DECKS THAT’S HOW BIG INFLUENCE [WAS]. SOME SMALLER, INDEPENDENT STATIONS MAYBE WENT WITH SOME OF THAT STUFF, BUT I’D SAY 90% OF THE INDUSTRY WAS BETA.” “IT WAS [FOR] REPORTERS. IT WAS FOR NEWS AND VIDEO PRODUCTION.” KRONLUND ELABORATED ON THE CAMERA’S HISTORY IN PRODUCTION, NOTING, “IT’S BEEN IN THE BASEMENT FOR PROBABLY [TEN YEARS]…I FOUND IT IN AN OLD SHIPPING CONTAINER. THERE’S BEEN NUMEROUS UPGRADES TO CAMERAS SINCE THEN, SO NOTHING WAS DONE WITH IT. THE LAST TIME IT WAS USED I’M GOING TO GUESS [WAS] ROUGHLY TEN YEARS AGO, MAYBE MORE.” “I DOUBT YOU WOULD FIND ANYONE USING IT, BUT I WOULDN’T BE SURPRISED IF SOMEBODY HAD IT IN THEIR BASEMENT [FOR] THE SAME REASON OURS WAS. JUST OUT OF SIGHT, OUT OF MIND AND YOU’RE JUST GOING ABOUT YOUR DAY–TO-DAY BUSINESS, UNTIL YOU START CLEANING OUT THINGS AND YOU GO, “OH YEAH, THE OLD BBB1.”” “[WE ACQUIRED EQUIPMENT] USUALLY USED. CALGARY WOULD GET THE NEW STUFF AND THEN THE WORKING STUFF THAT THEY WERE REPLACING WOULD COME DOWN TO US, FOR THE MOST PART. THE CAMERAS WE HAVE NOW WERE BOUGHT BRAND NEW, STATE-OF THE-ART, SO THAT WAS NICE. IT IS NICE FOR THAT, BUT THIS WAS PROBABLY PRE-DATED EVEN ME AND I HAVE BEEN HERE TWENTY-EIGHT YEARS. IT WAS PROBABLY THE CAMERA THEY WERE USING, IF NOT AT THE TIME, BUT LIKELY BEFORE I STARTED.” “THIS [CAMERA] FUNCTIONS TODAY. I’M SURE YOU COULD MAKE PICTURES WITH IT, BUT THE USE OF IT WOULD PROBABLY BE, I’M GOING TO GUESS, MAYBE FIVE OR SIX YEARS. THEN [THE] BUDGETS WOULD [GROW], THEY GOT THIS NEW TECHNOLOGY YOU CAN SHOOT UNDER LESS LIGHT. IT’S A LIGHTER CAMERA AND [THEY] HAVE THESE BENEFITS, SO THEY WOULD BUDGET IN TO UPDATE THE CAMERAS AND DECKS. THROUGH THAT CYCLE, THAT IS WHEN WE WOULD PROBABLY GET A COUPLE OF NEW CAMERAS, THE OLDER STUFF WE’D PUT IN THE BASEMENT.” “I’M [NOW] CLEANING OUT OLD EQUIPMENT, BECAUSE IT BUILDS UP AND WE RUN OUT OF ROOM. IT’S SOMETHING HARD TO GET RID OF BECAUSE THEY’RE ALWAYS WORKING AND USUALLY WORKING AND FUNCTIONING FINE, BUT TECHNOLOGY PROGRESSES AND THEY BECOME BIGGER AND BETTER--OR THERE BECOMES BIGGER AND BETTER WAYS OF DOING THE SAME JOB. IT JUST GETS OUTDATED AND HITS THE SHELF. [I] HATE TO SEE IT JUST GET RECYCLED.” “I’M NOT REALLY THAT TYPE OF [NOSTALGIC] PERSON. THE CAMERAS TODAY ARE ALL DIGITAL, THEY GO RIGHT TO A SD CARD IN DIGITAL FORMAT. THERE’S NO MECHANICAL PARTS AND THAT’S PART OF THE REASON I WAS EMPLOYED BECAUSE SO MUCH OF WHAT I DID WAS BECAUSE PARTS WEAR OUT AND NEED TO BE FIXED AND REPLACED, WHERE THE NEW CAMERAS…IT’S NOT MUCH YOU CAN DO IF IT’S IN DIGITAL FORMAT AND [HAS] NO MECHANICAL MOVING PARTS. I DON’T MISS WORKING ON THEM, THAT COULD BE FRUSTRATING BECAUSE A LOT OF TINY LITTLE GEARS AND TIMING…YOU CAN SPEND HOURS AND NOT GET ANYWHERE, AND THEN FINALLY SHIP IT OUT TO THE MANUFACTURER BECAUSE YOU JUST COULDN’T GET ANYWHERE. YOU SPENT A WEEK WORKING ON IT AND NOW YOU’VE GOT TO, IN THE END, PAY SOMEONE TO DO IT. THOSE ARE FRUSTRATIONS, BUT IT IS SATISFYING WHEN YOU DO FIX A PROBLEM AND ARE ABLE TO FIX IT. BUT THOSE DAYS ARE BEHIND US AND I CAN’T SAY I MISS THEM. IT’S JUST DIFFERENT WAYS OF MAINTAINING CAMERAS NOW.” “IT’S HARD TO THROW OUT BECAUSE THE VALUE OF IT IS LIKE BUYING A CAR…AT THAT TIME. THAT’S WHAT YOU’RE DOING IS PUTTING A CAR ON YOUR SHOULDER, MAYBE NOT QUITE A CAR, BUT I’M GOING TO GUESS THIS CAMERA WAS PROBABLY FIFTEEN THOUSAND DOLLARS BACK THEN. THAT’S A LOT OF MONEY.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180005000-GA.
Catalogue Number
P20180005000
Acquisition Date
2018-03
Collection
Museum
Images
Less detail
Other Name
WATER VALVE WRENCH
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
IRON
Catalogue Number
P20170013000
  1 image  
Material Type
Artifact
Other Name
WATER VALVE WRENCH
Date Range From
1950
Date Range To
1960
Materials
IRON
No. Pieces
1
Length
125
Width
43
Description
WATER VALVE WRENCH; IRON RODS WELDED TOGETHER; RODS FORM A CROSS AT TOP WHERE ROD WITH TWO SOCKET ENDS IS FITTED TO LONGER ROD. TOP OF ROD HAS AN IRON WEDGE OR CHISEL ATTACHED. BASE OF ROD HAS ROUNDED END WITH CUT-OUT THROUGH CENTER. WRENCH IS RUSTED AND RUBBED ALONG BOTTOM AND TOP LEFT AND RIGHT SECTIONS. OVERALL GOOD CONDITION.
Subjects
METALWORKING T&E
Historical Association
BUSINESS
History
ON FEBRUARY 28, 2016, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED BETTY AND BRIAN ILLINGWORTH ABOUT THEIR DONATION OF A WATER VALVE WRENCH. THE WRENCH WAS USED BY THE ILLINGWORTH’S AT THEIR LETHBRIDGE DRY-CLEANING BUSINESS TO SHUT OFF WATER WHILE WORKING ON THEIR BOILER. ON THE PURPOSE OF THE WRENCH, BRIAN NOTED, “WHEN I WAS WORKING ON THE BOILER…I HAD TO SHUT THE WATER OFF, TO MAKE SURE THAT I WOULDN’T LET ANY STEAM GO, TO PUSH THE WATER BACK.” “WITH [THE WRENCH] YOU COULD SHUT THE WATER OFF [FROM] WHERE IT CAME IN – THE CITY BROUGHT IT IN. YOU COULD TAKE THAT CAP OFF, AND GO DOWN AND SHUT THE WATER OFF. WE WOULD USE THAT WHERE THE MAIN LINE WAS COMING INTO THE STORE TO SHUT THE WATER OFF. [THE MAIN LINE] WAS IN THE SIDEWALK. WE WERE CONTROLLING THE WATER PRESSURE.” WHEN ASKED WHY THEY HAD A BOILER IN THE BUSINESS, BRIAN ELABORATED, “WE HAD TO HAVE STEAM TO PRESS THE CLOTHES.” “[THE BOILER] PROBABLY CAME FROM WINNIPEG. YOU’VE GOT TO HAVE A BOILER, AND THEN YOU’VE GOT TO HAVE A TICKET TO RUN THE BOILER. [BETTY] ENDED UP GETTING A TICKET, BECAUSE I WAS AWAY A LOT, PICKING UP AND DELIVERING CLEANING, I WASN’T THERE. SOMEBODY HAD TO BE THERE, WITH A TICKET, SO SHE GOT ONE. THERE’S A PICTURE OF HER IN THE HERALD, WORKING ON THAT BLOODY BOILER.” BRIAN RECALLED MOVING TO LEHBRIDGE AND OPERATING THE DRY-CLEANING BUSINESS, STATING, “[IT WAS] THE ONE DOWNTOWN, ON EIGHTH STREET…[CALLED] SPIC AND SPAN.” “[WE MOVED FROM PINCHER CREEK TO LETHBRIDGE] AFTER THE WAR WAS OVER. I WAS IN THE SERVICE FOR 5 YEARS.” “WE HAD [RUN A DRY-CLEANING BUSINESS] IN PINCHER CREEK. WHEN WE CAME HERE, WE BOUGHT DIFFERENT EQUIPMENT, AND WE INCREASED OUR BUSINESS. THEN WE USED TO HAVE PICK UP HERE – I WOULD PICK-UP AND DELIVER YOU KNOW. THANK GOD THEY DON’T DO THAT, ANYMORE! IT WOULD BE TOUGH THE WAY THE TRAFFIC IS NOW. IT WOULD BE TOUGH TO TRY TO DELIVER. YOU’D BE STUCK IN TRAFFIC.” “WE HAD A FIRE [IN PINCHER CREEK]. WE USED VARSOL…WE BUILT A SMALL SHACK AWAY FROM OUR BUILDING, AND THAT’S WHERE WE DID THE CLEANING, BUT IT CAUGHT FIRE ONE DAY…IT ALL BURNED UP, SO WE CAME TO LETHBRIDGE, AND [FOUND] OUT, FROM ANOTHER CLEANERS HERE, WHERE WE COULD GET NEW EQUIPMENT. WE WENT DOWN TO GREAT FALLS TO GET IT.” “I DON’T KNOW [WHY WE CHOSE LETHBRIDGE]. WE WERE TALKING TO SOMEBODY [BETTY] KNEW, AND HE SUGGESTED THAT PLACE.” BETTY NOTED, “THERE WAS A BUILDING AVAILABLE. THAT WAS ANOTHER THING, ‘CAUSE IT WAS SORT OF OUT-OF-THE-WAY.” “WHEN WE LEFT PINCHER, I WAS DRESS-MAKING…IT SORT OF MATCHED UP [WITH THE DRY-CLEANING BUSINESS] BECAUSE THERE WAS TAILORING POSSIBILITIES IN THIS BUILDING.” “OURS WAS DRY-CLEANING. MOST OF THE OTHERS WERE…SELF-LAUNDRY. THE OTHER BIG DRY-CLEANERS WAS BART-NEILSEN.” BRIAN RECALLED, “IN THOSE DAYS, SOME WOMEN THEY SENT THEIR SHIRTS AND STUFF, AND COLLARS OUT. THEY DIDN’T WANT TO DO IT AT HOME. THEY SENT IT OUT TO US. IT’S A DIFFERENT BALLGAME.” “[WE WORKED] A LOT OF LATE HOURS, TOO. WE THOUGHT NOTHING OF WORKING, WHEN WE STARTED IN THE MORNING, TILL MAYBE NINE OR TEN AT NIGHT. THEN THE BUILDING WE WERE IN, THERE WAS A RADIATOR SHOP IN ONE HALF THE BUILDING, AND WE WERE IN THE OTHER HALF. THE GUY THAT OWNED THE BUILDING CAME DOWN HERE…HE SAID HE WAS SELLING THE BUILDING, BUT HE WOULDN’T SELL IT TO ANYBODY ELSE, IF WE WANTED [IT]. WE BOUGHT THE BUILDING, AND THEN WE HAD TO KICK THE GUY OUT, THAT HAD THE RADIATOR SHOP – TOM DELANEY– IT’S TOM’S RADIATOR NOW. HE WAS A VERY GOOD GUY - HUNGARIAN BOY. HE WAS OFF THE FARM. HE BUGGERED HIMSELF UP…STRONG KID FROM THE FARM. HE’D PICK UP THE…RADIATOR [AND] BUGGERED HIS BACK UP. THEN FINALLY HE GOT RID OF THAT, AND DID IT ALL AUTOMATIC.” “[WE RAN THE BUSINESS] AT LEAST SIXTY [YEARS]” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE PERMANENT FILE P20170013000-GA.
Catalogue Number
P20170013000
Acquisition Date
2017-03
Collection
Museum
Images
Less detail
Other Name
"MARQUIS HOTEL"
Date Range From
1928
Date Range To
2015
Material Type
Artifact
Materials
CERAMIC, PAINT
Catalogue Number
P20150037000
  1 image  
Material Type
Artifact
Other Name
"MARQUIS HOTEL"
Date Range From
1928
Date Range To
2015
Materials
CERAMIC, PAINT
No. Pieces
1
Height
5.08
Width
12.4
Description
BLACK, CERAMIC ASHTRAY. THE INSIDE OPENING OF THE ASHTRAY IS 6.4 CM. THE LETTERING ON THE TOP SAYS “THE MARQUIS HOTEL, LETHBRIDGE, ALBERTA, CANADA.” THERE IS AN ABSTRACTED FLORAL DESIGN ON EITHER SIDE OF THIS LETTERING. THE FLOWERS ARE PAINTED RED AND THEIR STEMS PAINTED GREEN. THIS WORDING AND DESIGN REPEATS ON THE OPPOSITE SIDE. THE LETTERING ON THE BOTTOM SAYS, “MADE IN JAPAN 29.” VERY GOOD CONDITION. USED WITH SOME WEAR APPARENT. BLACK PAINT IS WEARING OFF ON SOME PARTS OF THE SURFACE. SIGNIFICANT WEAR TO THE RED AND GREEN PAINT OF THE DECALS.
Subjects
HOUSEHOLD ACCESSORY
Historical Association
DOMESTIC
BUSINESS
History
ON DECEMBER 16, 2015, DONOR CHRIS MORRISON INFORMED COLLECTIONS TECHNICIAN KEVIN MACLEAN THAT SHE CAME INTO POSSESSION OF THE ASHTRAY WHEN SHE AND HER HUSBAND BECAME STEWARDS OF A WATERTON CABIN IN 1976. THE CABIN, LOCATED AT 103 CAMERON FALLS, WAS OWNED BY HER MOTHER-IN-LAW DOROTHY MORRISON (D. 1995). IT WAS AMONG ASSORTED FURNISHINGS LEFT BEHIND WHEN DOROTHY MOVED OUT AND CHRIS MOVED IN. THE DONOR’S RECOLLECTION OF THE ASHTRAY’S USE IMMEDIATELY PRIOR TO IT BECOMING HER PROPERTY WAS AS A CONTAINER. MORRISON SAID, “IT WAS IN A [CABIN] WASHSTAND AND USED TO HOLD LITTLE OBJECTS LIKE ROLLED UP KEROSENE LANTERN TAPE WICKS”. ACCORDING TO MORRISON, IT WAS ALSO KNOWN AS “GRANDPA’S ASHTRAY”. GRANDPA REFERS TO JAMES J. MORRISON OF LETHBRIDGE. “HE ONLY SMOKED CIGARS” SAID THE DONOR, WHEREAS HER MOTHER-IN-LAW DOROTHY DID NOT SMOKE AT ALL. THE ASHTRAY’S USE AS A CONTAINER FOR LANTERN WICKS AND SMALL ITEMS CONTINUED RIGHT UP TO THE DAY THAT IT WAS OFFERED TO THE GALT IN 2015. ACCORDING TO HER OBITUARY IN THE LETHBRIDGE HERALD, DOROTHY MORRISON, PASSED AWAY IN LETHBRIDGE ON NOVEMBER 26, 1995 AT THE AGE OF 83 YEARS. JAMES JACOB MORRISON, DOROTHY’S FATHER-IN-LAW, PASSED ON FEBRUARY 18TH, 1975 AT AGE 93. THE ASHTRAY IS MARKED WITH “MARQUIS HOTEL,” WHICH COULD REFER TO THE LETHBRIDGE HOTEL THAT OPENED IN JUNE 1928. REALIZING A NEED FOR A FIRST-CLASS HOTEL IN LETHBRIDGE, ESPECIALLY ONE WITH A BANQUET HALL, THE BUSINESSMEN OF THE BOARD OF TRADE COMMITTED THEMSELVES TO THE HOTEL IN 1927. AFTER ITS OPENING, THE BOARD OF TRADE WOULD HOLD THEIR REGULAR, NOON-HOUR MEETINGS AT THE HOTEL FOR MANY YEARS TO COME. THE HOTEL CLOSED ITS DOORS IN 1985 AND THE BUILDING WAS DEMOLISHED IN 1988. THIS INFORMATION COMES FROM LETHBRIDGE HERALD ARTICLES AND A WRITE-UP ABOUT THE HOTEL IN THE PUBLICATION TITLED "WHERE WAS IT? A GUIDE TO EARLY LETHBRIDGE BUILDINGS," BY IRMA DOGTEROM. PLEASE SEE PERMANENT FILE FOR MORE INFORMATION INCLUDING LETHBRIDGE HERALD ARTICLES AND A COPY OF THE INFORMATION FROM THE PUBLICATION CITED ABOVE.
Catalogue Number
P20150037000
Acquisition Date
2015-12
Collection
Museum
Images
Less detail
Other Name
CARTON, MILK
Date Range From
1957
Date Range To
1970
Material Type
Artifact
Materials
PAPER, INK
Catalogue Number
P20160019000
  1 image  
Material Type
Artifact
Other Name
CARTON, MILK
Date Range From
1957
Date Range To
1970
Materials
PAPER, INK
No. Pieces
1
Height
24
Length
7.4
Width
7.2
Description
CARDBOARD MILK CARTON. SIDE ONE HAS “HOMOGENIZED MILK” ON TOP FOLD IN GREEN BLOCK LETTERING. FADED, BLACK INK STAMP ON THIS FOLD SAYS “?A 2 -45.” ON THE MAIN SECTION OF THIS SIDE THERE IS THE PURITY LOGO (“PURITY” IN PURPLE CURSIVE FONT), A PURPLE AND GREEN FLOWER, AND THE WORDS “CREAM IN EVERY DROP” IN PURPLE CURSIVE. ON THE BASE OF THIS PANEL IT SAYS “… HEAD OFFICE LETHBRIDGE.” THE OPPOSING SIDE (SIDE 3) IS SIMILAR, BUT WITH THE INDICATION OF “NET CONTENTS ONE QUART” AT THE BASE OF THE PANEL. SIDE 2’S TOP FOLD SAYS, “THE CONTAINER COVERED BY CANADIAN PATENTS 1941 – 395.645 1957 – 542-432… MANUFACTURED UNDER LICENSE FROM EX-CELL-O CORPORATION.” THE MAIN SECTION HAS THE PURITY LOGO AND THE SLOGANS “IT’S PURE. THAT’S SURE” AND “YOURS TO LOVE. OURS TO PROTECT.” ADDITIONALLY THIS SIDE INDICATED THAT THE MILK IS “PASTURIZED” AND IS “NOT LESS THAN 3.25% B.F.” PARALLEL TO THAT IS SIDE 4 WITH A TOP FOLD THAT HAS “SPOUT” MARKED ON IT. ON THE TOP FOLD, IT SAYS “PUREPAK” “YOUR PERSONAL MILK CONTAINER.” THE MAIN SECTION OF THIS HAS A GREEN ILLUSTRATION OF A CHURCH WITH “ATTEND THE CHURCH OF YOUR CHOICE…” ON THE BOTTOM OF THE CARTON, THERE ARE NUMBERS AND/OR LETTERS THAT WERE STAMPED INTO THE BOTTOM. A “W” IS VISIBLE. GOOD CONDITION. COLOUR OF CARDBOARD HAS YELLOWED OVERALL. THERE ARE VARIOUS STAINS ON THE SURFACE. BLACK STAINING AROUND THE CHURCH ILLUSTRATION. THE TOP FLAP OF THE CARTON IS DETERIORATING (BENT/TORN) WITH NOTICEABLE LOSS OF MATERIAL ON ONE SIDE’S CORNER.
