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Other Name
WEDGE CAP, "ANDERSON SISTERS"
Date Range From
1940
Date Range To
1970
Material Type
Artifact
Materials
FELT, THREAD, PLASTIC
Catalogue Number
P20160044001
  2 images  
Material Type
Artifact
Other Name
WEDGE CAP, "ANDERSON SISTERS"
Date Range From
1940
Date Range To
1970
Materials
FELT, THREAD, PLASTIC
No. Pieces
1
Height
11
Length
30
Width
1.7
Description
BLACK FELT WEDGE CAP WITH RED ACCENTS STITCHING. TWO RED AND GOLD PLASTIC BEADS ON THE FRONT EDGE. CURSIVE “ANDERSON SISTERS” EMBROIDERED IN RED ON ONE SIDE AND “ALICE” ON THE OTHER. VERY GOOD CONDITION: MAKEUP STAINS PRESENT OF THE INSIDE BRIM OF THE HAT.
Subjects
CLOTHING-HEADWEAR
Historical Association
LEISURE
PERSONAL CARE
History
THE LATE ALICE PEARL HUMMEL (13 JUNE 1922 – 7 APRIL 2016) PERFORMED AS PART OF THE “ANDERSON SISTERS ORCHESTRA” ALONGSIDE HER SISTERS – FLORENCE JEANNETTE MCINTOSH (MAY 1917 – 18 MARCH 1999), MARIE EVELYN POPSON (C.1921 - 8 MARCH 2008) AND RUTH GINZER (C. 1926 - D. 2016). THE FOUR DAUGHTERS WERE BORN TO PARENTS, MARTIN EDWARD ANDERSON AND IDA JOHANNA ANDERSON (NEE JOHNSON). THE BAND WAS A FAMILY AFFAIR THAT SAW GREAT SUCCESS IN THE SOUTHERN ALBERTA REGION. ALICE’S DAUGHTERS, ELEANOR SMITH AND RUTH HUMMEL, HONOURED THEIR MOTHER’S WISHES TO DONATE A NUMBER OF HER EFFECTS FROM HER TIME WITH LETHBRIDGE BAND TO THE MUSEUM. THIS WEDGE CAP WAS A COMPONENT OF THE UNIFORM THE SISTERS WORE WHEN THEY PERFORMED AT PLACES SUCH AS ARMY BASES AND DANCE HALLS. THIS CAP BELONGED TO ALICE, THE SECOND YOUNGEST OF THE SISTERS. IN 16 DECEMBER 2016, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE DAUGHTERS ABOUT THE DONATION. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT EXCHANGE: RUTH STATES, “THE HAT WOULD BE AT LEAST FROM 1940 - ’41… ALL OF THE SISTERS HAD [A CAP AND] THEY WERE SPECIAL MADE FOR THEM. ‘ANDERSON SISTERS’ WAS EMBROIDERED ON ONE SIDE AND THEN THEIR NAMES ON THE OTHER. THEY WERE MADE TO GO WITH THESE MILITARY LOOKING DRESSES THAT THEY HAD. THEY TYPICALLY ALWAYS DRESSED ALIKE FOR THE PERFORMANCES. THE HATS WERE MADE TO GO ALONG WITH THEM WHEN THEY WERE DOING PERFORMANCES AT THE MILITARY BASES.” “[THE SISTERS] USUALLY CAME UP WITH [THE UNIFORM] COLLECTIVELY,” RUTH EXPLAINED, “AND THEY WORKED WITH A TAILOR IN TOWN WHO ACTUALLY DID SOME OF THEIR SUITS. THERE MIGHT BE A LABEL THAT I COULD FIND WITH REGARDS TO WHAT THAT COMPANY WAS….THERE WERE USUALLY ALWAYS TAILORS INVOLVED, AND WHEN THEY CAME UP WITH AN IDEA OR CONCEPT, THEY’D HAVE IT DONE AT THE SAME PLACE, BUT I DON’T HAVE THE DETAILS ON THAT.” MANY OF THE ARTIFACTS DONATED TO THE MUSEUM, INCLUDING THIS CAP, WERE KEPT TOGETHER IN ONE OF ALICE’S TRUNKS. WHEN RUTH AND ELEANOR WERE HELPING THEIR MOTHER SORT HER THINGS, SHE EXPLAINED THE ITEMS IN THE TRUNK TO THEM. THE WEDGE CAP CAME TO THE MUSEUM ENCLOSED IN A SHADOW BOX COMPLETE WITH ARTICLE CLIPPINGS AND PHOTOGRAPHS, WHICH WAS ASSEMBLED FOR A COMMUNITY DISPLAY. PERMISSION WAS GRANTED BY THE DONOR TO REMOVE THE CAP FROM THE BOX. SEE PERMANENT FILE FOR PHOTOGRAPH OF THE BOX. THE FOLLOWING IS A BRIEF HISTORY OF THE ANDERSON SISTERS AS TOLD BY DONORS ELEANOR SMITH AND RUTH HUMMEL IN THE 2016 INTERVIEW: “[THE ANDERSON SISTERS ORCHESTRA WAS] THE LONGEST RUNNING GROUP AT WATERTON LAKES PAVILION … [WHERE THEY PLAYED] FOR FIVE YEARS STRAIGHT,” ELEANOR EXPLAINED, “IN ADDITION TO DOING ALL KINDS OF OTHER THINGS, THEY WERE CONSTANTLY TRAVELLING [AND] WE HAVE THE RECORDINGS OF THAT.” RUTH ADDED, “THEY WERE ORIGINALLY FROM MONITOR (SASK). IN THE DIRTY 30S, WHEN THINGS GOT BAD FOR A LOT OF FARMS, THEY FOUND A WAY TO HAVE MUSIC LESSONS AND…PLAY FOR LOCAL DANCES. [ULTIMATELY, THE FAMILY] DECIDED TO LEAVE THE FARM AND HEADED OUT IN THE DIRECTION OF LETHBRIDGE (VIA DRUMHELLER). IT WAS TOUGH TIMES FOR A LOT OF PEOPLE IN THE 30S IN ALBERTA, BUT THE GIRLS, WITH THE TALENT THEY HAD, … HAD A WAY OUT…THEY COULD DO A LOT WHEN THEY STUCK TOGETHER AS A FAMILY. AND THEN THE ORCHESTRA REALLY CAME OUT OF THAT...” THE OBITUARY OF DONORS’ GRANDFATHER, MARTIN ANDERSON, (PUBLISHED IN THE LETHBRIDGE HERALD, 1981) STATES THE FAMILY ARRIVED IN LETHBRIDGE IN 1940. “THEY WERE SERIOUS MUSICIANS - VERY HUMBLE AND VERY QUIET,” RUTH CONTINUED, “[AS FAR AS PROMOTING THE BAND,] THAT WAS MORE GRANDPA’S JOB. WHEN IT CAME TO MUSIC, IT WAS A GIFT THEY PASSED ON - IN THE LATE ‘30S, ‘40S AND INTO THE ‘50S A BIT – [AND] IT WAS SOMETHING THEY FELT REALLY PRIVILEGED TO BE ABLE TO CONTRIBUTE IN THEIR OWN COMMUNITIES. [DURING] THE WAR YEARS, [THEY PLAYED FOR] THE ARMY BASES THAT WERE ALL CLOSE HERE AND [THEY WERE] A PART OF THAT HISTORY.” “[THEY WERE] ON THE ROAD 6 DAYS A WEEK [WITH THEIR CAR AND TRAILER]… PLAYING NOT JUST IN LETHBRIDGE [BUT] FAR REACHING OVER IN B.C., THE NORTHERN STATES, AND QUITE FAR NORTH IN ALBERTA. SO THEY WERE A REAL PART OF THINGS AND WORKED REAL HARD. I THINK IT’S AN IMPORTANT PART OF THE MUSIC HISTORY IN ALBERTA. THEY WERE, AFTER THE ANDERSON SISTERS [BAND WAS FINISHED], PROUD TO TAKE [MUSIC] INTO THE COMMUNITIES WHERE THEY WERE TEACHERS AND STILL PERFORMERS EVEN PAST THE FOUR OF THEM BEING TOGETHER.” WHEN ASKED ABOUT THEIR PERSONAL MEMORIES OF THE SISTERS PERFORMING TOGETHER, RUTH ANSWERED, “WELL ELEANOR WOULD HAVE BEEN A TODDLER, MYSELF AS WELL, THE LAST FEW TIMES THAT THEY PERFORMED AS THE ANDERSON SISTERS IN THAT ERA. BUT GROWING UP THROUGH THE YEARS, THERE WASN’T A TIME WHEN WE GOT TOGETHER AS A FAMILY WHERE WE DIDN’T HAVE A LOT OF MUSIC. THEY WOULD PLAY FOR US [AND] THEY WERE CALLED BACK SOMETIMES TO PERFORM AT COMMUNITY EVENTS… THE LAST ONE THAT I RECALL WAS SOMETHING IN GRANUM FOR AN ELKS 5OTH ANNIVERSARY IN GRANUM…THAT WAS THE LAST TIME PUBLICLY I REMEMBER.” THE FOLLOWING INFORMATION COMES FROM A HISTORY PUBLISHED IN THE LETHBRIDGE HERALD IN 24 MAY 2003 TITLED, “SISTER ACT: SOUTHERN ALBERTA’S SWINGIN’ ANDERSON SISTERS WERE ALL THE RAGE DURING THE SECOND WORLD WAR.” “IT WAS THE ERA OF SWUNG, OF MUSIC WITH MEMORABLE LYRICS, AND OF DANCE. IT WAS ALSO THE TIME OF THE SECOND WORLD WAR AND THE HEYDAY OF THE ANDERSON SISTERS, AND LITERALLY EVERY TOWN IN SOUTHERN ALBERTA WAS SWINGING AND SWAYING TO THE SOUNDS OF FLORENCE, MARIE, ALICE, AND RUTH." "DUBBED THE FOUR MAIDS OF MELODY BY CJOC RADIO…" THE ARTICLE CONTINUED, "[THE SISTERS] WERE THE TOAST OF SOUTHERN ALBERTA’S DANCE HALLS." INTERVIEWED FOR THE ARTICLE WAS ONE OF THE SISTERS, MARIE POPSON. SHE WAS QUOTED, "WE PLAYED THE TRIANON A LOT, THE OLD BUCKET OF BLOOD. THEY CALLED IT THAT BECAUSE IT WAS DURING THE WAR AND THERE WERE A LOT OF FIGHTS. PRIOR TO AND AFTER THE TRIANON WAS OK, BUT IT WAS REAL LIVELY DURING THE WAR… THE CROWDS [THERE] WERE SO LARGE THEY WERE AFRAID THE FLOOR WOULD WEAKEN… THE DANCE FLOOR WAS ON THE SECOND STORY OF THE BUILDING." THE ARTICLE EXPLAINED, "FLORENCE WAS THE ELDEST OF THE ANDERSON SISTERS AND AS SUCH WAS THE BAND’S LEADER. [SHE] PLAYED THE SAXOPHONE AND THE PIANO. MARIE… PLAYED THE PIANO AND ALICE PLAYED THE SAXOPHONE AND CLARINET. RUTH, 'THE BABY,' … PLAYED THE DRUMS, CLARINET AND TRUMPET." THE ARTICLE READS, "'RUTH STARTED PLAYING THE DRUMS AT AGE 11 AND LATER SHE COULD HANDLE THE DRUMMING WITH HER FEET AND PLAY THE TRUMPET AT THE SAME TIME FOR SOME OF OUR NUMBERS,’ SAYS MARIE WITH A TWIRL OF THE HAND. ‘FLO AND ALICE WERE OUR MAIN SINGERS AND I MADE UP THE TRIO SOMETIMES. RUTH DIDN’T SING. WHEN WE SANG AS A TRIO RUTH WOULD PLAY THE PIANO. ALICE WOULD ALSO SING SOLO. WE PLAYED ALL THE POPULAR MUSIC OF THE DAY AND OLD-TIME MUSIC AS WELL… MY SISTERS COULD ALSO PLAY THAT FAST-PACED SQUARE DANCE MUSIC ON THE SAX, AND THAT WAS SOMETHING. WE PLAYED WALTZES, POLKAS AND EVERYTHING… YOU NAME IT, WE PLAYED IT... OUR THEME SONG WAS BREEZING ALONG WITH THE BREEZE BUT MY FAVOURITE HAD TO BE SIDE BY SIDE, WHICH WE WERE AS A GROUP. WE WERE VERY CLOSE.'" THAT ARTICLE STATES THAT MARTIN AND IDA HAD EIGHT DAUGHTERS, IN FACT, BUT ONLY FOUR LIVED TO BECOME TEENAGERS. THE FOUR SURVIVING SISTERS BEGAN THEIR MUSICAL EDUCATION AT AN EARLY AGE, ALL BEGINNING WITH PIANO. THEY BEGAN PLAYING FOR VARIOUS TYPES OF EVENTS NEAR MONITOR, WHERE THEY WERE BORN. WHILE FLORENCE WAS WITH THE ALL GIRLS BAND IN CALGARY, THE THREE YOUNGER SISTERS FORMED THEIR OWN ORCHESTRA, MAKING THEIR DEBUT IN 1937. THE FOLLOWING YEAR, AFTER FLORENCE’S RETURN, THE ANDERSON SISTERS ORCHESTRA WAS FORMED. UPON ARRIVING IN LETHBRIDGE IN 1940, THEY AUDITIONED FOR THE CJOC RADIO STATION. THE ARTICLE STATES, “FOUR DAYS LATER THEY WERE ON THE AIR, LIVE, ON THE CHRISTMAS SHOPPER PROGRAM HEARD THREE TIMES A WEEK. THEY WERE ALSO ON THE AIR MONDAY NIGHTS FROM 9:15 TO 9:30 PM.” A NOTE THAT CAME WITH THE DONATION SAYS THE WEEKLY SHOW WITH CJOC WAS “BROADCAST LIVE ‘FROM HIGH ATOP THE MARQUIS HOTEL.’” BACK IN THE 2016 INTERVIEW AT THE MUSEUM, ALICE’S DAUGHTER ELEANOR COMMENTS ON THE BAND’S LEGACY. “I VOLUNTEER AT THE HOSPITAL [AND PLAY THE PIANO]. I USUALLY HAVE SENIORS INVOLVED THERE… AND WHEN I MENTION MY MOM’S NAME OR MY AUNT’S NAME, THEY REMEMBER DANCING TO THE ANDERSON SISTERS. SO, YOU KNOW, EVEN IN THIS DAY AND AGE, [PEOPLE] REMEMBER HOW MUCH FUN THEY HAD. [IT SHOWS] HOW RESPECTED THEY WERE AND I FIND THAT [BACKGROUND] JUST THRILLING.” “[MUSIC] WAS THEIR LIVELIHOOD,” RUTH ILLUMINATED, “SO [IT] WAS DRIVING THEM [THROUGH] TOUGH TIMES (SUCH AS THE DEPRESSION IN ALBERTA). THE GIRLS TOGETHER [WITH] THE TALENT THEY HAD, HAD A WAY OUT, WHERE A LOT OF OTHER PEOPLE HAD SOME BIGGER STRUGGLES. AND IT WAS THE TALENT IN THEM BEING TOGETHER. THEY COULD DO A LOT WHEN THEY STUCK TOGETHER AS A FAMILY.” PLEASE SEE PERMANENT FILE FOR FURTHER INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTION, LETHBRIDGE HERALD ARTICLES AND CLIPPINGS ABOUT THE ANDERSON SISTERS AND THEIR SHOWS, AND FAMILY OBITUARIES.
