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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
1930
Date Range To
1940
Material Type
Artifact
Materials
WOOD, LEATHER, METAL
Catalogue Number
P20180001001
  2 images  
Material Type
Artifact
Date Range From
1930
Date Range To
1940
Materials
WOOD, LEATHER, METAL
No. Pieces
2
Height
9
Length
58.5
Width
22
Description
A. BANJOLELE, 53 CM LONG X 19 CM WIDE X 5.5 CM TALL. BODY IS POLISHED BROWN WOOD WITH WHITE LEATHER DRUM/HEAD; BODY HAS SILVER METAL TAIL PIECE AND TONE RING AROUND DRUM/HEAD. NECK AND HEAD-STOCK ARE COVERED IN PEARL/TORTOISE SHELL; FRET ON NECK IS STRUNG WITH ONE SILVER WIRE AND ONE CLOTH STRING; FRETBOARD IS LINED WITH SILVER METAL FRETS. HEAD-STOCK HAS FOUR SILVER METAL TUNING PEGS AND BLACK AND GOLD TEXT LABEL “VALENCIA”. BACK HAS FOUR DISCOLORED WHITE, WOODEN TUNING PEGS AND SILVER METAL SPRING AT JUNCTION OF NECK AND HEAD-STOCK. BACK OF DRUM BODY HAS CUT-OUT SWIRLS IN WOOD. WOOD BODY IS SCRATCHED AND WORN AT EDGES; BACK OF NECK HAS PEELING FINISH ON WOOD; LEATHER OF DRUM/HEAD IS WORN AND STAINED BLACK. OVERALL VERY GOOD CONDITION. B. CASE, 58.5 CM LONG X 9 CM TALL X 22 CM WIDE. CASE IS BROWN CLOTH COVERING A PAPER BOARD IN SHAPE OF BANJOLELE, WITH WIDER BASE. CASE OPENS AT BASE AND HAS BROWN LEATHER HINGE AND SILVER METAL CLASP. BROWN LEATHER HANDLE ON SIDE OF CASE IS BROKEN AND DETACHED AT END. INSIDE OF CASE IS LINED WITH DARK GREEN FABRIC. TOP OF CASE HAS “L W” HANDWRITTEN IN BLACK INK. CASE IS WORN AROUND EDGES AND CLOTH IS FRAYING; BOTTOM OF CASE HAS WATER DAMAGE AND WHITE STAINING; TOP OF CASE HAS WHITE STAINING AND SCRATCHES. LEATHER HINGE AND HANDLE ARE CRACKED AND FADED. OVERALL GOOD CONDITION.
Subjects
MUSICAL T&E
Historical Association
LEISURE
HOME ENTERTAINMENT
History
ON JANUARY 24, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED BEVE SPENGLER AND RUTH HILL REGARDING RUTH’S DONATION OF A BANJOLELE AND GUITAR. THE INSTRUMENTS WERE KEPT AND PLAYED BY THEIR FATHER, SYDNEY JAMES WOMACK, IN THE 1930S AND 1940S. ON THE BANJOLELE, RUTH RECALLED, “I CAN’T REMEMBER [MUCH] ABOUT [IT] AT ALL, BECAUSE HE BOUGHT [THE GUITAR] BUT SOMEHOW HE MUST HAVE SEEN THIS, AND THEN HE THOUGHT FOR LORNE [OUR BROTHER] HE WOULD BUY THAT [BANJOLELE] TO MATCH THE GUITAR.” “MY DAD USED TO PLAY ME TO SLEEP FROM THE TIME…WE WENT OUT TO THE FARM IN ’30. I WAS BORN IN ’27, SO ALL THE ‘30S HE PLAYED ME TO SLEEP EVERY NIGHT…I NEVER SAW MY DAD PLAY [THE BANJOLELE] YET HE BOUGHT IT BECAUSE HE KNEW THERE WAS A MATCHING PAIR. HE COULDN’T AFFORD BOTH OF THEM AT THE SAME TIME. HE BOUGHT HIS GUITAR AND THEN, LATER ON WHEN HE HAD SOME MORE MONEY, HE WENT AND GOT THAT FOR LORNE, BUT I CAN’T REMEMBER HIM PLAYING IT.” “[HE BOUGHT THE BANJOLELE] HERE IN LETHBRIDGE. HE BROUGHT [HIS] VIOLIN FROM THE STATES, BUT THOSE TWO PIECES WERE BOUGHT IN LETHBRIDGE. I DON’T KNOW WHERE AT, BUT I KNOW IT WAS IN THE EARLY ‘20S BECAUSE THEY CAME TO THE FARM WITH US IN ’30. THEY CAME HERE IN ’18…HE WORKED AT THE CPR AS AN OILER AND THEN HE ENDED UP AT THE GALT GARDENS WORKING WITH THE PLANTS. WHEN THAT FIZZLED OUT, HE WANTED A FARM SO WE WENT FARMING.” HILL ELABORATED ON HER FATHER’S MUSICAL BACKGROUND, NOTING, “[MY PARENTS] MOVED FROM ENGLAND TO IOWA. THEY WERE THERE FOR SEVEN YEARS AND DADDY LEARNED TO PLAY THE VIOLIN IN THE TOILET, IN THE OUTHOUSE. THAT’S WHAT HE TOLD US.” “HE LOVED MUSIC AND ACTUALLY HIS BEST WAS HAWAIIAN GUITAR…THAT’S WHY HE GOT [THE GUITAR], BECAUSE HE LOVED HAWAIIAN MUSIC. HE LOVED TO PLAY HAWAIIAN SONGS ON [THE GUITAR] BECAUSE THEY WERE SLOWER. THE VIOLIN HE COULD REALLY GO TO TOWN AND PLAY TWO STEPS.” “[WE] USED TO GO [TO DANCES] EVERY MONTH. I CAN SEE HIM WITH THE OLD MODEL T—HE WOULD HAVE TO PUT A FIRE UNDER IT TO GET IT STARTED AT HOME, THEN WE WOULD GO FOR THE CHRISTMAS CONCERT AND HE WOULD START PLAYING UNTIL TWO IN THE MORNING. THEN HE HAS TO PUT THE FIRE UNDER TO GET THE CAR GOING AGAIN. THEY WERE BAD YEARS BUT THEY WERE WONDERFUL YEARS…FROM [1933] UNTIL I WENT OUT IN GRADE NINE HE USED TO COME, WE USED TO HAVE DANCES, ALL THROUGH THE THIRTIES WE HAD DANCES AT LEAST TWICE A MONTH.” BEVE ADDED, “HE PLAYED WITH OTHER MEN, HE DIDN’T PLAY BY HIMSELF.” RUTH ELABORATED, “THEY HAD A LADY ON THE PIANO, THEY HAD DADDY ON THE VIOLIN, AND THEN THEY HAD ANOTHER CHAP ON THE DRUMS…[OUR FATHER] TOOK THE LEAD. THE VIOLIN WOULD ALWAYS START BEFORE, BECAUSE HE HAD THE MEMORY OF THE PIECES HE WANTED TO PLAY AND NOBODY ELSE KNEW NOTHING UNTIL HE GOT STARTED. THEN THEY’D JOIN IN.” “HE WAS STILL PLAYING THE VIOLIN, HE USED TO LIKE TO PLAY THE VIOLIN. EVEN IN THE ‘40S [HE LIKED TO PLAY THE VIOLIN], I CAN REMEMBER THAT. HE DIDN’T SO MUCH PLAY [THE OTHER INSTRUMENTS] BUT HE PLAYED THE VIOLIN. “ “HE WAS GOOD. THAT DANCE FLOOR IN THE SCHOOL THERE WOULD BE LOADED AS SOON AS HE STARTED PLAYING. AS SOON AS HE STARTED TO PLAY THEY WERE ALL UP, AND AT NIGHT NOBODY LEFT UNTIL TWO IN THE MORNING…HE USED TO TAKE THE GUITAR AND PLAY THE WALTZES ON THAT, BUT THE VIOLIN HE WOULD PLAY THE OTHERS.” “THAT CLASSICAL [MUSIC], HE HAD NO USE FOR [IT]. HE USED TO SAY, “THERE’S NO BEAT THERE.” THEY WERE HIS WORDS. THERE WAS NO BEAT AND HE SAID, “IF THEY CAN’T PLAY THIS, I’M NOT LISTENING.” HE COULDN’T READ MUSIC, BUT IF HE COULD SEE THE [NOTES] AS [THEY] WENT UP OR DOWN…THAT’S WHAT HE’D LOOK AT, AND THEN HE’D LEARN TO PLAY THAT SONG. THAT WAS ON THE GUITAR, THAT WAS FOR THE HAWAIIAN PART.” “[HE HAD THE INSTRUMENTS] ON OUR FARM AT KIPP, ALBERTA AND ON THE FARMHOUSE, I’M IN THE BED. HE [WOULD BE] PLAYING THAT AND THEN I’D GO TO SLEEP TO HIM PLAYING THAT DAY IN, WEEK AFTER WEEK. YEAR AFTER YEAR. HE ALWAYS PLAYED ME TO SLEEP.” “HE [PLAYED] IN THE FRONT ROOM. [THE INSTRUMENTS] STAYED IN THE CORNER, HE BUILT A SHELF FOR THE RADIO AND THEN [THE GUITAR] STOOD UNDERNEATH THAT SHELF. THAT’S WHERE [THEY] STAYED…[THE INSTRUMENTS WERE] WITH MY DAD UNTIL ’93, THEN HE CAME TO LIVE WITH ME AND OF COURSE HE BROUGHT HIS THINGS WITH HIM. I NEVER THOUGHT THEY WERE IN MY CLOSET AND I HADN’T DONE A BIG CLEANING, SO THEY’VE JUST BEEN THERE. NOW I THOUGHT IT’S TIME TO LET SOMEBODY ELSE LOOK AT THEM...[OUR FATHER] DIED IN ’98.” “I DIDN’T WANT THE INSTRUMENTS TO BE GARBAGED. I WANTED THEM TO MEAN SOMETHING, AND I KNEW…THE MUSEUM WOULD ACCEPT THEM…IT WAS ABSOLUTELY WONDERFUL [FOR MY DAD TO PLAY FOR ME] BECAUSE I LOVE MUSIC TOO. THAT WAS REALLY SOMETHING TO HAVE HIM PLAYING TO ME ALL THE TIME [AT BEDTIME].” “LET SOMEBODY ELSE LOOK AT [THE INSTRUMENTS] NOW. I’VE GOT ALL THE MEMORIES…I CAN SEE HIM PLAYING [THEM], I CAN HEAR HIM PLAYING [THEM], I CAN SEE IT AT THE DANCEHALL, I’VE GOT IT RIGHT THERE. SO SOMEBODY ELSE CAN LOOK AT [THEM] NOW.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND PHOTOGRAPHS, PLEASE SEE THE PERMANENT FILE P20180001001-GA.
Catalogue Number
P20180001001
Acquisition Date
2018-01
Collection
Museum
Images
Less detail
Date Range From
1930
Date Range To
1940
Material Type
Artifact
Materials
WOOD, METAL, SHELL
Catalogue Number
P20180001002
  2 images  
Material Type
Artifact
Date Range From
1930
Date Range To
1940
Materials
WOOD, METAL, SHELL
No. Pieces
2
Height
9
Length
94
Width
32.5
Description
A. GUITAR, 94 CM LONG X 32.5 CM WIDE X 9 CM TALL. WOODEN BODY WITH PEARL/TORTOISE SHELL INLAID AS PICK GUARD AND ALONG FRET BOARD; GUITAR IS STRUNG WITH SIX WIRE STRINGS. GUITAR HAS SIX TUNING KNOBS AT HEAD WITH WHITE PLASTIC HANDLES ON METAL SCREWS. GUITAR BODY HAS DECORATIVE BROWN, RED AND GREEN TRIM AROUND EDGE; GUITAR HAS BLACK KNOB AT BASE. “VALENCIA” LABEL AT TOP OF HEAD; GUITAR SHOWS WEAR AND STAINING ON PICK GUARD AND FRET BOARD; GUITAR HAS SOILING INSIDE; OVERALL VERY GOOD CONDITION. B. GUITAR CASE, 100 CM LONG X 37 CM WIDE X 13 CM TALL. BLACK FAUX-LEATHER EXTERIOR WITH LEATHER BUCKLE AT BASE AND LEATHER HANDLE FIXED TO TOP WITH SILVER RINGS; CASE OPENS AT BASE. BASE OF CASE HAS BLACK METAL SNAP AROUND LEATHER BUCKLE STRAP. INSIDE OF CASE LINED WITH BROWN FAUX-FUR. CASE IS HEAVILY WORN ON EDGES AND PEELING; CASE IS SCRATCHED ON SIDES; LEATHER BUCKLE STRAP AT BASE IS CRACKED AND FADED; OVERALL VERY GOOD CONDITION.