Subjects
CONTAINER
Historical Association
BUSINESS
INDUSTRY
History
THE DONOR, HANK VROOM, FOUND THE MILK CARTON IN LETHBRIDGE APPROXIMATELY A DECADE BEFORE THE DATE OF DONATION (JULY 2016), AS A RESULT OF HIS CITY EMPLOYMENT AS A GARBAGE TRUCK DRIVER. THE LOCATION OF THE FIND IS UNKNOWN. IN THE TIME SINCE HIS POSSESSION, THE CARTON HAS BEEN IN A PLASTIC BAG IN A CUPBOARD. ACCORDING TO ADDITIONAL RESEARCH INTO THE EXISTENCE OF THIS TYPE OF MILK CARTON AND BRAND, IT IS ESTIMATED THAT THIS CARTON ORIGINATED PRIOR TO THE MID-1970S BECAUSE MILK MEASUREMENTS WERE CHANGED FROM QUARTS TO LITERS AROUND THAT TIME AND THIS CARTON’S MEASUREMENT IS INDICATED IN QUARTS. IN THE LATE 1950’S, PURITY DAIRY ADVERTISED BEING 100% PURE-PAK, MEANING THAT ALL MILK PRODUCTS CAME IN CARDBOARD CARTONS. BLOW MOLD PLASTIC CONTAINERS REPLACED CARDBOARD SHORTLY AFTER. WITH THE INDICATION OF THE 1957 PATENT NUMBER ON THE CARTON, THIS PLACES THE DATE OF THE MILK CARTON BETWEEN 1957 AND THE 1970S. THE FOLLOWING INFORMATION ABOUT PURITY DAIRY IS FROM THE RECORD FOR ARTIFACT P20070013001: SIMONIE (SAM) FABBI STARTED FABBI DAIRY IN 1923 IN LETHBRIDGE. HE WAS AN ITALIAN IMMIGRANT WHO BEGAN THE BUSINESS WITH THREE COWS AND SOME LARD BUCKETS. THE DAIRY WAS LOCATED AT 12 STREET B NORTH. AT THAT TIME, MILK WAS TRANSPORTED USING LARD PAILS OR CANS, WHICH, WITH THE HELP OF SAM’S SONS, WOULD BE LADLED INTO CUSTOMER’S CONTAINERS. FABBI DAIRY EXPANDED TO THE SOUTHSIDE DAIRY HILL IN THE EARLY 1930S. SHORTLY AFTERWARDS, FABBI DAIRY BOUGHT CITY DAIRY. SONS STAN AND ROMEO BOUGHT THE BUSINESS FROM THEIR FATHER IN 1936. AT THIS POINT, MILK WAS PACKAGED AND SOLD IN GLASS BOTTLES IN PINT, QUART OR GALLON SIZES. THE DAIRY HAD ITS OWN COWS, WHICH WERE MILKED DAILY AND WOULD PASTURE IN THE COULEES. BY 1936, HOWEVER, MILK AND CREAM WERE BROUGHT IN FROM OFFSITE. BETWEEN 1939 AND 1944, THE FABBI DAIRY BOUGHT PAVAN DAIRY AND THE BELLEVUE DAIRY. AT THAT POINT IN TIME, MANY SMALL DAIRIES WERE SUBJECT TO PASTEURIZATION LAWS, AND CHOSE TO CLOSE DOWN RATHER THAN CONVERT. FABBI DAIRY PURCHASED MAJESTIC THEATRE IN THE LATE 1930S OR EARLY 1940S FOR $10,000 FROM MAYOR SHACKERFORD, CONVERTING IT INTO A MILK BOTTLING PLANT. FABBI DAIRY CHANGED ITS NAME TO PURITY DAIRY, AND EXPANDED THROUGHOUT THE LATE 1940S AND 1950S, OPENING UP BUSINESSES IN MEDICINE HAT (1948), CALGARY (1950), EDMONTON (1950), CRANBROOK (1958), RED DEER AND TABER. ALL THESE LOCATIONS HAD DAIRIES EXCEPT FOR TABER, WHICH HAD A DEPOT. ACCORDING TO KEN FABBI, STAN FABBI’S SON, STAN AND ROMEO ESTABLISHED A DAIRY IN CALGARY WITHOUT A LICENSE. THE ONLY WAY TO OBTAIN A LICENSE FOR A DAIRY AT THAT TIME WAS TO BUY OUT AN EXISTING DAIRY. EXPANSION WAS SEEN AS NECESSARY TO THE FABBI BROTHERS, IF THEY WERE TO REMAIN IN BUSINESS. THE PURITY DAIRY IN CALGARY WAS DEEMED ILLEGAL, AND IN THE EARLY 1960S, STAN AND ROMEO FABBI WERE HANDCUFFED AND ARRESTED. PUBLIC SYMPATHY FOR THE FABBI BROTHERS ENABLED THEM TO PURCHASE A LICENSE AFTER THE INCIDENT. PURITY DAIRY HAD MANY INNOVATIVE PRODUCTS THAT OTHER DAIRIES IN TOWN DID NOT HAVE, LIKELY CONTRIBUTING TO THE DAIRY’S POPULARITY WITH THE PUBLIC. PURITY DAIRY WAS THE FIRST DAIRY IN WESTERN CANADA TO RELY SOLELY ON THE USE OF MILK TANKERS, WHICH VISITED VARIOUS LOCALS TO PICK UP MILK AND BRING IT TO THE DAIRY. PRIOR TO 1957, FARMERS WERE REQUIRED TO DELIVER MILK IN CANS TO THE DAIRY THEMSELVES. PURITY DAIRY HAD A SUBSTANTIAL FLEET OF RETAIL DELIVERY VEHICLES. IN ITS EARLY DAYS, HORSES WERE AN INTEGRAL PART OF THE DELIVERY SYSTEM. AT ONE POINT, 17 HORSES WERE BEING USED FOR DELIVERY PURPOSES. IN 1959, PURITY DAIRY REPLACED ITS LAST THREE HORSES WITH DELIVERY TRUCKS. IN THE 1950S, PURITY DIARY BEGAN TO STREAMLINE PRODUCTION. BUTTER WAS PRODUCED IN MEDICINE HAT, WHILE THE LETHBRIDGE BRANCH PRODUCED ICE CREAM, NOVELTIES, BUTTER MILK, AND SOUR CREAM, IN ADDITION TO MILK AND COTTAGE CHEESE. THE EDMONTON PLANT SHARED MILK PRODUCTION WITH LETHBRIDGE, AND BECAME THE SOLE PRODUCER OF BLOW MOLD PLASTIC FOR PURITY DAIRY. BUSINESS BEGAN TO FALL IN THE 1960S, AND IN 1971 STAN AND ROMEO FABBI SOLD PURITY DAIRY TO CO-OP DAIRY, WHICH WAS SUBSEQUENTLY KNOWN AS PURITY CO-OP LTD. BEFORE THE SALE, PURITY DAIRY EMPLOYED ABOUT 200 FULL-TIME STAFF AND SUPPLIED MILK PRODUCTS TO THOUSANDS OF ALBERTANS DAILY. THE LETHBRIDGE PLANT EMPLOYED ABOUT 70 PEOPLE, AND MANUFACTURED ICE CREAM CONFECTIONS, COTTAGE CHEESE, BUTTER, YOGURT, BUTTERMILK, SOUR CREAM, AND FRUIT DRINKS. STAN’S WIFE, NETTI, SAID OF THE SALE, “WE LOST EVERYTHING…WE EXPANDED TOO FAST. I TOLD STAN ‘WHO CARES? I’VE GOT YOU AND WE STILL HAVE THREE MEALS A DAY.’” IN 1972, PURITY CO-OP LTD WAS BOUGHT OUT BY PALM DAIRY, WHICH WAS CLOSED DOWN FOLLOWING A DRAMATIC EXPLOSION IN 1978. IT REOPENED AT A DIFFERENT LOCATION ONE YEAR LATER. IN THE INTERIM, PRODUCTS WERE SHIPPED IN FROM THE CALGARY PLANT. STAN AND ROMEO FABBI DIED IN 1992 AND 1991, RESPECTIVELY. THIS INFORMATION WAS GATHERED IN 2008-09 FROM ANTOINETTE AND KEN FABBI, STAN’S WIFE AND SON, RESPECTIVELY, AND FROM THE LETHBRIDGE HERALD ARCHIVES. FOR MORE INFORMATION, SEE PERMANENT FILE FOR P20070013001. SEE PERMANENT FILE FOR P20160019000 FOR ADDITIONAL LETHBRIDGE HERALD CLIPPINGS, PRINT RESEARCH, AND PATENT DOCUMENTS.
Catalogue Number
P20160019000
Acquisition Date
2016-07
Collection
Museum
Images
Less detail
Other Name
BLANKET
Date Range From
1920
Date Range To
1990
Material Type
Artifact
Materials
RAW FLAX YARN
Catalogue Number
P20160003007
  2 images  
Material Type
Artifact
Other Name
BLANKET
Date Range From
1920
Date Range To
1990
Materials
RAW FLAX YARN
No. Pieces
1
Length
139
Width
99.5
Description
HAND-WOVEN BLANKET MADE FROM RAW FLAX. THE BLANKET IS COMPOSED OF 2 SECTIONS OF THE SAME SIZE OF MATERIAL THAT ARE JOINED TOGETHER WITH A SEAM AT THE CENTER. ON THE FRONT SIDE (WITH NEAT SIDE OF THE STITCHING AND PATCHES), THERE ARE THREE PATCHES ON THE BLANKET MADE FROM LIGHTER, RAW-COLOURED MATERIAL. ONE SECTION OF THE FABRIC HAS TWO OF THE PATCHES ALIGNED VERTICALLY NEAR THE CENTER SEAM. THE AREA SHOWING ON ONE PATCH IS 3 CM X 5 CM AND THE OTHER IS SHOWING 5 CM X 6 CM. ON THE OPPOSITE SECTION THERE IS ONE PATCH THAT IS 16 CM X 8.5 CM SEWN AT THE EDGE OF THE BLANKET. THE BLANKET IS HEMMED ON BOTH SHORT SIDES. ON THE OPPOSING/BACK SIDE OF THE BLANKET, THE FULL PIECES OF THE FABRIC FOR THE PATCHES ARE SHOWING. THE SMALLER PATCH OF THE TWO ON THE ONE HALF-SECTION OF THE BLANKET IS 8CM X 10 CM AND THE OTHER PATCH ON THAT SIDE IS 14CM X 15CM. THE PATCH ON THE OTHER HALF-SECTION IS THE SAME SIZE AS WHEN VIEWED FROM THE FRONT. THERE IS A SEVERELY FADED BLUE STAMP ON THIS PATCH’S FABRIC. FAIR CONDITION. THERE IS RED STAINING THAT CAN BE SEEN FROM BOTH SIDES OF THE BLANKET AT THE CENTER SEAM, NEAR THE EDGE OF THE BLANKET AT THE SIDE WITH 2 PATCHES (CLOSER TO THE LARGER PATCH), AND NEAR THE SMALL PATCH AT THE END FURTHER FROM THE CENTER. THERE IS A HOLE WITH MANY LOOSE THREADS SURROUNDING NEAR THE CENTER OF THE HALF SECTION WITH ONE PATCH. THERE ARE VARIOUS THREADS COMING LOOSE AT MULTIPLE POINTS OF THE BLANKET.
Subjects
AGRICULTURAL T&E
BEDDING
Historical Association
AGRICULTURE
DOMESTIC
ETHNOGRAPHIC
History
THE KONKINS WERE A RUSSIAN-SPEAKING FAMILY FROM THE TOWN OF SHOULDICE, ALBERTA, NEAR CALGARY. THEY AND MANY OTHER RUSSIAN FAMILIES COMPOSED THAT TOWN’S DOUKHOBOR COLONY. IT WAS THERE WILLIAM KONKIN MARRIED ELIZABETH WISHLOW. IN 1928, THEIR DAUGHTER, ELSIE WAS BORN. THEY LATER MOVED TO A FARM IN VAUXHALL, ALBERTA. THE PRECEDING AND FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM A TWO-PART INTERVIEW WITH DONOR ELSIE MORRIS, WHICH WAS CONDUCTED BY COLLECTIONS TECHNICIAN KEVIN MACLEAN ON FEBRUARY 17, 2016. ADDITIONAL INFORMATION COMES FROM FAMILY HISTORIES AND TEXTS PROVIDED BY THE DONOR. A FULL HISTORY OF THE KONKIN FAMILY CAN BE FOUND WITH THE RECORD P20160003001. ACCORDING TO A NOTE THAT WAS ATTACHED TO THIS LIGHTWEIGHT BLANKET AT THE TIME OF ACQUISITION THE BLANKET IS BELIEVED TO HAVE BEEN MADE C. 1920S. MORRIS SAYS HER MEMORY OF THE BLANKET DATES AS FAR BACK AS SHE CAN REMEMBER: “RIGHT INTO THE ‘30S, ‘40S AND ‘50S BECAUSE MY MOTHER DID THAT RIGHT UP UNTIL NEAR THE END. I USE THAT EVEN IN LETHBRIDGE WHEN I HAD A GARDEN. [THIS TYPE OF BLANKET] WAS USED FOR TWO PURPOSES. IT WAS EITHER PUT ON THE BED UNDERNEATH THE MATTRESS THE LADIES MADE OUT OF WOOL AND OR ELSE IT WAS USED, A DIFFERENT PIECE OF CLOTH WOULD BE USED FOR FLAILING THINGS. [THE] FLAIL ACTUALLY GOES WITH IT AND THEY BANG ON THE SEEDS AND IT WOULD TAKE THE HULLS OFF… IT’S HAND WOVEN AND IT’S MADE OUT OF POOR QUALITY FLAX… IT’S UNBLEACHED, DEFINITELY… RAW LINEN." THIS SPECIFIC BLANKET WAS USED FOR SEEDS MORRIS RECALLS: “…IT HAD TO BE A WINDY DAY… WE WOULD PICK DRIED PEAS OR BEANS OR WHATEVER BEET SEEDS AND WE WOULD BEAT AWAY AND THEN WE WOULD STAND UP, HOLD IT UP AND THE BREEZE WOULD BLOW THE HULLS OFF AND THE SEEDS WOULD GO STRAIGHT DOWN [ONTO THE BLANKET.” THE SEEDS WOULD THEN BE CARRIED ON THE BLANKET AND THEN PUT INTO A PAIL. OF THE BLANKET’S CLEAN STATE, MORRIS EXPLAINS, “THEY’RE ALWAYS WASHED AFTER THEY’RE FINISHED USING THEM.” WHEN SHE LOOKS AT THIS ARTIFACT, MORRIS SAYS: “I FEEL LIKE I’M OUT ON THE FARM, I SEE FIELDS AND FIELDS OF FLAX, BLUE FLAX. BUT THAT’S NOT WHAT SHE USED IT FOR. SHE DID USE IT IF SHE WANTED A LITTLE BIT OF THE FLAX THEN SHE’D POUND THE FLAX, BUT THAT WASN’T OFTEN. IT WAS MOSTLY BEANS AND PEAS.” IT IS UNKNOWN WHO WOVE THIS BLANKET. PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION, OBITUARIES, PHOTOGRAPHS, AND FAMILY HISTORIES.
Catalogue Number
P20160003007
Acquisition Date
2016-02
Collection
Museum
Images
Less detail

PROJECTOR, MOTION-PICTURE

https://collections.galtmuseum.com/en/permalink/artifact13342
Other Name
MOTIOGRAPH AA PROJECTOR
Date Range From
1940
Date Range To
1950
Material Type
Artifact
Materials
STEEL, GLASS, PLASTIC
Catalogue Number
P20120038001
  2 images  
Material Type
Artifact
Other Name
MOTIOGRAPH AA PROJECTOR
Date Range From
1940
Date Range To
1950
Materials
STEEL, GLASS, PLASTIC
No. Pieces
4
Height
202
Length
57
Description
A. PROJECTOR, FILM. GREY METAL BODY FIXED AT FRONT WITH MOTIOGRAPH AA PROJECTOR MECHANISM. BACK OF THE BODY HAS POWER (“ON/OFF”) AND IGNITE SWITCHES; BACK HAS GAUGES WITH GLASS COVERS MARKING HOURS (“16270”) AND 0-100 MV. BACK HAS SILVER LABEL WITH BLACK TEXT “STRONG X-16 TWO-SIDE LAMPHOUSE, D.C. VOLTS 28-32, D.C. AMPS. 60-95, TYPE NO. 76002-3, SERIAL NO. 65196, MFD. BY THE STRONG ELECTRIC CORP., TOLEDO, OHIO, UNITED STATES OF AMERICA, 76100” AND A BLUE STICKER ON LABEL “CSA SPECIAL TESTING LABORATORIES, S108124, ACCEPTANCE”. BACK HAS THREE BLACK DIALS MARKED “V”, “H”, “F”; FRONT HAS THREE BLACK DIALS MARKED “V”, “H”, “F” ON BLACK METAL PLATE WITH WHITE TEXT “VERT”, “HORTZ”, “FOCUS”. BASE HAS A WHITE SWITCH BENEATH THE MAIN LAMP HOUSE. LAMP HOUSE SIDE HAS HINGED COVER WITH SILVER AND RED PLATE FIXED TO COVER, “CAUTION, USE FACE MASK, OBSERVE SAFETY RULES, ALLOW LAMP TO COOL 10 MIN BEFORE OPENING DOORS”. FRONT HAS REEL MOUNTS FIXED TO TOP AND BOTTOM; TOP REEL MOUNT IS MARKED “A-675” AND HAS SILVER SHIPPING REEL WITH 35MM FILM ATTACHED (B); BOTTOM REEL MOUNT IS MARKED A-676 AND HAS EMPTY SILVER SHIPPING REEL ATTACHED (D). BENEATH REEL MOUNT IS MOUNTED ELECTRIC CHANGEOVER MECHANISM; UNFINISHED STEEL WITH SILVER SCREWS AND INSERTS; SILVER PLATE ON FRONT OF MECHANISM HAS RED TEXT READING “ZIPPER” AND BLACK TEXT READING “ELECTRIC CHANGEOVER, PATENT 1796970, OTHER PATS. PEND., MODEL 14-14, SERIAL 2537, VOLTS 117 A.C., AMPS 2, MFD. BY ESSANNAY ELECTRIC MFG., G.G., 1438 N. CLARK ST., CHICAGO 10, ILL.” MOTIOGRAPH AA PROJECTOR MECHANISM HAS LENS ATTACHED AT FRONT (C); MOTIOGRAPH AA PROJECTOR MECHANISM HAS RED DIAL BESIDE FRONT CHAMBER COVER WITH WHITE TEXT “FRAME”. MOTIOGRAPH AA PROJECTOR MECHANISM HAS HINGED CHAMBER COVER WITH FRONT FIXED SILVER PLATE WITH RED TEXT READING “MOTIOGRAPH” IN RED, AND YELLOW AND BLACK LABEL READING “SHARP’S THEATRE SUPPLIES LIMITED, FILM EXCHANGE BUILDING, PHONE M-4076—CALGARY, ALBERTA.” INSIDE HINGED CHAMBER COVER IS WHITE LABEL “UL, MODEL AA, FRAMING LAMP 120V 25W, MOTIOGRAPH INC., CHICAGO”. BENEATH IS LOWER CHAMBER WITH STEEL AND GLASS HINGED COVER. BASE OF LAMP HOUSE PEDESTAL IS SCRATCHED; INSIDE OF MOTIOGRAPH AA PROJECTOR MECHANISM TOP CHAMBER IS DETACHED BLACK METAL SLIDE WITH CENTER CUT OUT AND RED KNOB AT THE END. OVERALL PROJECTOR AND COMPONENTS IN GOOD CONDITION. B. FILM REEL, 37.2CM DIAMETER X 4.3CM DEEP, INCLUDES 35MM FILM. SHIPPING REEL; UNFINISHED PRESSED STEEL; FIXED WITH UNMARKED WHITE TAPE. REEL IS HANDMARKED WITH RED “T”. C. LENS, PROJECTOR, 41.7CM LONG X 11.5CM DIAMETER. CINEMASCOPE/ANAMORPHIC (LONG LENS) FORMAT. BRASS END COMPONENT IS STAMPED “SUPER SNAPLITE”, “KOLLMORGEN OPTICAL CORP”, “BX 241 F:1.9 3 ¼ IN.” SILVER LENS COMPONENT IS MARKED “MADE IN JAPAN, 19313, PROMINAR ANAMORPHIC”. LENS FRONT IS BLACK; LENS GOES TO 350 FEET. D. FILM REEL, 37CM DIAMETER X 5.3CM DEEP, SHIPPING. UNFINISHED PRESSED STEEL, EMPTY, HANDMARKED IN RED “2” AND ON MASKING TAPE IN BLACK “7”. FIXED TO LOWER REEL MOUNT ON PROJECTOR.