Catalogue Number
P20160044001
Acquisition Date
2016-12
Collection
Museum
Images
Less detail
Date Range From
1941
Date Range To
1970
Material Type
Artifact
Materials
METAL
Catalogue Number
P20160044002
  1 image  
Material Type
Artifact
Date Range From
1941
Date Range To
1970
Materials
METAL
No. Pieces
1
Length
9.5
Width
0.6
Description
SMALL, METAL MECHANICAL PENCIL WITH ADJUSTABLE BALL CHAIN ATTACHMENT. PENCIL HAS RAISED FILIGREE-DESIGN ELEMENTS THAT IS DETACHABLE. GOOD CONDITION: OVERALL TARNISHING OF METAL
Subjects
WRITTEN COMMUNICATION T&E
Historical Association
LEISURE
DOMESTIC
History
THE LATE ALICE PEARL HUMMEL (13 JUNE 1922 – 7 APRIL 2016) PERFORMED AS PART OF THE “ANDERSON SISTERS ORCHESTRA” ALONGSIDE HER SISTERS – FLORENCE JEANNETTE MCINTOSH (MAY 1917 – 18 MARCH 1999), MARIE EVELYN POPSON (C.1921 - 8 MARCH 2008) AND RUTH GINZER (C. 1926 - D. 2016). THE FOUR DAUGHTERS WERE BORN TO PARENTS, MARTIN EDWARD ANDERSON AND IDA JOHANNA ANDERSON (NEE JOHNSON). THE BAND WAS A FAMILY AFFAIR THAT SAW GREAT SUCCESS IN THE SOUTHERN ALBERTA REGION. ALICE’S DAUGHTERS, ELEANOR SMITH AND RUTH HUMMEL, HONOURED THEIR MOTHER’S WISHES TO DONATE A NUMBER OF HER EFFECTS FROM HER TIME WITH LETHBRIDGE BAND TO THE MUSEUM. THIS PENCIL CAME FROM THE COLLECTION OF ITEMS ALICE SAVED FROM THE ANDERSON SISTERS ERA. IN 2016 DECEMBER 16, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE DAUGHTERS ABOUT THE DONATION. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT EXCHANGE: RUTH EXPLAINS, “[THIS IS] A TINY LITTLE MECHANICAL PENCIL USED TO BE SITTING ON MOM’S MUSIC STAND, SO THAT IF THERE WAS A NOTATION OR SOMETHING THEY WANTED TO DO [SHE COULD WRITE IT DOWN]. [IT] WAS SOMETHING USEFUL, BUT VERY PRETTY TO BE UP WHERE THEY WERE DOING THEIR MUSIC. THEY TREATED THEIR SPACE ON STAGE VERY SPECIALLY AND THAT WAS SOMETHING THAT WAS ON HER MUSIC STAND ALL THESE YEARS.” PROFESSIONALISM IN HOW THEY PRESENTED THEMSELVES WAS IMPORTANT TO THE GROUP, THE SISTERS EXPLAINED, INCLUDING RIGHT DOWN TO THE SMALL DETAILS, SUCH AS THE PENCIL. MANY OF THE ARTIFACTS DONATED TO THE MUSEUM, INCLUDING THIS PENCIL, WERE KEPT TOGETHER IN ONE OF ALICE’S TRUNKS. WHEN RUTH AND ELEANOR WERE HELPING THEIR MOTHER SORT HER THINGS, SHE EXPLAINED THE ITEMS IN THE TRUNK TO THEM. THE FOLLOWING IS A BRIEF HISTORY OF THE ANDERSON SISTERS AS TOLD BY DONORS ELEANOR SMITH AND RUTH HUMMEL IN THE 2016 INTERVIEW: “[THE ANDERSON SISTERS ORCHESTRA WAS] THE LONGEST RUNNING GROUP AT WATERTON LAKES PAVILION … [WHERE THEY PLAYED] FOR FIVE YEARS STRAIGHT,” ELEANOR EXPLAINED, “IN ADDITION TO DOING ALL KINDS OF OTHER THINGS, THEY WERE CONSTANTLY TRAVELLING [AND] WE HAVE THE RECORDINGS OF THAT.” RUTH ADDED, “THEY WERE ORIGINALLY FROM MONITOR (SASK). IN THE DIRTY 30S, WHEN THINGS GOT BAD FOR A LOT OF FARMS, THEY FOUND A WAY TO HAVE MUSIC LESSONS AND…PLAY FOR LOCAL DANCES. [ULTIMATELY, THE FAMILY] DECIDED TO LEAVE THE FARM AND HEADED OUT IN THE DIRECTION OF LETHBRIDGE (VIA DRUMHELLER). IT WAS TOUGH TIMES FOR A LOT OF PEOPLE IN THE 30S IN ALBERTA, BUT THE GIRLS, WITH THE TALENT THEY HAD, … HAD A WAY OUT…THEY COULD DO A LOT WHEN THEY STUCK TOGETHER AS A FAMILY. AND THEN THE ORCHESTRA REALLY CAME OUT OF THAT...” THE OBITUARY OF DONORS’ GRANDFATHER, MARTIN ANDERSON, (PUBLISHED IN THE LETHBRIDGE HERALD, 1981) STATES THE FAMILY ARRIVED IN LETHBRIDGE IN 1940. “THEY WERE SERIOUS MUSICIANS - VERY HUMBLE AND VERY QUIET,” RUTH CONTINUED, “[AS FAR AS PROMOTING THE BAND,] THAT WAS MORE GRANDPA’S JOB. WHEN IT CAME TO MUSIC, IT WAS A GIFT THEY PASSED ON - IN THE LATE ‘30S, ‘40S AND INTO THE ‘50S A BIT – [AND] IT WAS SOMETHING THEY FELT REALLY PRIVILEGED TO BE ABLE TO CONTRIBUTE IN THEIR OWN COMMUNITIES. [DURING] THE WAR YEARS, [THEY PLAYED FOR] THE ARMY BASES THAT WERE ALL CLOSE HERE AND [THEY WERE] A PART OF THAT HISTORY.” “[THEY WERE] ON THE ROAD 6 DAYS A WEEK [WITH THEIR CAR AND TRAILER]… PLAYING NOT JUST IN LETHBRIDGE [BUT] FAR REACHING OVER IN B.C., THE NORTHERN STATES, AND QUITE FAR NORTH IN ALBERTA. SO THEY WERE A REAL PART OF THINGS AND WORKED REAL HARD. I THINK IT’S AN IMPORTANT PART OF THE MUSIC HISTORY IN ALBERTA. THEY WERE, AFTER THE ANDERSON SISTERS [BAND WAS FINISHED], PROUD TO TAKE [MUSIC] INTO THE COMMUNITIES WHERE THEY WERE TEACHERS AND STILL PERFORMERS EVEN PAST THE FOUR OF THEM BEING TOGETHER.” WHEN ASKED ABOUT THEIR PERSONAL MEMORIES OF THE SISTERS PERFORMING TOGETHER, RUTH ANSWERED, “WELL ELEANOR WOULD HAVE BEEN A TODDLER, MYSELF AS WELL, THE LAST FEW TIMES THAT THEY PERFORMED AS THE ANDERSON SISTERS IN THAT ERA. BUT GROWING UP THROUGH THE YEARS, THERE WASN’T A TIME WHEN WE GOT TOGETHER AS A FAMILY WHERE WE DIDN’T HAVE A LOT OF MUSIC. THEY WOULD PLAY FOR US [AND] THEY WERE CALLED BACK SOMETIMES TO PERFORM AT COMMUNITY EVENTS… THE LAST ONE THAT I RECALL WAS SOMETHING IN GRANUM FOR AN ELKS 5OTH ANNIVERSARY IN GRANUM…THAT WAS THE LAST TIME PUBLICLY I REMEMBER.” THE FOLLOWING INFORMATION COMES FROM A HISTORY PUBLISHED IN THE LETHBRIDGE HERALD IN 24 MAY 2003 TITLED, “SISTER ACT: SOUTHERN ALBERTA’S SWINGIN’ ANDERSON SISTERS WERE ALL THE RAGE DURING THE SECOND WORLD WAR.” “IT WAS THE ERA OF SWUNG, OF MUSIC WITH MEMORABLE LYRICS, AND OF DANCE. IT WAS ALSO THE TIME OF THE SECOND WORLD WAR AND THE HEYDAY OF THE ANDERSON SISTERS, AND LITERALLY EVERY TOWN IN SOUTHERN ALBERTA WAS SWINGING AND SWAYING TO THE SOUNDS OF FLORENCE, MARIE, ALICE, AND RUTH." "DUBBED THE FOUR MAIDS OF MELODY BY CJOC RADIO…" THE ARTICLE CONTINUED, "[THE SISTERS] WERE THE TOAST OF SOUTHERN ALBERTA’S DANCE HALLS." INTERVIEWED FOR THE ARTICLE WAS ONE OF THE SISTERS, MARIE POPSON. SHE WAS QUOTED, "WE PLAYED THE TRIANON A LOT, THE OLD BUCKET OF BLOOD. THEY CALLED IT THAT BECAUSE IT WAS DURING THE WAR AND THERE WERE A LOT OF FIGHTS. PRIOR TO AND AFTER THE TRIANON WAS OK, BUT IT WAS REAL LIVELY DURING THE WAR… THE CROWDS [THERE] WERE SO LARGE THEY WERE AFRAID THE FLOOR WOULD WEAKEN… THE DANCE FLOOR WAS ON THE SECOND STORY OF THE BUILDING." THE ARTICLE EXPLAINED, "FLORENCE WAS THE ELDEST OF THE ANDERSON SISTERS AND AS SUCH WAS THE BAND’S LEADER. [SHE] PLAYED THE SAXOPHONE AND THE PIANO. MARIE… PLAYED THE PIANO AND ALICE PLAYED THE SAXOPHONE AND CLARINET. RUTH, 'THE BABY,' … PLAYED THE DRUMS, CLARINET AND TRUMPET." THE ARTICLE READS, "'RUTH STARTED PLAYING THE DRUMS AT AGE 11 AND LATER SHE COULD HANDLE THE DRUMMING WITH HER FEET AND PLAY THE TRUMPET AT THE SAME TIME FOR SOME OF OUR NUMBERS,’ SAYS MARIE WITH A TWIRL OF THE HAND. ‘FLO AND ALICE WERE OUR MAIN SINGERS AND I MADE UP THE TRIO SOMETIMES. RUTH DIDN’T SING. WHEN WE SANG AS A TRIO RUTH WOULD PLAY THE PIANO. ALICE WOULD ALSO SING SOLO. WE PLAYED ALL THE POPULAR MUSIC OF THE DAY AND OLD-TIME MUSIC AS WELL… MY SISTERS COULD ALSO PLAY THAT FAST-PACED SQUARE DANCE MUSIC ON THE SAX, AND THAT WAS SOMETHING. WE PLAYED WALTZES, POLKAS AND EVERYTHING… YOU NAME IT, WE PLAYED IT... OUR THEME SONG WAS BREEZING ALONG WITH THE BREEZE BUT MY FAVOURITE HAD TO BE SIDE BY SIDE, WHICH WE WERE AS A GROUP. WE WERE VERY CLOSE.'" THAT ARTICLE STATES THAT MARTIN AND IDA HAD EIGHT DAUGHTERS, IN FACT, BUT ONLY FOUR LIVED TO BECOME TEENAGERS. THE FOUR SURVIVING SISTERS BEGAN THEIR MUSICAL EDUCATION AT AN EARLY AGE, ALL BEGINNING WITH PIANO. THEY BEGAN PLAYING FOR VARIOUS TYPES OF EVENTS NEAR MONITOR, WHERE THEY WERE BORN. WHILE FLORENCE WAS WITH THE ALL GIRLS BAND IN CALGARY, THE THREE YOUNGER SISTERS FORMED THEIR OWN ORCHESTRA, MAKING THEIR DEBUT IN 1937. THE FOLLOWING YEAR, AFTER FLORENCE’S RETURN, THE ANDERSON SISTERS ORCHESTRA WAS FORMED. UPON ARRIVING IN LETHBRIDGE IN 1940, THEY AUDITIONED FOR THE CJOC RADIO STATION. THE ARTICLE STATES, “FOUR DAYS LATER THEY WERE ON THE AIR, LIVE, ON THE CHRISTMAS SHOPPER PROGRAM HEARD THREE TIMES A WEEK. THEY WERE ALSO ON THE AIR MONDAY NIGHTS FROM 9:15 TO 9:30 PM.” A NOTE THAT CAME WITH THE DONATION SAYS THE WEEKLY SHOW WITH CJOC WAS “BROADCAST LIVE ‘FROM HIGH ATOP THE MARQUIS HOTEL.’” BACK IN THE 2016 INTERVIEW AT THE MUSEUM, ALICE’S DAUGHTER ELEANOR COMMENTS ON THE BAND’S LEGACY. “I VOLUNTEER AT THE HOSPITAL [AND PLAY THE PIANO]. I USUALLY HAVE SENIORS INVOLVED THERE… AND WHEN I MENTION MY MOM’S NAME OR MY AUNT’S NAME, THEY REMEMBER DANCING TO THE ANDERSON SISTERS. SO, YOU KNOW, EVEN IN THIS DAY AND AGE, [PEOPLE] REMEMBER HOW MUCH FUN THEY HAD. [IT SHOWS] HOW RESPECTED THEY WERE AND I FIND THAT [BACKGROUND] JUST THRILLING.” “[MUSIC] WAS THEIR LIVELIHOOD,” RUTH ILLUMINATED, “SO [IT] WAS DRIVING THEM [THROUGH] TOUGH TIMES (SUCH AS THE DEPRESSION IN ALBERTA). THE GIRLS TOGETHER [WITH] THE TALENT THEY HAD, HAD A WAY OUT, WHERE A LOT OF OTHER PEOPLE HAD SOME BIGGER STRUGGLES. AND IT WAS THE TALENT IN THEM BEING TOGETHER. THEY COULD DO A LOT WHEN THEY STUCK TOGETHER AS A FAMILY.” PLEASE SEE PERMANENT FILE FOR FURTHER INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTION, LETHBRIDGE HERALD ARTICLES AND CLIPPINGS ABOUT THE ANDERSON SISTERS AND THEIR SHOWS, AND FAMILY OBITUARIES.