Subjects
MUSICAL T&E
Historical Association
LEISURE
HOME ENTERTAINMENT
History
ON JANUARY 24, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED BEVE SPENGLER AND RUTH HILL REGARDING RUTH’S DONATION OF A BANJOLELE AND GUITAR. THE INSTRUMENTS WERE KEPT AND PLAYED BY THEIR FAMER, SYDNEY JAMES WOMACK, IN THE 1930S AND 1940S. ON THE GUITAR, RUTH HILL RECALLED, “HE BOUGHT IT AND STARTED STRUMMING ON IT…IT WAS ALWAYS ON HIS LAP…MY DAD USED TO PLAY ME TO SLEEP FROM THE TIME…WE WENT OUT TO THE FARM IN ’30. I WAS BORN IN ’27, SO ALL THE ‘30S HE PLAYED ME TO SLEEP EVERY NIGHT…I NEVER SAW MY DAD PLAY [THE BANJOLELE] YET HE BOUGHT IT BECAUSE HE KNEW THERE WAS A MATCHING PAIR. HE COULDN’T AFFORD BOTH OF THEM AT THE SAME TIME. HE BOUGHT HIS GUITAR AND THEN, LATER ON WHEN HE HAD SOME MORE MONEY, HE WENT AND GOT [THE BANJOLELE] FOR LORNE.” “HE LOVED MUSIC AND ACTUALLY HIS BEST WAS HAWAIIAN GUITAR…THAT’S WHY HE GOT [THE GUITAR], BECAUSE HE LOVED HAWAIIAN MUSIC. HE LOVED TO PLAY HAWAIIAN SONGS ON [THE GUITAR] BECAUSE THEY WERE SLOWER. THE VIOLIN HE COULD REALLY GO TO TOWN AND PLAY TWO STEPS.” “[HE BOUGHT THE GUITAR] HERE IN LETHBRIDGE. HE BROUGHT [HIS] VIOLIN FROM THE STATES, BUT THOSE TWO PIECES WERE BOUGHT IN LETHBRIDGE. I DON’T KNOW WHERE AT, BUT I KNOW IT WAS IN THE EARLY ‘20S BECAUSE THEY CAME TO THE FARM WITH US IN ’30. THEY CAME HERE IN ’18…HE WORKED AT THE CPR AS AN OILER AND THEN HE ENDED UP AT THE GALT GARDENS WORKING WITH THE PLANTS. WHEN THAT FIZZLED OUT, HE WANTED A FARM SO WE WENT FARMING.” HILL ELABORATED ON HER FATHER’S MUSICAL BACKGROUND, NOTING, “[MY PARENTS] MOVED FROM ENGLAND TO IOWA. THEY WERE THERE FOR SEVEN YEARS AND DADDY LEARNED TO PLAY THE VIOLIN IN THE TOILET, IN THE OUTHOUSE. THAT’S WHAT HE TOLD US.” “[WE] USED TO GO [TO DANCES] EVERY MONTH. I CAN SEE HIM WITH THE OLD MODEL T—HE WOULD HAVE TO PUT A FIRE UNDER IT TO GET IT STARTED AT HOME, THEN WE WOULD GO FOR THE CHRISTMAS CONCERT AND HE WOULD START PLAYING UNTIL TWO IN THE MORNING. THEN HE HAS TO PUT THE FIRE UNDER TO GET THE CAR GOING AGAIN. THEY WERE BAD YEARS BUT THEY WERE WONDERFUL YEARS…FROM [1933] UNTIL I WENT OUT IN GRADE NINE HE USED TO COME, WE USED TO HAVE DANCES, ALL THROUGH THE THIRTIES WE HAD DANCES AT LEAST TWICE A MONTH.” BEVE ADDED, “HE PLAYED WITH OTHER MEN, HE DIDN’T PLAY BY HIMSELF.” RUTH ELABORATED, “THEY HAD A LADY ON THE PIANO, THEY HAD DADDY ON THE VIOLIN, AND THEN THEY HAD ANOTHER CHAP ON THE DRUMS…[OUR FATHER] TOOK THE LEAD. THE VIOLIN WOULD ALWAYS START BEFORE, BECAUSE HE HAD THE MEMORY OF THE PIECES HE WANTED TO PLAY AND NOBODY ELSE KNEW NOTHING UNTIL HE GOT STARTED. THEN THEY’D JOIN IN.” “HE WAS STILL PLAYING THE VIOLIN, HE USED TO LIKE TO PLAY THE VIOLIN. EVEN IN THE ‘40S [HE LIKED TO PLAY THE VIOLIN], I CAN REMEMBER THAT. HE DIDN’T SO MUCH PLAY [THE OTHER INSTRUMENTS] BUT HE PLAYED THE VIOLIN. “ “HE WAS GOOD. THAT DANCE FLOOR IN THE SCHOOL THERE WOULD BE LOADED AS SOON AS HE STARTED PLAYING. AS SOON AS HE STARTED TO PLAY THEY WERE ALL UP, AND AT NIGHT NOBODY LEFT UNTIL TWO IN THE MORNING…HE USED TO TAKE THE GUITAR AND PLAY THE WALTZES ON THAT, BUT THE VIOLIN HE WOULD PLAY THE OTHERS.” “THAT CLASSICAL [MUSIC], HE HAD NO USE FOR [IT]. HE USED TO SAY, “THERE’S NO BEAT THERE.” THEY WERE HIS WORDS. THERE WAS NO BEAT AND HE SAID, “IF THEY CAN’T PLAY THIS, I’M NOT LISTENING.” HE COULDN’T READ MUSIC, BUT IF HE COULD SEE THE [NOTES] AS [THEY] WENT UP OR DOWN…THAT’S WHAT HE’D LOOK AT, AND THEN HE’D LEARN TO PLAY THAT SONG. THAT WAS ON THE GUITAR, THAT WAS FOR THE HAWAIIAN PART.” “[HE HAD THE INSTRUMENTS] ON OUR FARM AT KIPP, ALBERTA AND ON THE FARMHOUSE, I’M IN THE BED. HE [WOULD BE] PLAYING THAT AND THEN I’D GO TO SLEEP TO HIM PLAYING THAT DAY IN, WEEK AFTER WEEK. YEAR AFTER YEAR. HE ALWAYS PLAYED ME TO SLEEP.” “HE [PLAYED] IN THE FRONT ROOM. [THE INSTRUMENTS] STAYED IN THE CORNER, HE BUILT A SHELF FOR THE RADIO AND THEN [THE GUITAR] STOOD UNDERNEATH THAT SHELF. THAT’S WHERE [THEY] STAYED…[THE INSTRUMENTS WERE] WITH MY DAD UNTIL ’93, THEN HE CAME TO LIVE WITH ME AND OF COURSE HE BROUGHT HIS THINGS WITH HIM. I NEVER THOUGHT THEY WERE IN MY CLOSET AND I HADN’T DONE A BIG CLEANING, SO THEY’VE JUST BEEN THERE. NOW I THOUGHT IT’S TIME TO LET SOMEBODY ELSE LOOK AT THEM...[OUR FATHER] DIED IN ’98.” “I DIDN’T WANT THE INSTRUMENTS TO BE GARBAGED. I WANTED THEM TO MEAN SOMETHING, AND I KNEW…THE MUSEUM WOULD ACCEPT THEM…IT WAS ABSOLUTELY WONDERFUL [FOR MY DAD TO PLAY FOR ME] BECAUSE I LOVE MUSIC TOO. THAT WAS REALLY SOMETHING TO HAVE HIM PLAYING TO ME ALL THE TIME [AT BEDTIME].” “LET SOMEBODY ELSE LOOK AT [THE INSTRUMENTS] NOW. I’VE GOT ALL THE MEMORIES…I CAN SEE HIM PLAYING [THEM], I CAN HEAR HIM PLAYING [THEM], I CAN SEE IT AT THE DANCEHALL, I’VE GOT IT RIGHT THERE. SO SOMEBODY ELSE CAN LOOK AT [THEM] NOW.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND PHOTOGRAPHS, PLEASE SEE THE PERMANENT FILE P20180001001-GA.
Catalogue Number
P20180001002
Acquisition Date
2018-01
Collection
Museum
Images
Less detail
Date Range From
1930
Date Range To
1960
Material Type
Artifact
Materials
IRON, LEATHER, STEEL
Catalogue Number
P20160020000
  1 image  
Material Type
Artifact
Date Range From
1930
Date Range To
1960
Materials
IRON, LEATHER, STEEL
No. Pieces
2
Length
15.5
Width
9.1
Diameter
12.2
Description
METAL COW BELL WITH LEATHER STRAP. BELL IS MADE UP OF 2 PIECES OF METAL FUSED TOGETHER AT SIDES WITH TWO NAILS IN EACH SEAM. TOP IS FOLDED TOGETHER WITH THE ENDS FUSED DOWN THE SIDE IN A TRIANGULAR FOLD. FRONT AND BACK OF BELL ARE RELATIVELY FLAT, COMING OUT SLIGHTLY AT EDGE. WELDING OF BELL IS CRUDE. INSIDE OF THE BELL IS THE CLAPPER WITH A BALL END THAT IS 10.5 CM IN CIRCUMFERENCE. BALL IS ATTACHED TO A ROD THAT IS HOOKED TO THE LOOP INSIDE THE TOP OF BELL. FLAT METAL LOOP AT TOP OF BELL ATTACHES THE BELL TO LEATHER STRAP THAT IS 109.4 CM IN LENGTH AND 2.4 CM IN WIDTH. 9 HOLES PUNCHED IN LEATHER FOR STRAP ADJUSTMENT WITH THE BUCKLE GOING THROUGH THE 10TH HOLE PUNCH. STANDARD METAL BUCKLE WITH LEATHER BELT LOOP FOR THE EXCESS LENGTH OF STRAP. FAIR CONDITION: METAL SEVERELY RUSTED IN COLOUR. AT ONE SEAM NEAR THE BASE, THE METAL HAS OXIDIZED TO A GREEN COLOUR. METAL SURFACE INSIDE OF BELL HAS LOST SHINE AND IS RUSTY. STRAP IS SEVERELY WORN AND HAS SCRATCHES AND LOSS OF FINISH OVERALL. END OF THE STRAP OPPOSITE OF BUCKLE IS TORN OFF.
Subjects
ANIMAL HUSBANDRY T&E
Historical Association
AGRICULTURE
History
ON 14 JULY, 2016, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE DONOR, ELLENNOR PORTER, AND HER DAUGHTER, KAREN PORTER AT THE GALT MUSEUM. THE FOLLOWING INFORMATION COMES FROM THAT INTERVIEW. ELLENNOR’S HUSBAND WAS ROBERT MICHAEL “MICK” PORTER. HE FOUND THE BELL AS ELLENNOR REMEMBERS, “[I REMEMBER] HIM BRINGING IT IN THE HOUSE… I DON’T KNOW JUST HOW LONG AGO… [AND HIM SAYING], ‘LOOK WHAT I GOT.’ THEN IT WAS JUST EVERYONE WAS SAYING, ‘WOW,’ AND PLAYING AROUND WITH IT… [AFTER THAT] IT WAS PUT IN THE BASEMENT WITH THE REST OF THE THINGS.” KAREN AND ELLENNOR BELIEVE THE BELL WOULD HAVE BEEN FOUND BY MICK IN THE 1950S OR THE 1960S. ELLENNOR CONTINUED, “[HE FOUND IT ON] THE RANCH. HE WAS OUT VISITING HIS RELATIVES OUT THERE. HE HAD AUNTS AND UNCLES ON THE BURN RANCH. HE’S PROBABLY JUST RE-VISITING THEIR PLACE THAT HAD BEEN SOLD, SO MAYBE IT CAME FROM PINCHER CREEK. IN THAT AREA ANYWAY, LUNDBRECK OR PINCHER CREEK.” “DAD WOULD GO UP SOMETIMES BY HIMSELF,” KAREN ADDED, “I DON’T THINK ANY OF US WERE WITH HIM WHEN HE CAME HOME WITH THAT. I THINK WE WERE AT HOME WHEN HE BROUGHT IT TO THE HOUSE… IT IS ALSO POSSIBLE THAT HIS FATHER AND MOTHER HAD [THE BELL] AT THEIR HOUSE AND GAVE IT TO HIM. THEY WERE FARMERS AT THE WALDRON RANCH – NOW THE WALDRON RANCH – [BUT IT] WAS THE PORTER RANCH. THEY HAD A HOUSE IN PINCHER CREEK, SO THERE IS A POSSIBILITY THAT’S ALSO WHERE HE WOULD HAVE GOTTEN IT.” THINKING BACK TO HER LATE HUSBAND’S DAYS IN THE AREA, ELLENNOR EXPLAINED, “[MICK’S] DAD WAS AT THE PORTER/WALDRON RANCH. IT WAS JUST THE PORTER RANCH AND AFTER HE MOVED TO PINCHER, HE SOLD LIKE HIS INTEREST PART OF IT TO WALDRON, SO IT [BECAME] A PARTNERSHIP… THE WALDRON RANCH IS NEAR BLACK MOUNTAIN ON THAT ROAD, TOWARDS THE BAR-U RANCH.” WHEN ASKED ABOUT THE BELL, ELLENNOR SAID, “[THIS BELL] BRINGS BACK MEMORIES FROM WAY BACK WHEN WE USED TO LOOK FOR CATTLE BACK IN THE BUSH, AND I IMAGINE THAT’S WHAT MY HUSBAND MUST HAVE THOUGHT TOO… [IT WOULD BE] A REMEMBRANCE FROM HIS CHILDHOOD. THEY PROBABLY HAD TO BRING IN THE OLD MILK COW AND SHE WOULD BE WEARING THE BELL. THAT’S WHAT THEY DID. THEY PUT IT ON THE BIG MILK COW, SO THAT WHEN THEY WANTED THEM TO COME IN TO MILK THEY COULD FIND THEM. SOMETIMES THEY’D GO HIDE IN THE BUSH, SO THEY KEPT THE BELL ON THEM SO THEY COULD KEEP TRACK OF WHERE THEY WERE AT.” ELLENNOR FURTHER EXPLAINED, “I HAD NO CONNECTION WITH THAT BELL. WE HAD NO CATTLE. WE WERE GRAIN FARMERS.” KAREN ADDED, “MUM AND DAD WERE WHEAT FARMING ON [THE K-LAZY-A-RANCH]. THERE WERE CATTLE THERE, BUT MUM DOESN’T REMEMBER THERE BEING CATTLE WITH BELLS ON. THEY WERE IN THE FARM YARD… THERE WERE HARDLY ANY TREES. THAT WAS THE RANCH ORIGINALLY AND LATER BECAME A WHEAT FARM. IF THEY KEPT IT AS A RANCH WITH CATTLE AND HORSES, THAT MEANT THEY COULD NEVER EVER LEAVE AND IT WAS PRETTY ISOLATED, SO OVER THE YEARS DAD TALKED THE OWNER INTO LETTING HIM COVERT IT TO WHEAT.” “THERE WAS NO BUSH [THERE FOR THE COWS] TO HIDE IN. SO NO NEED FOR A BELL!” ELLENNOR REMEMBERED. THE DONOR AND HER DAUGHTER REMEMBERED HOW MICK VALUED OBJECTS AND MEMORIES. “HIS EYES WOULD LIGHT UP [AND HE WOULD SAY], ‘LOOK WHAT WE HAVE HERE,’ [WHEN HE SAW SOMETHING ATTACHED TO A MEMORY]. HE HAD ALL KINDS OF MEMORIES OF HIS GROWING UP. SOME WERE NOT TOO HAPPY, SOME WERE VERY HAPPY, BUT HE ALWAYS REALLY LOVED COWS. IT DIDN’T MATTER WHERE WE WENT TRAVELLING IN THE WORLD…[HE ALWAYS] STOPPED AND TOOK SOME PICTURES. ‘OH LOOK AT THE COWS!’ HE’D SAY,” ELLENNOR JUMPED IN, COMPLETING HER DAUGHTER’S SENTENCE. “DAD TOOK THOUSANDS OF PICTURES OF COWS. FOR HIM THERE WAS A REAL CORRELATION,” KAREN FINISHED. “[THE BELL IS A TREASURE] BECAUSE IT HAS BEEN IN OUR HOME FOR SUCH A LONG TIME. WHEN DAD BROUGHT IT HOME, IN HIS PERSPECTIVE, HE WOULD HAVE THE SAME KIND OF MEMORIES MY MUM DOES OF HEARING THE COWS…I CAN REMEMBER THEM WHEN I WAS LITTLE ON THE FARM OUT BY SKIFF HEARING COW BELLS OR BEING OUT AT MY GRANDMOTHER’S FARM BY OLDS HEARING COW BELLS… [THIS BRINGS] THE MEMORY OF DAD BEING EXCITED ABOUT [THE BELL] AND TRYING TO WAKE US UP IN THE MORNING RINGING IT, IF WE WERE SLEEPING IN TOO LONG. THAT’S MORE THE MEMORY FOR US… [BUT] I WAS NEVER ON THE RANCH WHEN MY DAD WOULD HAVE FOUND [THIS SPECIFIC] BELL, SO THOSE MEMORIES AREN’T MY MEMORIES, THEY’RE MORE HIS MEMORIES. HE ALWAYS TREASURED IT, HE ALWAYS WANTED IT KEPT AND WE’D LIKE TO HONOUR THAT,” KAREN ADDED. NOTES FROM AN 2008 INTERVIEW WITH MICKEY AND ELEANOR PORTER STATE THE DONOR’S FATHER-IN-LAW, GEORGE ENGLISH PORTER, WAS BORN 1878 IN ORILLIA, ONTARIO AND DIED ON MARCH 16, 1959. HE CAME WEST FROM ONTARIO IN 1896 AT THE AGE OF SEVENTEEN. GEORGE PORTER’S FAMILY SETTLED 30 MILES NORTH OF LUNDBRECK, ON THE EASTERN SLOPES OF THE ROCKY MOUNTAINS. THE FAMILY SETTLED ON THE BLACK MOUNTAIN RANCH. GEORGE WAS ONE OF FOURTEEN CHILDREN IN THE FAMILY. HER MOTHER-IN-LAW WAS BORN IN EASTERN CANADA BEFORE MOVING TO OREGON. SHE IMMIGRATED TO CANADA WHEN SHE WAS8 YEARS OLD AND WAS RAISED ON THE BURN RANCH NORTH OF LUNDBRECK, ALBERTA. THE NOTES FURTHER STATE THE DONOR, ELLENNOR PORTER, WAS BORN IN 1922. THE OBITUARY FOR ROBERT MICHAEL “MICK” PORTER READS MICK WAS BORN ON MAY 23, 1921 IN COWLEY, ALBERTA. HE ATTENDED SCHOOL IN COWLEY AND GRADUATED HIGH SCHOOL FROM ST. MICHAEL’S CATHOLIC SCHOOL IN PINCHER CREEK. HE JOINED THE RCAF DURING WWII AND UPON AN HONOURABLE DISCHARGE AFTER A HIP INJURY, HE WORKED AS A GRAIN BUYER. HE MARRIED ELLENNOR CHRISTOFFERSEN IN OLDS, ALBERTA. LATER, HE WORKED FOR THE MCINTYRE RANCH FOR 5 YEARS. IN 1953, HE BEGAN FARMING IN THE SKIFF AREA AND RETIRED IN 1984. MICK AND ELLENNOR HAD FIVE CHILDREN: LAWNA ROBART, MICHAEL, RONALD, KAREN PORTER, AND CHRISTOPHER, WHO PASSED AWAY AS AN INFANT. MICK PASSED AWAY IN LETHBRIDGE ON SEPTEMBER 27, 2012 AT THE AGE OF 91 YEARS. HISTORY OF THE WALDRON CATTLE RANCH LTD. WAS PUBLISHED IN THE “CANADIAN CATTLEMEN” PUBLICATION IN MARCH OF 1946. IT STATES THE RANCH “COMPRISED ONE HUNDRED THOUSAND ACRES OF LAND SITUATED IN SOUTH-WESTERN ALBERTA. IT WAS SITUATED IN A VALLEY EXTENDING BETWEEN THE PORCUPINE HILLS AND OLD MAN RIVER FOR ABOUT 30 MILES NORTH AND SOUTH AND VARYING FROM THREE TO FIVE MILES IN WIDTH.” THE HISTORY STATES THE WALDRON CATTLE RANCH WAS FORMED IN 1883 BY SIR JOHN WALROND WALROND OF BARONET AND LORD CLINTON OF LONDON – BOTH MEN OF ENGLAND. ON JUNE 26TH, 1884, QUEEN VICTORIA GRANTED THE RANCH AN INDENTURE OF LEASE TO SIR WALROND, BARONET. (THE TEXT OF THAT LEASE AGREEMENT WAS PRODUCED AS PART OF THE CATTLEMEN PUBLICATION AND IS ATTACHED TO THE ARTIFACT’S PERMANENT RECORD.) ACCORDING TO THE ARTICLE, THE FIRST PURCHASE OF CATTLE WAS IN 1883 – 3,125 HEAD FOR $100,000. IN 1897, THE COMPANY WAS INCORPORATED UNDER THE CANADIAN JOINT STOCK COMPANIES ACT, MOVING ITS HEAD OFFICE FROM LONDON, ENGLAND. DUNCAN MCEACHRAN WAS APPOINTED PRESIDENT AND GENERAL MANAGER OF THE RANCH AND DAVID WARNOCK FROM GLASGOW BECAME THE LOCAL MANAGER. AT THE TIME OF THIS TRANSITION, IT IS BELIEVED THE RANCH HAD GROWN TO 12,311, THOUGH THIS WAS A MERE ESTIMATE. MCEACHRAN WAS INVOLVED WITH THE COMPANY FROM ITS BEGINNING IN 1883, WHEN HE STARTED AS THE GENERAL MANAGER. HIS LEADERSHIP GOT THE COMPANY THROUGH “PERIODS OF DEPRESSED CONDITION.” AFTER A HARSH WINTER IN 1906-1907, THE RANCH LOST APPROXIMATELY 5,000 HEAD OF CATTLE DUE TO SEVERE TEMPERATURE CHANGES. AFTER THIS, IN THE SUMMER OF 1908, THE RANCH “DISPOSED OF ALL ITS CATTLE TO PAT BURNS. FOLLOWING THE SALE, THE LAND OF THE WALDRON RANCH, EXCLUDING 1,000 ACRES WAS LEASED FIRST TO W. R. HULL, THEN TO PAT BURNS. C. W. BUCHANAN WAS APPOINTED THE PRESIDENT AND GENERAL MANAGER OF THE RANCH THAT IN 1923. MCEACHRAN PASSED AWAY IN OCTOBER 1924. ANOTHER HISTORY ON THE RANCH WAS FOUND BY MUSEUM RESEARCHERS IN THE LETHBRIDGE HERALD. PUBLISHED ON 1 MAY 1954, THE ARTICLE READS, “AT ONE TIME THE WALDRON LEASE CONSISTED OF BETWEEN 300,000 TO 400,000 ACRES OF LAND, EXTENDING FROM WHAT IS KNOWN AS STOWE TO THE NORTH FORK OF THE OLDMAN RIVER. IN THE NORTH FORK DISTRICT THE LAND WAS DIVIDED INTO FIVE BRANCHES… AT ITS PEAK IN THE SUMMER OF 1906 THE RANCH HAD 20,000 HEAD OF STOCK.” GEORGE PORTER IS LISTED IN THE HISTORY AS ONE OF THE CATTLE MEN EMPLOYED BY THE WALDRON RANCH FROM 1883 TO 1908. ABOUT HIM, THE ARTICLE STATES, “GEORGE PORTER [WAS] A GOOD STOCKMAN, [WHO] LATER BOUGHT 12 SECTIONS OF THE COMPANY’S FREEHOLD AT ITS NORTHERN END AND ADJOINING LAND ALREADY OWNED BY HIM.” “GEORGE PORTER AND SONS HAVE SOLD THEIR RANCH AND CATTLE TO JOHN FRANCIS MILLER… THE PORTER RANCH IS ABOUT THIRTY MILES NORTH OF LUNDBRECK AND ADJOINS THE 19,000 ACRE WALDRON RANCH WHICH MR. MILLER ALSO OWNS HAVING PURCHASED IT FROM P. BURNS RANCHES LAST FEBRUARY,” THE HISTORY STATES. AN ARTICLE PUBLISHED IN THE 21 AUGUST 1953 LETHBRIDGE HERALD ANNOUNCED, “TWO OF THE LARGEST AND MOST FAMOUS RANCHES IN THE SOUTH-WESTERN ALBERTA FOOTHILLS ARE BEING OFFERED FOR SALE. THEY ARE THE WALDRON AND PORTER RANCHERS, NORTH OF LUNDBRECK. THESE PROPERTIES ARE OWNED NOW BY JOHN F. MILLER OF LAS VEGAS, NEVADA… [THEY] HAVE BEEN OPERATED BY MR. MILLER’S SON, WHO TOOK OVER THE JOB SEVERAL YEARS AGO WHEN THE MILLERS BOUGHT THE WALDRON FROM THE WALDRON RANCHING COMPANY AND THE PORTER RANCH PROPERTY FROM GEORGE PORTER…” THE HISTORY OF GEORGE AND NORA PORTER (NEE BURN)’S MARRIAGE WAS PUBLISHED IN THE LETHBRIDGE HERALD ON JUNE 26, 1954 FOR THEIR 50TH ANNIVERSARY. THE COUPLE WERE MARRIED AT THE BURN RANCH IN JUNE 21 1904. THE COUPLE’S FOURTEEN CHILDREN WERE: MARJORIE ANDERSON, NORMAN PORTER, PHYLLIS ROBBINS, KATHLEEN HAMILTON, WINNIFRED BONERTZ, SANDY PORTER, EILEEN IRONMONGER, JEAN ALCOCK, JOSEPHINE ROBINSON, LILLIAN CHRISTIANSON, ISOBEL SINNOT, MICHAEL PORTER, LAWRENCE PORTER, AND CONNIE PORTER. PLEASE SEE PERMANENT RECORD P20080020001 FOR FURTHER INFORMATION REGARDING THE EARLY HISTORY OF THE PORTER AND BURN FAMILIES.
Catalogue Number
P20160020000
Acquisition Date
2016-07
Collection
Museum
Images
Less detail
Other Name
SONY CDP-X779ES
Material Type
Artifact
Materials
METAL, GLASS, WOOD
Catalogue Number
P20190004000
  2 images  
Material Type
Artifact
Other Name
SONY CDP-X779ES
Date
1992
Materials
METAL, GLASS, WOOD
No. Pieces
12
Height
12.5
Length
46
Width
37
Description
A- CD PLAYER; PALE GOLD METAL CONTROL PANEL ON FRONT INCLUDES THIRTEEN BUTTONS OF VARIOUS SIZES, RECTANGULAR GLASS DISPLAY WINDOW, CD DRAWER AND GOLD HEADPHONE PORT. STICKER ABOVE DRAWER READS, “PULSE / D/A CONVERTER”. TOP RIGHT CORNER OF FRONT PANEL READS, “X779ES / HIGH DENSITY LINEAR CONVERTER / DIRECT DIGITAL SYNC”. TOP PANEL IS GOLD COLOUR WITH SILVER SCREWS IN EVERY CORNER AND MIDDLE EDGE. SIDES ARE REFLECTIVE DARK WOOD PANELS. BACK PANEL IS BLACK, COMPLETE WITH A HORIZONTAL ROW OF FOUR GOLD CABLE PORTS, THREE LARGE PALE GOLD PORTS, AND TWO BLACK BUTTONS. BLUE STICKER ON BACK READS “AUDIO VIDEO EQUIPMENT…NN788413”. WHITE TEXT BELOW READS, “…SERIAL NO. A700039…” MAIN BODY STANDS ON FOUR SHORT CYLINDRICAL LEGS. VERY GOOD CONDITION; MINOR WEAR AND STAINING ON FRONT PANEL BUTTONS, FINGERPRINT MARKS ON TOP PANEL. PLUG-IN CABLE ATTACHED TO THE BACK OF CD PLAYER. THICK BLACK RUBBER PROTECTIVE COVERING. GOLD TEXT ON CABLE READS, “E41381-T VW-1…” HARD PLASTIC HEAD, WITH TWO SILVER METAL PRONGS. VERY GOOD CONDITION; SLIGHT WEAR ON PRONGS. B- REMOTE CONTROL: H: 2. L: 17.4. W: 5.8. DARK BROWN AND BLACK BODY. TOP HAS PALE GOLD PERFORATED METAL PANEL WITH 36 BUTTONS, SOME OF WHICH READ, “PEAK SEARCH”, “FILE RECALL”, “CONTINUE”, “C.INDEX”, “ERASE”. BELOW FIRST PANEL, IS A SECOND SOLID GOLD METAL PANEL WITH 14 ADDITIONAL BUTTONS. WHITE TEXT BELOW READS, “CD PLAYER / RM-D995 / SONY”. BACK HAS BLACK PLASTIC PANEL TO COVER BATTERIES. VERY GOOD CONDITION; SLIGHT DUST. C- INSTRUCTION MANUAL: H: 1CM. L: 28.2CM. W: 21CM. WHITE PAPER MANUAL WITH TWO METAL STAPLES ALONG SPINE FOR BINDING. BLACK TEXT IN MIDDLE RIGHT OF THE PAGE READS “COMPACT DISC PLAYER / OPERATING INSTRUCTIONS”. BLACK TEXT ON BOTTOM OF COVER READS “…CDP-X779ES…” GREEN PAGE MARKER VISIBLE AT THE TOP IS ATTACHED TO PAGE 18, “HOOKING UP THE SYSTEM”. GOOD TO VERY GOOD CONDITION; SLIGHT YELLOWING OF PAPER, MINOR BLACK FINGERPRINT SMUDGE AND SCUFF ON THE BACK. D- CARDBOARD BOX: H: 22.8. L: 45.5. W: 56. BROWN RECTANGULAR CARDBOARD BOX WITH CLEAR STRIPS OF BROKEN TAPE OVER TOP, FRONT AND BACK. TOP OF BOX READS “SONY” IN NAVY BLUE TEXT. TO THE RIGHT IS HANDWRITTEN TEXT IN BLACK MARKER THAT READS, “72-YRM”. BELOW IS AN ATTACHED STRIP OF WHITE PLASTIC WITH A SINGLE RED MARK. TEXT ON BOTTOM LEFT CORNER READS, “COMPACT DISC DIGITAL AUDIO” IN NAVY BLUE LETTERING. TEXT ON BOTTOM RIGHT CORNER READS, “CDP-X779ES / COMPACT DISC PLAYER / LECTEUR COMPACT DISC”. ON LEFT SIDE OF BOX, WHITE STICKER READS, “…ORDER: 493553 B/L: 324997…” GOOD CONDITION: CARDBOARD IS RIPPED, DENTED, PEELING AND STAINED FROM TAPE ADHESIVE. E- BAG OF EXTRA SCREWS: H: 2.5. L: 4. W. 7.6. BLACK SCREWS WITH MUSHROOM HEADS AND ‘X’ SHAPED CAVITIES. TEXT ON WHITE STICKER READS, “CAUTION…EXCHANGE LONG SCREWS FOR INCLUDED SHORT ONES…4-943-721-01”. EXCELLENT CONDITION: UNOPENED. F- THIN FOAM SHEET: L: 56.3. W: 130. WHITE STRIPES, WITH WAVED EDGES. DEEP VERTICAL CREASES INDICATE TRIFOLD FOLDING. GOOD CONDITION: HEAVY CREASING, SCUFF MARKS, “U” SHAPED HOLE ON RIGHT HAND EDGE. G- STYROFOAM PACKAGING (TOP REAR): H: 9. L: 54. W: 9.4. WHITE RECTANGULAR STYROFOAM LOG WITH CREVICE TO STORE REMOTE CONTROL. UNDERSIDE IS CUT TO FIT TOP REAR SURFACE OF CD PLAYER. TEXT EMBOSSED ON RIGHT SIDE READS, “TOP REAR”. PACKAGING WAS FOUND ON TOP FRONT. VERY GOOD CONDITION: SMALL AREAS REMOVED FROM ITS UNDERSIDE. H- STYROFOAM PACKAGING (TOP FRONT): H: 9. L: 54. W: 9.4. WHITE RECTANGULAR STYROFOAM LOG, WITH UNDERSIDE CUT TO FIT TOP FRONT SURFACE OF CD PLAYER. TEXT EMBOSSED ON RIGHT SIDE READS, “TOP FRONT”. PACKAGING WAS FOUND ON TOP REAR. EXCELLENT CONDITION. I- STYROFOAM PACKAGING (BOTTOM REAR) H: 8. L: 54. W: 9. WHITE RECTANGULAR STYROFOAM LOG, WITH TOP CUT TO FIT BOTTOM REAR SURFACE OF PLAYER. TEXT EMBOSSED ON MIDDLE TOP READS, “BOTTOM REAR”. FAIR TO GOOD CONDITION: HEAVY CRACKING AND MISSING PIECES OF STYROFOAM. J- STYROFOAM PACKAGING (BOTTOM FRONT) H: 8. L: 54. W: 9. WHITE RECTANGULAR STYROFOAM LOG, WITH TOP CUT TO FIT BOTTOM FRONT SURFACE OF CD PLAYER. TEXT EMBOSSED ON THE MIDDLE TOP READS, “BOTTOM FRONT”. VERY GOOD CONDITION: MINOR CRACKS IN STYROFOAM. K- LEFT STEREO PACKAGING: H: 2. L: 36. W: 11. YELLOW CARDBOARD LINED WITH GREY FOAM. CORNERS ARE HELD TOGETHER BY YELLOW PIECES OF TAPE. BOTH LEFT AND RIGHT SIDES EXHIBIT TWO HOLES, ONE ABOVE THE OTHER, 5CM APART. VERY GOOD CONDITION: SLIGHT WARPING OF CARDBOARD, TWO CIRCULAR INDENTS TO THE LEFT OF LEFT SET OF HOLES. L- RIGHT STEREO PACKAGING: H: 2. L: 36. W: 11. YELLOW CARDBOARD LINED WITH GREY FOAM. CORNERS ARE HELD TOGETHER BY YELLOW PIECES OF TAPE. BOTH LEFT AND RIGHT SIDES EXHIBIT TWO HOLES, ONE ABOVE THE OTHER, 5CM APART. GOOD TO VERY GOOD CONDITION: WARPING OF CARDBOARD ON TOP, BOTTOM AND RIGHT SIDE. TWO MINOR SCRATCHES ON BOTTOM RIGHT CORNER OF FOAM.