Subjects
VISUAL COMMUNICATION T&E
Historical Association
BUSINESS
LEISURE
History
ON APRIL 11, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED LARRY AND ANDREA BECKER, OWNERS OF THE FORMER WATERTON THEATRE IN SOUTHERN ALBERTA WHERE THE PROJECTION EQUIPMENT WAS USED. DURING THE INTERVIEW, THE BECKERS ELABORATED ON HOW THEIR THEATRE CLOSED, HOW THE EQUIPMENT WAS USED IN THEIR THEATRE, AND HOW AL ANCTIL CAME INTO POSSESSION OF THE THEATRE PROJECTION EQUIPMENT. LARRY BECKER SPOKE TO HOW ANCTIL BECAME THE OWNER AND DONOR OF THE EQUIPMENT, STATING, “THIS EQUIPMENT IS BUILT AND DESIGNED TO EXHIBIT 35 MM MOTION PICTURE FILM. IN 2011, WHEN WE DISPOSED OF THE EQUIPMENT, FILM WAS BECOMING OBSOLETE. IT WAS NO LONGER AVAILABLE TO US AS AN EXHIBITION MEDIUM, SO WE WERE FACED WITH THE CHALLENGE OF CONVERTING TO A DIGITAL PROJECTION, IF WE WANTED TO CONTINUE SHOWING MOTION PICTURES. WE HAD TO GET RID OF THIS, AND AL [ANCTIL] THOUGHT HE HAD A USE FOR IT. AT THE TIME, HE WAS SELLING US COFFEE. WE WERE RUNNING A COFFEE SHOP IN THE THEATRE, SO WE HAD THAT RELATIONSHIP WITH AL; AND I’M NOT SURE WHY AL WANTED IT…I DON’T KNOW IF HE EVER INTENDED TO USE IT. I THINK, UNDER CERTAIN CIRCUMSTANCES, IT MIGHT BE USEFUL, IF SOMEBODY COULD ACCESS SOME 35 MM FILM TO RUN THROUGH IT. WHEN WE HEARD THAT AL WANTED IT, WE SAID “SURE, YOU CAN HAVE IT AL. WE NO LONGER HAVE ANY USE FOR IT.”” “IT WAS THE COST OF THE CONVERSION [THAT INFLUENCED OUR DECISION TO CLOSE]. INITIALLY, WHEN ALL OF THE THEATRES WERE FACED WITH THE CONVERSION, WITHIN A VERY SHORT WINDOW, THE DEMAND FOR THE EQUIPMENT WAS VERY HIGH; COSTS WERE VERY HIGH, AND IT JUST WASN’T FINANCIALLY VIABLE IN A SEASONAL OPERATION, SO WE DECIDED NOT TO PROCEED, AT THAT TIME, WITH THE DIGITAL UPGRADING/CONVERSION. WE WERE WORKING QUITE HARD, BECAUSE WE WERE RUNNING A COFFEE SHOP, AN ICE CREAM STORE, AND A MOVIE THEATRE. THE MOVIE THEATRE WAS THE FUN PART OF IT.” “WE WERE AT THE END OF OUR LAST SEASON IN 2011, AND WE HAD WORKED OUT AN ARRANGEMENT WITH THE TENANT, TO TAKE IT OVER, TO RUN IT AS A ‘STAGE AND GRILL’ KIND OF OPERATION. THEY WERE GOING TO PUT A KITCHEN IN, AND SERVE MEALS, AND PRESENT MUSIC ACTS ON STAGE.” ON THE PROJECTOR, LARRY BECKER INDICATED, “IT WAS OLD [IN 2011]. IT WAS VERY WELL-DESIGNED, AND BUILT EQUIPMENT, WHEN IT WAS NEW. THE PROJECTOR IS…THE HEART OF THE OPERATION, AND IT’S A MOTIOGRAPH PROJECTOR WITH THE MOTIOGRAPH SOUND HEAD…AND THAT WAS PROBABLY NEW IN THE LATE '40S OR EARLY ‘50S, WHEN THE MOTION PICTURE INDUSTRY WAS IN AN ABSOLUTE HEY-DAY. HUGE INVESTMENTS WERE MADE IN DEVELOPING HIGH QUALITY EQUIPMENT FOR THE MOTION PICTURE EXHIBITIONS. THIS PROJECTOR, EVEN THOUGH IT WAS VERY OLD, BENEFITTED FROM THAT DESIGN PERIOD, AND WAS STILL WORKING REASONABLY WELL.” “WE REPLACED THE LAMP HOUSE [FROM AN OLD CARBON ARC LAMP TO…A ZENON BULB AS A LIGHT SOURCE]. [WE PICKED UP BULBS AND EQUIPMENT] FROM ‘TEN STORIES’. “[THERE WOULD BE A] BELL HERE, BEFORE WE PUT THE PLATTER SYSTEM IN… [THE BELL] WAS ATTACHED TO THE PROJECTOR, AND THIS WAS WHEN THESE SMALL 20 MINUTE REELS WOULD BE LOADED ON TO THIS REEL LINE, AND WHEN THERE WAS ABOUT 2 OR 2 1/2 MINUTES FILM LEFT ON THE PAY-OUT REEL…[THE] BELL WOULD START TO RING; START TO TURN AT A SPEED, AND THAT WAS TO SIGNAL THE PROJECTIONIST TO GET READY, BECAUSE HE WAS GOING TO HAVE TO DO A CHANGE-OVER. WHEN THAT BELL RANG, THE PROJECTIONIST WOULD LOOK THROUGH A PORT IN THE PROJECTION ROOM, AND LOOK FOR A LITTLE DOT UP IN THE RIGHT HAND CORNER OF THE FILM. THERE WOULD BE TWO OF THEM. WHEN YOU HEARD THE BELL, YOU’D STRIKE THE LAMP WITH THE OLD CARBON ARCS; GET THE LAMP HOUSE RUNNING. THEN YOU’D SEE THE FIRST DOT, THAT WAS YOUR SIGNAL TO START THE PROJECTOR, THEN, WHEN YOU SAW THE SECOND DOT, THERE WAS A PEDAL ON THE FLOOR, OR A HAND SWITCH, THAT YOU WOULD ACTIVATE, AND THAT WOULD CLOSE THE SHUTTER ON ONE PROJECTOR, AND OPEN IT ON THE OTHER ONE. IF THE PROJECTIONIST WAS GOOD, IT WAS SEAMLESS. THE AUDIENCE WOULD NEVER KNOW THAT THERE WAS A REEL CHANGE.” “THERE WOULD BE TWO PROJECTORS RUNNING SIDE-BY-SIDE. I DID OPERATE IT FOR A WHILE, WITH THE CHANGE-OVERS, BUT THAT WAS ONE OF THE THINGS THAT I REALLY WANTED TO CHANGE ABOUT WATERTON. I WANTED JUST TO MAKE MY JOB A LOT EASIER. [THAT WAS] THE INTRODUCTION OF THE PLATTER SYSTEM, AND THE ZENON LAMP.” LARRY BECKER DISCUSSED THE PURPOSE OF THE LENS IN USE WITH PROJECTOR EQUIPMENT, STATING, “FILM WAS STILL AVAILABLE IN BOTH FORMATS, AND WHEN IT CAME IN, WE HAD TO KNOW WHICH FORMAT IT WAS, BECAUSE THEN WE WOULD USE THE APPROPRIATE LENS. [THE LENS] WAS STILL IN USE. PRODUCTION COSTS WERE PROBABLY…A LITTLE HIGHER IF THEY WERE SHOOTING IN THE CINEMASCOPE. I THINK THE FLAT LENS, THE 185 ASPECT RATIO WAS A BETTER RATIO FOR TELEVISION. I ALWAYS THOUGHT THAT, IF THEY THOUGHT THAT THE MOVIE WAS GOING TO HAVE A SHORT RUN IN THEATRES, AND THEN A BROADER AUDIENCE ON TELEVISION, THEN THAT FORMAT [185 ASPECT RATIO] WAS MORE SUITABLE. WE REPLACED [THE ORIGINAL LENSES].” THE BECKERS SPOKE ABOUT THEIR ARRIVAL IN WATERTON AND THEIR HISTORY WORKING IN THEATRES, WITH LARRY BEGINNING HIS CAREER WORKING IN THE PALACE THEATRE IN CALGARY, ALBERTA. IN 1975, THE BECKERS BECAME INTERESTED IN PURCHASING THE THEATRE IN WATERTON, AND BY 1976 THEY WERE RUNNING THE WATERTON THEATRE. LARRY NOTED HOW THE BECKERS BECAME INVOLVED WITH THE WATERTON THEATRE “I WAS TRAVELING TO WATERTON. I HAD NEVER BEEN TO WATERTON. I HAD AN OCCASION TO GO TO GREAT FALLS. IT WAS ON…A BUSINESS TRIP, AND IT WAS OVER A WEEKEND. I LOOKED AT THE MAP, AND I THOUGHT, “IF WE LEAVE AROUND DINNERTIME ON FRIDAY, WE CAN SPEND A NIGHT IN WATERTON…AND THEN WE CAN CONTINUE TO GREAT FALLS THE NEXT DAY.” GOT INTO WATERTON, AND, BY THIS TIME, THE SUN HAD SET, AND I STILL DIDN’T REALIZE I WAS IN THE MOUNTAINS. I SORT OF LOOKED AROUND. I DIDN’T HAVE A ROOM BOOKED, AND GOT A ROOM IN ALLEN’S LAKESHORE BUNGALOWS, WHICH WERE ON THE SHORE OF WATERTON LAKE, AT THAT TIME, AND WHEN I GOT UP IN THE MORNING, AND LOOKED AROUND, I COULDN’T BELIEVE WHERE I WAS. I MEAN, IT WAS JUST THE MOST BEAUTIFUL THING…IT WAS STUNNINGLY, GORGEOUS! THEN I THOUGHT, “I’LL TAKE A STROLL AROUND TOWN”, AND THERE WAS A MOVIE THEATRE. OF COURSE, BEING IN THE BUSINESS, I’VE GOT TO STOP AND YOU…FIND OUT WHAT’S GOING ON THERE. I CHATTED WITH A YOUNG FAMILY THAT WERE LOOKING AFTER THE PLACE FOR LOTTIE BREWERTON. LOTTIE, AND HER HUSBAND, GORDON, HAD BUILT IT BACK IN ’35. LOTTIE WAS GORDON’S WIDOW. SHE WASN’T INVOLVED IN THE OPERATION, BUT SHE HAD SOME YOUNG FAMILY THAT WERE HELPING HER OUT, SO, IN THE CONVERSATION, THEY SAID, “YOU KNOW, I THINK LOTTIE WANTS TO SELL.” I WENT BACK TO CALGARY, AND NEVER REALLY THOUGHT TOO MUCH ABOUT IT UNTIL SEVERAL MONTHS LATER, AND IT WAS SORT OF ON MY MIND, AND I THOUGHT, “WELL, I’M GOING TO GET AHOLD OF LOTTIE AND SEE WHAT THE DEAL IS HERE?” “IT NEEDED WORK. IT’S NOT A BIG MONEY-MAKING OPERATION IN WATERTON, SO IT WAS…HARD TO DO THE THINGS THAT NEEDED TO BE DONE. OVER THE YEARS, WE KIND OF KEPT IT GOING…BUT IT WAS ALWAYS…AN EXPERIENTIAL THING. IT WAS KIND OF AN ANTIQUE IN ITSELF. IT WAS NEVER INTENDED TO BE LIKE THE CITY THEATRES – IT’S A MUCH MORE CASUAL ENVIRONMENT.” “I LIKE THE STYLE OF THE BUILDING. IT’S A GORGEOUS OLD BUILDING – TUDOR-REVIVAL. IT’S GOT AN INTERESTING HISTORY. BACK IN THE MID-‘30S, PARKS CANADA WAS ENCOURAGING DEVELOPMENT IN WATERTON, AND WAS GIVING OUT THE COMMERCIAL LEASES, BUT THEY ALSO WANTED SORT OF AN ARCHITECTURAL THEME TO THE TOWNSITE. THEY HAD AN ARCHITECTURAL DIVISION, AND THEY HAD ARCHITECTS ON STAFF, AND IT WAS THAT BRANCH OF PARKS CANADA, THAT DESIGNED THAT BUILDING, AND MANY OF THE OTHER BUILDINGS IN WATERTON. IT’S GOT SOME CHARM. IT’S NICE THAT WAY.” ANDREA BECKER ADDED, “IT’S…A PRIVILEGE TO BE A WATERTON BUSINESS OWNER. IT’S A VERY SMALL COMMUNITY, AND IT’S A LIFESTYLE KIND OF ENVIRONMENT, AS WELL, FOR THE BUSINESS PEOPLE THERE. WE…FEEL THAT IT IS A SPECIAL THING TO DO…” LARRY BECKER SPOKE TO HIS TRAINING WORKING IN THEATRES AND HIS EARLY START IN THE WATERTON THEATRE, “WHEN I STARTED DOING PROJECTION WORK, IT WAS A LICENSED TRADE IN THE PROVINCE OF ALBERTA, AND, IN THE EARLY DAYS OF MOTION PICTURE EXHIBITION, THE FILM STOCK WAS A SILVER NITRATE FILM STOCK WHICH WAS, LITERALLY, EXPLOSIVE. PROJECTION ROOMS, INCLUDING THE ONE IN WATERTON, WERE BUILT LIKE A BUNKER. THEY WERE CEMENT ROOMS, WITH FIRE SHUTTERS, THAT WOULD SLAM SHUT IF SOMETHING WENT WRONG IN THE PROJECTION ROOM. THE APPRENTICESHIP PROGRAM TO BECOME A PROJECTIONIST WAS A 3 YEAR PROGRAM, AND THERE WAS DIFFERENT CATEGORIES OF LICENSING. WHEN I STARTED IN [1977] I OWNED THE THEATRE IN FORT MACLEOD AND I HAD TO DO AN APPRENTICESHIP, IN MY OWN THEATRE, BEFORE I WAS ALLOWED TO OPERATE THE EQUIPMENT. I BECAME A CERTIFIED PROJECTIONIST. I MENTION THE EARLY DAYS WITH THE SILVER NITRATE FILM, WHICH WAS HIGHLY FLAMMABLE, AND DANGEROUS. THAT HAD BEEN REPLACED BY ACETATE FILM, LONG BEFORE I BECAME INVOLVED, AND SO THE FILM STOCK WAS NO LONGER…COMBUSTIBLE, AND SO IT WAS A MUCH SAFER ENVIRONMENT. NONETHELESS, SOME OF THE OLD REGULATIONS SORT OF CARRIED FORWARD, AND SLOWLY CHANGED.” I WAS NEVER A PROJECTIONIST IN MEDICINE HAT AND CALGARY. I WAS JUST IN MANAGEMENT, SO I WASN’T THAT FAMILIAR WITH ALL OF THIS [WHEN WE BOUGHT THE WATERTON THEATRE]. IT WAS A BIT OF A LEARNING PROCESS FOR ME. I ENDED UP DOING AN APPRENTICESHIP IN MY OWN THEATRE IN FORT MACLEOD. I HIRED A PROJECTIONIST THE FIRST COUPLE OF YEARS IN WATERTON, AND I HAD TO BRING SOMEBODY DOWN FROM CALGARY TO RUN THE PROJECTOR. WHEN I GOT INTO FORT MACLEOD, I WANTED TO DO MY OWN PROJECTION WORK, AND THAT’S WHEN I DID THE APPRENTICESHIP.” [THE PROJECTIONIST WE BROUGHT TO WATERTON] WAS A FELLOW BY THE NAME OF DOUG COOPER…HE WAS FAMILIAR WITH THIS EQUIPMENT. THE CHANGES HAD STARTED IN THE CITY, BUT HE WAS FAMILIAR WITH DOING THIS KIND OF WORK. HE HAD LEARNED ON IT TOO, SO IT WASN’T A MYSTERY TO HIM. HE WAS ABLE TO MANAGE IT QUITE WELL. [WE HIRED] A DIFFERENT GUY EACH YEAR. DOUG WAS THE FIRST YEAR.” “ONE OF THE THINGS THAT WAS INTERESTING ABOUT THE THEATRE WHEN I TOOK IT OVER IS THAT, FOR LIGHT SOURCES IN THE PROJECTION ROOM, THE LAMPS THAT ILLUMINATED THE SCREEN WERE BURNING CARBON ARCS. CARBON ARCS CAME IN A BOX; YOU INSTALLED THEM IN THE LAMP HOUSE. WHEN YOU STARTED THE MOVIE, YOU’D STRIKE THEM TOGETHER, AND THEY WOULD CREATE AN ARC AND FLAME BETWEEN THESE CARBON RODS. THAT WAS WHAT PRODUCED THE LIGHT. IT WAS MAGNIFIED BY A MIRROR DOWN THROUGH THE LENS, AND WITH THE SCREEN. WITH THAT KIND OF A LIGHT SOURCE, YOU HAD TO BE IN THE PROJECTION ROOM…ALL THE TIME. YOU COULDN’T LEAVE THE PROJECTION ROOM WHILE THE MOVIE WAS RUNNING. AS A MATTER OF FACT, PROJECTION ROOMS HAD TOILETS IN THEM DURING THAT PERIOD. CHANGING THAT OUT WAS ONE OF THE FIRST THINGS THAT I DID, BECAUSE IT MADE IT A LOT EASIER TO GET OUT OF THE PROJECTION ROOM. THE OTHER THING – THE FILM WAS RUN OFF OF 18 20-MINUTE REELS AT THAT TIME, SO THERE WERE 2 PROJECTORS. WE WERE CONSTANTLY CHANGING BACK AND FORTH, FROM ONE PROJECTOR TO THE OTHER. GETTING RID OF THE CARBON ARC LAMP HOUSES, AND INSTALLING A PLATTER SYSTEM, WHICH ALLOWED…THE PROGRAM TO BE SPLICED TOGETHER ON THE SINGLE REELS.” FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPT AND HISTORIES OF THE WATERTON THEATRE, PLEASE SEE THE PERMANENT FILE P20120038001-GA.
Catalogue Number
P20120038001
Acquisition Date
2012-10
Collection
Museum
Images
Less detail
Other Name
HMV BAG
Material Type
Artifact
Materials
PLASTIC
Catalogue Number
P20170004004
  1 image  
Material Type
Artifact
Other Name
HMV BAG
Date
2017
Materials
PLASTIC
No. Pieces
1
Length
22.7
Width
35.7
Description
WHITE, PLASTIC SHOPPING BAG. BOTH SIDES ARE THE SAME. “HMV” IS ON THE BAG IN PINK LETTERING. THE BAG ALSO HAS INFORMATION ABOUT THE BAG INCLUDING “ENVIRONMENTAL TECHNOLOGY” ALONG THE BOTTOM EDGE. THERE IS A HOLE IN THE TOP SIDE OF THE BAG FOR THE HANDLE. VERY GOOD TO EXCELLENT CONDITION. THE BAG IS SLIGHTLY WRINKLED. THERE IS SLIGHT WEAR TO THE HANDLE THROUGH USE.