Catalogue Number
P20160044002
Acquisition Date
2016-12
Collection
Museum
Images
Less detail
Date Range From
1950
Date Range To
1980
Material Type
Artifact
Materials
BAKELITE, LEATHER, VELVET
Catalogue Number
P20160044003
  2 images  
Material Type
Artifact
Date Range From
1950
Date Range To
1980
Materials
BAKELITE, LEATHER, VELVET
No. Pieces
11
Height
27
Length
38
Width
11.5
Description
A: CASE: GREEN AND OFF-WHITE LEATHER CASE. BLACK PLASTIC/SILVER METAL LABEL THAT READS “CONN” ON FRONT OF CASE. GREEN HANDLE AT TOP WITH TWO METAL LATCHES ON EITHER SIDE. HINGES ON THE BOTTOM OF CASE TO OPEN. FOUR METAL FEET ON BOTTOM. CORK EDGES AROUND THE SIDES, STITCHED ON AND PAINTED OFF-WHITE COLOUR. INSIDE IS LINED WITH A GREEN VELVET. TOP FOLDS DOWN AND IS FASTENED WITH LEATHER STRAP AND METAL SNAP BUTTON. “CONN” LABEL IN TOP LEFT CORNER OF CASE THAT IS GOLD WITH BLACK AND RED PAINT INSIDE. THREE PEOPLE OF A MARCHING BAND IN IMAGE ON LABEL. THE BOTTOM HALF OF THE INSIDE OF CASE HAS EIGHT SECTIONS FOR INSTRUMENT PIECES AND ACCESSORIES. FAIR CONDITION: MODERATE TO SEVERE SURFACE DIRT OVERALL. VARIOUS GREEN STAINS AT TOP OF CASE. METAL COMPONENTS SCUFFED. SOME STITCHING AS SIDES COMING LOOSE. LOSS OF PAINT IN SEVERAL PLACES ALONG CORK EDGE. INSIDE FABRIC WORN. B: BLACK BAKELITE CLARINET BELL WITH SILVER AROUND BOTH EDGES. “CONN DIRECTOR U.S.A.” ETCHED ON OUTER SURFACE. 11 CM LENGTH. 8 CM BELL DIAMETER. C: BLACK BAKELITE LOWER JOINT WITH SILVER KEYS. CORK EDGE ON BOTTOM AND SILVER RIM AROUND TOP. “721800” ETCHED ON BACK NEAR CORK. PADDED THUMB REST ON BACK OF THIS JOINT. 25.5 CM X 2.5 CM. D: BLACK BAKELITE UPPER JOINT WITH SILVER KEYS. BOTH ENDS COVERED IN CORK. LOGO WITH THREE MARCHING BAND FIGURES ETCHED ON FRONT NEAR THE TOP. 22.5 CM X 2.3 CM (TOP DIAMETER SLIGHTLY WIDER). E: BLACK BAKELITE BARREL JOINT WITH SILVER EDGES. 6 CM X 3 CM (BOTTOM DIAMETER) 2.8 CM (TOP DIAMETER). F: BLACK BAKELITE MOUTHPIECE WITH CORK AT BOTTOM. METAL LIGATURE WITH ITS TWO SCREWS ATTACHED SECURING A REED TO THE MOUTHPIECE. 9 CM LONG WITH 2.1 CM DIAMETER AT BOTTOM. VERY GOOD CONDITION FOR B-F: SLIGHT SCUFFS OF SURFACE G: SILVER METAL MARCHING LYRE. CIRCULAR BAND WITH ADJUSTABLE SCREW FOR ATTACHMENT TO INSTRUMENT. THIS SCREWS ONTO A STEM, WHICH EXTENDS TO CONNECT TO A LYRIFORM SPRING CLAMP THAT IS MEANT TO HOLD MUSIC. FAIR CONDITION: SEVERE GREEN STAINING IN MANY AREAS OF SURFACE. METAL SLIGHTLY SCRATCHED OVERALL. H: BLACK PLASTIC REED HOLDER WITH SLOTS FOR TWO REEDS (ONE ON FRONT AND ONE ON). “LAVOZ” ETCHED IN PLASTIC ON FRONT AND BACK AND “USA” ABOVE THAT.7.7 CM X 2 CM. I: CLARINET REED ENCASED IN REED HOLDER (H).”RICO” IN MUSIC STAFF STAMPED ON BACKSIDE AND SIZE “V-2 ½” STAMPED BELOW THE LOGO. GOOD TO VERY GOOD CONDITION FOR H-I: SOME WEAR TO SIDE OF REED HOLDER WITH REED. REED SHOWS SIGNS OF USE. J: WHITE ENVELOPE THAT READS, “CONN EXCLUSIVE TUNING RING” WITH TEXT BELOW AND DIAGRAM OF THE TUNING RING PRINTED ALL IN BLACK INK ON THE FRONT OF THE ENVELOPE. THE BACK HAS SCOTCH TAPE SECURING THE RIGHT SIDE ENVELOPE FLAP. CAN FEEL ONE TUNING RING INSIDE ENVELOPE. 14 CM X 7.9 CM. FAIR TO GOOD CONDITION: PAPER OF ENVELOPE HAS SEVERELY YELLOWED. K-N: TWO IDENTICAL TUBES OF CORK GREASE WITH CAPS. WHITE PLASTIC TUBE THAT READS, “PARAMOUNT MUSIC “PREMIUM” CORK GREASE” AND AN ADDRESS BELOW ALL IN RED FONT. TWISTABLE END TO EXTEND THE GREASE IN TUBE. GREASE STILL PRESENT IN TUBES. RED PLASTIC CAPS. ONE READS “B 7 ETHYL” (K) ON INSIDE OF CAP AND THE OTHER READS “B 87 ETHYL” (N). 6.8 CM X 1,7 CM. GOOD TO VERY GOOD CONDITION: SLIGHT SURFACE DIRT ON LABEL. DISCOLOURING OF PLASTIC AROUND BOTTOM EDGES. GREASE IS CRYSTALIZING. O-P: SMALL, BLACK PLASTIC GREASE CONTAINER IN CUBE WITH GOLD METALLIC LETTERS ON LID “YAMAHA CORK GREASE”. HINGE ATTACHING LID TO CONTAINER, SO LID COMPLETE DETACHES. GREASE INSIDE OF THE CONTAINER. 2.7 CM X 2.7 CM X 2 CM. GOOD CONDITION: SLIGHT SCRATCHING ON SURFACE. BROKEN HINGE. Q: CLARINET CLEANING SWAB WAND WITH TWISTED WIRE WAND/HANDLE AND MULTICOLOURED (BLUES AND PINKS), FABRIC SWAB. THE SWAB IS SHAGGED. 29 CM X 2.5 CM. GOOD TO VERY GOOD CONDITION: WIRE IS SLIGHTLY BENT. R: CLOTH CLEANING SWAB WITH NATURAL-COLOURED TAN SUEDE CLOTH (APPROX. 12.5 CM X 6.3 CM) THAT HAS ROUGH EDGES. ONE CORNER OF SUEDE IS PINCHED TOGETHER WITH A SILVER METAL CLASP (TOOTHED), WHICH SECURES IT AROUND A BLACK STRING (57 CM IN LENGTH) WITH A SILVER-COLOURED WEIGHT AT THE END. FAIR CONDITION: STRING IS FRAYING MODERATELY IN ONE PLACE AND SLIGHTLY IN OTHERS. SUEDE FABRIC SHOWS DIRT. WEIGHT’S METAL IS SCUFFED.
Subjects
MUSICAL T&E
Historical Association
MILITARY
LEISURE
PERSONAL CARE
History
THE LATE ALICE PEARL HUMMEL (13 JUNE 1922 – 7 APRIL 2016) PERFORMED AS PART OF THE “ANDERSON SISTERS ORCHESTRA” ALONGSIDE HER SISTERS – FLORENCE JEANNETTE MCINTOSH (MAY 1917 – 18 MARCH 1999), MARIE EVELYN POPSON (C.1921 - 8 MARCH 2008) AND RUTH GINZER (C. 1926 - D. 2016). THE FOUR DAUGHTERS WERE BORN TO PARENTS, MARTIN EDWARD ANDERSON AND IDA JOHANNA ANDERSON (NEE JOHNSON). THE BAND WAS A FAMILY AFFAIR THAT SAW GREAT SUCCESS IN THE SOUTHERN ALBERTA REGION. ALICE’S DAUGHTERS, ELEANOR SMITH AND RUTH HUMMEL, HONOURED THEIR MOTHER’S WISHES TO DONATE A NUMBER OF HER EFFECTS FROM HER TIME WITH LETHBRIDGE BAND TO THE MUSEUM. THIS CLARINET WAS PLAYED BY THREE GENERATIONS OF THE DONORS’ FAMILY. IN 2016 DECEMBER 16, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE DAUGHTERS ABOUT THE DONATION. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT EXCHANGE. RUTH EXPLAINED, “IT WAS PURCHASED BRAND NEW [IN THE] EARLY ‘50S WITH THE INTENT THAT HER FIRST SON, BERNIE (BORN IN 1950) WOULD PLAY THE CLARINET, WHICH HE DID. MOM DID USE IT FOR SOME LATER PERFORMANCES WITH THE ANDERSON SISTERS, BUT IT WAS PURCHASED [FOR HIM]. AND HIS DAUGHTER, CONNIE, ALSO PLAYED THE CLARINET.” SPEAKING OF WHY THEY SELECTED THIS OBJECT TO BE DONATED TO THE MUSEUM, RUTH SAID, “WHEN WE WERE GATHERING THINGS TOGETHER, WE THOUGHT [OF] WHAT INSTRUMENTS WE HAD THAT HAVE A CONNECTION. SO IT WAS DECIDED [ON THE CLARINET]. CONNIE WAS QUITE HAPPY TO KNOW THAT IT WAS COMING IN THIS DIRECTION, SINCE IT WAS GRANDMA’S CLARINET, IT SHOULD GO WITH GRANDMA’S THINGS.” OF ALL THE INSTRUMENTS ALICE KNEW HOW TO PLAY, THE CLARINET “WAS THE MAIN ONE,” RUTH CONTINUED, “BUT SHE PLAYED THE SAXOPHONE AS WELL. AND ALSO TAUGHT PIANO FOR YEARS AND YEARS AND YEARS. [ALL THE SISTERS] PLAYED PIANO REALLY WELL. SHE PLAYED OTHER INSTRUMENTS LIKE THE ORGAN, AND THERE WERE ACTUALLY INSTANCES TOO WHERE SOMEONE WOULD CALL ON HER TO LEARN HOW TO PLAY AN INSTRUMENT, AND SHE WOULD TEACH THEM HOW TO PLAY IT WITHOUT KNOWING HOW TO PLAY IT HERSELF, BECAUSE SHE KNEW THE TECHNIQUE [OR] WOULD LEARN THE TECHNIQUE. BUT THE CLARINET WAS HER MAIN THING WITH, AS I SAID, SAXOPHONE AND PIANO PROBABLY THE NEXT CLOSEST IN LINE.” THE SISTERS STATE THAT THEY REMEMBER THEIR MOTHER PLAYING THIS SPECIFIC CLARINET. ELEANOR SAID, “SHE DIDN’T PASS IT [ON] UNTIL CONNIE WANTED TO USE IT, BECAUSE BERNIE DIDN’T TAKE IT WITH HIM [FROM HOME].” RUTH ADDED, “YEAH, THAT’S RIGHT. I THINK IT’S REALLY ALWAYS BEEN HERS.” THE LAST TIME THEY REMEMBER HER PLAYING IT WOULD HAVE BEEN THE LAST TIME THE ANDERSON SISTERS ORCHESTRA PERFORMED, WHICH WAS A PERFORMANCE FOR THE ELKS IN GRANUM IN THE 1970S. THE FOLLOWING IS A BRIEF HISTORY OF THE ANDERSON SISTERS AS TOLD BY DONORS ELEANOR SMITH AND RUTH HUMMEL IN THE 2016 INTERVIEW: “[THE ANDERSON SISTERS ORCHESTRA WAS] THE LONGEST RUNNING GROUP AT WATERTON LAKES PAVILION … [WHERE THEY PLAYED] FOR FIVE YEARS STRAIGHT,” ELEANOR EXPLAINED, “IN ADDITION TO DOING ALL KINDS OF OTHER THINGS, THEY WERE CONSTANTLY TRAVELLING [AND] WE HAVE THE RECORDINGS OF THAT.” RUTH ADDED, “THEY WERE ORIGINALLY FROM MONITOR (SASK). IN THE DIRTY 30S, WHEN THINGS GOT BAD FOR A LOT OF FARMS, THEY FOUND A WAY TO HAVE MUSIC LESSONS AND…PLAY FOR LOCAL DANCES. [ULTIMATELY, THE FAMILY] DECIDED TO LEAVE THE FARM AND HEADED OUT IN THE DIRECTION OF LETHBRIDGE (VIA DRUMHELLER). IT WAS TOUGH TIMES FOR A LOT OF PEOPLE IN THE 30S IN ALBERTA, BUT THE GIRLS, WITH THE