Subjects
SOUND COMMUNICATION T&E
Historical Association
HOME ENTERTAINMENT
LEISURE
History
ON JANUARY 29, 2019, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ROD SCHULTZ REGARDING HIS DONATION OF A MODEL X779ES SONY CD PLAYER. SCHULTZ DISCUSSED HOW HE ACQUIRED THE CD PLAYER, “I PURCHASED THIS IN 1994… SONY HAD A BRAND CALLED ES AND THAT’S THE VERY TOP LINE OF THEIR STEREO SYSTEMS … I HAD HEARD THEM BEFORE – I HEARD THIS ONE PARTICULAR UNIT AND I WANTED TO BUY IT. THEN SONY DECIDED THEY WERE GOING TO NOT BE INVOLVED IN MARKETING THOSE HIGH-END PRODUCTS ANYMORE BECAUSE THEY DIDN’T REALLY SEE… A CONTINUATION OF CD’S COMING BECAUSE EVERYTHING WAS GOING TO DIGITAL STREAMING - PEOPLE WEREN’T GOING TO BE BUYING THESE. I WENT OUT AND LISTENED TO THESE UNITS. I COMPARED THEM AND CAME BACK PROBABLY 10 TIMES BEFORE I HEARD THIS UNIT AND I WAS CERTAIN THIS WAS THE ONE I WANTED TO HAVE. MY WIFE WASN’T THRILLED BUT I WAS PREPARED TO MAKE SOME SACRIFICES FOR THAT. WHAT HAPPENED IS THAT I WAS GOING TO BUY IT AND THEN SONY DECIDED THAT THEY WERE GOING TO SHUT DOWN THE STORES THAT THEY HAD IN CANADA. THEY SHUT DOWN THE LETHBRIDGE ONE FIRST. THIS WAS THE ONLY ONE THAT WAS LEFT IN CANADA AND THERE WAS STILL ONE AVAILABLE IN MEDICINE HAT. I DROVE TO MEDICINE HAT AND I BOUGHT IT THERE BECAUSE THEY WOULDN’T SHIP IT FROM MEDICINE HAT TO THE [LETHBRDIGE] STORE THAT WAS GOING TO BE CLOSING. I TOLD THEM, I SAID, “I TELL YOU, I’M COMING TODAY. DO NOT SELL THAT UNIT ON ME.” “PEOPLE WOULD SAY, ‘YOU SPENT $2400 ON A COMPACT DISC PLAYER. THERE IS NO WAY IT CAN BE WORTH THAT KIND OF MONEY.’ I’D SAY, ‘I’LL TELL YOU WHAT, YOU HAVE COMPACT DISCS. YOU BRING YOUR VERY FAVORITE OVER AND LISTEN TO IT SEVERAL TIMES AT YOUR HOUSE AND YOU COME OVER AND YOU LISTEN TO MINE.’ THEY SAID, ‘I CAN’T BELIEVE THE DIFFERENCE. IF SOMEONE HAD TOLD ME THAT I’D HAVE SAID, “NO, IT’S NOT POSSIBLE FOR THERE TO BE THAT KIND OF DIFFERENCE BUT I UNDERSTAND WHY YOU ARE DEVOTED TO BUYING …I FINALLY HEARD THIS WAS THE CREAM OF THE CROP.”’ AND THAT’S WHY I DECIDED THAT WAS THE ONE I WAS GOING TO OWN…AFTER I FOUND IT I DIDN”T BELIEVE IT COULD BE ANY BETTER AND I JUST…TREATED IT THE BEST I COULD.” “IT WAS A THRILL TO OWN THIS PIECE OF EQUIPMENT. I USED TO SPEND 4 HOURS A DAY LISTENING TO MUSIC. WHEN THE KIDS WENT TO BED, I HAD MY QUIET TIME AND THAT’S WHEN I KIND OF FELL OFF THE FACE OF THE EARTH...” “IT STARTED TO FAIL ABOUT NINE MONTHS AGO... YOU MIGHT HAVE TO SHUT THE ON/OFF BUTTON ON TWICE TO FINALLY GET IT TO RUN, AND THEN IT FINALLY WOULD RUN [BUT] IT WOULD NEVER QUIT PART OF THE WAY THROUGH. IT BECAME SOMETHING THAT WAS PERFECT THAT ALL OF A SUDDEN WAS NO LONGER PERFECT.” “I THOUGHT MAYBE THERE WAS SOMETHING WRONG WITH [THE] OTHER COMPONENTS THAT WERE HOOKED TO IT SO I HAD THE AMPLIFIER CHECKED OUT, THE PRE-AMPLIFIER, EVERYTHING ELSE WAS FINE. THERE’S A GUY…WHO WAS AN ELECTRONICS TECHNICIAN THAT OWNED THE SAME PLAYER IN CALGARY… I USED TO GO UP TO CALGARY TO VISIT THIS GUY, AND HE HAD THE SAME ISSUE WITH THE SAME PLAYER, WITH HIS, AND HE WAS NEVER ABLE TO FIX IT…HE TOLD ME IT WAS A DONE DEAL, THERE’S NOTHING I CAN DO ABOUT IT. [I ALMOST HAD TO GO THROUGH A LEVEL OF GRIEVING AND LOTS OF DENIAL] I COULDN’T BELIEVE IT HAPPENED, SO I FINALLY BOUGHT THE REPLACEMENT THROUGH SMITH’S AUDIO.” ON THE ORIGINS OF HIS LOVE FOR MUSIC, SCHULTZ RECALLED, “…I FIRST GOT INTERESTED IN CLASSICAL MUSIC… BECAUSE OF MY FATHER-IN-LAW. HE WAS THE COOLEST GUY IN THE WORLD… WHEN I FINALLY GOT THROUGH SCHOOL AND I STARTED TO PAY ATTENTION TO LISTEN TO MUSIC SERIOUSLY. [I CAME TO LETHBRIDGE] IN 1977 AND I USED TO TAKE OUT 30 LPs AT THE BEGINNING OF THE WEEK AND 30 LPs AT THE END OF THE WEEK AND I WOULD…EXPLORE DIFFERENT COMPOSERS IN LETHBRIDGE – SO I WOULD BORROW THEM FROM THERE AND I WOULD LISTEN TO THEM ON MY PHONOGRAPH… I WAS ABLE TO DETERMINE EXACTLY WHICH COMPOSERS I LIKED AND MUSIC I LIKED, WHICH WERE THE REALLY GOOD ORCHESTRAS. I DEVELOPED THIS REPERTOIRE OF MUSIC THAT… JUST MADE MY SKIN HOT.” “I’M ALMOST POSITIVE THAT [THE FIRST CD I BOUGHT] WAS… A PIECE OF MUSIC BY BACH…IT WAS AN OBOE CONCERTO, IN AN OBOE ENVIRONMENT. IT WAS [AN] ABSOLUTELY GORGEOUS PIECE OF MUSIC... I STILL HAVE IT TODAY AND IT PLAYS BEAUTIFULLY. I LISTEN TO IT ONCE A MONTH.” “I HAVE A LOT OF COMPACT DISCS, PROBABLY 450 THAT ARE PRIMARILY CLASSICAL ONES… I TRY TO PICK MUSIC BY WELL-KNOWN COMPOSERS, BEAUTIFUL THINGS, I CALL IT EAR CANDY AND THAT[‘S] WHAT IT IS TO ME. IT IS SOMETHING THAT CAN BRING ME TO TEARS, THAT I CAN BE EMOTIONALLY ATTACHED TO IT…TO ME IT’S LIKE A SOOTHER FOR AN ADULT. THIS IS MAYBE A STRANGE THING TO SAY, BUT IT GIVES ME GREAT JOY. I WOULD RATHER BE BLIND THAN TO LOSE MY HEARING BECAUSE IF I LISTEN TO MUSIC, I’D BE CRYING RIGHT IN FRONT OF YOU… I REALLY BELIEVE IN MY HEART THAT COMPOSERS ARE A GIFT FROM GOD.” “IT DOES SOMETHING TO ME…I MEAN, I’VE GOT A BEAUTIFUL WIFE, BEST FAMILY, NICE HOME BUT THIS IS STILL A HUGE PART OF MY LIFE AND MY MENTAL HEALTH.” “SOMETIMES I THINK FOR PEOPLE [MUSIC IS] JUST NOISE IN THE BACKGROUND, BUT…IF I SIT ON THE SOFA AND I LISTEN TO MUSIC, IT’S ALMOST LIKE I ELEVATE FROM THE GROUND. I’M NOT A CRAZY PERSON BUT IT JUST TAKES ME TO A DIFFERENT REALM. IT TAKES ME TO A DIFFERENT PLACE THAT HAS JUST ME ENJOYING SOMETHING I LOVE. IT’S SPECIAL TO ME.” ON DONATING THE CD PLAYER TO THE MUSEUM, SCHULTZ EXPLAINED, “IF I COULD HAVE FIXED THIS, IT WOULD STILL BE IN MY SYSTEM…I JUST COULDN’T DO IT. YOU ASKED ME WHY IT’S IMPORTANT FOR ME TO DO SOMETHING WITH IT. I COULD LEAVE THIS [TO] SIT IN A BOX. IT’S IN A BOX AND IT HAS MEMORIES TO ME, BUT THIS IS AN ELECTRONIC PIECE OF ART AND IT’S A VERY, VERY WELL DESIGNED AND BEAUTIFUL SOUNDING PIECE OF EQUIPMENT… IT IS SUCH A UNIQUE THING AND SOMETHING I’VE PRIZED [TOO] MUCH THAT, TO ME, IT WOULD BE A TRAVESTY TO JUST SIT IN A BOX AND DO NOTHING, WHERE IT COULD POSSIBLY ONE DAY BE APPRECIATED BY OTHER PEOPLE FOR THE BEAUTY OF IT AND FOR THE DESIGN OF IT AND THE FACT THAT IT WAS REALLY AT THE TOP OF ITS CLASS AND THE REVIEWS THAT THEY HAVE STATED THAT THIS WAS ONE OF THE BEST CD PLAYERS THAT HAS EVER BEEN MADE IN THE WORLD.” “THERE’S A PLACE I COULD GO DOWN AND RECYCLE [THE CD PLAYER, BUT IT’S THE] MOST DISRESPECTFUL THING I COULD DO…BECAUSE IT DESERVES BETTER THAN THAT FROM WHAT IT GAVE ME. SO I SAVE THEM. I FEEL EMBARRASSED THAT I’M EMOTIONAL ABOUT IT BUT TO ME – I DON’T KNOW IF IT’S A LOVE AFFAIR WITH SOMETHING, BUT IT’S NOT THAT FAR FROM IT. IT JUST GAVE ME SO MUCH INCREDIBLE JOY. [DESTROYING IT] WOULD BE THE MOST DISRESPECTFUL THING I COULD DO TO SOME INANIMATE OBJECT. I COULDN’T DO IT. THAT’S WHY IT SAT IN MY BASEMENT. I THOUGHT TO MYSELF, ‘THERE’S A BETTER HOME FOR IT THAN A CARDBOARD BOX’.” “I HAVE A CONNECTION HERE [TO THE GALT] AND I BELIEVE IN WHAT YOU’RE DOING AND WHAT YOU’RE TRYING TO ACHIEVE. IT MAKES ME FEEL PEACEFUL. I CAN SAY “GOODBYE.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PHOTOGRAPHS AND ADDITIONAL RECEIPTS DATED 1987, PLEASE SEE THE PERMANENT FILE P20190004000-GA.
Catalogue Number
P20190004000
Acquisition Date
2019-01
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
Other Name
"ATROPHY MANUSCRIPT" CD, TITLED "THIS PRESENT DAY CONFUSION"
Material Type
Artifact
Materials
PLASTIC, PAPER
Catalogue Number
P20170004002
  1 image  
Material Type
Artifact
Other Name
"ATROPHY MANUSCRIPT" CD, TITLED "THIS PRESENT DAY CONFUSION"
Date
2006
Materials
PLASTIC, PAPER
No. Pieces
1
Height
0.8
Length
14.2
Width
12.1
Description
COMPACT DISC FOR MUSIC. THE COVER DEPICTS A BLUE-TINTED IMAGE OF A GROCERY STORE AISLE. THE CD IS UNOPENED/WRAPPED IN CELLOPHANE. THERE IS A WHITE LABEL STICKING TO THE FRONT TOP CORNER OF THE CASE THAT SAYS “ATROPHY MANUSCRIPT… BURNABY B.C. 2006”. THE BACK READS, “THIS PRESENT DAY CONFUSION” AND LISTS 11 TRACK TITLES IN BLACK INK AGAINST A BLUE BACKGROUND. THE BACK IMAGE IS ABSTRACTED. EXCELLENT CONDITION. SCRATCHES ON CELLOPHANE.