Subjects
MERCHANDISING T&E
Historical Association
RETAIL TRADE
BUSINESS
History
IN THE EARLY MONTHS OF 2017 THE MUSIC FRANCHISE, HMV CANADA, BEGAN TO THE PROCESS OF CLOSING DOWN ALL 120 OF THEIR STORES ACROSS CANADA. AFTER 30 YEARS OF BUSINESS, THE COMPANY WENT INTO RECEIVERSHIP. PARK PLACE MALL IN DOWNTOWN LETHBRIDGE HAD AN HMV LOCATION OF ITS OWN, WHICH OPENED IN 1994. THIS SHOPPING BAG IS AN EXAMPLE OF SHOPPING BAGS USED AT THE LETHBRIDGE LOCATION OF HMV DURING THE TIME OF RECEIVERSHIP. IT IS ALSO PHYSICAL SYMBOL OF BRICK-AND-MORTAR SHOPPING MALLS. ON 27 FEBRUARY 2017, IN AN INTERVIEW WITH COLLECTIONS TECHNICIAN KEVIN MACLEAN, THE MANAGER OF THE HMV LETHBRIDGE, BRENDAN FRIZZLEY, REFLECTED ON HIS PAST EXPERIENCE AT THE MUSIC STORE, THE SIGNIFICANCE OF MUSIC STORES, AND ON THE RECEIVERSHIP PERIOD. FOR MORE INFORMATION OF FRIZZLEY’S CONNECTION TO THE STORE, PLEASE SEE P20170004001-2. IN THE INTERVIEW, FRIZZLEY SPOKE ABOUT THE CHANGE IN MALL TRAFFIC, “[THERE IS] SUCH A DROP IN TRAFFIC, AS PEOPLE START TO MOVE AWAY FROM MALLS. [THIS IS EXEMPLIFIED BY] THE FACT THAT I’LL HAVE SATURDAYS WHERE I’LL PULL AS MUCH AS I USED TO PULL ON A SLOW MONDAY EIGHT YEARS AGO, IN TERMS OF JUST PEOPLE COMING IN. WE’VE MADE SO MANY CHANGES TO BE ABLE TO MAKE THAT WORK FROM ON OUR SIDE, WHETHER IT’S GETTING BETTER DEALS FOR EVERY CD THAT WE SELL, OR JUST CHANGING THE GENERAL PRICE OF THINGS, OR HAVING THINGS THAT MAKE MORE MONEY… PEOPLE AREN’T SHOPPING IN MALLS ANYMORE. THERE’S STILL PEOPLE COMING IN, ESPECIALLY AROUND CHRISTMAS TIME, BUT IT’S NOT THE SAME AS IT USED TO BE. I REMEMBER MY FIRST CHRISTMAS [WORKING] HERE. WE HAD THREE TILLS – WE’D RUN ALL THREE OF THEM – AND THERE’D BE STILL CRAZY LINES. THAT WAS FOR ALL OF DECEMBER, AND THEN THIS YEAR, BLACK FRIDAY AND BOXING DAY BOTH HAPPENED, AND I DIDN’T HAVE TO OPEN A THIRD TILL…PEOPLE DON’T WANT SHOPPING TO BE A MULTI-HOUR STROLLING EXPERIENCE. WE’VE ALL GOT TO FACE THE ‘BUYING ONLINE,’ AND IF IT’S NOT ‘BUYING ONLINE’, [IT'S] BUYING ‘BIG BOX’. IF YOU WALK INTO WALMART OR COSTCO AND YOU’RE OUT IN AN HOUR, AND YOU GOT EVERYTHING THAT YOU NEED, THAT’S SO MUCH BETTER THAN A DAY AT THE MALL. I DON’T THINK THE THINGS AT THE MALL ARE INTERESTING ENOUGH ANYMORE FOR PEOPLE TO WANT TO PORE OVER THEM, AND HAVE THAT EXPERIENCE WHERE YOU WANDER AROUND THE MALL. THE KIDS WOULD GO OFF ONE WAY; PARENTS WOULD GO OFF THE OTHER. MOM AND DAD WOULD EVENTUALLY SPLIT UP, AS THEY GOT PULLED DIFFERENT WAYS. EVERYONE WOULD SORT OF WANDER AROUND; THEY’D MEET UP AT THE FOOD COURT, AT A CERTAIN TIME, AND THAT WOULD BE THAT, AND IT’S JUST NOT AN EXPERIENCE PEOPLE WANT [ANYMORE]. I THINK PEOPLE FEEL PULLED A LOT OF DIFFERENT WAYS, AND WE’VE GOTTEN VERY GOOD AT GETTING GOOD RECREATIONAL ACTIVITIES, AT THE SAME TIME… MILLENNIALS HAVE FOUND REALLY INTERESTING, ENGAGING WAYS OF OCCUPYING THEIR TIME…YEAH, YOU KNOW PEOPLE ARE THERE TO BUY CERTAIN THINGS AT THE MALL… IF PEOPLE ARE COMING IN FOR A PARTICULAR ITEM AT MY STORE, THEY’RE PROBABLY NOT HITTING ANY OTHER STORE…NOBODY WANTS TO SHOP AROUND. AND THAT’S FINE. I’M NOT A MALL PERSON… WHEN I’M BUYING SOMETHING, I’M PROBABLY GETTING IT OFF AMAZON. I’LL BE IN THE MALL, HEADING OUT TO MY CAR, AND I’LL BE ON MY PHONE ON AMAZON BUYING THE THING THAT I WANT TO BUY, BECAUSE I WANT TO BE ABLE TO TAKE ADVANTAGE OF THAT. I DON’T WANT TO SHOP AROUND IN THE MALL. AND IT’S KIND OF SURREAL THAT I LIVE IN A PLACE THAT SELLS THE THINGS I WANT, BUT I DON’T SEE EXACTLY WHAT I WANT HERE, SO RATHER THAN JUST HAVE TO SETTLE AND BUY THE BEST ONE, I’M JUST GOING TO GET ON MY PHONE…” MACLEAN STATED THAT THERE IS A “KIND OF REVOLUTION OF DIGITAL, IN TERMS OF, NOT JUST THE [HMV] ITSELF, BUT EVEN THE MALL.” FRIZZLEY ELABORATED ON THAT: “[Y]OU APPROACH THIS AWKWARD, POST-WORK SOCIETY WHERE YOU’VE KILLED RETAIL… WE CAN HAVE A LOT OF PEOPLE UNEMPLOYED REALLY QUICKLY IF WE’RE DOING THIS. THAT’S THE BIGGEST THING THERE. I THINK THE LOSS OF - WE ALREADY LOST THE GOOD SIDES OF RETAIL YEARS AGO WHEN WE KILLED THE EXPERTS AND KILLED SPECIALTY STORES…” PLEASE SEE PERMANENT RECORD FOR ADDITIONAL INFORMATION, INCLUDING THE FULL INTERVIEW TRANSCRIPT AND ARTICLES REGARDING THE RECEIVERSHIP AND LIQUIDATION OF HMV CANADA.
Catalogue Number
P20170004004
Acquisition Date
2017-02
Collection
Museum
Images
Less detail
Other Name
SUPINA SOUVENIR BOWL
Date Range From
1918
Date Range To
1960
Material Type
Artifact
Materials
PORCELAIN
Catalogue Number
P20150016001
  1 image  
Material Type
Artifact
Other Name
SUPINA SOUVENIR BOWL
Date Range From
1918
Date Range To
1960
Materials
PORCELAIN
No. Pieces
1
Height
6
Diameter
21.5
Description
CHINA BOWL WITH AN IRREGULAR RIM THAT EXTENDS A FLORAL PETAL MOTIF ALONG BOWL’S INSIDE EDGE. CENTRE FEATURES COUNTRY LANDSCAPE INCLUDING A COTTAGE, SURROUNDED BY STAMP MARK IN GOLD STENCIL AND SCRIPT, “COMPLIMENTS OF N. F. SUPINA”. GOOD TO VERY GOOD CONDITION. SLIGHT CRACKING IN THE BOTTOM. THE BASE IS SCUFFED AND DIRTY. THERE ARE SOME MARKS ON THE OUTSIDE EDGE.
Subjects
FURNITURE
Historical Association
BUSINESS
COMMEMORATIVE
DOMESTIC
History
EVERAL HORHOZER (NÉE SUPINA) WAS BORN IN LETHBRIDGE IN THE YEAR OF 1927 TO HER PARENTS DONAH (NÉE HILL) AND NICHOLAS SUPINA. SUPINA WAS THE OWNER OF SUPINA’S MERCANTILE ON 13TH STREET NORTH, LETHBRIDGE. COLLECTIONS TECHNICIAN KEVIN MACLEAN CONDUCTED A SERIES OF INTERVIEWS (ON APRIL 2, APRIL 16, AND MAY 7, 2015) WITH HORHOZER REGARDING A GROUP OF ARTIFACTS SHE DONATED TO THE MUSEUM. THE INFORMATION BELOW HAS COME FROM THESE INTERVIEWS AND LETHBRIDGE HERALD RESEARCH REGARDING HORHOZER AND HER FAMILY. THIS BOWL IS A REMINDER OF THE STORE THAT WAS AN INTEGRAL PART OF LIFE IN THE SUPINA FAMILY. HORHOZER REMEMBERS: “MY DAD ALWAYS GAVE A CHRISTMAS GIFT. SO ONE YEAR HE GAVE THE PLATE AND ANOTHER YEAR HE GAVE THIS BOWL AND ACTUALLY THAT’S ALL I KNOW ABOUT IT… [A]LL THE CUSTOMERS, THE ONES THAT DEALT THERE ALL THE TIME [GOT A CHRISTMAS PRESENT]. THE GOOD PAYING ONES AND THE NOT-SO-GOOD PAYING ONES, I THINK THEY PROBABLY EVEN GOT IT TOO, BUT, AS LONG AS THEY WERE CUSTOMERS THEN THEY GOT ONE… MY MOTHER SAVED [IT] FIRSTLY, BECAUSE THEY REALLY MEANT SOMETHING - PART OF THE STORE I GUESS SHE’D SAY. SO, HAD THEM FOR A LONG, LONG TIME… MY MOM HAD ALL KINDS OF ORNAMENTS AROUND AND SHE’D JUST PUT THEM ON A TABLE OR WHATEVER. SHE WOULD CHANGE HER ORNAMENTS EVERY ONCE AND AWHILE, AND THEN SHE’D PUT THESE IN THE CUPBOARD." ABOUT THE HISTORY OF SUPINA’S MERCANTILE, HORHOZER EXPLAINS: “I WAS BORN INTO [THE STORE]. MY DAD STARTED SMALL. HIS DAD HAD A LITTLE CONFECTIONARY; THEN HE TURNED IT INTO A GROCERY STORE AND THEN HE SOLD IT TO MY DAD. MY DAD WAS THE ONE THAT TOOK IT OVER, THAT WAS ALREADY TAKING PLACE WHEN I WAS BORN. THERE WAS NO SPECIFIC MEMORY [OF THAT TRANSITIION] BECAUSE THAT’S ALL I KNEW REALLY.” “… MY DAD WAS BORN IN CZECHOSLOVAKIA. [HIS FAMILY] CAME HERE WHEN HE WAS TWO. [HIS YOUNGER SIBLINGS], THE FIVE BROTHERS AND THE ONE SISTER, WERE ALL BORN IN THAT SAME LITTLE HOUSE THERE. AND THAT’S WHERE MY GRANDPA HAD STARTED THE STORE, IT WAS JUST A CONFECTIONARY. EVENTUALLY IT GREW INTO QUITE A BUSINESS… IN THOSE DAYS, IT WAS HORSE AND BUGGY, SO THEY HAD FIVE HORSES AND BUGGIES THAT WERE RUNNING, WORKING, AND MY UNCLE ALWAYS LOOKED AFTER THE HORSES AND MAINTAINED THEM. THEY’D GO AND THEY’D PICK UP THE ORDER. LOTS OF THE PEOPLE THEN COULDN’T SPEAK ENGLISH, BUT MY DAD COULD SPEAK CZECH, AND THEN THEY’D USUALLY SEND – HE HAD ALL KINDS OF NATIONALITIES WORKING FOR HIM - [A PERSON OF MATCHING ETHNICITY], THAT KNEW THEIR LANGUAGE TO PICK UP THE ORDER. THEY BROUGHT IT BACK TO THE STORE, AND THEN DELIVERED IT BACK TO THE CUSTOMER, THAT WAS REAL SERVICE IN THOSE DAYS, ESPECIALLY WITH HORSE AND BUGGY IN THOSE WINTRY DAYS, AFTER THAT IT DEVELOPED INTO TRUCKS. THERE WERE LOTS OF MINERS IN THOSE DAYS AND WERE GOOD CUSTOMERS… HE AT ONE TIME EMPLOYED THIRTY-SIX PEOPLE IN THE STORE THERE.” AN ARTICLE IN LETHBRIDGE HERALD PUBLISHED ON MAY 5, 2004 STATES THAT NICK SUPINA PURCHASED THE STORE FROM HIS FATHER, MIKE SUPINA, IN 1918. IN THE INTERVIEW, HORHOZER CONTINUED TO SPEAK ABOUT THE BEGINNING DAYS OF THE SUPINA’S STORE: “MY GRANDPA WAS WORKING IN THE MINE. I DON’T KNOW HOW IT CAME THAT HE HAD THIS LITTLE BUSINESS… IT’S MY DAD THEN THAT HAD TO LOOK AFTER THE FAMILY BECAUSE THEY DIDN’T HAVE ANY MONEY. THERE WAS FIVE BOYS SO HE HAD THEM ALL. THEY WERE ALL CLOSE TOGETHER IN AGE. THERE’S STEVE AND BILLY AND JOHN AND MIKE… UNCLE STEVE, IS THE SECOND, HE’S THE ONE THAT STAYED WITH MY DAD, AND JOHNNY DID TOO. THEN THE OTHER TWO PURSUED THEIR OWN BUSINESSES. BILLY HAD A BUSINESS IN RED DEER AND SMALL BUSINESSES IN TWO OTHER PLACES. THEN MIKE, HE WENT TO THE STATES AND—OH, THAT WAS GEORGE, PARDON ME. HE HAD A SHOE STORE WHICH WAS VERY, VERY SUCCESSFUL. MIKE WAS THE ONLY ONE THAT WASN’T IN BUSINESS. THAT WAS BECAUSE HE WAS IN THE WAR…” THINKING BACK ON HER MEMORIES OF SUPINA’S, HORHOZER DESCRIBES, “[I]N THOSE DAYS YOU HAD GOOD FRUIT. I REMEMBER THE DELICIOUS PEACHES. I HAVEN’T SEEN A PEACH LIKE THAT SINCE… LOTS OF TIMES, THE FRUIT WOULD GO OVER-RIPE, LIKE YOUR APRICOTS AND PEACHES. MY MOTHER WOULD GO AND GET ALL THE OVER-RIPE FRUIT AND TAKE IT HOME AND MAKE BEAUTIFUL PIES AND TAKE THE PIES BACK TO THE STORE AND SELL THEM. SHE WAS A WONDERFUL BAKER. THEY DID EVERYTHING LIKE THAT TO HELP MAKE MORE MONEY. SOMETIMES MY DAD WOULD HAVE A SPECIAL ON, 3 CENTS A LOAF [OF BREAD. I HAD LOTS OF ADS FROM THE STORE, AND YOU’D GET SUCH A KICK OUT OF SEEING HAMBURGER, TWENTY-FIVE CENTS A POUND AND THINGS LIKE THAT. SO, YES I REMEMBER.” HORHOZER BEGAN WORKING AT THE STORE AT THE AGE OF 14: “I WORKED IN THE LADIESWEAR. I LIKED THAT VERY MUCH. THE MEAT DEPARTMENT WAS RIGHT ACROSS FROM THE LADIESWEAR. THAT’S KIND OF HOW I MET JOE. HE WORKED IN THE BUTCHER DEPARTMENT. I REMEMBER THE DAY HE WALKED IN THE STORE, I’LL NEVER FORGET [IT], HE HAD THIS RED CARDIGAN SWEATER ON AND I JUST FELL, HEAD OVER RIGHT THEN. HE WAS JUST STARTING WORK AND I THOUGHT, ‘WELL, THAT’S THE GUY I’M GOING TO MARRY.’” HORHOZER BELIEVED THAT AN IMPORTANT PART OF THE STORE’S SUCCESS WAS “… BECAUSE, [OF] THE SERVICE MAINLY. JUST THINK, GOING THERE, GETTING YOUR ORDERS, BRINGING THEM BACK, DOING THEM UP, THEY’D MAKE SURE THINGS WERE TOP QUALITY. THEY GOT TO KNOW EVERY CUSTOMER, OF COURSE, AND THEY KNEW WHAT THEY LIKED. HE HAD WONDERFUL PEOPLE WORKING FOR HIM. THEY JUST GAVE FANTASTIC SERVICE ALL THE TIME. PLUS, MY DAD WAS GRUFF, BUT HE WAS VERY, VERY KIND TO POOR PEOPLE THAT COULDN’T AFFORD –THERE’S LOTS THAT YEARS AFTER HE HAD PASSED AWAY [PEOPLE] WOULD COME UP TO ME AND SAY, ‘IF IT WASN’T FOR YOUR DAD, JOHNNY WOULDN’T HAVE HAD CHEESE,’ OR SOMETHING. I DIDN’T KNOW A THING ABOUT IT, BECAUSE HE WAS ONE THAT NEVER, EVER TOLD ANYBODY… THEN AT CHRISTMAS TIME HE WOULD GO TO THE STORE AND HE HAD A LIST OF EVERYBODY THAT HE KNEW WAS EXCEPTIONALLY POOR, AND HE WOULD FILL BASKETS. HE WOULD DO IT ALL BY HIMSELF… HE WOULDN’T TELL MY MOTHER AND I. HE WAS SO TIGHT-MOUTHED, FILL ALL THESE BASKETS AND DELIVER THEM TO THE PEOPLE HIMSELF WITHOUT TELLING A SOUL ABOUT IT. HE WAS THAT KIND OF PERSON. HE WAS VERY KIND THAT WAY.” SUPINA’S MERCANTILE SERVED LETHBRIDGE UNTIL IT CLOSED IN 1960. HORHOZER REMAINED IN RETAIL IN VARIOUS SHOPS IN THE CITY, INCLUDING THE DEPARTMENT STORE WOOLCO UNTIL HER RETIREMENT IN 1988. HORHOZER PASSED AWAY IN LETHBRIDGE IN 2016 AT THE AGE OF 88 YEARS OLD. PLEASE SEE THE PERMANENT FILE FOR ADDITIONAL INFORMATION ABOUT SUPINA’S MERCANTILE AND THE LIFE OF EVERAL AND HER FAMILY, WHICH INCLUDES THE FULL INTERVIEW TRANSCRIPT AND LETHBRIDGE HERALD ARTICLES.
Catalogue Number
P20150016001
Acquisition Date
2015-05
Collection
Museum
Images
Less detail
Other Name
"RED DAWN"
Date Range From
1980
Date Range To
1990
Material Type
Artifact
Materials
PAPER, INK
Catalogue Number
P20180029001
Material Type
Artifact
Other Name
"RED DAWN"
Date Range From
1980
Date Range To
1990
Materials
PAPER, INK
No. Pieces
1
Length
104
Width
68.8
Description
POSTER WITH IMAGE ON FRONT OF PURPLE AND BLUE SKY WITH SUNRISE AND PARATROOPERS DESCENDING OVER TOWN OSURROUNDED BY MOUNTAINS AT BOTTOM EDGE. POSTER HAS WHITE BORDERS; POSTER HAS WHITE TEXT PRINTED ON IMAGE “IN OUR TIME NO FOREIGN ARMY HAS EVER OCCUPIED AMERICAN SOIL. UNTIL NOW” AND RED PRINTED TEXT BELOW WITH RUSSIAN SYLLABICS OVER “RED DAWN”; POSTER HAS WHITE CREDITS ALONG BOTTOM EDGE, “A VALKYRIE FILM A SIDNEY BECKERMAN PRODUCTION RED DAWN…” WITH LISTING OF CAST AND CREW MEMBERS. LOWER LEFT CORNER OF IMAGE HAS TEXT WARNING “PG-13, PARENTS ARE STRONGLY CAUTIONED TO GIVE SPECIAL GUIDANCE FOR ATTENDANCE OF CHILDREN UNDER 13, SOME MATERIAL MAY BE INAPPROPRIATE FOR YOUNG CHILDREN”, AND TEXT BESIDE “[COPYRIHT SYMBOL” 1984 UNITED ARTISTS CORPORATION”; LOWER RIGHT CORNER OF IMAGE HAS LOGO “METRO GOLDWYN MAYER UNITED ARTISTS, DIAMOND JUBILEE, SIXTY YEARS OF GREAT ENTERTAINMENT”; POSTER HAS TEXT ALONG LOWER BORDER “PROPERTY OF NATIONAL SCREEN CORPORATION LICENSED FOR USE ONLY IN CONNECTION WITH THE EXHIBITION OF THIS PICTURE AT THE THEATRE LICENSING THIS MATERIAL. LICENSEE AGREES NOT TO TRADE, SELL OR GIVE IT AWAY, OR PERMIT OTHERS TO USE IT, NOR SHALL LICENSEE BE ENTITLED TO ANY CREDIT UPON RETURN OF THIS MATERIAL. THIS MATERIAL EITHER MUST BE RETURNED OR DESTROYED IMMEDIATELY AFTER USE. LITHO. IN U.S.A., RED DAWN 840077”. BACK OF POSTER HAS HANDWRITTEN TEXT IN RED INK IN LOWER LEFT CORNER “KEVIN MCLEAN $2.00” AND HANDWRITTEN TEXT IN BLUE INK “RED DAWN”. POSTER HAS TEARS AT RIGHT AND LEFT EDGES, AND LOWER EDGE; FRONT IS CREASED; BACK OF CORNERS HAS LOSS FROM REMOVAL OF ADHESIVES. OVERALL GOOD CONDITION.