TALENT THEY HAD, … HAD A WAY OUT…THEY COULD DO A LOT WHEN THEY STUCK TOGETHER AS A FAMILY. AND THEN THE ORCHESTRA REALLY CAME OUT OF THAT...” THE OBITUARY OF DONORS’ GRANDFATHER, MARTIN ANDERSON, (PUBLISHED IN THE LETHBRIDGE HERALD, 1981) STATES THE FAMILY ARRIVED IN LETHBRIDGE IN 1940. “THEY WERE SERIOUS MUSICIANS - VERY HUMBLE AND VERY QUIET,” RUTH CONTINUED, “[AS FAR AS PROMOTING THE BAND,] THAT WAS MORE GRANDPA’S JOB. WHEN IT CAME TO MUSIC, IT WAS A GIFT THEY PASSED ON - IN THE LATE ‘30S, ‘40S AND INTO THE ‘50S A BIT – [AND] IT WAS SOMETHING THEY FELT REALLY PRIVILEGED TO BE ABLE TO CONTRIBUTE IN THEIR OWN COMMUNITIES. [DURING] THE WAR YEARS, [THEY PLAYED FOR] THE ARMY BASES THAT WERE ALL CLOSE HERE AND [THEY WERE] A PART OF THAT HISTORY.” “[THEY WERE] ON THE ROAD 6 DAYS A WEEK [WITH THEIR CAR AND TRAILER]… PLAYING NOT JUST IN LETHBRIDGE [BUT] FAR REACHING OVER IN B.C., THE NORTHERN STATES, AND QUITE FAR NORTH IN ALBERTA. SO THEY WERE A REAL PART OF THINGS AND WORKED REAL HARD. I THINK IT’S AN IMPORTANT PART OF THE MUSIC HISTORY IN ALBERTA. THEY WERE, AFTER THE ANDERSON SISTERS [BAND WAS FINISHED], PROUD TO TAKE [MUSIC] INTO THE COMMUNITIES WHERE THEY WERE TEACHERS AND STILL PERFORMERS EVEN PAST THE FOUR OF THEM BEING TOGETHER.” WHEN ASKED ABOUT THEIR PERSONAL MEMORIES OF THE SISTERS PERFORMING TOGETHER, RUTH ANSWERED, “WELL ELEANOR WOULD HAVE BEEN A TODDLER, MYSELF AS WELL, THE LAST FEW TIMES THAT THEY PERFORMED AS THE ANDERSON SISTERS IN THAT ERA. BUT GROWING UP THROUGH THE YEARS, THERE WASN’T A TIME WHEN WE GOT TOGETHER AS A FAMILY WHERE WE DIDN’T HAVE A LOT OF MUSIC. THEY WOULD PLAY FOR US [AND] THEY WERE CALLED BACK SOMETIMES TO PERFORM AT COMMUNITY EVENTS… THE LAST ONE THAT I RECALL WAS SOMETHING IN GRANUM FOR AN ELKS 5OTH ANNIVERSARY IN GRANUM…THAT WAS THE LAST TIME PUBLICLY I REMEMBER.” THE FOLLOWING INFORMATION COMES FROM A HISTORY PUBLISHED IN THE LETHBRIDGE HERALD IN 24 MAY 2003 TITLED, “SISTER ACT: SOUTHERN ALBERTA’S SWINGIN’ ANDERSON SISTERS WERE ALL THE RAGE DURING THE SECOND WORLD WAR.” “IT WAS THE ERA OF SWUNG, OF MUSIC WITH MEMORABLE LYRICS, AND OF DANCE. IT WAS ALSO THE TIME OF THE SECOND WORLD WAR AND THE HEYDAY OF THE ANDERSON SISTERS, AND LITERALLY EVERY TOWN IN SOUTHERN ALBERTA WAS SWINGING AND SWAYING TO THE SOUNDS OF FLORENCE, MARIE, ALICE, AND RUTH." "DUBBED THE FOUR MAIDS OF MELODY BY CJOC RADIO…" THE ARTICLE CONTINUED, "[THE SISTERS] WERE THE TOAST OF SOUTHERN ALBERTA’S DANCE HALLS." INTERVIEWED FOR THE ARTICLE WAS ONE OF THE SISTERS, MARIE POPSON. SHE WAS QUOTED, "WE PLAYED THE TRIANON A LOT, THE OLD BUCKET OF BLOOD. THEY CALLED IT THAT BECAUSE IT WAS DURING THE WAR AND THERE WERE A LOT OF FIGHTS. PRIOR TO AND AFTER THE TRIANON WAS OK, BUT IT WAS REAL LIVELY DURING THE WAR… THE CROWDS [THERE] WERE SO LARGE THEY WERE AFRAID THE FLOOR WOULD WEAKEN… THE DANCE FLOOR WAS ON THE SECOND STORY OF THE BUILDING." THE ARTICLE EXPLAINED, "FLORENCE WAS THE ELDEST OF THE ANDERSON SISTERS AND AS SUCH WAS THE BAND’S LEADER. [SHE] PLAYED THE SAXOPHONE AND THE PIANO. MARIE… PLAYED THE PIANO AND ALICE PLAYED THE SAXOPHONE AND CLARINET. RUTH, 'THE BABY,' … PLAYED THE DRUMS, CLARINET AND TRUMPET." THE ARTICLE READS, "'RUTH STARTED PLAYING THE DRUMS AT AGE 11 AND LATER SHE COULD HANDLE THE DRUMMING WITH HER FEET AND PLAY THE TRUMPET AT THE SAME TIME FOR SOME OF OUR NUMBERS,’ SAYS MARIE WITH A TWIRL OF THE HAND. ‘FLO AND ALICE WERE OUR MAIN SINGERS AND I MADE UP THE TRIO SOMETIMES. RUTH DIDN’T SING. WHEN WE SANG AS A TRIO RUTH WOULD PLAY THE PIANO. ALICE WOULD ALSO SING SOLO. WE PLAYED ALL THE POPULAR MUSIC OF THE DAY AND OLD-TIME MUSIC AS WELL… MY SISTERS COULD ALSO PLAY THAT FAST-PACED SQUARE DANCE MUSIC ON THE SAX, AND THAT WAS SOMETHING. WE PLAYED WALTZES, POLKAS AND EVERYTHING… YOU NAME IT, WE PLAYED IT... OUR THEME SONG WAS BREEZING ALONG WITH THE BREEZE BUT MY FAVOURITE HAD TO BE SIDE BY SIDE, WHICH WE WERE AS A GROUP. WE WERE VERY CLOSE.'" THAT ARTICLE STATES THAT MARTIN AND IDA HAD EIGHT DAUGHTERS, IN FACT, BUT ONLY FOUR LIVED TO BECOME TEENAGERS. THE FOUR SURVIVING SISTERS BEGAN THEIR MUSICAL EDUCATION AT AN EARLY AGE, ALL BEGINNING WITH PIANO. THEY BEGAN PLAYING FOR VARIOUS TYPES OF EVENTS NEAR MONITOR, WHERE THEY WERE BORN. WHILE FLORENCE WAS WITH THE ALL GIRLS BAND IN CALGARY, THE THREE YOUNGER SISTERS FORMED THEIR OWN ORCHESTRA, MAKING THEIR DEBUT IN 1937. THE FOLLOWING YEAR, AFTER FLORENCE’S RETURN, THE ANDERSON SISTERS ORCHESTRA WAS FORMED. UPON ARRIVING IN LETHBRIDGE IN 1940, THEY AUDITIONED FOR THE CJOC RADIO STATION. THE ARTICLE STATES, “FOUR DAYS LATER THEY WERE ON THE AIR, LIVE, ON THE CHRISTMAS SHOPPER PROGRAM HEARD THREE TIMES A WEEK. THEY WERE ALSO ON THE AIR MONDAY NIGHTS FROM 9:15 TO 9:30 PM.” A NOTE THAT CAME WITH THE DONATION SAYS THE WEEKLY SHOW WITH CJOC WAS “BROADCAST LIVE ‘FROM HIGH ATOP THE MARQUIS HOTEL.’” BACK IN THE 2016 INTERVIEW AT THE MUSEUM, ALICE’S DAUGHTER ELEANOR COMMENTS ON THE BAND’S LEGACY. “I VOLUNTEER AT THE HOSPITAL [AND PLAY THE PIANO]. I USUALLY HAVE SENIORS INVOLVED THERE… AND WHEN I MENTION MY MOM’S NAME OR MY AUNT’S NAME, THEY REMEMBER DANCING TO THE ANDERSON SISTERS. SO, YOU KNOW, EVEN IN THIS DAY AND AGE, [PEOPLE] REMEMBER HOW MUCH FUN THEY HAD. [IT SHOWS] HOW RESPECTED THEY WERE AND I FIND THAT [BACKGROUND] JUST THRILLING.” “[MUSIC] WAS THEIR LIVELIHOOD,” RUTH ILLUMINATED, “SO [IT] WAS DRIVING THEM [THROUGH] TOUGH TIMES (SUCH AS THE DEPRESSION IN ALBERTA). THE GIRLS TOGETHER [WITH] THE TALENT THEY HAD, HAD A WAY OUT, WHERE A LOT OF OTHER PEOPLE HAD SOME BIGGER STRUGGLES. AND IT WAS THE TALENT IN THEM BEING TOGETHER. THEY COULD DO A LOT WHEN THEY STUCK TOGETHER AS A FAMILY.” PLEASE SEE PERMANENT FILE FOR FURTHER INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTION, LETHBRIDGE HERALD ARTICLES AND CLIPPINGS ABOUT THE ANDERSON SISTERS AND THEIR SHOWS, AND FAMILY OBITUARIES.
Catalogue Number
P20160044003
Acquisition Date
2016-12
Collection
Museum
Images
Less detail
Date Range From
1941
Date Range To
1970
Material Type
Artifact
Materials
BAKELITE
Catalogue Number
P20160044004
  2 images  
Material Type
Artifact
Date Range From
1941
Date Range To
1970
Materials
BAKELITE
No. Pieces
1
Height
3
Length
8.3
Width
0.7
Description
RED TRANSLUCENT BAKELITE KEY CASE. OVAL-SHAPED KEY HOLDER WITH FADED GOLD METALLIC TEXT ON ONE SIDE WHICH READS, “ANDERSON SISTERS ORCHESTRA." SLOTS ALONG BOTH SIDES TO HOLD TWO KEYS. GOOD CONDITION: MODERATE LOSS OF GOLD PAINT OF TEXT. OVERALL SCUFFING.
Subjects
PERSONAL GEAR
Historical Association
LEISURE
DOMESTIC
History
THE LATE ALICE PEARL HUMMEL (13 JUNE 1922 – 7 APRIL 2016) PERFORMED AS PART OF THE “ANDERSON SISTERS ORCHESTRA” ALONGSIDE HER SISTERS – FLORENCE JEANNETTE MCINTOSH (MAY 1917 – 18 MARCH 1999), MARIE EVELYN POPSON (C.1921 - 8 MARCH 2008) AND RUTH GINZER (C. 1926 - D. 2016). THE FOUR DAUGHTERS WERE BORN TO PARENTS, MARTIN EDWARD ANDERSON AND IDA JOHANNA ANDERSON (NEE JOHNSON). THE BAND WAS A FAMILY AFFAIR THAT SAW GREAT SUCCESS IN THE SOUTHERN ALBERTA REGION. ALICE’S DAUGHTERS, ELEANOR SMITH AND RUTH HUMMEL, HONOURED THEIR MOTHER’S WISHES TO DONATE A NUMBER OF HER EFFECTS FROM HER TIME WITH LETHBRIDGE BAND TO THE MUSEUM. THIS KEY HOLDER CAME TO THE MUSEUM WITH A NOTE THAT STATED, “EACH OF THE SISTERS HAD A KEY HOLDER. THIS ONE IS ALICE’S.” IN 2016 DECEMBER 16, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE DAUGHTERS ABOUT THE DONATION. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT EXCHANGE. IN THE INTERVIEW, RUTH EXPLAINED THE KEY HOLDER WAS FROM THE EARLY 1940S (1940-41) AND ORIGINATED IN THE ERA THE ANDERSON SISTERS ORCHESTRA WAS PERFORMING FREQUENTLY. “MOM SAID THAT EACH OF [THE SISTERS] HAD ONE OF THE KEY HOLDERS,” RUTH STATED, “YOU CAN SEE THROUGH IT [AND] THERE’S A LITTLE PLACE THAT A LITTLE KEY CAN BE KIND OF FOLDED IN OR TWO KEYS. I’M NOT SURE IF THE REASON THEY EVEN HAD ONE TO START WITH WAS SOMEONE THINKING THAT MAYBE THEY’D WANT TO SELL A BUNCH [TO] MAYBE MARKET AT THEIR CONCERTS, BUT THAT WASN’T SOMETHING THEY DID. THEY WERE THERE TO SELL MUSIC NOT ITEMS. THEY DIDN’T SELL ANYTHING BUT TICKETS.” “SO, THEY ALL ENDED UP WITH [A KEY HOLDER]. I BELIEVE MOM [WAS] THE ONLY ONE WHO HAD HERS STILL. THEY WERE ALWAYS GETTING APPROACHED WITH A MARKETING IDEA. I THINK UNLESS IT WAS SOMETHING THAT GRANDPA FELT COMPLIMENTED THINGS THEY DIDN’T GET INTO DOING THAT, WHICH MAYBE WAS A MISTAKE WHEN YOU THINK OF IT FROM A MARKETING STAND POINT. BUT THEY LOOKED AT THE MUSIC FIRST, AND THE TRINKETS WEREN’T SOMETHING THEY EVER REALLY GOT INTO.” MANY OF THE ARTIFACTS DONATED TO THE MUSEUM, INCLUDING THIS KEY HOLDER, WERE KEPT TOGETHER IN ONE OF ALICE’S TRUNKS. WHEN RUTH AND ELEANOR WERE HELPING THEIR MOTHER SORT HER THINGS, SHE EXPLAINED THE ITEMS IN THE TRUNK TO THEM. THE FOLLOWING IS A BRIEF HISTORY OF THE ANDERSON SISTERS AS TOLD BY DONORS ELEANOR SMITH AND RUTH HUMMEL IN THE 2016 INTERVIEW: “[THE ANDERSON SISTERS ORCHESTRA WAS] THE LONGEST RUNNING GROUP AT WATERTON LAKES PAVILION … [WHERE THEY PLAYED] FOR FIVE YEARS STRAIGHT,” ELEANOR EXPLAINED, “IN ADDITION TO DOING ALL KINDS OF OTHER THINGS, THEY WERE CONSTANTLY TRAVELLING [AND] WE HAVE THE RECORDINGS OF THAT.” RUTH ADDED, “THEY WERE ORIGINALLY FROM MONITOR (SASK). IN THE DIRTY 30S, WHEN THINGS GOT BAD FOR A LOT OF FARMS, THEY FOUND A WAY TO HAVE MUSIC LESSONS AND…PLAY FOR LOCAL DANCES. [ULTIMATELY, THE FAMILY] DECIDED TO LEAVE THE FARM AND HEADED OUT IN THE DIRECTION OF LETHBRIDGE (VIA DRUMHELLER). IT WAS TOUGH TIMES FOR A LOT OF PEOPLE IN THE 30S IN ALBERTA, BUT THE GIRLS, WITH THE TALENT THEY HAD, … HAD A WAY OUT…THEY COULD DO A LOT WHEN THEY STUCK TOGETHER AS A FAMILY. AND THEN THE ORCHESTRA REALLY CAME OUT OF THAT...” THE OBITUARY OF DONORS’ GRANDFATHER, MARTIN ANDERSON, (PUBLISHED IN THE LETHBRIDGE HERALD, 1981) STATES THE FAMILY ARRIVED IN LETHBRIDGE IN 1940. “THEY WERE SERIOUS MUSICIANS - VERY HUMBLE AND VERY QUIET,” RUTH CONTINUED, “[AS FAR AS PROMOTING THE BAND,] THAT WAS MORE GRANDPA’S JOB. WHEN IT CAME TO MUSIC, IT WAS A GIFT THEY PASSED ON - IN THE LATE ‘30S, ‘40S AND INTO THE ‘50S A BIT – [AND] IT WAS SOMETHING THEY FELT REALLY PRIVILEGED TO BE ABLE TO CONTRIBUTE IN THEIR OWN COMMUNITIES. [DURING] THE WAR YEARS, [THEY PLAYED FOR] THE ARMY BASES THAT WERE ALL CLOSE HERE AND [THEY WERE] A PART OF THAT HISTORY.” “[THEY WERE] ON THE ROAD 6 DAYS A WEEK [WITH THEIR CAR AND TRAILER]… PLAYING NOT JUST IN LETHBRIDGE [BUT] FAR REACHING OVER IN B.C., THE NORTHERN STATES, AND QUITE FAR NORTH IN ALBERTA. SO THEY WERE A REAL PART OF THINGS AND WORKED REAL HARD. I THINK IT’S AN IMPORTANT PART OF THE MUSIC HISTORY IN ALBERTA. THEY WERE, AFTER THE ANDERSON SISTERS [BAND WAS FINISHED], PROUD TO TAKE [MUSIC] INTO THE COMMUNITIES WHERE THEY WERE TEACHERS AND STILL PERFORMERS EVEN PAST THE FOUR OF THEM BEING TOGETHER.” WHEN ASKED ABOUT THEIR PERSONAL MEMORIES OF THE SISTERS PERFORMING TOGETHER, RUTH ANSWERED, “WELL ELEANOR WOULD HAVE BEEN A TODDLER, MYSELF AS WELL, THE LAST FEW TIMES THAT THEY PERFORMED AS THE ANDERSON SISTERS IN THAT ERA. BUT GROWING UP THROUGH THE YEARS, THERE WASN’T A TIME WHEN WE GOT TOGETHER AS A FAMILY WHERE WE DIDN’T HAVE A LOT OF MUSIC. THEY WOULD PLAY FOR US [AND] THEY WERE CALLED BACK SOMETIMES TO PERFORM AT COMMUNITY EVENTS… THE LAST ONE THAT I RECALL WAS SOMETHING IN GRANUM FOR AN ELKS 5OTH ANNIVERSARY IN GRANUM…THAT WAS THE LAST TIME PUBLICLY I REMEMBER.” THE FOLLOWING INFORMATION COMES FROM A HISTORY PUBLISHED IN THE LETHBRIDGE HERALD IN 24 MAY 2003 TITLED, “SISTER ACT: SOUTHERN ALBERTA’S SWINGIN’ ANDERSON SISTERS WERE ALL THE RAGE DURING THE SECOND WORLD WAR.” “IT WAS THE ERA OF SWUNG, OF MUSIC WITH MEMORABLE LYRICS, AND OF DANCE. IT WAS ALSO THE TIME OF THE SECOND WORLD WAR AND THE HEYDAY OF THE ANDERSON SISTERS, AND LITERALLY EVERY TOWN IN SOUTHERN ALBERTA WAS SWINGING AND SWAYING TO THE SOUNDS OF FLORENCE, MARIE, ALICE, AND RUTH." "DUBBED THE FOUR MAIDS OF MELODY BY CJOC RADIO…" THE ARTICLE CONTINUED, "[THE SISTERS] WERE THE TOAST OF SOUTHERN ALBERTA’S DANCE HALLS." INTERVIEWED FOR THE ARTICLE WAS ONE OF THE SISTERS, MARIE POPSON. SHE WAS QUOTED, "WE PLAYED THE TRIANON A LOT, THE OLD BUCKET OF BLOOD. THEY CALLED IT THAT BECAUSE IT WAS DURING THE WAR AND THERE WERE A LOT OF FIGHTS. PRIOR TO AND AFTER THE TRIANON WAS OK, BUT IT WAS REAL LIVELY DURING THE WAR… THE CROWDS [THERE] WERE SO LARGE THEY WERE AFRAID THE FLOOR WOULD WEAKEN… THE DANCE FLOOR WAS ON THE SECOND STORY OF THE BUILDING." THE ARTICLE EXPLAINED, "FLORENCE WAS THE ELDEST OF THE ANDERSON SISTERS AND AS SUCH WAS THE BAND’S LEADER. [SHE] PLAYED THE SAXOPHONE AND THE PIANO. MARIE… PLAYED THE PIANO AND ALICE PLAYED THE SAXOPHONE AND CLARINET. RUTH, 'THE BABY,' … PLAYED THE DRUMS, CLARINET AND TRUMPET." THE ARTICLE READS, "'RUTH STARTED PLAYING THE DRUMS AT AGE 11 AND LATER SHE COULD HANDLE THE DRUMMING WITH HER FEET AND PLAY THE TRUMPET AT THE SAME TIME FOR SOME OF OUR NUMBERS,’ SAYS MARIE WITH A TWIRL OF THE HAND. ‘FLO AND ALICE WERE OUR MAIN SINGERS AND I MADE UP THE TRIO SOMETIMES. RUTH DIDN’T SING. WHEN WE SANG AS A TRIO RUTH WOULD PLAY THE PIANO. ALICE WOULD ALSO SING SOLO. WE PLAYED ALL THE POPULAR MUSIC OF THE DAY AND OLD-TIME MUSIC AS WELL… MY SISTERS COULD ALSO PLAY THAT FAST-PACED SQUARE DANCE MUSIC ON THE SAX, AND THAT WAS SOMETHING. WE PLAYED WALTZES, POLKAS AND EVERYTHING… YOU NAME IT, WE PLAYED IT... OUR THEME SONG WAS BREEZING ALONG WITH THE BREEZE BUT MY FAVOURITE HAD TO BE SIDE BY SIDE, WHICH WE WERE AS A GROUP. WE WERE VERY CLOSE.'" THAT ARTICLE STATES THAT MARTIN AND IDA HAD EIGHT DAUGHTERS, IN FACT, BUT ONLY FOUR LIVED TO BECOME TEENAGERS. THE FOUR SURVIVING SISTERS BEGAN THEIR MUSICAL EDUCATION AT AN EARLY AGE, ALL BEGINNING WITH PIANO. THEY BEGAN PLAYING FOR VARIOUS TYPES OF EVENTS NEAR MONITOR, WHERE THEY WERE BORN. WHILE FLORENCE WAS WITH THE ALL GIRLS BAND IN CALGARY, THE THREE YOUNGER SISTERS FORMED THEIR OWN ORCHESTRA, MAKING THEIR DEBUT IN 1937. THE FOLLOWING YEAR, AFTER FLORENCE’S RETURN, THE ANDERSON SISTERS ORCHESTRA WAS FORMED. UPON ARRIVING IN LETHBRIDGE IN 1940, THEY AUDITIONED FOR THE CJOC RADIO STATION. THE ARTICLE STATES, “FOUR DAYS LATER THEY WERE ON THE AIR, LIVE, ON THE CHRISTMAS SHOPPER PROGRAM HEARD THREE TIMES A WEEK. THEY WERE ALSO ON THE AIR MONDAY NIGHTS FROM 9:15 TO 9:30 PM.” A NOTE THAT CAME WITH THE DONATION SAYS THE WEEKLY SHOW WITH CJOC WAS “BROADCAST LIVE ‘FROM HIGH ATOP THE MARQUIS HOTEL.’” BACK IN THE 2016 INTERVIEW AT THE MUSEUM, ALICE’S DAUGHTER ELEANOR COMMENTS ON THE BAND’S LEGACY. “I VOLUNTEER AT THE HOSPITAL [AND PLAY THE PIANO]. I USUALLY HAVE SENIORS INVOLVED THERE… AND WHEN I MENTION MY MOM’S NAME OR MY AUNT’S NAME, THEY REMEMBER DANCING TO THE ANDERSON SISTERS. SO, YOU KNOW, EVEN IN THIS DAY AND AGE, [PEOPLE] REMEMBER HOW MUCH FUN THEY HAD. [IT SHOWS] HOW RESPECTED THEY WERE AND I FIND THAT [BACKGROUND] JUST THRILLING.” “[MUSIC] WAS THEIR LIVELIHOOD,” RUTH ILLUMINATED, “SO [IT] WAS DRIVING THEM [THROUGH] TOUGH TIMES (SUCH AS THE DEPRESSION IN ALBERTA). THE GIRLS TOGETHER [WITH] THE TALENT THEY HAD, HAD A WAY OUT, WHERE A LOT OF OTHER PEOPLE HAD SOME BIGGER STRUGGLES. AND IT WAS THE TALENT IN THEM BEING TOGETHER. THEY COULD DO A LOT WHEN THEY STUCK TOGETHER AS A FAMILY.” PLEASE SEE PERMANENT FILE FOR FURTHER INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTION, LETHBRIDGE HERALD ARTICLES AND CLIPPINGS ABOUT THE ANDERSON SISTERS AND THEIR SHOWS, AND FAMILY OBITUARIES.
Catalogue Number
P20160044004
Acquisition Date
2016-12
Collection
Museum
Images
Less detail
Date Range From
1941
Date Range To
1985
Material Type
Artifact
Materials
METAL, RHINESTONE
Catalogue Number
P20160044005
  2 images  
Material Type
Artifact
Date Range From
1941
Date Range To
1985
Materials
METAL, RHINESTONE
No. Pieces
2
Height
2.1
Length
2.5
Width
0.9
Description
A-B: PAIR OF GOLD-COLOURED COSTUME JEWELRY EARRINGS. CRESENT-SHAPED, CURVING OUT TO FRONT. WHITE RHINESTONES SET IN GOLD-COLOURED METAL VERTICALLY DOWN CURVE OF EARRING. SCREW-ON CLASP AT BACK. FAIR TO GOOD CONDITION: BOTTOM RHINESTONE MISSING OFF COMPONENT A AND SECOND FROM THE TOP RHINESTONE MISSING OFF B. METAL MODERATELY WORN/SCUFFED.