Subjects
SOUND COMMUNICATION T&E
Historical Association
HOME ENTERTAINMENT
LEISURE
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 COMPACT DISC (CD) WAS ON SALE AT HMV AT THE TIME OF CLOSING. THE BAND, ATROPHY MANUSCRIPT, WAS A LETHBRIDGE-BASED ALTERNATIVE/EMO ROCK BAND. THE CD IS TITLED, "THIS PRESENT DAY CONFUSION," AND WAS THE BAND’S SECOND RECORDED ALBUM. ACCORDING TO THE LABEL ATTACHED TO THE FRONT OF THE CD COVER, THE ALBUM WAS RECORDED AT A STUDIO CALLED THE HIVE IN BURNABY, B.C. THE ALBUM WAS EITHER RECORDED IN 2006 (LABEL ON ALBUM COVER) OR 2008 (LETHBRIDGE HERALD ARTICLES). ACCORDING TO THE BAND’S MYSPACE PAGE (WWW.MYSPACE.COM/ATROPHYMANUSCRIPT, ACCESSED 15 AUGUST 2017), THE BAND WAS ACTIVE FROM 2003 UNTIL 2009. 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 THAT PERIOD, AS WELL AS FRIZZLEY’S RELATIONSHIP WITH THE STORE, PLEASE SEE P20170004001. DURING THE INTERVIEW, FRIZZLEY REFLECTED ON THE NATURE OF PEOPLES’ RELATIONSHIPS WITH MUSIC STORES. HE EXPLAINED, “… IT’S THE STRANGEST SORT OF STORE BECAUSE IF YOU WENT INTO A GROCERY STORE AND THEY HAD EXPANDED THEIR ORGANIC SECTION YOU WOULDN’T BE OFFENDED… [BUT] WITH MUSIC STORES, IT DOESN’T MATTER IF YOU’RE A 16-YEAR-OLD LISTENING TO PUNK MUSIC, OR A EARLY-20’S METAL GUY, OR AN OLD PERSON LISTENING TO THE GENRE CLASSICAL... THERE’S THIS FEELING THAT WHENEVER ANYTHING IS ASSAULTED, IN TERMS OF MUSIC, LIKE, 'HEY, THE METAL SECTION WENT FROM LIKE 8 FEET OF SPACE TO 12 FEET OF SPACE." WE DIDN’T ACTUALLY ADD ANY PRODUCT, BUT THE METAL GUYS WILL BE ECSTATIC, BECAUSE CLEARLY WE HAD DONE THIS THING THAT HAD MADE IT BETTER. WE CARED ABOUT THEM… AND SIMILARLY, WHEN THE PUNK GUYS LOST THAT SPACE AND WENT FROM 8 FEET OF SPACE TO 4 FEET OF SPACE, THEY WERE LIKE 'YOU KNOW, YOU GUYS JUST DON’T HAVE THE SAME SORT OF SELECTION YOU USED TO.' BUT IT’S THE PERCEPTION OF [HOW MUCH PEOPLE CARE ABOUT THEIR MUSIC] AND THAT’S ALWAYS SORT OF BEEN IT... YOU KNOW, PEOPLE ARE OFFENDED BY MUSIC THAT THAT THEY DON’T LIKE BEING IN A STORE. THE AMOUNT OF TIMES I CAN REMEMBER A NEW JUSTIN BIEBER COMING OUT, AND GOING UP TO THE FRONT OF THE STORE, AND BEING LIKE 'WELL WHAT’S GOING ON HERE?' AND SOMEONE HAD TAKEN MY ENTIRE IRON MAIDEN SECTION AND PUT IT IN FRONT OF EACH JUSTIN BIEBER CD. I CAN’T FATHOM ANYBODY BEING INVESTED IN ANY SORT OF OTHER PURCHASE WHERE THEY WOULD BE LIKE 'THIS SORT OF THING OFFENDS ME...' I CAN’T IMAGINE FEELING THAT WAY ABOUT A PARTICULAR BRAND OF KETCHUP OR A PARTICULAR CAR, OR ANYTHING LIKE THAT…" SPEAKING ABOUT THE TYPICAL HMV SHOPPER FRIZZLEY SAID, "THERE’S THIS NARRATIVE THAT PEOPLE WANT TO [BE] THE OLD, DYING CD BUYER... THERE’S ALWAYS PEOPLE WHO COME IN, AND SAY THINGS LIKE, 'OH, I JUST DON’T DO THE DIGITAL,' - [BUT ALSO] 'OH, I HAVE A CD PLAYER IN MY TRUCK, SO THAT’S THE ONLY REASON I’M BUYING CD’S TODAY,' AND THAT’S ALWAYS BEEN A SUBSECTION OF WHAT WE SELL TO - BUT, I THINK THE MAJORITY OF PEOPLE JUST WANT TO HAVE THAT PHYSICAL CONNECTION WITH THE THING THAT THEY LIKE. AND THAT [TYPE OF] PERSON DIDN’T DIE, BUT THEY ALSO WEREN’T MARKETED TO BY ALL THE MARKETING... SO THAT’S SORT OF WHY THE FOOTPRINT OF CDS SHRUNK. IT WASN’T TO ASSAULT WHAT THEY WANTED, BECAUSE THEY WERE COMING IN [AND] BUYING SPECIFIC THINGS, OR COMING UP AND ORDERING SPECIFIC TITLES THAT THEY’VE ALREADY PUT THEIR RESEARCH INTO. THEY WANT THIS TOKEN OF WHAT THEY LIKE (WHICH IS THE PHYSICAL CD). AND ANYTIME THAT ANY AFFRONT HAPPENED TO CDS, THEY TOOK IT SO PERSONALLY…" AS THE SALE OF CDS DECREASED WITH THE ADVENT OF DIGITAL CONTENT AND STREAMING SERVICES, FRIZZLEY NOTED THAT SOME POSITIVES EMERGED. HE SAID, “THE POSITIVES ARE THAT BARRIERS ARE BROKEN DOWN. YOU KNOW THE FACT THAT BANDCAMP IS HUGE; THAT LITERALLY ANYBODY CAN MAKE MUSIC, AND CAN MAKE IT AVAILABLE IS SO COOL. YOU’VE GOT SHAWN MENDES RIGHT NOW, WHO IS VINE FAMOUS... [MEANING], ‘I MAKE SHORT VIDEO CLIPS OF ME SINGING SONGS AND THAT’S GOING TO LEAD INTO THIS MASSIVE CAREER.' THAT’S SURREAL… [AND] I THINK IT LETS PEOPLE FEEL MORE CONNECTED TO THEIR MUSIC... IT CHANGES THE WAY THAT PEOPLE SORT OF PERCEIVE THEIR CONNECTION TO IT. PEOPLE LOVE THE IDEA OF BEING A PART OF SOMETHING...” FRIZZLEY WENT ON TO DISCUSS THE SHIFT IN THE MUSIC INDUSTRY, “I WOULD LIKE TO SAY THAT THERE’S MORE POSITIVES THAN THAT, BUT I REALLY THINK THE MUSIC INDUSTRY MADE A SYSTEM THAT IS NOT GOING TO BE FINANCIALLY VIABLE FOR A LOT OF MUSICIANS. IF YOU LOOK AT STREAMING, - WHICH IS GREAT - [BUT] I DON'T THINK PEOPLE REALIZE THE DIFFERENCE BETWEEN SPOTIFY AND NETFLIX. WHEN YOU DO NETFLIX, IT’S MOVIES THAT HAVE ALREADY HAD THEIR THEATRE RUN; ALREADY MADE THEIR BILLIONS OF DOLLARS; ALREADY HAD A CHANCE TO BE SOLD, WHETHER DIGITALLY OR PHYSICALLY, AND THEN FINALLY END UP ON NETFLIX. SPOTIFY [IS LIKE], ‘HEY, IT’S $10.00 A MONTH AND HERE’S ALL THE MUSIC FOREVER.’ SPOTIFY ROYALTIES AREN’T ENOUGH. EVERYONE KNOWS THEY’RE NOT ENOUGH, BUT I THINK PEOPLE HAVE IN THEIR HEADS THAT ALL THE MUSIC FOREVER IS WORTH $10.00 A MONTH… MUSIC HAS NO VALUE ANYMORE. LIVE MUSIC DOES AND THE PHYSICAL TOKENS DO, AND THAT’S WHY VINYL IS SEEING THIS RESURGENCE, BUT MUSIC HAS NO VALUE. AND I THINK PART OF THAT [IS] BECAUSE OF THE RADIO, [WHICH IS] SORT OF HOW MUSIC HAPPENED; HOW WE’VE LISTENED TO MUSIC. SO RADIO HAPPENS, AND YOU CAN LISTEN TO RADIO FOR FREE, BUT YOU STILL HAVE TO BUY THE RECORDS. AND IT WORKED. BUT NOW WE STILL HAVE THIS IDEA THAT ‘WELL, THE TECHNOLOGY EXISTS FOR ME TO BE ABLE TO LISTEN TO THE RADIO, AND CHOOSE WHAT I LISTEN TO ON THE RADIO... SO I SHOULD BE ABLE TO CHOOSE WHAT I LISTEN TO, BUT I STILL WANT THAT PREMISE OF FREE MUSIC’… I DON’T KNOW HOW THE WORLD IS ABLE TO FINANCIALLY COMPENSATE YOU FOR MAKING YOUR MUSIC, AND I DON’T KNOW IF IT NECESSARILY NEEDS TO. ART WILL ALWAYS EXIST REGARDLESS WHETHER OR NOT THERE’S PEOPLE PAYING FOR IT. BUT IT DOESN’T CHANGE THE FACT THAT WHEN YOU ARE ABLE TO COMPENSATE PEOPLE, THEY CAN FOCUS ON THEIR ART FULL TIME, [AND] YOU END UP WITH JUST BETTER QUALITY.” PLEASE SEE PERMANENT RECORD FOR ADDITIONAL INFORMATION, INCLUDING THE FULL INTERVIEW TRANSCRIPT AND ARTICLES REGARDING THE RECEIVERSHIP AND LIQUIDATION OF HMV CANADA.
Catalogue Number
P20170004002
Acquisition Date
2017-02
Collection
Museum
Images
Less detail
Other Name
"AC/DC", "HIGHWAY TO HELL"
Material Type
Artifact
Materials
PLASTIC, CARDBOARD
Catalogue Number
P20170004003
  1 image  
Material Type
Artifact
Other Name
"AC/DC", "HIGHWAY TO HELL"
Date
2003
Materials
PLASTIC, CARDBOARD
No. Pieces
1
Length
14
Width
12.6
Description
COMPACT MUSIC DISC. THE CD CASE IS MADE FROM CARDBOARD AND PLASTIC THAT IS UNOPENED, COVERED IN CELLOPHANE WRAPPER. THE COVER INCLUDES A PHOTO OF THE BAND AND SAYS “AC/DC” , “HIGHWAY TO HELL”. ON TOP OF THE CELLOPHANE IN A HMV SALE STICKER THAT READS “HMV 2/20…”. THERE IS A SECOND STICKER ON THE FRONT THAT IS BLACK AND SAYS, “DIGITALLY REMASTERED”. THE BACK COVER HAS A BLACK AND WHITE PICTURE OF THE BAND AND LISTS TEN TRACK TITLES. THE LABEL INCLUDES “1979, 2003…” “9699-80206”. EXCELLENT CONDITION. HOLES IN CELLOPHANE ON THE BACKSIDE AND THE BLACK STICKER IS LIFTING.
Subjects
SOUND COMMUNICATION T&E
Historical Association
HOME ENTERTAINMENT
LEISURE
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 AC/DC CD IS INDICATIVE OF A TYPE OF CD SOLD BY HMV. AC/DC IS A POPULAR ROCK BAND THAT FORMED IN THE 1970S IN AUSTRALIA. THE ALBUM, HIGHWAY TO HELL, WAS RELEASED IN 1979 AND WAS THE FIFTH AC/DC ALBUM TO BE RELEASED INTERNATIONALLY. 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 THAT PERIOD, AS WELL AS FRIZZLEY’S RELATIONSHIP WITH THE STORE, PLEASE SEE P20170004001. DURING THE INTERVIEW, FRIZZLEY REFLECTED ON THE NATURE OF PEOPLES’ RELATIONSHIPS WITH MUSIC STORES. HE EXPLAINED, “… IT’S THE STRANGEST SORT OF STORE BECAUSE IF YOU WENT INTO A GROCERY STORE AND THEY HAD EXPANDED THEIR ORGANIC SECTION YOU WOULDN’T BE OFFENDED… [BUT] WITH MUSIC STORES, IT DOESN’T MATTER IF YOU’RE A 16-YEAR-OLD LISTENING TO PUNK MUSIC, OR A EARLY-20’S METAL GUY, OR AN OLD PERSON LISTENING TO THE GENRE CLASSICAL... THERE’S THIS FEELING THAT WHENEVER ANYTHING IS ASSAULTED, IN TERMS OF MUSIC, LIKE, 'HEY, THE METAL SECTION WENT FROM LIKE 8 FEET OF SPACE TO 12 FEET OF SPACE." WE DIDN’T ACTUALLY ADD ANY PRODUCT, BUT THE METAL GUYS WILL BE ECSTATIC, BECAUSE CLEARLY WE HAD DONE THIS THING THAT HAD MADE IT BETTER. WE CARED ABOUT THEM… AND SIMILARLY, WHEN THE PUNK GUYS LOST THAT SPACE AND WENT FROM 8 FEET OF SPACE TO 4 FEET OF SPACE, THEY WERE LIKE 'YOU KNOW, YOU GUYS JUST DON’T HAVE THE SAME SORT OF SELECTION YOU USED TO.' BUT IT’S THE PERCEPTION OF [HOW MUCH PEOPLE CARE ABOUT THEIR MUSIC] AND THAT’S ALWAYS SORT OF BEEN IT... YOU KNOW, PEOPLE ARE OFFENDED BY MUSIC THAT THAT THEY DON’T LIKE BEING IN A STORE. THE AMOUNT OF TIMES I CAN REMEMBER A NEW JUSTIN BIEBER COMING OUT, AND GOING UP TO THE FRONT OF THE STORE, AND BEING LIKE 'WELL WHAT’S GOING ON HERE?' AND SOMEONE HAD TAKEN MY ENTIRE IRON MAIDEN SECTION AND PUT IT IN FRONT OF EACH JUSTIN BIEBER CD. I CAN’T FATHOM ANYBODY BEING INVESTED IN ANY SORT OF OTHER PURCHASE WHERE THEY WOULD BE LIKE 'THIS SORT OF THING OFFENDS ME...' I CAN’T IMAGINE FEELING THAT WAY ABOUT A PARTICULAR BRAND OF KETCHUP OR A PARTICULAR CAR, OR ANYTHING LIKE THAT…" SPEAKING ABOUT THE TYPICAL HMV SHOPPER FRIZZLEY SAID, "THERE’S THIS NARRATIVE THAT PEOPLE WANT TO [BE] THE OLD, DYING CD BUYER... THERE’S ALWAYS PEOPLE WHO COME IN, AND SAY THINGS LIKE, 'OH, I JUST DON’T DO THE DIGITAL,' - [BUT ALSO] 'OH, I HAVE A CD PLAYER IN MY TRUCK, SO THAT’S THE ONLY REASON I’M BUYING CD’S TODAY,' AND THAT’S ALWAYS BEEN A SUBSECTION OF WHAT WE SELL TO - BUT, I THINK THE MAJORITY OF PEOPLE JUST WANT TO HAVE THAT PHYSICAL CONNECTION WITH THE THING THAT THEY LIKE. AND THAT [TYPE OF] PERSON DIDN’T DIE, BUT THEY ALSO WEREN’T MARKETED TO BY ALL THE MARKETING... SO THAT’S SORT OF WHY THE FOOTPRINT OF CDS SHRUNK. IT WASN’T TO ASSAULT WHAT THEY WANTED, BECAUSE THEY WERE COMING IN [AND] BUYING SPECIFIC THINGS, OR COMING UP AND ORDERING SPECIFIC TITLES THAT THEY’VE ALREADY PUT THEIR RESEARCH INTO. THEY WANT THIS TOKEN OF WHAT THEY LIKE (WHICH IS THE PHYSICAL CD). AND ANYTIME THAT ANY AFFRONT HAPPENED TO CDS, THEY TOOK IT SO PERSONALLY…" AS THE SALE OF CDS DECREASED WITH THE ADVENT OF DIGITAL CONTENT AND STREAMING SERVICES, FRIZZLEY NOTED THAT SOME POSITIVES EMERGED. HE SAID, “THE POSITIVES ARE THAT BARRIERS ARE BROKEN DOWN. YOU KNOW THE FACT THAT BANDCAMP IS HUGE; THAT LITERALLY ANYBODY CAN MAKE MUSIC, AND CAN MAKE IT AVAILABLE IS SO COOL. YOU’VE GOT SHAWN MENDES RIGHT NOW, WHO IS VINE FAMOUS... [MEANING], ‘I MAKE SHORT VIDEO CLIPS OF ME SINGING SONGS AND THAT’S GOING TO LEAD INTO THIS MASSIVE CAREER.' THAT’S SURREAL… [AND] I THINK IT LETS PEOPLE FEEL MORE CONNECTED TO THEIR MUSIC... IT CHANGES THE WAY THAT PEOPLE SORT OF PERCEIVE THEIR CONNECTION TO IT. PEOPLE LOVE THE IDEA OF BEING A PART OF SOMETHING...” FRIZZLEY WENT ON TO DISCUSS THE SHIFT IN THE MUSIC INDUSTRY, “I WOULD LIKE TO SAY THAT THERE’S MORE POSITIVES THAN THAT, BUT I REALLY THINK THE MUSIC INDUSTRY MADE A SYSTEM THAT IS NOT GOING TO BE FINANCIALLY VIABLE FOR A LOT OF MUSICIANS. IF YOU LOOK AT STREAMING, - WHICH IS GREAT - [BUT] I DON'T THINK PEOPLE REALIZE THE DIFFERENCE BETWEEN SPOTIFY AND NETFLIX. WHEN YOU DO NETFLIX, IT’S MOVIES THAT HAVE ALREADY HAD THEIR THEATRE RUN; ALREADY MADE THEIR BILLIONS OF DOLLARS; ALREADY HAD A CHANCE TO BE SOLD, WHETHER DIGITALLY OR PHYSICALLY, AND THEN FINALLY END UP ON NETFLIX. SPOTIFY [IS LIKE], ‘HEY, IT’S $10.00 A MONTH AND HERE’S ALL THE MUSIC FOREVER.’ SPOTIFY ROYALTIES AREN’T ENOUGH. EVERYONE KNOWS THEY’RE NOT ENOUGH, BUT I THINK PEOPLE HAVE IN THEIR HEADS THAT ALL THE MUSIC FOREVER IS WORTH $10.00 A MONTH… MUSIC HAS NO VALUE ANYMORE. LIVE MUSIC DOES AND THE PHYSICAL TOKENS DO, AND THAT’S WHY VINYL IS SEEING THIS RESURGENCE, BUT MUSIC HAS NO VALUE. AND I THINK PART OF THAT [IS] BECAUSE OF THE RADIO, [WHICH IS] SORT OF HOW MUSIC HAPPENED; HOW WE’VE LISTENED TO MUSIC. SO RADIO HAPPENS, AND YOU CAN LISTEN TO RADIO FOR FREE, BUT YOU STILL HAVE TO BUY THE RECORDS. AND IT WORKED. BUT NOW WE STILL HAVE THIS IDEA THAT ‘WELL, THE TECHNOLOGY EXISTS FOR ME TO BE ABLE TO LISTEN TO THE RADIO, AND CHOOSE WHAT I LISTEN TO ON THE RADIO... SO I SHOULD BE ABLE TO CHOOSE WHAT I LISTEN TO, BUT I STILL WANT THAT PREMISE OF FREE MUSIC’… I DON’T KNOW HOW THE WORLD IS ABLE TO FINANCIALLY COMPENSATE YOU FOR MAKING YOUR MUSIC, AND I DON’T KNOW IF IT NECESSARILY NEEDS TO. ART WILL ALWAYS EXIST REGARDLESS WHETHER OR NOT THERE’S PEOPLE PAYING FOR IT. BUT IT DOESN’T CHANGE THE FACT THAT WHEN YOU ARE ABLE TO COMPENSATE PEOPLE, THEY CAN FOCUS ON THEIR ART FULL TIME, [AND] YOU END UP WITH JUST BETTER QUALITY.” PLEASE SEE PERMANENT RECORD FOR ADDITIONAL INFORMATION, INCLUDING THE FULL INTERVIEW TRANSCRIPT AND ARTICLES REGARDING THE RECEIVERSHIP AND LIQUIDATION OF HMV CANADA.