Subjects
ADVERTISING MEDIUM
Historical Association
BUSINESS
LEISURE
History
ON DECEMBER 21, 2018, GALT MUSEUM CURATOR AIMEE BENOIT INTERVIWED KEVIN MACLEAN REAGARDING HIS DONATION OF PERSONAL OBJECTS. THE OBJECTS DONATED BY MACLEAN REFLECTED HIS LIFE AND IDENTITY THROUGH HIS TIME IN LETHBRIDGE. ON THE “RED DAWN” FILM POSTER, MACLEAN ELABORATED, “THE POSTER [WAS] UP [IN MY ROOM].” “[IN] THE 1980S, AS A KID, AND I DON’T KNOW IF IT WAS JUST ME ‘CAUSE I WAS A NEWS JUNKIE, THE COLD WAR WAS A BIG DEAL IN THE EARLY ‘80S. THERE WERE SHOWS ON TV THAT WERE SCARING THE CRAP OUT OF ME. THERE WAS ONE CALLED THE DAY AFTER AND THAT WAS IN ’83. THEN IN 1984 THIS MOVIE COMES OUT WHICH IS CALLED RED DAWN WHICH IS, AGAIN, ABOUT RUSSIAN COMMUNIST INVASIONS OF NORTH AMERICA. IT’S A SMALL TOWN THAT ALL THESE TROOPS DROP INTO. TO SAY THE LEAST, I WAS SEMI-OBSESSED WITH THE SUBJECT MATTER.” “IF YOU WATCHED THE DAY AFTER…ON ONE HAND, THAT KIND OF SUBJECT MATTER CAN FEEL FOREIGN AND ABSTRACT AND NOT RELEVANT. BUT, IF AT THE SAME TIME YOU’RE A KID, AND YOUR PARENTS ARE WATCHING THE NEWS EVERY NIGHT, AND YOU HAVE AN INTEREST IN WHAT’S GOING ON—A LOT OF KIDS DON’T CARE BUT FOR SOME REASON, I WAS VERY INTERESTED. THEN YOU THOUGHT, “NO, THIS IS A VERY REAL PROSPECT. THIS COULD ACTUALLY HAPPEN.” I WAS TERRIFIED ABOUT IT. BUT, AT THE SAME TIME, I WAS ALSO ATTRACTED TO IT, LIKE A FLAME. IT WAS…ROCKETS…I DON’T KNOW WHAT IT WAS BUT I WAS ACTIVELY INTERESTED IN [THEM]. THEN AT SOME POINT, THAT PIVOTED, WHICH IS WHEN I KNOW I WAS LOOKING AT THE SOLDIER OF FORTUNE MAGAZINES AND THEN I STARTED BUYING COMIC BOOKS…WORLD WAR TWO COMIC BOOKS.” “WE DIDN’T HAVE MUCH TV OUT IN PICTURE BUTTE. [OTHER PEOPLE] PROBABLY HAD LOTS OF CHANNELS IN LETHBRIDGE. ONE CHANNEL WE DID HAVE—I THINK WE ONLY HAD THREE—WAS CBC. I REMEMBER [MY PARENTS] WATCHING THE NATIONAL. I THINK [THERE] WAS [A SHOW] CALLED THE JOURNAL WITH BARBARA FRUM [THAT MY PARENTS] WOULD WATCH AT TEN O’CLOCK EVERY SINGLE NIGHT. I WOULD SNEAK OUT OF MY ROOM AND HIDE BEHIND THE COUCH, AND [THE COLD WAR IS] ON THE NEWS EVERY SINGLE NIGHT.” “IN TERMS OF [THE COLD WAR] MANIFESTING ITSELF LOCALLY…I THINK TRUDEAU’S IN POWER, AND THERE’S A WHOLE DEBATE ABOUT CANADA HAVING NUKES IN THIS COUNTRY. ULTIMATELY, IT DIDN’T HAPPEN. BUT, THE U.S. WAS TESTING CRUISE MISSILES IN ALBERTA, AND NOT FAR FROM MY FRIEND’S HOUSE OUT NEAR PICTURE BUTTE, WHEN THE TALK OF A CRUISE MISSILE BEING TESTED IN ALBERTA WAS IN THE NEWS, ACTIVELY, PEOPLE WERE UNHAPPY AND PROTESTING. A BUNCH OF TRACTOR TRAILERS PULLED UP ON THE TOP OF A HILL, TWO MILES AWAY FROM [MY FRIEND’S] HOUSE, WITH U.S. LICENSE PLATES. OTHERWISE, THEY WERE TOTALLY UNMARKED. THEY BUILT THIS RADAR INSTALLATION UP ON THE TOP OF THE HILL, WHERE IT REMAINED…FOR THREE DAYS OR [SO]…AND THEN IT ALL DISAPPEARED.” “I CAN’T SAY THAT I KNOW FOR A FACT THAT IT WAS RELATED TO CRUISE MISSILE TESTING.” “GENERALLY TO SAY…WITH THESE [OBJECTS] I CAN DRAW A BIT OF A LINE FROM MY HAVING POSSESSED THEM ALL THE WAY, IN SOME FORM…THEY WOULD HAVE HAD AN IMPACT ON [MY] IDENTITY AND WHO I THINK I AM TODAY. I DON’T VALUE THEM BECAUSE THEY DON’T HAVE UTILITY AND THEY DON’T HAVE PRACTICAL VALUE. I DON’T LOOK AT THEM ALL THE TIME, BUT I KNOW THAT THEY HAVE SOME IMPORTANCE LIFE-WISE.” “IN SCHOOL, THERE WAS A GAME THAT WE WERE PLAYING. THIS IS AT A TIME WHEN THERE’S ONE COMPUTER FOR THE ENTIRE SCHOOL. IT WAS AN APPLE…AND IT WAS A WW2-BASED GAME. MY INTEREST, INITIALLY, WAS IN CONTEMPORARY-TYPE STUFF. THEN WE’RE PLAYING THIS GAME WHICH I’M NOT REALLY–IT’S ABSTRACT TO ME. WE’RE JUST PLAYING THIS GAME AND THEN, BECAUSE I’M INTO THIS, I’M BUYING MAGAZINES CALLED SOLDIER OF FORTUNE, AND I CAN REMEMBER FLIPPING THROUGH THE PAGES OF [THE] PROXY WAR IN AFGHANISTAN. [THE RUSSIANS] HAD GONE INTO AFGHANISTAN, AND I SAW A WW2 PICTURE AND I CONNECTED IT TO THIS GAME AND I [THOUGHT], “OH, THIS IS A REAL THING.” THEN, ALL OF A SUDDEN, THIS CONTEMPORARY STUFF IS OF LESSER INTEREST AND THEN IT BECOMES MORE SECOND WORLD WAR INTEREST AFTER THAT.” “MAYBE I STILL AM [THAT PERSON] TODAY A BIT…IN DIFFERENT RESPECTS. [THE OBJECTS] TAKE UP SOME SPACE BUT I COULDN’T LET THEM GO BECAUSE THEY’RE SYMBOLS, IN A WAY. THEY’RE ONLY THAT BECAUSE OF WHAT IS IN MY HEAD, SO I THOUGHT AT SOME POINT IT WAS GOOD TO [DONATE THEM]…IT WOULD HAVE BEEN MAYBE EASIER TO LET SOME OF THIS STUFF GO.” FOR MORE INFORMATION INCLUDING ARTICLES FROM THE LETHBRIDGE HERALD, BRANDON SUN, MEDICINE HAT NEWS, AND THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180029001-GA.
Catalogue Number
P20180029001
Acquisition Date
2018-12
Collection
Museum
Less detail
Other Name
SLURPEE CUP
Date Range From
2000
Date Range To
2005
Material Type
Artifact
Materials
PLASTIC, INK
Catalogue Number
P20180029008
  2 images  
Material Type
Artifact
Other Name
SLURPEE CUP
Date Range From
2000
Date Range To
2005
Materials
PLASTIC, INK
No. Pieces
1
Height
16.3
Diameter
10.6
Description
PLASTIC CUP WITH YELLOW, ORANGE AND GREY PRINTED IMAGE OF SOLDIER IN HELMET IN CITYSCAPE WITH BLUE AND ORANGE LOGO “HALO 2”. CUP HAS BLUE BORDER UNDER RIM WITH WHITE TEXT “SLURPEE”. LOWER LEFT CORNER OF IMAGE HAS BLACK AND GREEN LOGO “XBOX”; CUP HAS TEXT AT ALONG BASE “32 OZ, US (946 ML)” WITH WHITE, GREEN, RED AND ORANGE LOGO “7 ELEVEN”, AND BARCODE “0 05120 7” AND TEXT “WWW.SLURPEE.COM”. RIGHT END OF IMAGE HAS GREEN BORDER FROM BASE TO RIM WITH GREEN, RED AND WHITE LOGOS “MOUNTAIN DEW”. BESIDE “MOUNTAIN DEW” LOGOS IS WHITE BORDERS WITH BLACK TEXT “[COPYRIGHT SYMBOL] 2004 MICROSOFT CORPORATION. ALL RIGHTS RESERVED. MICROSOFT, BUNGIE, THE BUNGIE LOGO, HALO, XBOX, XBOX LIVE, THE XBOX LOGO AND THE XBOX LIVE LOGO ARE EITHER REGISTERED TRADEMARKS OR TRADEMARKS OF MICROSOFT CORPORATION IN THE U.S. AND/OR IN OTHER COUNTRIES. THIS PROMOTION IS BASED ON A MATURE-RATED VIDEO GAME. MOUNTAIN DEW AND THE MD DESIGN ARE REGISTERED TRADEMARKS OF PEPSICO, INC.” INSIDE OF CUP IS OPAQUE WHITE PLASTIC; BASE OF CUP IS OPAQUE WHITE PLASTIC WITH EMBOSSED TEXT “TECHNIMARK, ASHEBORO, NC, MADE IN USA, 6, TM-32T, [RECYCLING SYMBOL] 7, OTHER”. LABEL ON FRONT HAS TEARS IN IMAGE AND SCUFF MARKS AT BASE; OVERALL VERY GOOD CONDITION.
Subjects
FOOD SERVICE T&E
MERCHANDISING T&E
Historical Association
BUSINESS
History
ON DECEMBER 21, 2018, GALT MUSEUM CURATOR AIMEE BENOIT INTERVIWED KEVIN MACLEAN REAGARDING HIS DONATION OF PERSONAL OBJECTS. ON THE SLURPEE CUP, MACLEAN RECALLED, “I WAS IN THE RESERVES AT THE TIME WHEN [THE] HALO CUPS CAME OUT, SO I’M PRETTY SURE THAT THEY WOULD DATE TO ABOUT 2001 AND 2002. UP UNTIL THAT POINT I WOULD BE USING DISPOSABLE CUPS. I HAD A 7-ELEVEN…WHEN WE LIVED IN THE 300 BLOCK OF 15TH STREET FOR 10 YEARS, THERE WAS A 7-ELEVEN A BLOCK AWAY FROM MY HOUSE. LATER IT WOULD BE ON MAYOR MAGRATH DRIVE…BY THE SANDMAN IS WHERE I WOULD HAVE GOT THE HALO CUPS. WHAT I DID [IS] I BOUGHT A NUMBER OF THOSE CUPS SO I COULD HAVE HAD AS MANY AS 15 TO 20 OF THEM AND THEN I WOULD HAVE A CUP DISPENSER. IF YOU WERE IN MY VEHICLE [A YUKON], THERE WOULD HAVE BEEN 15-20 CUPS ON THE BACK SEAT. I ALWAYS HAD CUPS THAT I WOULD TAKE IN. I WOULD USE THOSE CUPS BECAUSE I THINK I WOULD ACTUALLY GET SOME REDUCTION IN PRICE FOR BRINGING THAT CUP IN. BUT I ALSO THOUGHT IT WAS A REALLY COOL CUP.” “IT MIGHT HAVE BEEN [PART OF A COLLECTOR’S SERIES].” “[THE CUPS WERE] MOVIE BASED…THAT ONE IS ACTUALLY GAME BASED [HALO IS A GAME]. AFTER THAT ONE CAME OUT THERE WAS A NUMBER OF, EITHER GAMES OR MOVIES, THAT WERE COMING OUT THAT 7-ELEVEN WOULD PROMOTE ON THOSE CUPS. I THINK I HAD TERMINATOR CUP, AND I HAD SOME FUTURE HALO CUPS. I NEVER LIKED THEM AS MUCH AS I LIKED THAT CUP THAT I’VE DONATED.” “I [LIKED] THE COLORS OF IT AND, BECAUSE I WAS IN THE ARMY AT THE TIME, I THOUGHT IT WAS A COOL CUP. AT THAT SAME TIME THEY WERE TWINNING MAYOR MAGRATH DRIVE, MAKING IT 3 LANES IN BOTH DIRECTIONS, I REMEMBER COMING FROM THE ARMORY GOING DOWN TO 7-ELEVEN TO GET MY SLURPEE.” “I DON’T [PLAY HALO]. I JUST LIKED THE SOLDIER GUY.” MACLEAN SPOKE TO HIS INTEREST IN SLURPEES, NOTING, “THERE WOULD BE THINGS THAT WOULD BE PART OF MY DAY TO DAY LIFE AND EXISTENCE THAT, I WOULD SAY, ARE PART OF MY IDENTITY IN TERMS OF WHO I AM. DRINKING SLURPEES WOULD HAVE BEEN ONE OF THOSE THINGS. IF YOU WOULD HAVE BEEN AT WORK WITH ME IN THE 1990S THEN YOU POTENTIALLY WOULD HAVE RECALL OF ME DRINKING SLURPEES EVERY SINGLE DAY. IT WAS SUPER IMPORTANT TO ME SO I THOUGHT I SHOULD OFFER ONE TO THE MUSEUM. I KNEW THERE WASN’T ALREADY A SLURPEE CUP.” “I REMEMBER MY AUNT AND UNCLE, WHO ARE BRIAN AND BONNIE MURRAY, TAKING ME AS A KID [AT ABOUT 8 OR 9 YEARS OLD]…THIS WOULD BE IN THE LATE 1970S, AND WE VISITED A STRIP COMMERCIAL SPACE ON MAYOR MAGRATH DRIVE OUT BY THE GREEN STRIP. LOCATED THERE WAS A 7-ELEVEN ADJACENT TO A TACO TIME. I THINK WE WENT TO BOTH LOCATIONS BECAUSE I WAS A FARM KID IN PICTURE BUTTE. I REMEMBER EATING SOFT TACOS WITH MEXI-FRIES AND THEN FOR SURE GOING TO 7-ELEVEN AND HAVING A GRAVEYARD SLURPEE FOR THE VERY FIRST TIME.” “[A GRAVEYARD SLURPEE IS] ORANGE CRUSH MIXED WITH COKE AND ROOT BEER. IT’S A WHOLE BUNCH OF FLAVORS MIXED IN ONE AND I THOUGHT IT WAS THE COOLEST THING. I DON’T KNOW IF IT WAS THE TEXTURE IN MY MOUTH OR IF IT WAS THE TEMPERATURE BUT IT RESONATED WITH ME IN A BIG WAY.” “I POTENTIALLY WOULD DRINK MULTIPLE SLURPEES PER DAY AND THE SLURPEES ARE NOT ALL THE SAME. DEPENDING ON WHEN YOU GO, THE QUALITY OF THE SLURPEE IS GOING TO BE DIFFERENT. YOU HAVE A BAD SLURPEE EXPERIENCE, YOU MIGHT DECIDE NOT TO DRINK THE WHOLE THING AND THEN WHAT YOU’RE GOING TO DO IS GO BACK IN FOUR HOURS AND TRY AGAIN. OR YOU COULD HAVE A REALLY GOOD SLURPEE EXPERIENCE AND YOU WOULD GO BACK AND TRY AGAIN. BUT THERE WOULD BE THINGS LIKE, IF I WALKED INTO THE STORE AND SOMEONE WAS IN FRONT OF ME AND THEY HAPPENED TO HAVE ONE OF THOSE LARGE THERMOS [CUPS], THAT COULD HOLD THE EQUIVALENT OF 4 OR 5 OF [MINE]…THEY WOULD DESTROY THE CONSISTENCY OF THE SLURPEE. IF THEY’RE IN FRONT OF ME, I’D BE GETTING REALLY ANGRY AT THEM OVER A SLURPEE WHICH ISN’T GOOD AT ALL. IT WAS TO THE POINT WHERE I COULD WALK IN THE FRONT DOORS AND I COULD LOOK AT THE MACHINE, WHICH WOULD BE ON THE OPPOSITE SIDE OF THE ROOM AND TELL, JUST BY THE COLOUR AND HOW QUICKLY THAT PADDLE WAS GOING AROUND, HOW GOOD THAT SLURPEE WAS GOING TO BE. I WOULD TURN AROUND AND WALK OUT IF IT WAS MOVING RELATIVELY QUICK AND IT WAS REALLY DARK. SO I KNEW. THAT’S A PROBLEM AND…POTENTIALLY MY BLOOD PRESSURE WOULD CHANGE WHEN I’M DISPENSING THE SLURPEE BECAUSE I’M SO EXCITED TO GET IT. A LOT OF WHAT WE DO AS HUMAN BEINGS IS ABOUT RITUAL AND IT’S NOT EVEN REALLY ABOUT THE SLURPEE ITSELF BUT THAT, AT A CERTAIN POINT OF THE DAY, WE DO THE SAME THING OVER AND OVER AGAIN BECAUSE IT FEELS GOOD. FOR ME, IT WAS AT LUNCH TIME, DRIVING FROM MY HOUSE TO GO GET THAT SLURPEE TO BRING IT BACK TO WORK, WHICH IS A TREMENDOUS WASTE OF TIME. AND FOR WHAT? EXCEPT THAT, I REALLY DID LIKE DRINKING SLURPEES. I REALLY LIKED THE SUGAR RUSH A LOT. IT GAVE ME A LOT OF ENERGY AND I DON’T KNOW IF I HAVE THAT ANY MORE. I NEVER CRASHED AFTER I DRANK THEM. I SAID “IT WAS LIKE I PARACHUTED BACK TO EARTH”. I LOVED THEM LOTS.” “[I STOPPED DRINKING SLURPEES] AROUND [2011/2012]. THE CITY OF LETHBRIDGE WAS OFFERING A HEALTH CHECK-UP WHICH WAS REALLY GOOD. I WENT AND THEY MEASURED MY BLOOD SUGAR WHICH WAS HIGH NORMAL. IT WASN’T OUTSIDE NORMAL, BUT IT WAS HIGH NORMAL AND THEY WERE RECOMMENDING TO ME…THAT PERHAPS I SHOULDN’T BE DRINKING SUGAR EVERY DAY. AND ME KNOWING THAT PANCREATIC CANCER IS SOMETHING THAT COULD BE RELATED TO SUGAR CONSUMPTION, I JUST KNEW THAT THERE WAS REALLY NO GOOD REASON FOR ME TO BE DRINKING THOSE STUPID THINGS AS PART OF MY DAY TO DAY EXISTENCE.” “I CUT THEM OUT. I STOPPED AND I THINK IF YOU CAN BREAK THE RITUAL OF GOING TO GET THEM, BECAUSE YOU CAN GET THERE, YOU DON’T EVEN DRINK IT OR YOU DON’T EVEN GET IT. I JUST THOUGHT I HAVE TO BREAK THE PATTERN. SO I BROKE THE PATTERN AND THEN I HAVEN’T GONE BACK.” “I DON’T THINK I’VE KNOWN ANYONE WHO WOULD HAVE BEEN CONSUMING THE NUMBER OF SLURPEES THAT I WAS. I KNOW MY SISTER AND HER HUSBAND WERE DRINKING BIG GULPS, AND THEY WOULD HAVE MUCH LARGER CONTAINERS THAN I EVER HAD. PEOPLE WERE CRITICAL OF MY SLURPEE CONSUMPTION, AND MY SISTER AND BROTHER-IN-LAW WERE PROBABLY DRINKING AS MUCH IF NOT MORE COKE, [OR] FOUNTAIN POP, THAN ME. I DON’T KNOW WHY SLURPEES GET SUCH A BAD RAP, BUT I’VE NEVER KNOWN MANY PEOPLE THAT LIKED TO DRINK MORE THAN ME. THE OTHER THING IS THAT I HAVE NO CAVITIES. I DON’T EVEN GO TO THE DENTIST EVERY YEAR BECAUSE I THINK IT’S A RACKET. I WOULD GO, AND THEY WOULDN’T FIND ANY CAVITIES.” “[THE CUP HAS] MEANING TO ME TO SEE [IT] BECAUSE [SLURPEES WERE] PART OF MY DAY TO DAY EXISTENCE FOR—IF IT STARTED IN 1979 AND ENDED BY 2012—THE BETTER PART OF THIRTY-TWO YEARS. IT’S A LONG TIME, AND I [THOUGHT] OF THEM EVEN DURING HIGH SCHOOL.” FOR MORE INFORMATION INCLUDING ARTICLES FROM THE LETHBRIDGE HERALD, BRANDON SUN, MEDICINE HAT NEWS, AND THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180029001-GA.
Catalogue Number
P20180029008
Acquisition Date
2018-12
Collection
Museum
Images
Less detail
Other Name
FLAIL PADDLE
Date Range From
1920
Date Range To
1990
Material Type
Artifact
Materials
WOOD
Catalogue Number
P20160003001
  1 image  
Material Type
Artifact
Other Name
FLAIL PADDLE
Date Range From
1920
Date Range To
1990
Materials
WOOD
No. Pieces
1
Height
4
Length
41
Width
12
Description
WOODEN FLAIL. ONE END HAS A PADDLE WITH A WIDTH THAT TAPERS FROM 12 CM AT THE TOP TO 10 CM AT THE BASE. THE PADDLE IS WELL WORN IN THE CENTER WITH A HEIGHT OF 4 CM AT THE ENDS AND 2 CM IN THE CENTER. HANDLE IS ATTACHED TO THE PADDLE AND IS 16 CM LONG WITH A CIRCULAR SHAPE AT THE END OF THE HANDLE. ENGRAVED ON THE CIRCLE THE INITIALS OF DONOR’S MATERNAL GRANDMOTHER, ELIZABETH EVANAVNA WISHLOW, “ . . .” GOOD CONDITION. THERE IS SLIGHT SPLITTING OF THE WOOD ON THE PADDLE AND AROUND THE JOINT BETWEEN THE HANDLE AND THE PADDLE. OVERALL WEAR FROM USE.