Subjects
ADORNMENT
Historical Association
LEISURE
PERSONAL CARE
History
THE LATE ALICE PEARL HUMMEL (13 JUNE 1922 – 7 APRIL 2016) PERFORMED AS PART OF THE “ANDERSON SISTERS ORCHESTRA” ALONGSIDE HER SISTERS – FLORENCE JEANNETTE MCINTOSH (MAY 1917 – 18 MARCH 1999), MARIE EVELYN POPSON (C.1921 - 8 MARCH 2008) AND RUTH GINZER (C. 1926 - D. 2016). THE FOUR DAUGHTERS WERE BORN TO PARENTS, MARTIN EDWARD ANDERSON AND IDA JOHANNA ANDERSON (NEE JOHNSON). THE BAND WAS A FAMILY AFFAIR THAT SAW GREAT SUCCESS IN THE SOUTHERN ALBERTA REGION. ALICE’S DAUGHTERS, ELEANOR SMITH AND RUTH HUMMEL, HONOURED THEIR MOTHER’S WISHES TO DONATE A NUMBER OF HER EFFECTS FROM HER TIME WITH LETHBRIDGE BAND TO THE MUSEUM. IN 2016 DECEMBER 16, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE DAUGHTERS ABOUT THE DONATION. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT EXCHANGE. OF THESE EARRINGS, RUTH RECALLED, “I KNOW THAT THESE WERE WORN WHEN THEY WERE PERFORMING. IF THEY WERE DRESSED ALIKE, THEY USUALLY HAD THE SAME JEWELRY AS WELL.” BOTH RUTH AND ELEANOR RECALLED THE EARRINGS BEING WORN BY THEIR MOTHER UP UNTIL THE 1980S. THE JEWELRY THE SISTERS WORE DURING THE PERFORMANCES “SHOWED A LOT OF USE,” RUTH EXPLAINED. “OTHER ONES REPLACED [OLDER PAIRS AS THEY WORE OUT] AND THEY WERE JUST SET ASIDE.” “ALL [THE SISTERS] LOVED TO DRESS UP. THERE WERE SOME OUTFITS THEY HAD THAT ACTUALLY HAVE GONE DOWN THROUGH FAMILY MEMBERS. HER GRANDDAUGHTER HAS A BEAUTIFUL FORMAL THAT [EACH SISTER] HAD. WHEN THEY DRESSED UP, THEY [REALLY] DRESSED UP. IT WAS WITH BRILLIANT, SHINY, BEAUTIFUL JEWELRY,” RUTH REMEMBERED. THE FOLLOWING IS A BRIEF HISTORY OF THE ANDERSON SISTERS AS TOLD BY DONORS ELEANOR SMITH AND RUTH HUMMEL IN THE 2016 INTERVIEW: “[THE ANDERSON SISTERS ORCHESTRA WAS] THE LONGEST RUNNING GROUP AT WATERTON LAKES PAVILION … [WHERE THEY PLAYED] FOR FIVE YEARS STRAIGHT,” ELEANOR EXPLAINED, “IN ADDITION TO DOING ALL KINDS OF OTHER THINGS, THEY WERE CONSTANTLY TRAVELLING [AND] WE HAVE THE RECORDINGS OF THAT.” RUTH ADDED, “THEY WERE ORIGINALLY FROM MONITOR (SASK). IN THE DIRTY 30S, WHEN THINGS GOT BAD FOR A LOT OF FARMS, THEY FOUND A WAY TO HAVE MUSIC LESSONS AND…PLAY FOR LOCAL DANCES. [ULTIMATELY, THE FAMILY] DECIDED TO LEAVE THE FARM AND HEADED OUT IN THE DIRECTION OF LETHBRIDGE (VIA DRUMHELLER). IT WAS TOUGH TIMES FOR A LOT OF PEOPLE IN THE 30S IN ALBERTA, BUT THE GIRLS, WITH THE TALENT THEY HAD, … HAD A WAY OUT…THEY COULD DO A LOT WHEN THEY STUCK TOGETHER AS A FAMILY. AND THEN THE ORCHESTRA REALLY CAME OUT OF THAT...” THE OBITUARY OF DONORS’ GRANDFATHER, MARTIN ANDERSON, (PUBLISHED IN THE LETHBRIDGE HERALD, 1981) STATES THE FAMILY ARRIVED IN LETHBRIDGE IN 1940. “THEY WERE SERIOUS MUSICIANS - VERY HUMBLE AND VERY QUIET,” RUTH CONTINUED, “[AS FAR AS PROMOTING THE BAND,] THAT WAS MORE GRANDPA’S JOB. WHEN IT CAME TO MUSIC, IT WAS A GIFT THEY PASSED ON - IN THE LATE ‘30S, ‘40S AND INTO THE ‘50S A BIT – [AND] IT WAS SOMETHING THEY FELT REALLY PRIVILEGED TO BE ABLE TO CONTRIBUTE IN THEIR OWN COMMUNITIES. [DURING] THE WAR YEARS, [THEY PLAYED FOR] THE ARMY BASES THAT WERE ALL CLOSE HERE AND [THEY WERE] A PART OF THAT HISTORY.” “[THEY WERE] ON THE ROAD 6 DAYS A WEEK [WITH THEIR CAR AND TRAILER]… PLAYING NOT JUST IN LETHBRIDGE [BUT] FAR REACHING OVER IN B.C., THE NORTHERN STATES, AND QUITE FAR NORTH IN ALBERTA. SO THEY WERE A REAL PART OF THINGS AND WORKED REAL HARD. I THINK IT’S AN IMPORTANT PART OF THE MUSIC HISTORY IN ALBERTA. THEY WERE, AFTER THE ANDERSON SISTERS [BAND WAS FINISHED], PROUD TO TAKE [MUSIC] INTO THE COMMUNITIES WHERE THEY WERE TEACHERS AND STILL PERFORMERS EVEN PAST THE FOUR OF THEM BEING TOGETHER.” WHEN ASKED ABOUT THEIR PERSONAL MEMORIES OF THE SISTERS PERFORMING TOGETHER, RUTH ANSWERED, “WELL ELEANOR WOULD HAVE BEEN A TODDLER, MYSELF AS WELL, THE LAST FEW TIMES THAT THEY PERFORMED AS THE ANDERSON SISTERS IN THAT ERA. BUT GROWING UP THROUGH THE YEARS, THERE WASN’T A TIME WHEN WE GOT TOGETHER AS A FAMILY WHERE WE DIDN’T HAVE A LOT OF MUSIC. THEY WOULD PLAY FOR US [AND] THEY WERE CALLED BACK SOMETIMES TO PERFORM AT COMMUNITY EVENTS… THE LAST ONE THAT I RECALL WAS SOMETHING IN GRANUM FOR AN ELKS 5OTH ANNIVERSARY IN GRANUM…THAT WAS THE LAST TIME PUBLICLY I REMEMBER.” THE FOLLOWING INFORMATION COMES FROM A HISTORY PUBLISHED IN THE LETHBRIDGE HERALD IN 24 MAY 2003 TITLED, “SISTER ACT: SOUTHERN ALBERTA’S SWINGIN’ ANDERSON SISTERS WERE ALL THE RAGE DURING THE SECOND WORLD WAR.” “IT WAS THE ERA OF SWUNG, OF MUSIC WITH MEMORABLE LYRICS, AND OF DANCE. IT WAS ALSO THE TIME OF THE SECOND WORLD WAR AND THE HEYDAY OF THE ANDERSON SISTERS, AND LITERALLY EVERY TOWN IN SOUTHERN ALBERTA WAS SWINGING AND SWAYING TO THE SOUNDS OF FLORENCE, MARIE, ALICE, AND RUTH." "DUBBED THE FOUR MAIDS OF MELODY BY CJOC RADIO…" THE ARTICLE CONTINUED, "[THE SISTERS] WERE THE TOAST OF SOUTHERN ALBERTA’S DANCE HALLS." INTERVIEWED FOR THE ARTICLE WAS ONE OF THE SISTERS, MARIE POPSON. SHE WAS QUOTED, "WE PLAYED THE TRIANON A LOT, THE OLD BUCKET OF BLOOD. THEY CALLED IT THAT BECAUSE IT WAS DURING THE WAR AND THERE WERE A LOT OF FIGHTS. PRIOR TO AND AFTER THE TRIANON WAS OK, BUT IT WAS REAL LIVELY DURING THE WAR… THE CROWDS [THERE] WERE SO LARGE THEY WERE AFRAID THE FLOOR WOULD WEAKEN… THE DANCE FLOOR WAS ON THE SECOND STORY OF THE BUILDING." THE ARTICLE EXPLAINED, "FLORENCE WAS THE ELDEST OF THE ANDERSON SISTERS AND AS SUCH WAS THE BAND’S LEADER. [SHE] PLAYED THE SAXOPHONE AND THE PIANO. MARIE… PLAYED THE PIANO AND ALICE PLAYED THE SAXOPHONE AND CLARINET. RUTH, 'THE BABY,' … PLAYED THE DRUMS, CLARINET AND TRUMPET." THE ARTICLE READS, "'RUTH STARTED PLAYING THE DRUMS AT AGE 11 AND LATER SHE COULD HANDLE THE DRUMMING WITH HER FEET AND PLAY THE TRUMPET AT THE SAME TIME FOR SOME OF OUR NUMBERS,’ SAYS MARIE WITH A TWIRL OF THE HAND. ‘FLO AND ALICE WERE OUR MAIN SINGERS AND I MADE UP THE TRIO SOMETIMES. RUTH DIDN’T SING. WHEN WE SANG AS A TRIO RUTH WOULD PLAY THE PIANO. ALICE WOULD ALSO SING SOLO. WE PLAYED ALL THE POPULAR MUSIC OF THE DAY AND OLD-TIME MUSIC AS WELL… MY SISTERS COULD ALSO PLAY THAT FAST-PACED SQUARE DANCE MUSIC ON THE SAX, AND THAT WAS SOMETHING. WE PLAYED WALTZES, POLKAS AND EVERYTHING… YOU NAME IT, WE PLAYED IT... OUR THEME SONG WAS BREEZING ALONG WITH THE BREEZE BUT MY FAVOURITE HAD TO BE SIDE BY SIDE, WHICH WE WERE AS A GROUP. WE WERE VERY CLOSE.'" THAT ARTICLE STATES THAT MARTIN AND IDA HAD EIGHT DAUGHTERS, IN FACT, BUT ONLY FOUR LIVED TO BECOME TEENAGERS. THE FOUR SURVIVING SISTERS BEGAN THEIR MUSICAL EDUCATION AT AN EARLY AGE, ALL BEGINNING WITH PIANO. THEY BEGAN PLAYING FOR VARIOUS TYPES OF EVENTS NEAR MONITOR, WHERE THEY WERE BORN. WHILE FLORENCE WAS WITH THE ALL GIRLS BAND IN CALGARY, THE THREE YOUNGER SISTERS FORMED THEIR OWN ORCHESTRA, MAKING THEIR DEBUT IN 1937. THE FOLLOWING YEAR, AFTER FLORENCE’S RETURN, THE ANDERSON SISTERS ORCHESTRA WAS FORMED. UPON ARRIVING IN LETHBRIDGE IN 1940, THEY AUDITIONED FOR THE CJOC RADIO STATION. THE ARTICLE STATES, “FOUR DAYS LATER THEY WERE ON THE AIR, LIVE, ON THE CHRISTMAS SHOPPER PROGRAM HEARD THREE TIMES A WEEK. THEY WERE ALSO ON THE AIR MONDAY NIGHTS FROM 9:15 TO 9:30 PM.” A NOTE THAT CAME WITH THE DONATION SAYS THE WEEKLY SHOW WITH CJOC WAS “BROADCAST LIVE ‘FROM HIGH ATOP THE MARQUIS HOTEL.’” BACK IN THE 2016 INTERVIEW AT THE MUSEUM, ALICE’S DAUGHTER ELEANOR COMMENTS ON THE BAND’S LEGACY. “I VOLUNTEER AT THE HOSPITAL [AND PLAY THE PIANO]. I USUALLY HAVE SENIORS INVOLVED THERE… AND WHEN I MENTION MY MOM’S NAME OR MY AUNT’S NAME, THEY REMEMBER DANCING TO THE ANDERSON SISTERS. SO, YOU KNOW, EVEN IN THIS DAY AND AGE, [PEOPLE] REMEMBER HOW MUCH FUN THEY HAD. [IT SHOWS] HOW RESPECTED THEY WERE AND I FIND THAT [BACKGROUND] JUST THRILLING.” “[MUSIC] WAS THEIR LIVELIHOOD,” RUTH ILLUMINATED, “SO [IT] WAS DRIVING THEM [THROUGH] TOUGH TIMES (SUCH AS THE DEPRESSION IN ALBERTA). THE GIRLS TOGETHER [WITH] THE TALENT THEY HAD, HAD A WAY OUT, WHERE A LOT OF OTHER PEOPLE HAD SOME BIGGER STRUGGLES. AND IT WAS THE TALENT IN THEM BEING TOGETHER. THEY COULD DO A LOT WHEN THEY STUCK TOGETHER AS A FAMILY.” PLEASE SEE PERMANENT FILE FOR FURTHER INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTION, LETHBRIDGE HERALD ARTICLES AND CLIPPINGS ABOUT THE ANDERSON SISTERS AND THEIR SHOWS, AND FAMILY OBITUARIES.
Catalogue Number
P20160044005
Acquisition Date
2016-12
Collection
Museum
Images
Less detail
Date Range From
1941
Date Range To
1985
Material Type
Artifact
Materials
METAL, PAINT
Catalogue Number
P20160044006
  1 image  
Material Type
Artifact
Date Range From
1941
Date Range To
1985
Materials
METAL, PAINT
No. Pieces
1
Height
3.7
Length
5
Width
0.6
Description
SILVER AND BLACK OVAL BROOCH; 3 RAISED SILVER METAL LINES (LIKE A STAFF ON SHEET MUSIC) HORIZONTALLY ACROSS BROOCH WITH A SILVER SIXTEENTH NOTE SET ON TOP OF THE LINES. BACKGROUND IS COATED IN MATTE BLACK VARNISH. GOOD CONDITION: BLACK PAINT PRESENT ON SILVER METAL IN A COUPLE OF SPOTS. SLIGHT LOSS OF VARNISH IN SOME PLACES ON FRONT OF BROOCH.