Catalogue Number
P20170004003
Acquisition Date
2017-02
Collection
Museum
Images
Less detail
Other Name
ALL-CANADA TV STATION SHOWMANSHIP AWARD
Date Range From
1960
Date Range To
1961
Material Type
Artifact
Materials
METAL, STONE, WOOD
Catalogue Number
P20150016002
  1 image  
Material Type
Artifact
Other Name
ALL-CANADA TV STATION SHOWMANSHIP AWARD
Date Range From
1960
Date Range To
1961
Materials
METAL, STONE, WOOD
No. Pieces
1
Height
32.5
Diameter
12.5
Description
AWARD TROPHY, “ALL-CANADA TV STATION SHOWMANSHIP AWARD BEST LOCAL PROGRAMMING CJLH-TV LETHBRIDGE, ALTA. 1960-61”. CAST METAL PEBBLED, LAUREL LEAF BASE, FINISHED IN GOLD. PEDESTAL CONSTRUCTED OF WOOD AND POLISHED STONE. GREEN FELT BOTTOM. VERY GOOD CONDITION. GOLD FINISH SCUFFED IN SOME AREAS WITH SOME SCRATCHES ON THE BASE AND DUST BUILD UP. MINOR LOSS TO THE BLACK PAINT AROUND THE BASE AND SLIGHT WEAR TO THE FELT BOTTOM.
Subjects
PERSONAL SYMBOL
Historical Association
COMMEMORATIVE
HOME ENTERTAINMENT
PROFESSIONS
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 THE HORHOZER FAMILY AND THE COUNTRY CAPERS - TO WHOM THE TROPHY WAS AWARDED IN 1961. EVERAL MET JOE HORHOZER WHEN HE CAME TO SUPINA’S TO WORK. SHE REMEMBERS: “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.” THIS TROPHY IS REPRESENTATIVE OF JOE HORHOZER’S TIME AS PART OF THE MUSICAL GROUP CALLED THE COUNTRY CAPERS. PRIOR TO THAT, HE WAS A PART OF THE MUSICAL GROUP, THE ALBERTA RANCH BOYS. THE GROUP FORMED IN 1937 AND HAD SEEN SUCCESS ON BOTH THE LOCAL AND NATIONAL LEVELS. AROUND 1955, THE GROUP HAD SLOWED DOWN FROM THEIR TOURING SCHEDULE, AS A RESULT HORHOZER AND A FELLOW BAND MEMBER, REMO BACEDA, WERE ABLE TO JOIN A GROUP FORMING IN LETHBRIDGE THAT CAME TO BE THE 'COUNTRY CAPERS.' THIS GROUP CONSISTED OF THE POTTS FAMILY ON VOCALS, EDDIE, BETTY (WAGGONTAIL), AND TWINS SHIRLEY ANN (PETRAK) AND SHARON (SCOVILLE), AS WELL AS DONN PETRAL ON VOCALS AND GUITAR, HERB URANO ON BASS, REMO BACEDA ON FIDDLE, AND HORHOZER WITH HIS ACCORDION. HORHOZER SAYS OF THAT TIME, “WELL, THE POTTS ALWAYS SIGNED TOGETHER. THERE WERE THREE SISTERS AND THEN EDDIE, THE BROTHER, AND THEY WERE VERY GOOD SINGERS, BUT THEY WANTED SOMEBODY THAT WAS PROFESSIONAL TO KIND OF TEACH THEM HOW TO SING IN HARMONY. REMO WAS GOOD AT THAT ‘CAUSE HE WAS THE HEAD OF A CHOIR AND [KNEW] HOW TO DO GROUP MUSIC, ‘CAUSE [THE POTTS] WERE GREEN. THEY DIDN’T KNOW ANYTHING. THEN THEY WOULD PRACTICE AND PRACTICE TOGETHER, AND THEN DONN PETRAK, I GUESS, GOT THE RADIO STATION TO HIRE THEM. THEY’VE GOT TO -THEY’VE GOT TO HEAR YOU PLAY FIRST, SO THEY HAD THIS BAND CALLED THE COUNTRY CAPERS AND THEY ALL PLAYED TOGETHER FOR QUITE A LONG TIME ON THE RADIO. I THINK THEY WERE ON THE RADIO FOR MAYBE TWO YEARS OR SOMETHING LIKE THAT – CJOC.” HORHOZER’S DAUGHTER, MELODEE “MEL” MUTCH, WHO WAS ALSO IN THE ROOM FOR THE INTERVIEWS WITH MACLEAN, ADDED, “… IT WAS A TELEVISION SHOW. THAT’S WHAT THEY WERE KNOWN FOR.” ON MARCH 1, 1998, THE LETHBRIDGE HERALD’S “THE WAY WE WERE” COLUMN FEATURED A HISTORY OF THE COUNTRY CAPERS WRITTEN BY GARRY ALLISON. THIS ARTICLE STATES, “THE COUNTRY CAPERS WERE FEATURED ON CJOC RADIO WITH THEIR OWN SHOW AND ON CJLH-TV FOR FIVE YEARS. THEY ALSO TRAVELED TO CALGARY EACH WEEK FOR A CROSS-CANADA RADIO SHOW ON CBC IN 1958. THEIR LOCALLY-PRODUCED TV SHOW WAS SHOWN EACH TUESDAY NIGHT AT FIRST, THEN LATER ON THURSDAY NIGHT.” CJLH-TV WON SEVEN LIBERTY MAGAZINE AWARDS IN TOTAL DURING THE 1950S AND 1960S. THESE AWARDS INCLUDED THE 1960 – 1961 AWARD FOR BEST LOCAL PROGRAMMING, WHICH THE COUNTRY CAPERS WERE A PART OF, AND IN 1962 THE COUNTRY CAPERS WERE PRESENTED WITH THE AWARD FOR BEST STATION MUSIC SHOW. HORHOZER REMEMBERS: “TO TELL YOU THE TRUTH, I DON’T KNOW MUCH ABOUT [THE TROPHY], EXCEPT THIS IS WHEN THEY PLAYED ON TV, THEY ALWAYS GIVE AN AWARD FOR THE BEST MUSICAL BAND ON TV OR SOMETHING. THAT’S WHEN THEY GOT THAT." FOR AN ARTICLE WRITTEN ABOUT JOE HORHOZER IN 2002 FOR THE LETHBRIDGE HERALD, JOE STATED, “[MUSIC’S] MY LIFE – OUTSIDE OF MY FAMILY. [WITHOUT IT], I’D BE LOST.” MUTCH REAFFIRMS HER FATHER’S STATEMENT BY SAYING, “… HIS HANDS WERE ALWAYS TAPPING. HE WAS ALWAYS TAPPING. YOU COULD SEE THAT IN HIS HEAD. PLUS HE HELD DOWN A FULL TIME JOB. AND WHEN THEY NEEDED ENTERTAINMENT – LIKE GARY KIRK. GOSH, IT’S GOT TO BE 50 YEARS AGO, SAID TO MY DAD AND BUCK, 'WOULD YOU COME DOWN TO PLAY AT THIS CABIN?' – LONG LOST RANCH, OR WHEREVER THEY WERE HAVING A FAMILY REUNION – SO THEY WERE THE ENTERTAINMENT. HE WAS … SOUGHT-AFTER, LET’S PUT IT THAT WAY. AND WHEN HE WOULD PLAY MUSIC UNTIL YOU’D WANT TO THROW UP. HE’D COME HOME FROM A DANCE; POUR HIMSELF ANOTHER ONE; AND THEN THE RECORDS WOULD START TO COME OUT. THAT IS HOW THE NIGHT WENT. I’D EVEN COME HOME SOME NIGHTS AND MY MOM AND DAD WOULD BE DANCING. WHEN YOU ARE A TEENAGER, THAT’S HORRIFIC. SO, THERE IS THE HENDERSON LAKE HOTEL, WHATEVER – THE DANCE HALL. THAT WAS VERY MUCH A PART OF THEIR LIVES AS WELL.” JOE HORHOZER PASSED AWAY IN LETHBRIDGE ON OCTOBER 21, 2010 AT THE AGE OF 89 YEARS. HORHOZER WAS THE LAST SURVIVING MEMBER OF THE ALBERTA RANCH BOYS. EVERAL HORHOZER PASSED AWAY IN LETHBRIDGE 6 YEARS LATER ON JUNE 6, 2016 AT THE AGE OF 88 YEARS. PLEASE SEE THE PERMANENT FILE FOR ADDITIONAL INFORMATION ABOUT THE COUNTRY CAPERS, THE ALBERTA RANCH BOYS, AND THE LIFE OF EVERAL AND HER FAMILY, WHICH INCLUDES THE FULL INTERVIEW TRANSCRIPT AND LETHBRIDGE HERALD ARTICLES.
Catalogue Number
P20150016002
Acquisition Date
2015-05
Collection
Museum
Images
Less detail
Other Name
CASSETTE TAPE
Material Type
Artifact
Materials
PLASTIC, PAPER
Catalogue Number
P20180029005
  2 images  
Material Type
Artifact
Other Name
CASSETTE TAPE
Date
1980
Materials
PLASTIC, PAPER
No. Pieces
3
Height
1.7
Length
11
Width
7
Description
A. CASSETTE TAPE CASE, 11 CM LONG X 7 CM WIDE X 1.7 CM TALL. CLEAR PLASTIC RECTANGULAR CASE WITH TWO PLASTIC PRONGS INSIDE. CASE FRONT HAS EMBOSSED STAMP IN LOWER RIGHT CORNER “TDK, MADE IN JAPAN”. RIGHT SIDE HAS INDENT FOR OPENING; CASE IS HINGED ON LEFT SIDE. CASE IS SCRATCHED AND SCUFFED, WITH BLACK STAINING ON FRONT, BACK, AND LEFT SIDE; OVERALL VERY GOOD CONDITION. B. CASSETTE TAPE, 10 CM LONG X 6.4 CM WIDE X 0.7 CM TALL. TAPE IS BLACK PLASTIC WITH TWO HOLES THROUGH CASSETTE; TAPE HAS CLEAR PLASTIC WINDOW BETWEEN HOLES SHOWING TAPE INSIDE; BOTTOM EDGE OF TAPE HAS FIVE SQUARE OPENINGS SHOWING BROWN TAPE. TAPE HAS WHITE TEXT ON FRONT AND BACK; FRONT TEXT “AC DC * BACK IN BLACK, HELLS BELLS/SHOOT TO THRILL/, WHAT DO YOU DO FOR MONEY HONEY, GIVE THE DOG A BONE/LET ME PUT MY LOVE IN YOU, CP 1, DOLBY SYSTEM, XCS 16018, ATLANTIC”, LOWER LABEL HAS WHITE TEXT BILUNGUAL [ENGLISH AND FRENCH] “MANUFACTURED & DISTRIBUTED BY WEA MUSIC OF CANADA LTD., 810 BIRCHMOUNT RD SCARBOROUGH ONTARIO, A WARNER COMMUNICATIONS COMPANY”. TOP EDGE OF TAPE HAS EMBOSSED TEXT “MADE IN CANADA”. BACK OF TAPE HAS WHITE TEXT “AC DC * BACK IN BLACK, BACK IN BLACK/YOU SHOOK ME ALL NIGHT LONG, HAVE A DRINK ON ME, SHAKE A LEG/ROCK AND ROLL AIN’T NOISE POLLUTION, CP 2, DOLBY SYSTEM, XCS 16018, ATLANTIC”, LOWER LABEL HAS WHITE TEXT BILUNGUAL [ENGLISH AND FRENCH] “MANUFACTURED & DISTRIBUTED BY WEA MUSIC OF CANADA LTD., 810 BIRCHMOUNT RD SCARBOROUGH ONTARIO, A WARNER COMMUNICATIONS COMPANY”. TEXT ON TAPE IS WORN AND FADED; LOWER EDGE OF TAPE IS SCUFFED AND STAINED; OVERALL VERY GOOD CONDITION. C. PAPER INSERT FOR CASSETTE TAPE, 10.3 CM LONG X 6.6 CM WIDE X 1.4 CM TALL. PAPER BOOKLET WITH BLACK COVER AND WHITE TEXT; FRONT OF COVER HAS TEXT “AC DC, BACK IN BLACK, ATLANTIC, SUPER CASSETTE”; SIDE OF COVER HAS TEXT “AC/DC, BACK IN BLACK, DOLBY SYSTEM, XCS-16018, SUPER CASSETTE”; BACK OF COVER HAS TEXT INCLUDING TRACK LIST FOR “SIDE ONE/SIDE TWO” AND PHOTOGRAPH OF MAN PLAYING GUITAR, TEXT BELOW PHOTOGRAPH “1980 LEIDSPELEIN PRESSE B.V., UNAUTHORIZED REPRODUCTION OF THIS RECORDING IS PROHIBITED BY LAW AND SUBJECT TO CRIMINAL PROSECUTION”, TEXT BELOW IS BILUNGUAL [ENGLISH AND FRENCH] “MANUFACTURED & DISTRIBUTED BY, WEA MUSIC OF CANADA LTD., 1810 BIRCHMOUNT RD. SCARBOROUGH, ONTARIO, A WARNER COMMUNICATIONS COMPANY”. INSIDE OF COVER WHITE WITH BLACK TEXT “ALL SONGS WRITTEN BY YOUNG, YOUNG AND JOHNSON, PRODUCED BY ROBERT JOHN “MUTT” LANGE, ENGINEERED BY TONY PLATT, ASSISTANT ENGINEERS: JACK NEWBER, BENJI ARMBRISTER, RECORDED AT COMPASS POINT STUDIOS, APRIL-MAY 1980, MIXING ENGINEER: BRAD SAMUELSON, ART DIRECTION: BOB DEFRIN, PHOTOS: ROBERT ELLIS”, WITH “THANKS” BELOW, TEXT BELOW “FOR MORE INFORMATION ON AC/DC’S FAN CLUB AND MERCHANDISING, PLEASE SEND A SELF-ADDRESSED ENVELOPE TO: AC/DC FAN CLUB, 18 WATSON CLOSE, BURY ST. EDMUNDS, SUFFOLK ENGLAND, ALBERT PRODUCTIONS”. BACK INSIDE INCLUDES TEXT ON “NEW LEVELS OF EXCELLENCE” IN ENGLISH AND FRENCH. BACK OF BOOKLET HAS TWO HOLES PUNCHED THROUGH; COVER IS WORN AND FADED; OVERALL VERY GOOD CONDITION.
Subjects
SOUND COMMUNICATION T&E
Historical Association
LEISURE
HOME ENTERTAINMENT
History
ON DECEMBER 21, 2018, GALT MUSEUM CURATOR AIMEE BENOIT INTERVIWED KEVIN MACLEAN REAGARDING HIS DONATION OF PERSONAL OBJECTS. ON THE CASSETTE TAPE, MACLEAN ELABORATED, “I WOULD THINK IT’S…IN THE WINTER OF GRADE 10 THAT I FOUND AC/DC AND THE SONG WAS, “FOR THOSE ABOUT TO ROCK”. I REMEMBER LISTENING TO IT WITH A BUDDY IN KALISPELL AND PLAYING ARCADE GAMES IN THE HOTEL AND THINKING, “OH, MY GOD, THIS IS THE COOLEST.”” “[BECAUSE] I’M A CATHOLIC KID…WE WERE PRETTY INNOCENT KIDS, AND [LISTENING TO BANDS LIKE AC/DC AND IRON MAIDEN] WOULD BE LIKE, “OH, I’M NOT GONNA GO THERE.” IT’S JUST TOO GRAPHIC…I THOUGHT IT DIDN’T REPRESENT ANYTHING GOOD. AC/DC CAME FIRST [FOR ME].” “THE OTHER THING THAT ATTRACTED ME TO AC/DC…THIS IS 1985, SO PART OF [MY INTEREST] IS THAT THEY’RE QUITE BLUE COLLAR…THE GLAM-ROCK THING…NEVER DID AS MUCH FOR ME. BUT THESE GUYS LOOK LIKE ORDINARY, WORKING-CLASS GUYS WHICH…IN TERMS OF WANTING TO FIT IN AND NOT HAVE A LOOK THAT STANDS OUT THEN, THERE WAS SOME APPEAL TO THESE GUYS, TOO.” “THIS, “BACK IN BLACK”, I’M CARRYING IN MY JEAN JACKET IN THE LEFT BREAST POCKET. WHEN I GO TO PARTIES, EVERY SINGLE WEEKEND, I HAD THIS TAPE BECAUSE IF PEOPLE DIDN’T HAVE “BACK IN BLACK” IN THEIR HOUSE, THEN I HAD IT. THEY COULD PLAY IT WHILE WE WERE PARTYING.” MACLEAN RECALLED HIS INTEREST IN MUSIC IN THE 1980S, NOTING, “[MY] DAD LISTENED TO COUNTRY MUSIC, CHARLEY PRIDE AND WILLIE NELSON, WHICH I WASN’T REALLY GETTING ANYTHING OUT OF. MY MOM, THOUGH, HAS ALWAYS BEEN INTERESTED IN CONTEMPORARY STUFF, WHATEVER THAT WORLD MIGHT BE. SHE IS THE ONE IN THE FAMILY WHO’S PROBABLY BUYING MOST OF THE RECORDS AND WHO IS LISTENING TO MUSIC LOTS, IN THE HOUSEHOLD. SHE DID JAZZERCISE STUFF SO SHE TAUGHT CLASSES. THERE’S LOTS OF VINYL IN THE HOUSE WHEN I’M GROWING UP. AT SOME POINT IN TIME, I DON’T KNOW HOW IT HAPPENED, BUT THERE WAS A RECORD PLAYER THAT WENT INTO MY BEDROOM AND INITIALLY, [BECAUSE] IT’S PROBABLY THE ONLY TIME I LISTENED TO VINYL, IT WAS MOM AND DAD’S KENNY ROGERS RECORD. I THINK I LIKED IT [BECAUSE] I COULD SING TO IT.” “IN ABOUT 1983, I WOULD HAVE AN ALLOWANCE. I START BUYING MUSIC AND THAT’S ALL I WANTED MONEY FOR; TO BUY MUSIC AND TO BUY A TAPE BACK THEN BECAUSE TAPES [WERE] COMPETING WITH VINYL RECORDS. WHERE I HAVE FRIENDS WHO ARE YOUNGER THAN ME OR WHO ARE THE SAME AGE AS ME WHO ARE BUYING VINYL, IT’S GENERALLY, I WOULD SAY, BECAUSE THEY HAVE SIBLINGS WHO ARE ALSO BUYING VINYL. THEY’RE DOING THE RECORD PLAYER THING BUT I WENT RIGHT TO CASSETTE.” “WHEN I FIRST STARTED BUYING MUSIC, THE FIRST RECORD I BOUGHT WAS MICHAEL JACKSON “THRILLER”; THAT WAS THE FIRST ONE. ALMOST AT THE EXACT SAME TIME, I BOUGHT DURAN DURAN “RIO” AND I THINK MY THIRD TAPE WAS EDDY GRANT; IT WAS A SONG CALLED “ELECTRIC AVENUE”. WHEN I’M BUYING MUSIC, I’M COMING INTO LETHBRIDGE. I REMEMBER THERE WAS A MUSIC STORE—THERE [WAS] NO PARK PLACE MALL—IN THE LETHBRIDGE CENTRE MALL.” “MY COUSIN, WHO’S LIVING WITH US—REG—IS SIX YEARS OLDER THAN ME. HE [HAS] A TAPE CASE BEFORE I BUY MY FIRST TAPE CASE. HIS MUSIC IS PREDOMINANTLY CANADIAN ROCK FROM THE EARLY ‘80S. SO, BANDS THAT WERE ALL COMING OUT AT THE SAME TIME LIKE STREETHEART, TORONTO, CHILLIWACK, HEADPINS, PRISM, THE STUFF THAT RON SAKAMOTO, THE PROMOTER, WAS BRINGING INTO THE SPORTSPLEX. BUT I WAS NOT INTERESTED IN ROCK. I WANTED POP MUSIC AND I REMEMBER SHARING MY LOVE OF MY POP MUSIC WITH MY FRIENDS. I REMEMBER WHEN I GOT DURAN DURAN “RIO”, I WOULD CALL UP MY FRIEND ON THE ROTARY DIAL PHONE AND WITH MY VIKING CASSETTE RECORDER/TAPE PLAYER PUSH ‘PLAY’ AND HOLD THE RECEIVER OVER SO THAT HE COULD HEAR THIS MUSIC THAT I WAS SO EXCITED TO SHARE.” “WHEN I BUY, WHEN I TELL MY NEIGHBOUR FRIEND, [I ASK], “IS THIS OKAY? IS THIS A GOOD ONE?” AND THE ONE TIME, I REMEMBER HIM GOING, “YEAH, THAT’S A GOOD CHOICE.” IT WAS A BAND CALLED, THE TUBES. THAT WOULD BE GRADE 8 AND PROBABLY INTO GRADE 9 AND MY TAPE CASE WOULD BE FULL OF STUFF THAT WOULD BE POP, DURAN DURAN AND MICHAEL JACKSON.” “[IN] GRADE 9, RIGHT BEFORE HIGH SCHOOL, I FIND TWISTED SISTER…THIS WOULD BE BY THE SUMMER OF ’84. [THEIR] VIDEO WAS GETTING TO BE A BIG DEAL…THERE WAS, “WE’RE NOT GONNA TAKE IT” WHICH IS REBELLION FROM YOUR PARENTS AND THE DAD IS LIKE A DRILL SERGEANT. THEN [THE KIDS] ALL TURN INTO TWISTED SISTER. I LOVED THIS TAPE. I PLAYED IT OVER AND OVER AGAIN. [IT WAS] MY FIRST ROCK TAPE AND IT WAS LIFE-CHANGING BECAUSE THEN, ALL THIS POP THAT HAD BEEN IN MY TAPE CASE…I SOLD TO JACK PEACOCK BY GRADE 10. I GOT RID OF ALL MY POP, SO WHERE THAT POP HAD BEEN DEFINING…ALL OF A SUDDEN IT’S LIKE, “I’M NOT THAT, ANYMORE.” IT WAS LIKE A LIGHT SWITCH WENT ON…IN GRADE 10.” “I WAS WEARING A JEAN JACKET IN GRADE 11…WHICH IS ABOUT AS MUCH AS, IN TERMS OF ME AND MY DRESS, HOW I’M REFLECTING [MY IDENTITY]. THIS IS A BIG DEAL BECAUSE WHERE MAYBE YOU DON’T WANT, IN YOUR OWN PARTICULAR DRESS, TO BE WEARING CAMOUFLAGE, YOU COULD THEN OPEN UP A TAPE CASE AND, BY PEOPLE SEEING WHAT’S IN YOUR TAPE CASE, THAT IS SPEAKING TO WHO YOU ARE.” “LISTENING TO MUSIC HASN’T NECESSARILY BEEN CONSISTENT BECAUSE THERE WERE YEARS WHEN WE WERE [AT HOME] THAT WE DIDN’T HAVE A STEREO SYSTEM BECAUSE IT JUST DIDN’T FEEL LIKE IT WAS THE RIGHT THING TO DO AT THE TIME. I WOULD HAVE BEEN LISTENING TO [TAPES] MORE IN MY VEHICLE. WHEN WE GOT OUR…SYSTEM BACK, THEN ALL OF A SUDDEN I’M LISTENING TO IT A LOT, AGAIN. BUT, THERE’S NO QUESTION, IT’S BEEN A MAINSTAY.” “MAYBE IT’S BECAUSE MY EYES ARE SO CRAPPY, [I ASK] IF YOU HAD TO CHOOSE BETWEEN YOUR EYESIGHT AND YOUR HEARING, WHAT WOULD YOU CHOOSE? DO I REALLY WANT TO LOSE MY HEARING? I WANT MONEY TO BUY MUSIC. THAT’S ALL I WANT MONEY FOR. NOTHING ELSE…THE FUNNY PART WITH THAT, TOO, THAT I LEARNED WAS THAT YOU NEVER WANTED TO BUY TOO MUCH MUSIC AT THE SAME TIME. IF YOU DID, YOU DIDN’T LISTEN TO A TAPE AS INTENSELY BECAUSE YOU HAD TWO OR THREE TAPES, SO YOU WOULDN’T APPRECIATE THEM EQUALLY. I LEARNED EARLY, YOU SHOULD ONLY BUY ONE RECORD OR ONE TAPE AT A TIME AND LISTEN TO IT OVER AND OVER AND OVER AGAIN.” “I SWITCHED OVER TO CD’S IN THE SUMMER OF ’89. MY TAPE LISTENING WOULD BE A VERY SHORT TIME. TAPES DON’T LAST VERY LONG. CASSETTE TAPES DON’T LAST. WHEN YOU THINK OF CD’S, WHICH YOU CAN STILL GO AND BUY AND THEY WERE BEING SOLD BY, AT LEAST LOCALLY, FOR SURE, BY 1987, AND THEY’RE STILL BEING SOLD, CASSETTE TAPES [DIDN’T LAST LONG]. FOR ME, [I’M BUYING CASSETTE TAPES FROM] ’83 TO ’88. SIX YEARS.” “IT’S FUNNY, BECAUSE [MY TAPE CASE] WOULD HAVE BEEN FULL AND, FOR SOME REASON, I CHOSE TO GET RID OF THE OTHER TAPES. PROBABLY BECAUSE I WASN’T LISTENING TO THEM AND I THOUGHT, ‘OH, I CAN TAKE THEM TO A USED PLACE,’ BUT I SHOULDN’T HAVE DONE THAT. I SHOULD HAVE ACTUALLY KEPT IT FULL. I WISH I HAD [BECAUSE] I HAD ALL THE AC/DC’S. BUT YOU CAN TELL BY WHAT I KEPT, I OBVIOUSLY KNEW THAT THIS WAS A REALLY IMPORTANT TAPE; TWISTED SISTER [AND] “BACK IN BLACK”. THOSE ARE THE MOST IMPORTANT…” 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
P20180029005
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
Date Range From
1940
Date Range To
1950
Material Type
Artifact
Materials
COTTON
Catalogue Number
P20150013016
  2 images  
Material Type
Artifact
Date Range From
1940
Date Range To
1950
Materials
COTTON
No. Pieces
1
Length
38.5
Width
43
Description
WHITE, SLEEVELESS TODDLER'S SLIP. NECK LINE AND ARM HOLES FINISHED WITH SIMPLE LACE-LIKE EMBROIDERY IN WHITE. HEM IS SCALLOPED LACE, WITH A SIMPLE FLOWER PATTERN. TWO MOTHER-OF-PEARL BUTTONS ON LEFT SHOULDER. SLIGHT DISCOLOURATION/YELLOWING OF FABRIC. YELLOW STAIN ON BACK AT HEM LINE. LOOSE THREADS AT ARM PIT AREA ON BOTH SIDES. SLIGHT PULL IN FABRIC LEFT SIDE WAIST AREA ON FRONT.