Subjects
AGRICULTURAL T&E
Historical Association
AGRICULTURE
ETHNOGRAPHIC
History
THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM A TWO-PART INTERVIEW WITH DONOR ELSIE MORRIS, WHICH WAS CONDUCTED BY COLLECTIONS TECHNICIAN KEVIN MACLEAN ON FEBRUARY 17, 2016. ADDITIONAL INFORMATION COMES FROM FAMILY HISTORIES AND TEXTS PROVIDED BY THE DONOR. THIS WOODEN DOUKHOBOR TOOL IS CALLED A “FLAIL.” A NOTE WRITTEN BY ELSIE MORRIS THAT WAS ATTACHED TO THE FLAIL AT THE TIME OF DONATION EXPLAINS, “FLAIL USED FOR BEATING OUT SEEDS. BELONGED TO ELIZABETH EVANAVNA WISHLOW, THEN HANDED TO HER DAUGHTER ELIZABETH PETROVNA KONKIN WHO PASSED IT ON TO HER DAUGHTER ELIZABETH W. MORRIS.” ALTERNATELY, IN THE INTERVIEW, MORRIS REMEMBERED HER GRANDMOTHER’S, “… NAME WAS JUSOULNA AND THE MIDDLE INITIAL IS THE DAUGHTER OF YVONNE. YVONNE WAS HER FATHER’S NAME AND WISHLOW WAS HER LAST NAME.” THE FLAIL AND THE BLANKET, ALSO DONATED BY MORRIS, WERE USED TOGETHER AT HARVEST TIME TO EXTRACT AND COLLECT SEEDS FROM GARDEN CROPS. ELSIE RECALLED THAT ON WINDY DAYS, “WE WOULD PICK DRIED PEAS OR BEANS, OR WHATEVER, AND WE WOULD [LAY THEM OUT ON THE BLANKET], BEAT AWAY AND THEN HOLD [THE BLANKET] UP, AND THE BREEZE WOULD BLOW THE HULLS OFF AND THE SEEDS WOULD GO STRAIGHT DOWN.” THE FLAIL CONTINUED TO BE USED BY ELIZABETH “RIGHT UP TO THE END,” POSSIBLY INTO THE 1990S, AND THEREAFTER BY MORRIS. WHEN ASKED WHY SHE STOPPED USING IT HERSELF, MORRIS SAID, “I DON’T GARDEN ANYMORE. FURTHERMORE, PEAS ARE SO INEXPENSIVE THAT YOU DON’T WANT TO GO TO ALL THAT WORK... I DON’T KNOW HOW MANY PEOPLE HARVEST THEIR SEEDS. I THINK WE JUST GO AND BUY THEM IN PACKETS NOW.” THE KONKINS WERE A RUSSIAN-SPEAKING FAMILY FROM THE TOWN OF SHOULDICE, ALBERTA, NEAR CALGARY. THEY AND MANY OTHER RUSSIAN FAMILIES COMPOSED THAT TOWN’S DOUKHOBOR COLONY. DOUKHOBOURS CAME TO CANADA IN FINAL YEARS OF THE 19TH CENTURY TO ESCAPE RELIGIOUS PERSECUTION IN RUSSIA. ELIZABETH KONKIN (NEE WISHLOW) WAS BORN IN CANORA, SK ON JANUARY 22, 1907 TO HER PARENTS, PETER AND ELIZABETH WISHLOW. AT THE AGE OF 6 SHE MOVED WITH HER FAMILY TO A DOUKHOBOR SETTLEMENT AT BRILLIANT, BC, AND THEY LATER MOVED TO THE DOUKHOBOR SETTLEMENT AT SHOULDICE. IT WAS HERE THAT SHE MET AND MARRIED WILLIAM KONKIN. THEIR DAUGHTER, ELSIE MORRIS (NÉE KONKIN), WAS BORN IN SHOULDICE IN 1928. INITIALLY, WILLIAM TRIED TO SUPPORT HIS FAMILY BY GROWING AND PEDDLING VEGETABLES. WHEN THE FAMILY RECOGNIZED THAT GARDENING WOULD NOT PROVIDE THEM WITH THE INCOME THEY NEEDED, WILLIAM VENTURED OUT TO FARM A QUARTER SECTION OF IRRIGATED LAND 120 KM (75 MILES) AWAY IN VAUXHALL. IN 1941, AFTER THREE YEARS OF FARMING REMOTELY, HE AND ELIZABETH DECIDED TO LEAVE THE ALBERTA COLONY AND RELOCATE TO VAUXHALL. MORRIS WAS 12 YEARS OLD AT THE TIME. MORRIS STATED: “… [T]HEY LEFT THE COLONY BECAUSE THERE WERE THINGS GOING ON THAT THEY DID NOT LIKE SO THEY WANTED TO FARM ON THEIR OWN. SO NOW NOBODY HAD MONEY, SO VAUXHALL HAD LAND, YOU KNOW, THAT THEY WANTED TO HAVE THE PEOPLE AND THEY DIDN’T HAVE TO PUT ANY DOWN DEPOSIT THEY JUST WERE GIVEN THE LAND AND THEY HAD TO SIGN A PAPER SAYING THEY WOULD GIVE THEM ONE FOURTH OF THE CROP EVERY YEAR. THAT WAS HOW MY DAD GOT PAID BUT WHAT MY DAD DIDN’T KNOW WAS THAT THE MONEY THAT WENT IN THERE WAS ACTUALLY PAYING OFF THE FARM SO HE WENT TO SEE MR., WHAT WAS HIS LAST NAME, HE WAS THE PERSON IN CHARGE. ANYWAY HE SAID TO HIM “HOW LONG WILL IT BE BEFORE I CAN PAY OFF THIS FARM” AND HE SAYS “YOU’VE BEEN PAYING IT RIGHT ALONG YOU OWE ABOUT TWO HUNDRED AND A FEW DOLLARS”. WELL THAT WAS A REAL SURPRISE FOR THEM SO THEY GAVE THEM THE TWO HUNDRED AND WHATEVER IT WAS THAT HE OWED AND HE BECAME THE OWNER OF THE FARM." MORRIS WENT ON, ”THE DOUKHOBORS ARE AGRARIAN, THEY LIKE TO GROW THINGS THAT’S THEIR CULTURE OF OCCUPATION AND SO THE ONES WHO LIKED FRUIT MOVED TO B.C. LIKE MY UNCLE DID AND MY DAD LIKED FARMING SO HE MOVED TO VAUXHALL AND THERE WERE LET’S SEE, I THINK THERE WERE FOUR OTHER FAMILIES THAT MOVED TO VAUXHALL AND THREE OF THE MEN GOT TOGETHER AND DECIDED THEY WERE GOING TO GET THEIR TOOLS TOGETHER LIKE A TRACTOR AND MACHINERY THEY NEEDED AND THEN THEY WOULD TAKE TURNS…” THE KONKINS RETIRED TO LETHBRIDGE FROM VAUXHALL IN 1968. MORRIS, BY THEN A SCHOOL TEACHER, RELOCATED TO LETHBRIDGE WITH HER OWN FAMILY. WILLIAM KONKIN PASSED AWAY IN LETHBRIDGE ON MARCH 3, 1977 AT THE AGE OF 72 AND 23 YEARS LATER, ON APRIL 8, 2000, ELIZABETH KONKIN PASSED AWAY IN LETHBRIDGE. A NUMBER OF ARTIFACTS PREVIOUSLY BELONGING TO THE FAMILY EXIST IN THE GALT COLLECTION. THE KONKINS RETIRED TO LETHBRIDGE FROM VAUXHALL IN 1968. MORRIS, BY THEN A SCHOOL TEACHER, RELOCATED TO LETHBRIDGE WITH HER OWN FAMILY. WILLIAM KONKIN PASSED AWAY IN LETHBRIDGE ON MARCH 3, 1977 AT THE AGE OF 72 AND 23 YEARS LATER, ON APRIL 8, 2000, ELIZABETH KONKIN PASSED AWAY IN LETHBRIDGE. A NUMBER OF ARTIFACTS PREVIOUSLY BELONGING TO THE FAMILY EXIST IN THE GALT COLLECTION. PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION, OBITUARIES, PHOTOGRAPHS, AND FAMILY HISTORIES.
Catalogue Number
P20160003001
Acquisition Date
2016-02
Collection
Museum
Images
Less detail
Material Type
Artifact
Materials
IRON, WOOD, PLASTIC
Catalogue Number
P20170008000
  2 images  
Material Type
Artifact
Date
1930
Materials
IRON, WOOD, PLASTIC
No. Pieces
27
Height
67
Length
35
Width
35
Description
WOOD AND IRON COIN-OPERATED SLOT MACHINE. A: BODY OF SLOT MACHINE WITH FRONT MADE OF IRON WITH RELIEF DESIGNS INCLUDING STARS. DESIGNS ARE PAINTED RED, GREEN, AND ORANGE. TOP OF THE MACHINE HAS A COIN SLOT THAT READS “5¢” EMBOSSED IN THE CENTER OF AN ORANGE PAINTED CIRCLE. BELOW ARE THREE REELS PLACED ON THE INSIDE OF THE MACHINE, VISIBLE FROM THE FRONT THROUGH THREE HOLLOW WINDOWS. THE REELS ARE CREAM-COLOURED WITH VARIOUS IMAGES OF FRUIT VERTICALLY ON THE CIRCULAR REEL. BLACK TEXT IS OVERLAID OVER THE FRUIT. EXAMPLE: THE LEFT REEL IS STOPPED AT CHERRIES WITH BLACK TEXT READING, “JOY AWAITS… COMPANY IN TWINS”. TO THE RIGHT OF THE WINDOWS IS A SCORE CARD WITH THE FRUIT IN THE LEFT COLUMN AND THEIR CORRESPONDING SCORE IN THE RIGHT CORNER (“20” AT THE TOP TO “2” AT THE BOTTOM). BELOW THE REEL SECTION ARE TWO RECTANGULAR TEXT PANELS, PAPER BEHIND PLASTIC WINDOWS. BOTH PANELS HAVE TITLES IN ORANGE TYPE – THE LEFT READS, “WATCH REELS… FORTUNE,” AND THE RIGHT READS, “YOUR NICKEL…” INSTRUCTIONS BELOW THE TITLES ARE PRINTED IN BLACK TEXT. THE LARGEST SECTION OF THE METAL FACE OF THE SLOT MACHINE HAS A RECTANGULAR GLASS WINDOW (GLASS IS SEVERELY CRACKED AND DISCOLOURED). THE WINDOW IS INSET IN PART OF THE MACHINE THAT IS PAINTED GREEN WITH ORANGE AND BLACK DESIGNS. THERE IS ONE OVAL WINDOW ON EITHER SIDE OF THE LARGE RECTANGULAR WINDOW. THERE IS A SLOT FOR TOKENS TO COME OUT ALONG THE FRONT BASE WITH A RED, GREEN, BLACK DESIGN. THE SIDES OF THE MACHINE ARE MADE FROM A DARK-STAINED WOOD WITH A GOLD PAINTED BORDER WITH ORNATE CORNERS. “MILLS NOVELTY” STAMP IN RED PAINT ON THE UPPER LEFT OF LEFT SIDE. RIGHT SIDE IS THE SAME AS THE LEFT, BUT WITH A METAL PLATE NAILED TO SIDE TITLED, “O. K. VENDER… MILLS NOVELTY CO. CHICAGO, ILL.” WITH PATENT INFORMATION LISTEL. METAL CRANK SECURED TO THE CENTER OF THE RIGHT SIDE AND A METAL KNOB ON THE BOTTOM LEFT OF SAME SIDE. THE MACHINE IN SECURED TO A WOODEN BASE. INSIDE OF THE MACHINE HAS VISIBLE REELS AND COMPONENTS FOR MACHINE OPERATION VISIBLE. FAIR CONDITION: MODERATE TO SEVERE WEAR TO OVERALL SURFACE. SIGNIFICANT LOSS OF SURFACE PAINT. WHITE METAL CORROSION VISIBLE ON THE FACE OF THE MACHINE. THE LEFT REEL ARE MODERATELY DISCOLOURED. THE MIDDLE AND RIGHT REEL ARE SEVERELY DISCOLOURED. PAPER BEHIND PLASTIC WINDOWS HAS YELLOWED. THE CRANK AND KNOB ON RIGHT SIDE ARE RUSTING ON OVERALL SURFACE. PATENT LISTING PLATE IS BROKEN AT THE TWO RIGHT CORNERS AT THE NAIL HOLES. WOOD STAIN HAS BEEN LOST IN SOME SURFACE AREAS OF SIDES. INSIDE PARTS OF THE MACHINE ARE SLIGHTLY RUSTED. BOTTOM SCREW LOOSE FROM BASE WHEN LIFTED. B: REMOVABLE BACK COVER OF SLOT MACHINE MADE OUT OF PRESSED SHEET METAL. PAPER ATTACHED TO THE INSIDE OF THE COVER WITH TYPED TEXT READING, “MR. OWNER: ALWAYS BEAR IN … CREATE FRICTION.” DIMENSIONS: 50CM X 3CM. POOR CONDITION: THE PAPER ON THE BACKING IS SIGNIFICANTLY TORN AND DISCOLOURED, RENDERING MUCH OF THE MESSAGE UNREADABLE. SIGNIFICANT DISCOLOURATION SCUFF MARKS ON OVERALL SURFACE. C-AA: 25 PLASTIC TOKENS THAT READ, “LOANED FOR AMUSEMENT ONLY” EMBOSSED ON ONE SIDE AND “PROPERTY OF O.K. VENDOR” ON THE OTHER. DIAMETER: 2 CM; WIDTH: 0.2 CM. FAIR CONDITION: SURFACE DIRT ON SEVERAL COINS. GENERAL WEAR TO COIN SURFACES.
Subjects
GAME
Historical Association
BUSINESS
LEISURE
History
ON 24 FEBRUARY 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN CONDUCTED AN INTERVIEW WITH PAM PTYCIA, THE DONOR OF THIS SLOT MACHINE. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT INTERVIEW: DESCRIBING WHY SHE CHOSE TO DONATE THE SLOT MACHINE TO THE MUSEUM AT THIS SPECIFIC TIME, PAM SAID, “BOTH MY PARENTS HAVE PASSED AWAY. MY DAD JUST PASSED AWAY IN DECEMBER. SO CLEANING OUT THE HOUSE AND EVERYTHING ELSE, WE DECIDED IT WAS TIME… [MY DAD WAS] PETO NICAS [OF] LETHBRIDGE.” SHE AFFIRMED THAT THE SLOT MACHINE BELONGED TO HER GRANDFATHER. PTYCIA'S FATHER THEN PASSED DOWN THE ARTIFACT AND INFORMATION TO HER. PTYCIA EXPLAINED, “THE SLOT MACHINE, I WAS TOLD, WAS IN HIS DAD’S RESTAURANT, THE WHITE LUNCH CAFÉ ON 5TH STREET HERE IN LETHBRIDGE… [HIS DAD’S] NAME WAS ANDREW A. NICAS, HE WAS COMMONLY KNOWN AS SHORTY NICAS HERE IN TOWN… IF THE SLOT MACHINE DID COME FROM THE WHITE LUNCH CAFÉ, I THOUGHT IT MIGHT BE OF SOME INTEREST… BECAUSE THE GREEK COMMUNITY HAS REALLY DWINDLED DOWN. IT’S JUST NOT LIKE IT USED TO BE… I GUESS IT’S JUST THAT IT’S PART OF OUR HERITAGE.” MACLEAN ESTABLISHED THAT PTYCIA WAS BORN IN LETHBRIDGE DURING THE 1960S AND THAT THIS ARTIFACT WAS IN HER CHILDHOOD HOME AS SHE WAS GROWING UP. PTYCIA RECALLED, “I JUST REMEMBER IT BEING DOWNSTAIRS… JUST IN THE AREA WHERE THE LAUNDRY ROOM WAS… I REMEMBER PLAYING IT. IT WORKED BACK THEN… YOU PUT THE COINS IN THE TOP PART. YOU JUST PULL THE LEVER AND LET IT GO AND IF YOU HIT SOMETHING, THE COINS CAME BACK OUT… WHEN I GOT MARRIED AND MOVED OUT, MY DAD GAVE ME [IT] AND IT SAT IN OUR GARAGE FOR 30 SOME YEARS.” DURING THE INTERVIEW, PTYCIA STATED THAT CHRIST GEORGE CHRISTOU WAS HER FATHER’S PARTNER IN THE WHITE LUNCH CAFÉ BUSINESS. FOR FURTHER INFORMATION ABOUT THE WHITE LUNCH CAFÉ, MACLEAN INTERVIEWED CHRISTOU’S SON, DR. VAN CHRISTOU, IN HIS HOME ON 27 FEBRUARY 2017. CHRISTOU BEGAN, “I REMEMBER [THE SLOT MACHINES] VIVIDLY. THEY WERE ALL LINED UP ON THE SOUTH WALL OF THE WHITE LUNCH CAFÉ… ON THE LEFT HAND SIDE, AS YOU WALKED IN… I PLAYED WITH THEM, AS A CHILD... MY DAD GOT THAT IDEA FROM MY UNCLE FRANK, WHO HE BROUGHT OVER TO LETHBRIDGE. [FRANK] OPENED UP A POOL HALL, ACROSS THE ROAD FROM THE RESTAURANT BACK IN THE EARLY DAYS – IN THE ‘20S, I THINK – AND THEN MOVED TO BANFF. HE HAD SLOT MACHINES IN THAT [POOL HAT], AND HAD THEM IN BANFF AGAIN AND [HE] TALKED DAD INTO HAVING THEM IN THE RESTAURANT – THEY WERE A GOOD SOURCE OF INCOME.” HE EXPLAINED, “PEOPLE WOULD STAND AT THE SLOT MACHINES… THE RESTAURANT WAS DESIGNED WITH A HORSE-SHOE COUNTER ALL THE WAY AROUND, AND IT LEFT ENOUGH SPACE FOR THESE TO BE ALONG THE WALL, SO IT WAS JUST ‘STAND UP’ THE WAY YOU DO IN THE CASINOS. THERE WERE NO STOOLS FOR THOSE, BUT THEY HAD THEM FOR A NUMBER OF YEARS.” CHRISTOU WAS A CASHIER AT THE WHITE LUNCH AT THE AGE OF FIFTEEN TO SIXTEEN YEARS. HE WORKED ONLY ON SATURDAYS, AND STATED HE ENJOYED IT. HE SAID, “I LEARNED A LOT ABOUT BUSINESS – GIVING CHANGE, AND CONNECTING WITH A LOT OF THE BUSINESS PEOPLE THAT WERE IN THE AREA, AND GOT JOBS WITH THEM… BY THE TIME I WAS CASHIER, THEY HAD STOPPED USING [THE SLOT MACHINE]. I THINK THEY WERE OUT-LAWED. I THINK THERE WAS A CIVIC BY-LAW THAT FORBADE SLOT MACHINES, SO THEY WEREN’T IN USE AT THAT POINT. IT WAS EARLIER, WHEN I WAS YOUNGER, THAT I REMEMBER THEM BEING USED.” THE SLOT MACHINES WERE A SECONDARY MEMORY OF HIS FATHER’S WHITE LUNCH CAFÉ. CHRISTOU EXPLAINED, “TO ME, IT WASN’T AN IMPORTANT PART OF THE RESTAURANT BUSINESS. THE THINGS THAT I REMEMBER ARE MY DAD MAKING BANANA SPLITS; HE HAD A WONDERFUL SODA FOUNTAIN. THE FRONT OF THAT HORSE-SHOE WAS A MARBLE SODA FOUNTAIN – A MARVELOUS SODA FOUNTAIN – AND HE LOVED DOING THAT – MAKING MILKSHAKES, AND ALL KINDS OF SUNDAES, AND BANANA SPLITS." CONTINUING, HE EXPLAINED, “MY FATHER STARTED THE WHITE LUNCH CAFÉ IN 1907… [IT] WAS LOCATED IN THE OLIVER BUILDING, ON FIFTH STREET SOUTH, WHICH WAS MAIN STREET AT THAT TIME… THERE’S A VERY INTERESTING STORY AS TO HOW HE FOUND HIMSELF IN LETHBRIDGE. HE HAD COME OVER FROM GREECE – FROM A LITTLE VILLAGE IN GREECE [THE CORINTHIAN VILLAGE OF LIMNES] – SENT BY HIS FATHER. AT THAT TIME, THE FATHERS, IN A VERY PATRIARCHAL ATMOSPHERE, CHOSE THEIR BRIGHTEST AND BEST SON, AND SENT THEM TO AMERICA TO HELP THE FAMILY, AND DAD WAS 15 YEARS OLD WHEN HE WAS SENT TO NEW YORK. HE ARRIVED AT ELLIS ISLAND IN 1900, AT 15 YEARS OF AGE, WITHOUT ANY MONEY. I THINK HE HAD $2.00 IN HIS POCKET, AND NOT ANY KNOWLEDGE OF THE ENGLISH LANGUAGE AT ALL. THERE WAS A TEAM HIRING YOUNG GREEK IMMIGRANTS TO WORK ON THE GREAT NORTHERN RAILWAY THAT MET THEM AT ELLIS ISLAND. DAD HIRED ON WITH THEM, BUT HE WAS SMART ENOUGH TO BUY A DICTIONARY WITH THAT $2.00 HE HAD. [HE] BECAME THE INTERPRETER FOR THE GANG, AND WORKED HIS WAY ACROSS AMERICA. HE HAD COUSINS WHO HAD PRECEDED HIM, AND WERE ESTABLISHED IN PORTLAND, OREGON, AND THAT’S WHAT HIS DESTINATION WAS, SO THE GREAT NORTHERN GOT HIM ACROSS AMERICA TO PORTLAND. HE ESTABLISHED A BUSINESS THERE – A GROCERY BUSINESS – BUT DIDN’T LIKE IT BECAUSE IT WAS TOO WET. [HE] WORKED THERE FOR 7 YEARS, UNTIL 1907, WHEN A FRIEND OF HIS IN CALGARY, FROM A NEIGHBORING VILLAGE, WROTE HIM AND SAID THERE WAS A GREAT OPPORTUNITY TO OPEN A DAIRY IN CALGARY, AND WHY DON’T THEY GO INTO PARTNERSHIP? SO, WOULD DAD COME AND VISIT HIM – AND HE DID. HE TELLS THE STORY OF HOW IT HAD BEEN RAINING FOR 2 WEEKS IN PORTLAND – RAINED ALL THE WAY TO VANCOUVER – AND WAS STILL RAINING ALL THE WAY TO CALGARY. [HE] MET WITH HIS FRIEND, LIKED HIM, LIKED THE PROPOSITION – TOLD [THE FRIEND] HE WOULD GO BACK TO PORTLAND TO THINK IT OVER AND LET HIM KNOW [HE] CAME DOWN THROUGH LETHBRIDGE. STAYED OVERNIGHT AT THE LETHBRIDGE HOTEL. WOKE UP IN THE MORNING TO BRIGHT SUNSHINE, AND SAID, ‘I’M STAYING HERE.’ AND HE DID. AND HE STARTED THE WHITE LUNCH CAFÉ IMMEDIATELY. HE’D MADE ENOUGH MONEY IN PORTLAND WHERE HE WAS ABLE TO OPEN UP A FIRST CLASS RESTAURANT, WHICH WAS LETHBRIDGE’S PREMIERE RESTAURANT FOR THE NEXT 40 YEARS. THE WHITE LUNCH WAS JUST HALF THE SIZE IT WAS EVENTUALLY, TO BEGIN WITH AS BUSINESS GREW, HE GOT THE CONTRACT WITH THE CPR TO FEED CPR EMPLOYEES WHO CAME THROUGH LETHBRIDGE, AND, AS SOUTHERN ALBERTA BECAME SETTLED, FARMERS CAME IN TO SHOP ON SATURDAYS. BUSINESS GREW, AND DAD DID VERY WELL... [HE] BROUGHT IN MR. NICAS IN 1922, AS A PARTNER IN THE BUSINESS, AND THEY WORKED TOGETHER FOR MANY YEARS, UNTIL HE DIED.” “[AS KIDS] WE WOULD STOP IN FOR A MILKSHAKE, AND A PIECE OF PIE… LOCAL PEOPLE WOULD RARELY EAT IN THE RESTAURANT,” CHRISTOU ADDED, “NOW, PICTURE THIS – THIS WAS IN THE ‘30’S – RIGHT AT THE DEPTH OF THE DEPRESSION – PEOPLE DIDN’T HAVE ENOUGH MONEY. DENTISTS WOULD COME AND EAT AT THE RESTAURANT, AND THEY WOULD SHARE A PLATE OF PANCAKES. THEY’D COME ON SUNDAY [AND] THAT WOULD BE THEIR ONE MEAL A WEEK – AND THEY WERE THE WEALTHY PEOPLE IN TOWN. THE COMMON PEOPLE DIDN’T EAT IN RESTAURANTS AT ALL. IT WAS REALLY THE WORKING PEOPLE – THE MINERS, AND THE RAILWAY PEOPLE, AND THE FARMERS THAT WOULD COME TO TOWN THAT USED THE RESTAURANT FACILITIES. AND BECAUSE OF THAT, THE MENU WAS STRICTLY A WESTERN MENU. [PYTCIA’S] DAD COULD HAVE PRESENTED A FULL GREEK MENU, BUT IT WOULDN’T HAVE FLOWN AT ALL. NO ONE KNEW WHAT GREEK FOOD WAS, EVEN.” CHRISTOU RECALLED MEMORY OF THE WHITE LUNCH CAFÉ, “WE DIDN’T GO TO THE STORE THAT OFTEN BECAUSE THERE WAS A REAL SEPARATION BETWEEN HOME AND BUSINESS. DAD WAS NOT THAT HAPPY IN THE RESTAURANT BUSINESS. HE WAS A REAL FAMILY-ORIENTED PERSON, AND MISSED BEING AT HOME FOR THE MEALS THAT WE HAD AT HOME. HE HAD TO BE AT THE RESTAURANT. HE BROUGHT IN MR. NICAS AS A PARTNER, AND THAT RELIEVED HIM SO HE HAD SOME TIME AT HOME, AND LATER THEY HAD A NIGHT MANAGER – IT WAS A 24 HOUR BUSINESS. PETE, THE NIGHT MANAGER, RELIEVED THEM SOMEWHAT TOO, SO THAT THEY SPENT A LITTLE TIME AT HOME, BOTH HE AND MR. NICAS... THEY HAD EXCELLENT CHEFS; MOSTLY CHINESE CHEFS, WHO WERE TRAINED BY THE CPR, AT THE VANCOUVER HOTEL. THEY’D BE THE MAIN CHEFS THAT THEY WOULD HAVE.” “IT WAS A VERY, VERY BUSY PLACE, SAY, ON SATURDAY NIGHT… LETHBRIDGE WAS VERY BUSY IN THOSE DAYS. THERE’D BE A SALVATION ARMY PLAYING DOWN THE STREET, IN FRONT OF THE ALEXANDRA HOTEL. THE RESTAURANT WAS HALF-WAY BETWEEN – JUST PICTURE THIS, MAIN STREET, THE BUSIEST STREET – STREETCARS GOING UP AND DOWN THE STREET ALL THE TIME – WALL-TO-WALL PEOPLE – VERY, VERY BUSY – AND LOCATED HALF-WAY BETWEEN THE ALEXANDRA BEER PARLOR, AND THE DALLAS BEER PARLOR, AT THE DALLAS HOTEL – SO THOSE WERE THE REAL FOCAL POINTS FOR MOST OF THE FARMERS WHO CAME TO TOWN – AND THEY WOULD SEND THEIR FAMILIES TO THE THEATRE – THE ROXY THEATRE WAS ON THAT SAME STREET, AND THE CAPITAL, DOWN ON THE NEXT BLOCK – AND THE WHITE LUNCH BECAME SORT OF THE 'HOME AWAY FROM HOME' FOR THOSE FAMILIES THAT CAME INTO TOWN ON SATURDAYS, MANY OF WHOM STAYED OVERNIGHT. IT WAS A VERY, VERY BUSY COMMUNITY, AND THE WHITE LUNCH WAS THE PREMIERE RESTAURANT – IT WAS THE ONLY RESTAURANT THAT HAD BANQUET FACILITIES [BEFORE THE MARQUIS] IN THE BASEMENT, AND THE ROTARY CLUB, AND KIWANIS, AND KINSMEN, AND SO ON, HAD THEIR MEETINGS THERE.” CHRISTOU DESCRIBED THE CLOSING OF THE BUSINESS, “DAD WASN’T WELL. WHEN THE DEPRESSION HIT IN 1928, DAD LOST A FORTUNE, AND THE RESTAURANT BUSINESS WENT DOWNHILL TERRIBLY, BECAUSE NOBODY HAD ANY MONEY. I STILL REMEMBER BOXES OF CHITS – PEOPLE’S IOU’S – TO PAY FOR MEALS, THAT WERE NEVER PAID FOR. IT WAS VERY TOUGH TIMES FOR THEM FOR THE NEXT FEW YEARS… HIS HEALTH FAILED DURING THAT TIME. DAD BECAME A SEVERE ASTHMATIC, AND WITH HIS HEALTH SO POOR, AND BUSINESS GOING DOWNHILL, HE FINALLY SOLD OUT IN THE ‘50S… IN THE MEANTIME MY MOTHER HAD COAXED DAD TO ACQUIRE SOME RENTAL PROPERTIES, AND THEY WERE ABLE TO MANAGE WITH THAT, BUT THEY WERE VERY DIFFICULT TIMES. ACTUALLY A GREAT BENEFIT TO ME, IN THAT I WAS OLD ENOUGH TO UNDERSTAND HOW DIFFICULT IT WAS FOR THEM, AND THAT I STARTED JOBS. I WORKED AS A CASHIER AT THE RESTAURANT, WHEN I WAS IN HIGH SCHOOL, AND WORKED AT OTHER JOBS AS WELL – AT THE THEATRE, AS AN USHER AND DOORMAN AT THE CAPITOL THEATRE, AND AT THE PARAMOUNT. [I] SAVED ALL THAT MONEY FOR UNIVERSITY. THE WORK ETHIC STARTED EARLY FOR ME, BECAUSE OF THE DEPRESSION.” IN THE INTERVIEW, CHRISTOU DESCRIBED IN DETAIL HOW HIS FATHER BECAME THE FIRST GREEK IMMIGRANT TO SETTLE IN LETHBRIDGE, “... [MY FATHER] WAS THE FIRST ONE TO SETTLE PERMANENTLY. HE WAS A VERY GREGARIOUS AND LIKEABLE PERSONALITY, A VERY CIVILIZED HUMAN BEING. [HE] WELCOMED ALL THE GREEKS WHO CAME AND DIDN’T MIND IF THEY WENT INTO THE RESTAURANT BUSINESS AT ALL. SEVERAL [GREEKS] THAT HE WELCOMED, OPENED UP RESTAURANTS. THE SAVOY CAFÉ WAS OWNED BY MR. HYT; THE SHASTA CAFÉ WAS OWNED BY THE GOLIS BROTHERS, AND THE MAPLE LEAF CAFÉ WAS OWNED BY THE AFAGANIS BROTHERS – THREE AFAGANIS BROTHERS.” IN COMPARISON TO OTHER GREEK COMMUNITIES THAT WERE ESTABLISHED IN NORTH AMERICA, LETHBRIDGE’S WAS CLOSE-KNIT REGARDLESS OF A FAMILY’S GREEK REGION OF ORIGIN. CHRISTOU EXPLAINED HOW HE CAME TO LEARN THIS: “I DIDN’T KNOW ANYTHING ABOUT [THE NATURE OF OUR COMMUNITY] UNTIL I WENT ON, AFTER GRADUATING IN DENTISTRY. I WENT DOWN TO ROCHESTER, NEW YORK, WHERE I TOOK MY POST-GRADUATE IN/AT THE EASTMAN DENTAL DISPENSARY, IN ORTHODONTICS… THEY HAD TWO GREEK CHURCHES THERE, AND I FOUND OUT THAT THERE, AND EVERYWHERE ELSE THAT I RESEARCHED AFTER THAT, THE GREEK COMMUNITIES WERE SPLIT QUITE BADLY IN TWO, BETWEEN THE GREEKS WHO CAME FROM ASIA MINOR, AND THE GREEKS THAT CAME FROM THE MAINLAND. [IT] BECAUSE OF THE DIFFICULTIES THAT THE GREEKS IN ASIA MINOR HAD, IN MAINTAINING THEIR RELIGION AND THEIR CULTURE. THEY WORKED HARDER AT IT THAN THE GREEKS ON THE MAINLAND, AND WERE BETTER EDUCATED, AND WHEN THEY FINALLY HAD THIS EXCHANGE OF CITIZENS – AND THE GREAT EXCHANGE BETWEEN TURKEY AND GREECE IN 1921 – THE GREEKS FROM ASIA MINOR WERE ABLE TO COME TO THE MAINLAND AND TAKE OVER THE MAIN GOVERNMENT AND OTHER IMPORTANT JOBS, AND WERE RESENTED BY THE PEOPLE ON THE MAINLAND. IN LETHBRIDGE, NONE OF THAT EXISTED AT ALL. I THINK THAT WAS MY DAD’S DOING… THERE WAS NO DISCRIMINATION WHATSOEVER… [MY DAD] AND MY MOTHER BOTH CAME FROM THE MAINLAND… THE AFAGANISES, FOR EXAMPLE [CAME FROM ASIA MINOR]. AND I MARRIED ONE OF THEM [HELEN AFAGANIS]... YES, AND THE GOLIS’, AND THE DANGGAS’, MANY OF THE OTHERS WERE FROM ASIA MINOR.” SPEAKING ABOUT WHAT IT WAS LIKE GROWING UP IN LETHBRIDGE WITHIN THE GREEK COMMUNITY, CHRISTOU SAID, “WELL, AS CHILDREN, WE DIDN’T WANT TO BE DIFFERENT. WE REALLY WANTED TO FIT IN WITH THE WASP [WHITE ANGLO-SAXON PROTESTANT] KIDS THAT WE LIVED WITH. [WE] DIDN’T LIKE, FOR EXAMPLE, HAVING TO SPEAK GREEK AT HOME AND GO TO GREEK SCHOOL. OUR PARENTS SET UP A GREEK SCHOOL FOR US. THERE WAS [A] STRANGE DOUBLE-SIDED-NESS TO IT, WHERE WE WERE VERY PROUD OF OUR CULTURE, AND DID LEARN GREEK VERY WELL (BECAME FULLY BILINGUAL), BUT THERE WAS DISCRIMINATION AT THAT TIME. WE WERE THE ONLY FOREIGN-SPEAKING PEOPLE, ON THE SOUTHSIDE OF LETHBRIDGE. THAT WAS A UNIQUE SITUATION OF THE GREEK COMMUNITY. ALL OTHER NATIONALITIES, WHO SPOKE ANOTHER LANGUAGE, LIVED ON THE NORTHSIDE. THE SOUTHSIDE WAS WASP-VILLE SO THERE WAS DISCRIMINATION AND WE FELT IT. WHEN I LEFT TO GO TO UNIVERSITY, AT 17 YEARS OF AGE, THE ONLY THING I WAS SURE OF, WAS THAT I’D NEVER COME BACK TO LETHBRIDGE BECAUSE OF THE DISCRIMINATION I FELT… THEY HAD A WAY OF LETTING YOU KNOW THAT YOU ARE A SECOND-CLASS CITIZEN, AND THAT YOU REALLY BELONGED ON THE NORTHSIDE. THE INTERESTING THING IS THAT, WHEN I CAME BACK, AND I WAS ONLY COMING BACK FOR A YEAR, I FELL IN LOVE WITH HELEN. WE GOT MARRIED; BUILT A HOME ON FIFTEENTH AVENUE, AND THERE WAS NO DISCRIMINATION WHATSOEVER, IN ONE GENERATION.” AS STATED BY CHRISTOU, THE GREEK COMMUNITY BEGAN TO SHRINK IN SIZE AFTER THE SECOND WORLD WAR FOR VARIOUS REASONS: “AFTER THE WAR, IT WAS A DIFFERENT COMMUNITY ALL TOGETHER. THAT COMMUNITY WAS REALLY VIBRANT UP UNTIL THE SECOND WORLD WAR… BEFORE WE GOT THE UNIVERSITY HERE, MOST YOUNG PEOPLE WOULD LEAVE TOWN. VERY FEW STAYED. THE SPOULOS BOYS STAYED. I STAYED AND HELEN STAYED BECAUSE WE GOT MARRIED. HER BROTHER CAME BACK, BUT VERY FEW OTHERS. [THE COMMUNITY] GRADUALLY DIED OUT – JUST PASSED AWAY... WE ARE THE LAST REMNANTS – JIM SPOULOS AND I, HARRY AFAGANIS AND JIM’S SISTER, OLIVIA – ARE THE LAST REMNANTS OF THAT WHOLE COMMUNITY.” ACCORDING TO HIS OBITUARY, ACCESSED FROM THE MARTIN BROTHERS FUNERAL CHAPEL WEBSITE, PETO NICAS, THE DONOR’S FATHER WAS BORN IN LETHBRIDGE ON 2 JANUARY 1924. HE BECAME A LETHBRIDGE ENTREPRENEUR, LIKE HIS FATHER, OPENING MCGUIRE’S MEN’S WEAR FOR 50 YEARS. HE PASSED AWAY ON 20 DECEMBER 2016. AN OBITUARY PUBLISHED IN THE LETHBRIDGE HERALD ON 1 APRIL 1944 FOR ANDREW A. NICAS, STATES THAT HE WAS BORN IN ARGOS, GREECE, AND IMMIGRATED TO THE UNITED STATES IN 1900. IN 1911, HE MOVED TO LETHBRIDGE. A QUOTE FROM THAT OBITUARY STATES, “FEW RESTAURANT OPERATORS IN THE PROVINCE WERE MORE WIDELY KNOWN THAN A. A. ‘SHORTY’ NICAS, GENEROUS, GENIAL, AND HOSPITABLE.” HE PASSED AWAY IN LETHBRIDGE ON 1 APRIL 1944. ACCORDING TO THE OBITUARY OF AGNES A. NICAS, WIFE OF SHORTY NICAS, STATES THAT SHE WAS BORN IN GREECE, MOVING TO MONTREAL AND THEN TO LETHBRIDGE IN 1919 UPON HER MARRIAGE TO NICAS. SHE PASSED AWAY ON 3 MARCH 1988. FROM DR. VAN CHRISTOU’S OBITUARY, ALSO ON THE MARTIN BROTHERS FUNERAL CHAPEL WEBSITE, HE WAS BORN IN LETHBRIDGE ON 24 JANUARY 1926. HIS PARENTS WERE CHRIST (CHRIS) AND ANASTASIA CHRISTOU. IN 1948, HE GRADUATED FROM THE UNIVERSITY OF ALBERTA WITH A DOCTORATE OF DENTISTRY, AND LATER COMPLETED HIS POSTGRADUATE IN ORTHODONTICS AT THE UNIVERSITY OF ROCHESTER FROM 1948-50. HE RETURNED TO LETHBRIDGE TO PRACTICE GENERAL DENTISTRY AND LATER ESTABLISHED HIS OWN ORTHODONTIST PRACTICE. HE MARRIED HELEN AFAGANIS IN 1952 AND TOGETHER THEY HAD FOUR CHILDREN. HE PASSED AWAY ON 27 SEPTEMBER 2017. CHRISTOU PROVIDED A WRITTEN HISTORY TITLED “LETHBRIDGE’S GREEK (HELLENIC) COMMUNITY,” WHERE HE LISTED THE TEN PRE-WORLD WAR II GREEK FAMILIES LIVING IN LETHBRIDGE, INCLUDING THE CHRISTOU FAMILY AND THE NICAS FAMILY. A LETHBRIDGE HERALD ARTICLE FROM 11 OCTOBER 1946 STATES THAT THE WHITE LUNCH CAFÉ WAS SOLD IN 1946. PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTIONS, THE WRITTEN HISTORY OF THE GREEK COMMUNITY, AND LETHBRIDGE HERALD RESEARCH.