Subjects
ADORNMENT
Historical Association
LEISURE
PERSONAL CARE
History
THE LATE ALICE PEARL HUMMEL (13 JUNE 1922 – 7 APRIL 2016) PERFORMED AS PART OF THE “ANDERSON SISTERS ORCHESTRA” ALONGSIDE HER SISTERS – FLORENCE JEANNETTE MCINTOSH (MAY 1917 – 18 MARCH 1999), MARIE EVELYN POPSON (C.1921 - 8 MARCH 2008) AND RUTH GINZER (C. 1926 - D. 2016). THE FOUR DAUGHTERS WERE BORN TO PARENTS, MARTIN EDWARD ANDERSON AND IDA JOHANNA ANDERSON (NEE JOHNSON). THE BAND WAS A FAMILY AFFAIR THAT SAW GREAT SUCCESS IN THE SOUTHERN ALBERTA REGION. ALICE’S DAUGHTERS, ELEANOR SMITH AND RUTH HUMMEL, HONOURED THEIR MOTHER’S WISHES TO DONATE A NUMBER OF HER EFFECTS FROM HER TIME WITH LETHBRIDGE BAND TO THE MUSEUM. THE ANDERSON SISTERS HAD MATCHING UNIFORMS THEY WOULD OFTEN WEAR FOR PERFORMANCES, WHICH INCLUDED PIECES SUCH AS THIS BROOCH. IN 2016 DECEMBER 16, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE DAUGHTERS ABOUT THE DONATION. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT EXCHANGE. RUTH EXPLAINED, “IF THEY WERE DRESSED ALIKE, THEY USUALLY HAD THE SAME JEWELRY AS WELL.” BOTH RUTH AND ELEANOR RECALLED THE BROOCH BEING WORN BY THEIR MOTHER UP UNTIL THE 1980S. THE JEWELRY THE SISTERS WORE DURING THE PERFORMANCES “SHOWED A LOT OF USE,” RUTH EXPLAINED. “OTHER ONES REPLACED [OLDER PAIRS AS THEY WORE OUT] AND THEY WERE JUST SET ASIDE.” “ALL [THE SISTERS] LOVED TO DRESS UP. THERE WERE SOME OUTFITS THEY HAD THAT ACTUALLY HAVE GONE DOWN THROUGH FAMILY MEMBERS. HER GRANDDAUGHTER HAS A BEAUTIFUL FORMAL THAT [EACH SISTER] HAD. WHEN THEY DRESSED UP, THEY [REALLY] DRESSED UP. IT WAS WITH BRILLIANT, SHINY, BEAUTIFUL JEWELRY,” RUTH REMEMBERED. THE FOLLOWING IS A BRIEF HISTORY OF THE ANDERSON SISTERS AS TOLD BY DONORS ELEANOR SMITH AND RUTH HUMMEL IN THE 2016 INTERVIEW: “[THE ANDERSON SISTERS ORCHESTRA WAS] THE LONGEST RUNNING GROUP AT WATERTON LAKES PAVILION … [WHERE THEY PLAYED] FOR FIVE YEARS STRAIGHT,” ELEANOR EXPLAINED, “IN ADDITION TO DOING ALL KINDS OF OTHER THINGS, THEY WERE CONSTANTLY TRAVELLING [AND] WE HAVE THE RECORDINGS OF THAT.” RUTH ADDED, “THEY WERE ORIGINALLY FROM MONITOR (SASK). IN THE DIRTY 30S, WHEN THINGS GOT BAD FOR A LOT OF FARMS, THEY FOUND A WAY TO HAVE MUSIC LESSONS AND…PLAY FOR LOCAL DANCES. [ULTIMATELY, THE FAMILY] DECIDED TO LEAVE THE FARM AND HEADED OUT IN THE DIRECTION OF LETHBRIDGE (VIA DRUMHELLER). IT WAS TOUGH TIMES FOR A LOT OF PEOPLE IN THE 30S IN ALBERTA, BUT THE GIRLS, WITH THE TALENT THEY HAD, … HAD A WAY OUT…THEY COULD DO A LOT WHEN THEY STUCK TOGETHER AS A FAMILY. AND THEN THE ORCHESTRA REALLY CAME OUT OF THAT...” THE OBITUARY OF DONORS’ GRANDFATHER, MARTIN ANDERSON, (PUBLISHED IN THE LETHBRIDGE HERALD, 1981) STATES THE FAMILY ARRIVED IN LETHBRIDGE IN 1940. “THEY WERE SERIOUS MUSICIANS - VERY HUMBLE AND VERY QUIET,” RUTH CONTINUED, “[AS FAR AS PROMOTING THE BAND,] THAT WAS MORE GRANDPA’S JOB. WHEN IT CAME TO MUSIC, IT WAS A GIFT THEY PASSED ON - IN THE LATE ‘30S, ‘40S AND INTO THE ‘50S A BIT – [AND] IT WAS SOMETHING THEY FELT REALLY PRIVILEGED TO BE ABLE TO CONTRIBUTE IN THEIR OWN COMMUNITIES. [DURING] THE WAR YEARS, [THEY PLAYED FOR] THE ARMY BASES THAT WERE ALL CLOSE HERE AND [THEY WERE] A PART OF THAT HISTORY.” “[THEY WERE] ON THE ROAD 6 DAYS A WEEK [WITH THEIR CAR AND TRAILER]… PLAYING NOT JUST IN LETHBRIDGE [BUT] FAR REACHING OVER IN B.C., THE NORTHERN STATES, AND QUITE FAR NORTH IN ALBERTA. SO THEY WERE A REAL PART OF THINGS AND WORKED REAL HARD. I THINK IT’S AN IMPORTANT PART OF THE MUSIC HISTORY IN ALBERTA. THEY WERE, AFTER THE ANDERSON SISTERS [BAND WAS FINISHED], PROUD TO TAKE [MUSIC] INTO THE COMMUNITIES WHERE THEY WERE TEACHERS AND STILL PERFORMERS EVEN PAST THE FOUR OF THEM BEING TOGETHER.” WHEN ASKED ABOUT THEIR PERSONAL MEMORIES OF THE SISTERS PERFORMING TOGETHER, RUTH ANSWERED, “WELL ELEANOR WOULD HAVE BEEN A TODDLER, MYSELF AS WELL, THE LAST FEW TIMES THAT THEY PERFORMED AS THE ANDERSON SISTERS IN THAT ERA. BUT GROWING UP THROUGH THE YEARS, THERE WASN’T A TIME WHEN WE GOT TOGETHER AS A FAMILY WHERE WE DIDN’T HAVE A LOT OF MUSIC. THEY WOULD PLAY FOR US [AND] THEY WERE CALLED BACK SOMETIMES TO PERFORM AT COMMUNITY EVENTS… THE LAST ONE THAT I RECALL WAS SOMETHING IN GRANUM FOR AN ELKS 5OTH ANNIVERSARY IN GRANUM…THAT WAS THE LAST TIME PUBLICLY I REMEMBER.” THE FOLLOWING INFORMATION COMES FROM A HISTORY PUBLISHED IN THE LETHBRIDGE HERALD IN 24 MAY 2003 TITLED, “SISTER ACT: SOUTHERN ALBERTA’S SWINGIN’ ANDERSON SISTERS WERE ALL THE RAGE DURING THE SECOND WORLD WAR.” “IT WAS THE ERA OF SWUNG, OF MUSIC WITH MEMORABLE LYRICS, AND OF DANCE. IT WAS ALSO THE TIME OF THE SECOND WORLD WAR AND THE HEYDAY OF THE ANDERSON SISTERS, AND LITERALLY EVERY TOWN IN SOUTHERN ALBERTA WAS SWINGING AND SWAYING TO THE SOUNDS OF FLORENCE, MARIE, ALICE, AND RUTH." "DUBBED THE FOUR MAIDS OF MELODY BY CJOC RADIO…" THE ARTICLE CONTINUED, "[THE SISTERS] WERE THE TOAST OF SOUTHERN ALBERTA’S DANCE HALLS." INTERVIEWED FOR THE ARTICLE WAS ONE OF THE SISTERS, MARIE POPSON. SHE WAS QUOTED, "WE PLAYED THE TRIANON A LOT, THE OLD BUCKET OF BLOOD. THEY CALLED IT THAT BECAUSE IT WAS DURING THE WAR AND THERE WERE A LOT OF FIGHTS. PRIOR TO AND AFTER THE TRIANON WAS OK, BUT IT WAS REAL LIVELY DURING THE WAR… THE CROWDS [THERE] WERE SO LARGE THEY WERE AFRAID THE FLOOR WOULD WEAKEN… THE DANCE FLOOR WAS ON THE SECOND STORY OF THE BUILDING." THE ARTICLE EXPLAINED, "FLORENCE WAS THE ELDEST OF THE ANDERSON SISTERS AND AS SUCH WAS THE BAND’S LEADER. [SHE] PLAYED THE SAXOPHONE AND THE PIANO. MARIE… PLAYED THE PIANO AND ALICE PLAYED THE SAXOPHONE AND CLARINET. RUTH, 'THE BABY,' … PLAYED THE DRUMS, CLARINET AND TRUMPET." THE ARTICLE READS, "'RUTH STARTED PLAYING THE DRUMS AT AGE 11 AND LATER SHE COULD HANDLE THE DRUMMING WITH HER FEET AND PLAY THE TRUMPET AT THE SAME TIME FOR SOME OF OUR NUMBERS,’ SAYS MARIE WITH A TWIRL OF THE HAND. ‘FLO AND ALICE WERE OUR MAIN SINGERS AND I MADE UP THE TRIO SOMETIMES. RUTH DIDN’T SING. WHEN WE SANG AS A TRIO RUTH WOULD PLAY THE PIANO. ALICE WOULD ALSO SING SOLO. WE PLAYED ALL THE POPULAR MUSIC OF THE DAY AND OLD-TIME MUSIC AS WELL… MY SISTERS COULD ALSO PLAY THAT FAST-PACED SQUARE DANCE MUSIC ON THE SAX, AND THAT WAS SOMETHING. WE PLAYED WALTZES, POLKAS AND EVERYTHING… YOU NAME IT, WE PLAYED IT... OUR THEME SONG WAS BREEZING ALONG WITH THE BREEZE BUT MY FAVOURITE HAD TO BE SIDE BY SIDE, WHICH WE WERE AS A GROUP. WE WERE VERY CLOSE.'" THAT ARTICLE STATES THAT MARTIN AND IDA HAD EIGHT DAUGHTERS, IN FACT, BUT ONLY FOUR LIVED TO BECOME TEENAGERS. THE FOUR SURVIVING SISTERS BEGAN THEIR MUSICAL EDUCATION AT AN EARLY AGE, ALL BEGINNING WITH PIANO. THEY BEGAN PLAYING FOR VARIOUS TYPES OF EVENTS NEAR MONITOR, WHERE THEY WERE BORN. WHILE FLORENCE WAS WITH THE ALL GIRLS BAND IN CALGARY, THE THREE YOUNGER SISTERS FORMED THEIR OWN ORCHESTRA, MAKING THEIR DEBUT IN 1937. THE FOLLOWING YEAR, AFTER FLORENCE’S RETURN, THE ANDERSON SISTERS ORCHESTRA WAS FORMED. UPON ARRIVING IN LETHBRIDGE IN 1940, THEY AUDITIONED FOR THE CJOC RADIO STATION. THE ARTICLE STATES, “FOUR DAYS LATER THEY WERE ON THE AIR, LIVE, ON THE CHRISTMAS SHOPPER PROGRAM HEARD THREE TIMES A WEEK. THEY WERE ALSO ON THE AIR MONDAY NIGHTS FROM 9:15 TO 9:30 PM.” A NOTE THAT CAME WITH THE DONATION SAYS THE WEEKLY SHOW WITH CJOC WAS “BROADCAST LIVE ‘FROM HIGH ATOP THE MARQUIS HOTEL.’” BACK IN THE 2016 INTERVIEW AT THE MUSEUM, ALICE’S DAUGHTER ELEANOR COMMENTS ON THE BAND’S LEGACY. “I VOLUNTEER AT THE HOSPITAL [AND PLAY THE PIANO]. I USUALLY HAVE SENIORS INVOLVED THERE… AND WHEN I MENTION MY MOM’S NAME OR MY AUNT’S NAME, THEY REMEMBER DANCING TO THE ANDERSON SISTERS. SO, YOU KNOW, EVEN IN THIS DAY AND AGE, [PEOPLE] REMEMBER HOW MUCH FUN THEY HAD. [IT SHOWS] HOW RESPECTED THEY WERE AND I FIND THAT [BACKGROUND] JUST THRILLING.” “[MUSIC] WAS THEIR LIVELIHOOD,” RUTH ILLUMINATED, “SO [IT] WAS DRIVING THEM [THROUGH] TOUGH TIMES (SUCH AS THE DEPRESSION IN ALBERTA). THE GIRLS TOGETHER [WITH] THE TALENT THEY HAD, HAD A WAY OUT, WHERE A LOT OF OTHER PEOPLE HAD SOME BIGGER STRUGGLES. AND IT WAS THE TALENT IN THEM BEING TOGETHER. THEY COULD DO A LOT WHEN THEY STUCK TOGETHER AS A FAMILY.” PLEASE SEE PERMANENT FILE FOR FURTHER INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTION, LETHBRIDGE HERALD ARTICLES AND CLIPPINGS ABOUT THE ANDERSON SISTERS AND THEIR SHOWS, AND FAMILY OBITUARIES.
Catalogue Number
P20160044006
Acquisition Date
2016-12
Collection
Museum
Images
Less detail
Other Name
CANDLESTICK TELEPHONE
Date Range From
1950
Date Range To
1970
Material Type
Artifact
Materials
METAL, COTTON, PLASTIC
Catalogue Number
P20180007000
  2 images  
Material Type
Artifact
Other Name
CANDLESTICK TELEPHONE
Date Range From
1950
Date Range To
1970
Materials
METAL, COTTON, PLASTIC
No. Pieces
1
Height
31
Diameter
13.4
Description
BLACK CANDLESTICK-STYLE TELEPHONE WITH RECEIVER AND SPEAKER. TELEPHONE SPEAKER IS ATTACHED TO BLACK ROUND BASE AND BLACK MIDDLE ROD WITH HOOK FOR HANGING THE RECEIVER; METAL STAND ON BROWN PADDED BASE WITH BLACK PLASTIC SPEAKER AT THE TOP. BASE HAS WHITE STAMPED TEXT AROUND BASE OF THE STAND “WESTERN ELECTRIC, MADE IN U S A, PAT IN U S A JAN 26 15”. TELEPHONE HAS BLACK METAL PLATE BENEATH PLASTIC SPEAKER WITH ENGRAVED TEXT “9298W, WESTERN ELECTRIC, MADE IN U S A, PAT IN U S A JAN 14 1919”. BASE HAS TWO BROWN CLOTH-COVERED CORDS EXTENDING FROM BACK OF BASE; FIRST CORD IS CUT OFF, SECOND CORD IS ATTACHED TO BLACK PLASTIC RECEIVER. RECEIVER IS CONE-SHAPED WITH WIDER MOUTHPIECE AT END. RECEIVER IS WRAPPED WITH BLACK TAPE AROUND MIDSECTION; RECEIVER HAS ENGRAVED TEXT AROUND CORD, “PAT. IN U.S.A. APRIL 16, 1918, MAY 20, 1913, JUNE 3, 1913”. RECEIVER HAS ENGRAVED TEXT AROUND BACK EDGE OF MOUTHPIECE “WESTERN ELECTRIC MADE IN U S A 143”. TELEPHONE HAS CHIPPED PAINT ON RECEIVER HOOK; SPEAKER OF TELEPHONE IS CHIPPED WITH LOSS IN PLASTIC; TELEPHONE BODY AND RECEIVER ARE STAINED WITH WHITE PAINT. OVERALL VERY GOOD CONDITION.
Subjects
TELECOMMUNICATION T&E
Historical Association
AGRICULTURE
BUSINESS
INDUSTRY
History
ON APRIL 3, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED JOHN WENSVEEN REGARDING HIS DONATION OF A CANDLESTICK TELEPHONE. WENSVEEN HAD RETIRED FROM ALBERTA TERMINALS LIMITED AND HAD KEPT THE TELEPHONE AS A SOUVENIR FROM HIS TIME EMPLOYED. 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
MAHJONG SET
Material Type
Artifact
Materials
PLASTIC
Catalogue Number
P20150028000
  2 images  
Material Type
Artifact
Other Name
MAHJONG SET
Date
1987
Materials
PLASTIC
No. Pieces
159
Height
9.6
Length
23
Width
23
Description
A – G: 7 STANDARD 6-SIDED DICE. 6 OF THE DICE HAVE BLACK DOTS ON A WHITE BACKGROUND, EXCEPT RED DOTS FOR THE ONE AND THE FOUR ON ALL DICE. THE SEVENTH DIE IS THE SAME AS THE FIRST SIX BUT WITH BROWN DOTS INSTEAD OF BLACK. THE DICE ARE 1.4 CM CUBED WITH ROUNDED EDGES. GOOD CONDITION: NORMAL WEAR FROM USE. H-I: A DIRECTIONAL PIECE CUBE (LIKE A DIE) AND A HOLDER. THERE ARE RED CHINESE CHARACTERS ON 4 OF THE 6 SIDES OF THE WHITE CUBE. THE DIE IS 1.2 CM CUBED. THE PIECE’S CIRCULAR HOLDER HAS A RED TOP AND A WHITE BASE WITH A CUBE INSERT IN THE CENTER OF THE TOP THAT FITS THE DIRECTIONAL PIECE. THE HOLDER IS IN FAIR TO GOOD CONDITION. IT IS WELL WORN AND THE EDGES ARE YELLOWING. FAIR TO GOOD CONDITION WITH SOME WEAR TO THE CHARACTERS AND THE CORNERS OF THE DIE. J-BBBBBBB: MAHJONG GAME SET. 144 TILES PLUS 4 BLANK SPARES (148 TILES TOTAL). THERE ARE 108 SIMPLE TILES (OF THE 3 SUITS: DOTS, BAMBOO, AND CHARACTERS), THERE ARE 28 HONOURS TILES (16 WINDS AND 16 DRAGONS), AND THERE ARE TWO SETS OF BONUS TILES (FLOWERS AND SEASONS) EACH WITH 4 TILES IN THE SET. EACH TILE IS 3.5 X 2.8 X 2.1 CM. VERY GOOD TO EXCELLENT CONDITION WITH SLIGHT SCUFFING ON THE TILES. CCCCCCC – DDDDDDD: GREEN RUBBERMAID PLASTIC CONTAINER WITH A WHITE PLASTIC LID FOR THE MAHJONG SET’S CASE. THE BOTTOM OF THE CONTAINER READS “RUBBERMAID 4 QUARTS” “J-3204”. THE DIMENSIONS OF THE CONTAINER ARE 23 X 23 X 9.6 CM. THE DIMENSIONS OF THE LID ARE 23 X 24.5 X 1.5 CM. GOOD CONDITION. THE OVERALL SURFACE OF BOTH THE CONTAINER AND THE LID ARE SCRATCHED. ON THE LID, THE TOP COATING OF PLASTIC IS PEELING OFF. THERE IS ADHESIVE TAPE RESIDUE IN ONE CORNER.