Subjects
CLOTHING-UNDERWEAR
Historical Association
PERSONAL CARE
History
THIS SLIP BELONGED TO ROBERT ALLAN SMITH (THE DONOR) AS A CHILD AND WAS SAVED FOR DONATION TO THE MUSEUM BY HIS MOTHER, PHYLLIS SMITH. THE FOLLOWING INFORMATION ON THE SMITH FAMILY WAS PROVIDED BY THE DONOR AT THE TIME OF DONATION. BEGINNING IN THE 1940S, THE SMITH FAMILY RESIDED AT 1254 7 AVENUE SOUTH. PHYLLIS REMAINED IN THE HOUSE UNTIL HER DEATH AT 104 YEARS OF AGE, ON SEPTEMBER 26, 2009. WHILE CLEANING UP HIS MOTHER’S HOUSE, THE DONOR CAME ACROSS SEVERAL BAGS MARKED ‘FOR MUSEUM’. THE ITEMS WERE USED BY THE DONOR FROM AN INFANT UNTIL THE AGE OF APPROXIMATELY 9 YEARS OLD. IN THE INTERVIEW, KEVIN ASKS IF ROBERT FELT HIS CHILDHOOD WAS IDYLLIC. ROBERT RESPONDS, SAYING: “FOR ME IT WAS. I MEAN, I WAS BORN IN WARTIME STILL AND MAYBE IT WASN’T IDYLLIC FOR MY PARENTS, BUT IT WAS FOR ME. AND THE NEIGHBOURHOODS WERE DIFFERENT THEN. YOU WERE JUST LET OUT THE DOOR AND YOU WENT OUT TO PLAY WITH THE NEIGHBOURHOOD KIDS AND THERE WERE NO CONCERNS THAT THE PARENTS HAVE TODAY. YES, A VERY HAPPY TIME, I WOULD SAY.” ROBERT WAS BORN IN OCTOBER 1940 TO PHYLLIS (NEE GROSS) AND ALLAN F. SMITH, AT ST. MICHAEL’S HOSPITAL. PHYLLIS WAS BORN TO FELIX AND MAGDALENA (NEE FETTIG) GROSS IN HARVEY, ND AND MOVED WITH HER FAMILY TO A FARM IN THE GRASSY LAKE AREA. SHE MOVED INTO LETHBRIDGE AND ATTENDED ST. BASIL’S SCHOOL IN THE 1910s. ALLAN WAS BORN IN ECHO BAY, ON, TO REV D.B. AND MRS. SMITH. HIS FATHER WAS A UNITED CHURCH MINISTER AND MOVED THE FAMILY TO EDMONTON. ALLAN WAS OFFERED A JOB AT WESTERN GROCERS IN LETHBRIDGE AND MET PHYLLIS WHILE IN THE CITY. THEY WERE MARRIED ON SEPTEMBER 2, 1939. ROBERT IS AN ONLY CHILD AND SUFFERED FROM RHEUMATIC FEVER AS A CHILD. HE BELIEVES THIS MAY BE PART OF THE REASON HIS MOTHER SAVED THESE ITEMS. HE EXPLAINS, SAYING: “I’M AN ONLY CHILD AND THEY WOULD BE MORE MEANINGFUL AND I WENT THROUGH A CHILDHOOD ILLNESS. I HAD RHEUMATIC FEVER. I MIGHT NOT HAVE SURVIVED. SOME OTHER KIDS DIDN’T SURVIVE, BUT I DID.” HE ALSO DESCRIBES HIS MOTHER AS BEING “A SAVER OF THINGS. HAVING GONE THROUGH THE DEPRESSION … THEY SAVED LOTS OF STUFF … ANYTHING THEY THINK THEY MIGHT USE IN THE FUTURE WAS SAVED.” PHYLLIS WAS ALSO A MEMBER OF THE LETHBRIDGE HISTORICAL SOCIETY IN THE 1970s AND WORKED AT THE GALT MUSEUM AS PART OF THE HISTORICAL SOCIETY. ACCORDING TO THE LETHBRIDGE HERALD, ROBERT RECEIVED MANY AWARDS WHILE IN HIGH SCHOOL AND UNIVERSITY, INCLUDING THE SCHLUMBERGER OF CANADA SCHOLARSHIP FOR PROFICIENCY IN ENGINEERING, A GOLD MEDAL FROM THE ASSOCIATION OF PROFESSIONAL ENGINEERS OF ALBERTA, AND RECEIVED THE HIGHEST GENERAL AVERAGE IN GRADUATION IN ELECTRICAL ENGINEERING AT THE UNIVERSITY OF ALBERTA. SEE PERMANENT FILE FOR FULL INTERVIEW TRANSCRIPTS AND COPIES OF LETHBRIDGE HERALD ARTICLES.
Catalogue Number
P20150013016
Acquisition Date
2015-03
Collection
Museum
Images
Less detail
Other Name
UNDERPANTS, LONG
Date Range From
1940
Date Range To
1950
Material Type
Artifact
Materials
JERSEY
Catalogue Number
P20150013021
  2 images  
Material Type
Artifact
Other Name
UNDERPANTS, LONG
Date Range From
1940
Date Range To
1950
Materials
JERSEY
No. Pieces
1
Length
57
Width
29
Description
OFF-WHITE LONG UNDERWEAR, OVERALL STYLE, WITH ATTACHED TANK-TOP. FLAP OPENING IN BACK CLOSES WITH THREE MOTHER-OF-PEARL BUTTONS. DRAWSTRING FOLLOWS NECKLINE, THROUGH THE SHOULDER STRAPS, AND TIES IN THE FRONT, BELOW THE NECK. SHOULDER STRAPS HAVE A SLIGHTLY SCALLOPED EDGE. TAG INSIDE BACK NECK READS "WATSON'S 20 2-4 YEARS" SLIGHT YELLOWING OF FABRIC. SMALL BROWN COLOURED STAIN FRONT LEFT SIDE, NEAR WAIST.
Subjects
CLOTHING-UNDERWEAR
Historical Association
PERSONAL CARE
History
THESE LONG UNDERPANTS BELONGED TO ROBERT ALLAN SMITH (THE DONOR) AS A CHILD AND WAS SAVED FOR DONATION TO THE MUSEUM BY HIS MOTHER, PHYLLIS SMITH. THE FOLLOWING INFORMATION ON THE SMITH FAMILY WAS PROVIDED BY THE DONOR AT THE TIME OF DONATION. BEGINNING IN THE 1940S, THE SMITH FAMILY RESIDED AT 1254 7 AVENUE SOUTH. PHYLLIS REMAINED IN THE HOUSE UNTIL HER DEATH AT 104 YEARS OF AGE, ON SEPTEMBER 26, 2009. WHILE CLEANING UP HIS MOTHER’S HOUSE, THE DONOR CAME ACROSS SEVERAL BAGS MARKED ‘FOR MUSEUM’. THE ITEMS WERE USED BY THE DONOR FROM AN INFANT UNTIL THE AGE OF APPROXIMATELY 9 YEARS OLD. IN THE INTERVIEW, KEVIN ASKS IF ROBERT FELT HIS CHILDHOOD WAS IDYLLIC. ROBERT RESPONDS, SAYING: “FOR ME IT WAS. I MEAN, I WAS BORN IN WARTIME STILL AND MAYBE IT WASN’T IDYLLIC FOR MY PARENTS, BUT IT WAS FOR ME. AND THE NEIGHBOURHOODS WERE DIFFERENT THEN. YOU WERE JUST LET OUT THE DOOR AND YOU WENT OUT TO PLAY WITH THE NEIGHBOURHOOD KIDS AND THERE WERE NO CONCERNS THAT THE PARENTS HAVE TODAY. YES, A VERY HAPPY TIME, I WOULD SAY.” ROBERT WAS BORN IN OCTOBER 1940 TO PHYLLIS (NEE GROSS) AND ALLAN F. SMITH, AT ST. MICHAEL’S HOSPITAL. PHYLLIS WAS BORN TO FELIX AND MAGDALENA (NEE FETTIG) GROSS IN HARVEY, ND AND MOVED WITH HER FAMILY TO A FARM IN THE GRASSY LAKE AREA. SHE MOVED INTO LETHBRIDGE AND ATTENDED ST. BASIL’S SCHOOL IN THE 1910s. ALLAN WAS BORN IN ECHO BAY, ON, TO REV D.B. AND MRS. SMITH. HIS FATHER WAS A UNITED CHURCH MINISTER AND MOVED THE FAMILY TO EDMONTON. ALLAN WAS OFFERED A JOB AT WESTERN GROCERS IN LETHBRIDGE AND MET PHYLLIS WHILE IN THE CITY. THEY WERE MARRIED ON SEPTEMBER 2, 1939. ROBERT IS AN ONLY CHILD AND SUFFERED FROM RHEUMATIC FEVER AS A CHILD. HE BELIEVES THIS MAY BE PART OF THE REASON HIS MOTHER SAVED THESE ITEMS. HE EXPLAINS, SAYING: “I’M AN ONLY CHILD AND THEY WOULD BE MORE MEANINGFUL AND I WENT THROUGH A CHILDHOOD ILLNESS. I HAD RHEUMATIC FEVER. I MIGHT NOT HAVE SURVIVED. SOME OTHER KIDS DIDN’T SURVIVE, BUT I DID.” HE ALSO DESCRIBES HIS MOTHER AS BEING “A SAVER OF THINGS. HAVING GONE THROUGH THE DEPRESSION … THEY SAVED LOTS OF STUFF … ANYTHING THEY THINK THEY MIGHT USE IN THE FUTURE WAS SAVED.” PHYLLIS WAS ALSO A MEMBER OF THE LETHBRIDGE HISTORICAL SOCIETY IN THE 1970s AND WORKED AT THE GALT MUSEUM AS PART OF THE HISTORICAL SOCIETY. ACCORDING TO THE LETHBRIDGE HERALD, ROBERT RECEIVED MANY AWARDS WHILE IN HIGH SCHOOL AND UNIVERSITY, INCLUDING THE SCHLUMBERGER OF CANADA SCHOLARSHIP FOR PROFICIENCY IN ENGINEERING, A GOLD MEDAL FROM THE ASSOCIATION OF PROFESSIONAL ENGINEERS OF ALBERTA, AND RECEIVED THE HIGHEST GENERAL AVERAGE IN GRADUATION IN ELECTRICAL ENGINEERING AT THE UNIVERSITY OF ALBERTA. SEE PERMANENT FILE FOR FULL INTERVIEW TRANSCRIPTS AND COPIES OF LETHBRIDGE HERALD ARTICLES.
Catalogue Number
P20150013021
Acquisition Date
2015-03
Collection
Museum
Images
Less detail
Other Name
SOAKER
Date Range From
1940
Date Range To
1950
Material Type
Artifact
Materials
WOOL
Catalogue Number
P20150013010
  2 images  
Material Type
Artifact
Other Name
SOAKER
Date Range From
1940
Date Range To
1950
Materials
WOOL
No. Pieces
1
Length
20
Width
28.5
Description
OFF-WHITE KNITTED DIAPER COVER. ALL ONE PIECE, TWO LEG HOLES, WITH DRAWSTRING WAIST. DIAGONAL SEAMS ON THE FRONT MAKE AN INVERTED "V" POINTING UP TOWARDS THE WAIST BAND FROM THE LEG HOLES. YARN APPEARS TO HAVE YELLOWED OVER THE YEARS. SEVERAL HOLES IN THE STITCHING, INCLUDING ON THE DIAGONAL SEAM ABOVE THE RIGHT LEG HOLE, ON THE BACK RIGHT BACK (HOLES ON THE FRONT AND BACK ALMOST LINE UP), AND ON THE WAISTBAND, ESPECIALLY AT THE BACK. DRAWSTRING STILL IN WAISTBAND, BUT IS NOW IN TWO PIECES. DIAGONAL SEAMING ON THE FRONT SHOWS QUITE A LOT OF TENSION/STRESS.
Subjects
CLOTHING-UNDERWEAR
Historical Association
PERSONAL CARE
History
THIS DIAPER COVER BELONGED TO ROBERT ALLAN SMITH (THE DONOR) AS A CHILD AND WAS SAVED FOR DONATION TO THE MUSEUM BY HIS MOTHER, PHYLLIS SMITH. THE FOLLOWING INFORMATION ON THE SMITH FAMILY WAS PROVIDED BY THE DONOR AT THE TIME OF DONATION. BEGINNING IN THE 1940S, THE SMITH FAMILY RESIDED AT 1254 7 AVENUE SOUTH. PHYLLIS REMAINED IN THE HOUSE UNTIL HER DEATH AT 104 YEARS OF AGE, ON SEPTEMBER 26, 2009. WHILE CLEANING UP HIS MOTHER’S HOUSE, THE DONOR CAME ACROSS SEVERAL BAGS MARKED ‘FOR MUSEUM’. THE ITEMS WERE USED BY THE DONOR FROM AN INFANT UNTIL THE AGE OF APPROXIMATELY 9 YEARS OLD. IN THE INTERVIEW, KEVIN ASKS IF ROBERT FELT HIS CHILDHOOD WAS IDYLLIC. ROBERT RESPONDS, SAYING: “FOR ME IT WAS. I MEAN, I WAS BORN IN WARTIME STILL AND MAYBE IT WASN’T IDYLLIC FOR MY PARENTS, BUT IT WAS FOR ME. AND THE NEIGHBOURHOODS WERE DIFFERENT THEN. YOU WERE JUST LET OUT THE DOOR AND YOU WENT OUT TO PLAY WITH THE NEIGHBOURHOOD KIDS AND THERE WERE NO CONCERNS THAT THE PARENTS HAVE TODAY. YES, A VERY HAPPY TIME, I WOULD SAY.” ROBERT WAS BORN IN OCTOBER 1940 TO PHYLLIS (NEE GROSS) AND ALLAN F. SMITH, AT ST. MICHAEL’S HOSPITAL. PHYLLIS WAS BORN TO FELIX AND MAGDALENA (NEE FETTIG) GROSS IN HARVEY, ND AND MOVED WITH HER FAMILY TO A FARM IN THE GRASSY LAKE AREA. SHE MOVED INTO LETHBRIDGE AND ATTENDED ST. BASIL’S SCHOOL IN THE 1910s. ALLAN WAS BORN IN ECHO BAY, ON, TO REV D.B. AND MRS. SMITH. HIS FATHER WAS A UNITED CHURCH MINISTER AND MOVED THE FAMILY TO EDMONTON. ALLAN WAS OFFERED A JOB AT WESTERN GROCERS IN LETHBRIDGE AND MET PHYLLIS WHILE IN THE CITY. THEY WERE MARRIED ON SEPTEMBER 2, 1939. ROBERT IS AN ONLY CHILD AND SUFFERED FROM RHEUMATIC FEVER AS A CHILD. HE BELIEVES THIS MAY BE PART OF THE REASON HIS MOTHER SAVED THESE ITEMS. HE EXPLAINS, SAYING: “I’M AN ONLY CHILD AND THEY WOULD BE MORE MEANINGFUL AND I WENT THROUGH A CHILDHOOD ILLNESS. I HAD RHEUMATIC FEVER. I MIGHT NOT HAVE SURVIVED. SOME OTHER KIDS DIDN’T SURVIVE, BUT I DID.” HE ALSO DESCRIBES HIS MOTHER AS BEING “A SAVER OF THINGS. HAVING GONE THROUGH THE DEPRESSION … THEY SAVED LOTS OF STUFF … ANYTHING THEY THINK THEY MIGHT USE IN THE FUTURE WAS SAVED.” PHYLLIS WAS ALSO A MEMBER OF THE LETHBRIDGE HISTORICAL SOCIETY IN THE 1970s AND WORKED AT THE GALT MUSEUM AS PART OF THE HISTORICAL SOCIETY. ACCORDING TO THE LETHBRIDGE HERALD, ROBERT RECEIVED MANY AWARDS WHILE IN HIGH SCHOOL AND UNIVERSITY, INCLUDING THE SCHLUMBERGER OF CANADA SCHOLARSHIP FOR PROFICIENCY IN ENGINEERING, A GOLD MEDAL FROM THE ASSOCIATION OF PROFESSIONAL ENGINEERS OF ALBERTA, AND RECEIVED THE HIGHEST GENERAL AVERAGE IN GRADUATION IN ELECTRICAL ENGINEERING AT THE UNIVERSITY OF ALBERTA. SEE PERMANENT FILE FOR FULL INTERVIEW TRANSCRIPTS AND COPIES OF LETHBRIDGE HERALD ARTICLES.
Catalogue Number
P20150013010
Acquisition Date
2015-03
Collection
Museum
Images
Less detail

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