Catalogue Number
P20170008000
Acquisition Date
2017-02
Collection
Museum
Images
Less detail
Other Name
CTV AUDIO BOARD/CONSOLE
Date Range From
1985
Date Range To
2014
Material Type
Artifact
Materials
METAL, WOOD, PLASTIC
Catalogue Number
P20160013000
  2 images  
Material Type
Artifact
Other Name
CTV AUDIO BOARD/CONSOLE
Date Range From
1985
Date Range To
2014
Materials
METAL, WOOD, PLASTIC
No. Pieces
2 1
Height
40.5
Length
71.5
Width
44.5
Description
A: AUDIO BOARD. RECTANGULAR SHAPED BASE. MEDIUM BLUE METAL BOTTOM WITH MEDIUM BROWN WOOD AND PLASTIC UPPER PORTION. UPPER PORTION SITS ON A DIAGONAL INCLINE, WITH A SILVER COLOURED METAL STRIP ALONG THE BOTTOM. ABOVE THIS ARE FOUR RECTANGULAR HOLES: TWO LEFT MOST RECTANGLES ARE EMPTY AND REVEAL THE BOARD MODULES BENEATH. THE NEXT TWO RECTANGLES EACH HAVE WHITE BUTTONS IN THEM: FOUR WHITE BUTTONS LABELED BLANK, “START”, “STOP”, “RESET” IN ONE, WITH TWO IN THE NEXT: :”FULL TRK.” AND “HALF TRK.” JUST ABOVE THIS IS A LINE OF EIGHT LARGE CIRCULAR BLACK AND SILVER KNOBS NEAR BOTTOM OF THE CONSOLE. TO THE RIGHT OF THE KNOBS ARE THREE SMALL CIRCULAR SILVER COLOURED KNOBS, LABELED FROM TOP: “HDST”, “FX SEND”, “MONITOR”, AND THEN 10 SMALL SQUARE BUTTONS, LABELED FROM TOP: “CUE”, “CH8”, “CH7”, “CH6”, “CH5”, “CH4”, “CH3”, “CH2”, “CH1”, “PGM”. IMMEDIATELY TO THE RIGHT OF THIS LINE OF BUTTONS IS A LONG RECTANGLE WITH TEXT: “FX SEND SELECT”. ABOVE THE EIGHT LARGE KNOBS IS A STRIP OF SILVER METAL WITH A SERIES OF OFF-WHITE BUTTONS ABOVE. THE STRIP IS LABELED, FROM LEFT TO RIGHT: “CDP”, “RSWR-24”, “CASS”, “MIC 1”, “MIC 2”, “DIGICART”, “FX RTN”, “COMPUTER CH1”, “COMPUTER CH2”, “EDIT B”. JUST ABOVE “EDIT B” IS A COUNTER, WHICH IS PRESENTLY STOPPED AT “666”. AT THE VERY TOP OF THE BOARD, IS A RECTANGULAR SECTION, WHICH IS 63.5CM LONG AND 9.7CM TALL. IN THIS SECTION, THERE ARE TWO SQUARE SPEAKERS ON EITHER END. BELOW THE LEFT SPEAKER IS AN EMBOSSED MAKERS LABEL: “MCCURDY RADIO INDUSTRIES LIMITED.” A VU METER IS IN THE CENTRE. IT’S BACKGROUND HAS YELLOWED, HAS A SCALE IN BLACK AND RED INK. REVERSE IS MOSTLY MEDIUM BLUE METAL, WITH A HINGED UPPER PORTION THAT IS TOPPED IN WOOD. ALONG THE BACK THERE ARE TEN VENTILATION SECTIONS: EACH HAS THREE HORIZONTAL LINES. TOP LEFT CORNER IS A BLACK AND SILVER LABEL: “MCCURDY RADIO INDUSTRIES LIMITED. TORONTO, ONTARIO CANADA. MODEL NO. SS4388A. SERIAL # C505084. 117 V. ___ VA. 60 CPS.” A SHORT, LIGHT GREY CORD WITH A BLUE TIP, COMES OUT OF THE RIGHT SIDE OF THE BACK. TOP RIGHT CORNER IS A SILVER COLOURED METAL CIRCLE, WITH A LIGHT GREEN CENTRE. THE LIGHT GREEN CENTRE HAS THREE HOLES. ABOVE THE HOLES IS A SMALL BUTTON “PUSH”. EMBOSSED IN THE METAL BELOW THE THREE HOLES: “SWITCHCRAFT”. A BLACK POWER CORD COMES OUT OF THE BOTTOM OF THE UNIT. OVERALL GOOD TO VERY GOOD CONDITION. UNIT IS SLIGHTLY DISCOULOURED/STAINED. A FEW SMALL SCRATCHES IN THE SURFACE, ESPECIALLY ON THE TOP WOODEN PORTION. B: A COMB BOUND MANUAL WITH BLUE PLASTIC COVERS. A CUT OUT IN THE FRONT COVER SHOWS THE FRONT PAGE, DISPLAYING THE TITLE “INSTRUCTIONS SS4 388A CFCN COMMUNICATIONS CALGARY ALBERTA 760083C.” THE BLUE FRONT COVER ITSELF READS “MCCURDY RADIO INDUSTRIES LIMITED”, AND “MCCURDY RADIO INDUSTRIES INCORPORATED”, EACH FOLLOWED BY AN ADDRESS. THE BOOK IS DIVIDED BY PALE BLUE DIVIDERS INTO SIX SECTIONS. EACH SECTION IS AN INSTRUCTION MANUAL COMPLETE WITH DIAGRAMS, FOR A COMPONENT OF THE SS4388A, WITH THE FIRST SECTION BEING A MANUAL FOR THE SS4388A AS A WHOLE. AT THE BACK OF THE BOOKLET SIT A NUMBER OF LOOSE PAGES, SOME WITH HOLES FOR THE COMB BINDING, SOME FOLD OUT DIAGRAMS. DIMENSIONS OF MANUAL ARE: LENGTH 25.9 CM; HEIGHT 31.1 CM; WIDTH 25.9. CONDITION: THE PAGES AND DIVIDERS STICKING OUT OF THE BOOK IS BENT AND CURLED, WORN SOFT. THE FRONT COVER IN SPLITTING AT THE BOTTOM CORNERS.
Subjects
TELECOMMUNICATION T&E
Historical Association
BUSINESS
History
THE FOLLOWING INFORMATION COMES FROM AN INTERVIEW WITH DARREN KRONLUND CONDUCTED BY KEVIN MACLEAN IN MAY 2016, BROADCAST TECHNICAL ENGINEER & IT SUPPORT AT CTV IN LETHBRIDGE. DARREN STARTED WORKING FOR CTV IN 1989. AT THAT TIME, THERE WERE FOUR BROADCAST ENGINEERS AND NOW DARREN IS THE ONLY ONE. CTV OFFERED THE CONSOLE TO THE MUSEUM BECAUSE, ACCORDING TO DARREN, “ALTHOUGH IT STILL WORKS AND FUNCTIONS, IT HAS BECOME NOT RELEVANT ANYMORE BECAUSE WE’RE IN A DIGITAL WORLD NOW. THAT’S THE MAIN REASON. IT HASN’T BEEN USED BY US IN, 2016, IN PROBABLY 18 MONTHS - IT’S BEEN USED NOT THAT LONG AGO. IT TOOK US RIGHT THROUGH, AND INCLUDING THE TRANSITION INTO DIGITAL. IT WAS PART OF THAT [TIME], WHERE WE WOULD VOICE THROUGH THE BOARD, WHICH IS IN THE ANALOG WORLD, AND WE PUT SOME EQUIPMENT IN LINE THAT WOULD CONVERT ANALOG TO DIGITAL, AND GET IT INTO OUR COMPUTERS, AND WE COULD E-MAIL IT, SO IT WAS USED EVEN THEN.” THE CONVERSION TO DIGITAL FROM ANALOG STARTED IN THE SPRING OF 2014 AND THE PRIMARY DELAY IN CONVERTING ENTIRELY TO DIGITAL WAS THE COST: “THAT’S A LOT OF MONEY TO GET ALL OF THE EQUIPMENT, ALL AT ONCE, AND MAKE THE SWITCH OVER, AND THEN STILL PUT OUT NEWSCASTS, AND SO THAT WAS JUST FINDING THE RIGHT TIME TO JUMP, AND IT TURNED OUT THAT IT WAS A BUDGET YEAR THAT SOME CAPITAL BECAME AVAILABLE, AND LET’S MAKE THE JUMP. SO, WE WENT OUT AND BOUGHT THE EQUIPMENT, SO THAT WE COULD GATHER IT IN DIGITAL, EDIT IT IN DIGITAL, AND THEN HAVE THE MEANS TO FILE IN DIGITAL. AND THAT WAS ACTUALLY ALL DONE LIKE WITHIN 3 MONTHS. THAT WAS A QUICK LITTLE PROJECT. AND, THIS WAS STILL WORKING. IT JUST FILLED A NEED ALL THROUGH THAT." DARREN RELATED THAT, AT THE TIME OF THE INTERVIEW, CTV WAS “PROBABLY 80% DIGITAL.” FURTHER CONVERSION IS HELD UP DUE TO COST: “IF WE HAD THE MONEY TO DO IT, WE WOULD. WE STILL HAVE SOME VIDEO EQUIPMENT THAT WE ARE USING ANALOG HERE, WHERE IT’S TAKING ABOUT FOUR PIECES OF EQUIPMENT TO ACHIEVE STUFF, BECAUSE WE HAVE TO BRING THE DIGITAL WORLD BACK TO ANALOG. IT’S KIND OF REVERSE, BUT COST-WISE, IT DOESN’T MAKE SENSE TO REPLACE IT WHEN WE HAVE SOMETHING WORKING ALTHOUGH IT’S GOING TO TAKE SOMETHING FAILING IN THAT CHAIN TO MAYBE PROMPT THE … MOVE OVER TO DIGITAL THERE. SO, WE STILL HAVE SOME EQUIPMENT THAT IS IN THE OLD ANALOG WORLD, BUT RIGHT NOW IT HAS GONE SO FAR AS WE ARE CONVERTING DIGITAL TO ANALOG AND IT COMES DOWN TO US MONITORING IT. OUR MONITORING EQUIPMENT IS IN THE ANALOG WORLD.” DARREN EXPLAINED WHY THIS BOARD CONTINUED TO BE USED, DURING THE TRANSITION TO DIGITAL: “EVERYTHING COMES DOWN TO MONEY, AND TO REPLACE IT WITH THE DIGITAL WORLD, AT THE COST, AND WE COULD ACHIEVE IT JUST BY BUYING SOME IN-LINE EQUIPMENT, AND GET THE SAME RESULTS, SO, IT STILL FUNCTIONS AND WORKED, AND DID WHAT WE REQUIRED WHICH WAS TO MIX SIGNALS, OR EVEN JUST TO TAKE A SIGNAL AND GET IT WHERE WE WANTED, WHICH WAS THROUGH THIS OTHER EQUIPMENT, TO DO THE CONVERSION, AND IT JUST WORKED, AND IT DIDN’T MAKE SENSE TO PUT A BUNCH OF MONEY INTO SOMETHING TO REPLACE THE WHOLE CONSOLE WHEN WE DIDN’T NEED TO.” THE BOARD CAME FROM A ROOM CALLED THE AUDIO BOOTH, WHICH IS “USED FOR VOICING. IT’S GOT A SM4, I THINK, MICROPHONE WHICH IS A VERY EXPENSIVE MIC, AND IT’S COMMON THROUGHOUT THE BROADCAST INDUSTRY, AND THE ROOM ITSELF IS ACOUSTICALLY-TREATED SO THAT, YOU KNOW, YOU DON’T WANT NOISE FROM OUTSIDE COMING IN. SO, EVEN THE TELEPHONE HAS A FLASHING LIGHT IF IT’S RINGING. IF YOU NEED TO GET HOLD OF SOMEBODY IN THE AUDIO BOOTH, IT FLASHES. IT’S JUST A ROOM SPECIALLY DESIGNED FOR VOICING.” DARREN EXPLAINED HOW THE CONSOLE ENDED UP AT CTV: “THE MANUAL TELLS ME THAT IT WAS BRAND-NEW IN 1972, AND, I’VE TALKED TO A FEW PEOPLE. THE PEOPLE THAT ORIGINALLY PROBABLY BOUGHT THIS, IT WAS USED UP IN CALGARY FOR A NUMBER OF YEARS, AND I DON’T HAVE THE HISTORY FROM CALGARY. BUT, I’M GOING TO GUESS THAT, SOMEWHERE, PROBABLY, IF IT WAS NEW IN 1972, AND I CAME ONBOARD HERE IN ’89, SO, SOMEWHERE IN THE ‘80’S, PROBABLY MID ‘80’S, I’M GUESSING THAT WE RECEIVED IT, AND PUT IT INTO USE – I’M PRETTY SURE DIRECTLY INTO AN AUDIO BOOTH. THE AUDIO BOOTH MIGHT NOT HAVE BEEN THERE AT THE TIME, BECAUSE, I KNOW, WHEN I CAME, THERE WAS ANOTHER BOARD, VERY SIMILAR TO THIS, THAT WAS IN A CONTROL ROOM, AND IT WAS USED AS PART OF PRODUCTION.” DARREN DOESN’T FIND HIMSELF FEELING VERY NOSTALGIC ABOUT OLD EQUIPMENT: “THE MORE PROBLEMS THEY CREATE, THE LESS ATTACHED I AM TO THEM, (LAUGHS) BECAUSE PART OF MY JOB IS TO KEEP THEM RUNNING. TO TELL YOU THE TRUTH, ACTUALLY I WOULD BE QUITE FOND OF THIS, BECAUSE I RARELY, IN ALL MY YEARS, I CAN’T EVEN REMEMBER, MAYBE 2 OR 3 TIMES, I’VE HAD TO DEAL WITH PROBLEMS WITH IT. SO IT HAS PROBABLY BEEN, IF NOT THE MOST RELIABLE, RIGHT UP THERE. AND, ONE OF THE THINGS I WAS GOING TO MENTION, WITH THESE, THE COMPONENTS ARE ALL DISCRETE. EACH BOARD HAS DISCRETE COMPONENTS, MEANING INDIVIDUAL TRANSISTORS. WHEREAS NOWADAYS BOARDS, THEY HAVE CHIPS AND IC’S, YOU DON’T SEE THAT ON THESE. YOU SEE – YOU’D WORK ON THESE; AND YOU’D LOOK AT A SCHEMATIC, AND YOU WOULD ISOLATE IT RIGHT DOWN TO A RESISTOR, OR A CAPACITOR AND TODAY, YOU CAN’T WORK ON EQUIPMENT. IT’S MORE DISPOSABLE TODAY.” DARREN SEES THIS TRANSITION AS BOTH “GOOD AND BAD. THIS LEVEL OF TROUBLESHOOTING IS REWARDING WHEN YOU ‘GET IT’, BUT IT CAN BE PRETTY FRUSTRATING WHEN YOU ARE JUST KIND OF CHASING YOUR TAIL, WHERE WITH THE NEW STUFF, IT’S MORE BOARD REPLACEMENT, AND IT’S A LOT QUICKER PROCESS. BUT ALSO, THE REASON I SAY IT’S MORE DISPOSABLE, BECAUSE, YOU DON’T SPEND THE TIME ON IT LIKE YOU WOULD HERE, BECAUSE THE TIME THAT IT TAKES AT THIS BOARD, THEY JUST DON’T SUPPLY YOU BOARDS ANYMORE. THEY WOULD SEND LOANERS AND SUPPORT FOR STUFF WAS A LOT BETTER BACK THEN. NOW, IT’S BECOME A DISPOSABLE WORLD. IF YOU DON’T HAVE A CARD, YOU BUY A NEW CARD, AND THAT KIND OF THING. COMPONENTS JUST HAD MORE LONGEVITY. THIS ERA – I STILL HAVE SOME DISTRIBUTION AMPS THAT ARE STILL IN SERVICE AND THEY OUTLIVE STUFF THAT WAS BOUGHT 10 YEARS AFTER THEM. THERE’S A LOT MORE RESILIENCY TO STUFF THAT WAS BUILT THEN.” SEE PERMANENT FILE FOR COPY OF INTERVIEW TRANSCRIPT.
Catalogue Number
P20160013000
Acquisition Date
2016-05
Collection
Museum
Images
Less detail
Other Name
BALE OR HAY HOOK
Date Range From
1940
Date Range To
1950
Material Type
Artifact
Materials
METAL, WOOD, IRON
Catalogue Number
P20150010009
  2 images  
Material Type
Artifact
Other Name
BALE OR HAY HOOK
Date Range From
1940
Date Range To
1950
Materials
METAL, WOOD, IRON
No. Pieces
1
Height
11.0
Length
24.5
Width
12..7
Description
HAY CROOK OR BALE HOOK. METAL AND WOODEN HANDLE, WITH CAST IRON HOOK. MAIN PORTION OF THE HANDLE IS WOODEN, WITH A MEDIUM AND LIGHT GREY PAINTED FINISH. WHERE THE HANDLE ATTACHES TO THE HOOK IS SILVER COLOURED METAL, WITH A MEDIUM LIGHT BLUE PAINTED FINISH. THE HOOK ITSELF IS CAST IRON, WITH A RED PAINTED FINISH. OVERALL IN FAIR TO GOOD CONDITION. STRUCTURALLY THE HOOK IS IN VERY GOOD CONDITION, BUT THE PAINTED SURFACES ARE ALL VERY WORN. THE WOODEN HANDLE APPEARS TO HAVE BEEN FINISHED IN A LIGHT GREY FIRST, WITH A LATER ADDITION OF MEDIUM GREY PAINT. BOTH OF THE GREY FINISHS ARE VERY SCUFFED AND SCRATCHED AND THERE IS A LOT OF EXPOSED WOOD. THE MEDIUM BLUE FINISH OF THE METAL PORTION OF THE HANDLE HAS FLAKED OFF IN SEVERAL AREAS. SEVERAL MORE AREAS OF THE FINISH ARE LOOSE. THE RED FINISH ON THE CAST IRON IS VERY WORN, REVEILING BOTH UNFINISHED METAL AND A LIGHT BLUE PAINT.
Subjects
AGRICULTURAL T&E
Historical Association
SAFETY SERVICES
History
THIS HAY CROOK OR BALE HOOK WAS USED BY THE LETHBRIDGE FIRE DEPARTMENT. IN THE SUMMER OF 2015, COLLECTIONS TECHNICIAN KEVIN MACLEAN, CONDUCTED A SERIES OF INTERVIEWS WITH CURRENT AND FORMER MEMBERS OF THE FIRE DEPARTMENT, INCLUDING: CLIFF “CHARLIE” BROWN (HIRED IN 1966, RETIRED 2004), TREVOR LAZENBY (HIRED IN 1994), RAYMOND “RAY” PETIT (HIRED 1965, RETIRED 1998), AND LAWRENCE DZUREN (HIRED 1959, RETIRED 1992). ALL FOUR MEN AGREE THAT THE HOOK WAS USED TO HELP FIGHT HAYSTACK FIRES ON LOCAL FARMS. BROWN EXPLAINS THE DIFFICULTY OF DEALING WITH A HAYSTACK FIRE AND WHY THE HOOK WAS SO USEFUL: “WITH A HAYSTACK FIRE, ONCE IT STARTS ON FIRE, THE WHOLE STACK IS WRECKED, EVEN THOUGH IT DOESN’T BURN, BECAUSE THE SMOKE GOES THROUGH IT, THE HAY IS CONTAMINATED AND THE ANIMALS AREN’T GOING TO EAT IT, SO YOU PRETTY WELL HAVE TO KNOCK IT DOWN ANYWAY. AS SOON AS YOU PUT WATER ON IT, IT WILL SMOLDER, AND SMOLDER, AND SMOLDER. PROBABLY ONE OF THE HARDEST FIRES TO PUT OUT IS A HAYSTACK FIRE, BECAUSE YOU CAN’T GET THE WATER TO IT. … YOU PUT YOUR WATER, YOU SOAK ON TOP OF THE BALES AND IT JUST WON’T SOAK IN, SO YOU HAVE TO TAKE EVERY BALE APART, BREAK EVERY PIECE APART, EVERY LITTLE BALE, BREAK IT DOWN, HOSE IT DOWN, NEXT BALE, BREAK IT APART, HOSE IT DOWN, AND CONTINUE.” LAZENBY RECALLED SEEING THE HAY CROOK ON THE TRUCK WHEN HE FIRST STARTED AND EXPLAINED: “I’M NOT A FARM KID AND I DIDN’T KNOW WHAT IT WAS.” HE ASKED WHAT IT WAS, RECEIVING THE REPLY: “’WELL, IT’S A BALE HOOK’ AND I SAID, ‘SO I’M NOT TRYING TO BE A SMART ALECK HERE, BUT WHY DO WE HAVE BALE HOOKS ON THE ENGINE?’ THEY SAID, ‘WELL, IN CASE WE GO TO A HAY BALE FIRE.’ YOU KNOW, ASK A SIMPLE QUESTION, YOU GET A SIMPLE ANSWER, RIGHT? … I NEVER SAW ONE USED AND … THIS IS ONE OF THOSE PIECES OF EQUIPMENT THAT GOT PHASED OUT SHORTLY AFTER THE BEGINNING OF MY CAREER. … THIS WAS ONE OF THOSE PIECES THAT WE FOUND THAT WE JUST DIDN’T HAVE A USE FOR. YOU CAN MOVE HAY BALES WITH OTHER MEANS THAN TO HAVE A SET OF BALE HOOKS ON THE TRUCKS, SO THEY WENT AWAY.” PETIT RECALLED USING THE HOOK AND ADDED: “IT WAS USUALLY ON THE PUMP WHEN THEY RESPONDED TO GRASS FIRES … SOMETIMES WE’D TAKE THAT, NOT USUALLY TO FIGHT THE FIRE, BUT WHEN YOU HAD TO KNOCK [THE BALES] DOWN, YOU HAD TO DRAG THE BALES OUT OF THE WAY. OTHERWISE THEY WOULD START THE FIRE ALL OVER AGAIN. IT WASN’T USED THAT MUCH BUT WE DID GO TO QUITE A FEW FIRES, YOU KNOW, STACKS OF BALES.” DZUREN AGREED: “WELL, IT’S THE BAILING HOOK. AND THAT’S JUST TO MOVE ANY, WHETHER IT’S A BALE OF STRAW OR ANY OTHER ITEM THAT HAD TO BE MOVED AWAY FROM THE FIRE, OR JUST, YOU KNOW, SEGREGATED FROM WHAT WAS ALREADY BURNING.” HE RECALLED THAT IT WAS IN USE WHEN HE STARTED IN 1959 AND ADDED “IT WOULD HAVE BEEN ON ONE OF THE VEHICLES … PARTICULARLY … COUNTY VEHICLES THAT WOULD RESPOND OUT TO THE COUNTY, TO THE FARM FIRE.” SEE PERMANENT FILE FOR FULL INTERVIEW TRANSCRIPTS AND ADDITIONAL INFORMATION ABOUT THE LETHBRIDGE FIRE DEPARTMENT.
Catalogue Number
P20150010009
Acquisition Date
2015-02
Collection
Museum
Images
Less detail

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