Subjects
GAME
Historical Association
ETHNOGRAPHIC
LEISURE
History
ON NOVEMBER 10, 2015, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED RICHARD LOO AT THE GALT MUSEUM REGARDING A MAHJONG SET HE WAS DONATING TO THE MUSEUM. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT INTERVIEW: MAHJONG IS A TILE-BASED GAME THAT ORIGINATED IN CHINA. LOO RECALLS ACQUIRING THE SET APPROXIMATELY 30 OR 40 YEARS AGO. HE SAID HE GOT THEM, “WHEN I WENT BACK TO HONG KONG. LET’S SEE – ’87. I WENT TO HONG KONG IN ’87. I BOUGHT SEVERAL [MAHJONG] SETS… TO GIVE TO THE KIDS IF THEY WERE INTERESTED. HERE, THEY ARE NOT AVAILABLE – NOT IN THIS CITY. YOU CAN GET IT IN CALGARY, BUT, IF I BROUGHT IT BACK FROM CHINA, IT’S A BETTER DEAL FOR ME… I STILL HAVE A COUPLE OF SETS AT HOME. I GIVE SOME TO MY FRIENDS; SOME TO THE KIDS.” WHEN ASKED ABOUT HIS USE OF GAME SET, LOO EXPLAINED, “I USE IT NOT TOO MANY TIMES… THEY COME IN A CASE – LIKE A BRIEFCASE - JUST FLIMSY STUFF. IF IT WAS USED SO LONG, IT WOULD JUST GO IN PIECES. SO I PUT IT INTO CONTAINERS – KEEPS A BETTER SHAPE, THAT’S ALL.” HE EXPLAINS THAT THE GAME IS PLAYED, “MOSTLY AT HOME. TO FOOL AROUND; JUST TO KILL TIME,” AND THAT THE SET DONATED WAS A PERSONAL SET THAT HAS ALWAYS BEEN AT LOO’S HOUSE. “THERE ARE SO MANY DIFFERENT STYLES OF PLAY. WHEN I CAME, IN THOSE DAYS, WE PLAYED A DIFFERENT WAY, AND AFTER YOU STAYED FOR A LITTLE WHILE, THEY PLAYED A DIFFERENT WAY… YOU PLAY THIS GAME MORE GENERALLY FOR ENTERTAINMENT, KILLING TIME; THE PURPOSE IS NOT TO MAKE MONEY… SEE, I REMEMBER THOSE DAYS, WHEN I WAS YOUNG – JUST A KID THOSE DAYS, IN THE OLD COUNTRY, OLD DAYS. IN THE NEW YEAR, I SAW FOUR OLDER GENTLEMEN PLAY THESE GAMES, BUT I DON’T UNDERSTAND…. WE CALL IT OLD STYLE. NOBODY IS INTERESTED IN PLAYING OLD STYLE ANYMORE. [IT IS] QUITE COMPLICATED... THEY PLAY THIS ONE, JUST LIKE YOU PLAY RUMMY, BUT YOU HAVE TO USE YOUR HEAD A LITTLE BIT. SOMETIMES YOU’VE GOT LUCK TOO." LOO SAYS HE DOES NOT MISS PLAYING THE GAME, “FOR MY AGE, NO. RIGHT NOW, NOT INTERESTED - [I'VE] GOT OTHER THINGS TO DO. YOU PLAY FOR SO LONG, AND THEN, [YOU ARE] NOT INTERESTED ANYMORE. WE USED TO PLAY THIS ON NEW YEAR’S EVE, TILL THE NEXT MORNING. [WE WOULD] START ON NEW YEAR’S EVE TILL TOMORROW MORNING, 6 OR 7 O’CLOCK. NOT ANYMORE. WE PLAYED AT ALBERT’S PLACE, BOW ON TONG…” THE FOLLOWING BIOGRAPHICAL INFORMATION ABOUT RICHARD LOO HAS BEEN TAKEN FROM THE ARTIFACT RECORDS P20110031*: LOO ARRIVED IN LETHBRIDGE IN 1953, HAVING LEFT THE MAINLAND OF CHINA IN 1949. LOO'S GRANDFATHER HAD MOVED TO CANADA IN EITHER LATE 1800S OR THE EARLY 1900S AND HAD HAD TO PAY THE HEAD TAX. HIS GRANDFATHER WORKED AS A COOK IN RESTAURANTS, EITHER IN LETHBRIDGE OR IN TABER (ACCORDING TO LOO, HIS GRANDFATHER WORKED THROUGH THE WAR YEARS IN TABER). LOO’S GRANDFATHER HAD PLANNED ON MOVING BACK TO CHINA WHEN HE RETIRED, BUT THEN THE COMMUNISTS TOOK OVER, AND HE ELECTED TO STAY. AT THAT TIME, HE INVITED LOO TO MOVE TO LETHBRIDGE AS WELL. LOO LEFT HONG KONG, AFTER LIVING THERE FOR 8 MONTHS, ON A FRIDAY AFTERNOON AT 2PM LOCAL TIME. HE ARRIVED IN LETHBRIDGE SUNDAY AFTERNOON. HE WAS LUCKY IN THAT HE WAS ABLE TO GET HIS FLIGHTS ON SALE. NORMALLY A TICKET FROM HONG KONG TO VANCOUVER WOULD HAVE COST $700, BUT LOO WAS ABLE TO SECURE A FLIGHT FOR ONLY $500. HE ALSO INDICATED THAT HIS FLIGHT TO LETHBRIDGE WAS ONLY $39.95. ON RECALLING HIS FIRST TIME IN LETHBRIDGE, LOO RECOUNTED THE FOLLOWING STORY: “SO, BY THE TIME I GOT TO THE AIRPORT, I DIDN’T KNOW HOW TO SAY [ANYTHING]. DIDN’T KNOW – MAYBE COULD SAY ‘GOOD MORNING’ – THAT’S ALL I COULD SAY, JUST HOW TO SAY ‘HELLO.' IN THE MEANTIME, THE FELLOW AT THE AIRPORT MUST HAVE KNOWN ZEKE, YOU KNOW ZEKE QUAN [OWNER OF] THE LOTUS INN [RESTAURANT], AND HE PHONED HIM UP. HE SAYS, ‘ZEKE.’ I DIDN’T KNOW WHAT HE WAS TALKING ABOUT – NOTHING. AND THEN HE SAYS, ‘HEY, THIS IS A CHINA BOY HERE. WHAT ARE YOU GOING TO DO WITH HIM?’ SO, ZEKE SAYS, ‘OH, JUST TAKE HIM TO CHINATOWN AND DUMP HIM.’ NOW, I DIDN’T KNOW THOSE, NOT UNTIL LATER ON. ZEKE’S SON GO TO SAME SCHOOL I DID – CENTRAL SCHOOL.” LOO INITIALLY LIVED IN THE NATIONAL LEAGUE SOCIETY BUILDING FOR SEVERAL YEARS, OCCUPYING A ROOM THAT HAD BEEN RECENTLY VACATED BY ANOTHER MAN NAMED LOO WHO HAD GONE TO WORK IN PICTURE BUTTE. LOO RECALLED THAT THE SOCIETY WAS A GOOD PLACE TO FEEL A SENSE OF COMMUNITY AND THAT IT WAS A WELCOMING PLACE FOR NEW CHINESE IMMIGRANTS, A PLACE WHERE THEY WEREN’T DISCRIMINATED AGAINST. PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTION
Catalogue Number
P20150028000
Acquisition Date
2015-11
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
STAGE PERFORMANCE BORDER
Date Range From
1918
Date Range To
1950
Material Type
Artifact
Materials
PLYWOOD, PAINT
Catalogue Number
P20110031021
  2 images  
Material Type
Artifact
Other Name
STAGE PERFORMANCE BORDER
Date Range From
1918
Date Range To
1950
Materials
PLYWOOD, PAINT
No. Pieces
5
Height
303.5
Length
114.3
Description
STAGE PERFORMANCE BORDER, IN FIVE PANEL PIECES. .001 TOP CENTRE PANEL. RECTANGULAR. VERY THIN PLYWOOD. GREEN BACKGROUND WITH PINK/RED FLOWERS. TWO FLAGS IN THE CENTRE: THE KUOMINTANG/NATIONAL LEAGUE FLAG IS ON THE LEFT (NAVY BLUE WITH A GOLDEN YELLOW SUN IN THE MIDDLE) AND THE FLAG OF THE REPUBLIC OF CHINA IS ON THE RIGHT (RED BODY, WITH A NAVY BLUE RECTANGLE IN THE TOP LEFT CORNER AND A GOLDEN YELLOW SUN IN THE MIDDLE OF THIS NAVY SECTION). BETWEEN THE FLAGS IS A NAVY BLUE, ROUGHLY OCTAGON SHAPE, WITH ANOTHER GOLDEN YELLOW SUN IN THE CENTRE. ALONG THE BOTTOM IS A REPEATING PATTERN IN RED AND YELLOW OF TWO DOTS, A LINE, AND A DOT. SCREW HOLES ALONG THE TOP AND SIDES FOR MOUNTING. ON THE FAR RIGHT SIDE OF THE PANEL IS A SMALL RECTANGULAR PIECE, ATTACHED WITH WIRE, ROUGHLY 19CM X 7.6CM. PANEL IS 241.6CM X 47.6CM POOR TO FAIR CONDITION. PANEL IS WELL WORN, THE COLOURS ARE FADED, AND THE PAINT IS CHIPPED IN SEVERAL SPOTS. .002 TOP SIDE PANEL. RECTANGULAR. VERY THIN PLYWOOD. ON THE RIGHT SIDE OF THE PANEL ARE THE TOPS OF TWO COLUMNS. A SMALL PINK/RED FLOWER ON A GREEN VINE IS VISIBLE ON THE COLUMN. TO THE LEFT OF THE COLUMNS IS A SECTION OF GREEN WITH PINK/RED FLOWERS. ALONG THE BOTTOM IS A REPEATING PATTERN IN RED AND YELLOW OF TWO DOTS, A LINE, AND A DOT. BELOW THE RED AND YELLOW SECTION IS A NAVY BLUE SECTION, WITH A YELLOW SECTION JUST TO THE RIGHT OF THE COLUMN. SCREW HOLES ALONG THE TOP AND SIDES FOR MOUNTING. PANEL IS 200.7CM X 56.2CM POOR TO FAIR CONDITION. PAINT SCRATCHED OFF, ESPECIALLY ON THE RIGHT SIDE OF THE GREEN FLOWER SECTION. NOT AS FADED OR AS WORN AS .001. TAPE REMNANTS IN THE GREEN SECTION TO THE RIGHT OF COLUMNS. .003 TOP SIDE PANEL. RECTANGULAR. VERY THIN PLYWOOD. ON THE LEFT SIDE OF THE PANEL ARE THE TOPS OF TWO COLUMNS. TO THE LEFT OF THE COLUMNS IS A SECTION OF GREEN WITH PINK/RED FLOWERS. ALONG THE BOTTOM IS A REPEATING PATTERN IN RED AND YELLOW OF TWO DOTS, A LINE, AND A DOT. BELOW THE RED AND YELLOW SECTION IS A NAVY BLUE SECTION, WITH A YELLOW SECTION JUST TO THE RIGHT OF THE COLUMN. SCREW HOLES ALONG THE TOP AND SIDES FOR MOUNTING. PANEL IS 243.2CM X 55.2CM POOR TO FAIR CONDITION. TAN PAINT ALONG THE BOTTOM, OVER THE GREEN SECTION, IN SEVERAL AREAS. THE NAVY BLUE SECTION HAS A LOT OF HAIRLINE CRACKS IN THE PAINT. .004 SIDE PANEL. RECTANGULAR. VERY THIN PLYWOOD. ON THE BOTTOM OF THE PANEL IS A RECTANGLE IN THREE SHADES OF BROWN/TAN. ALONG THE LEFT SIDE OF THE PANEL THERE ARE TWO COLUMNS, WHICH HAVE PINK/RED FLOWERS ON GREEN VINES WRAPPED AROUND THEM. NAVY BLUE CURTAIN TO THE RIGHT OF COLUMNS. THERE IS A VERTICAL RECTANGLE OVER THIS NAVY CURTAIN. THE RECTANGLE HAS A LIGHT BLUE/GREEN BACKGROUND AND HAS SEVEN CHINESE CHARACTERS IN YELLOW. THERE IS ORNAMENTATION AROUND THIS RECTANGLE. THE NAVY CURTAIN IS HELD BACK WITH A GOLDEN YELLOW TIEBACK NEAR THE TOP. ON THE FAR RIGHT SIDE IS A VERTICAL RECTANGLE WITH AN ORANGE BACKGROUND AND SEVEN CHINESE CHARACTERS IN BLACK. SCREW HOLES FOR MOUNTING AROUND EDGE OF PANEL. PANEL IS 303.5CM X 114.3CM POOR TO FAIR CONDITION. IN WORSE CONDITION THAN .005. LOTS OF LITTLE HOLES, ESPECIALLY ON THE NAVY CURTAIN. LOTS OF WALL PAINT FLECKS, ESPECIALLY ON THE COLUMNS. THE BLUE VERTICAL RECTANGLE IS MORE GREEN THAN ON .005 AND THE PAINT IS VERY, VERY WORN. .005 SIDE PANEL. RECTANGULAR. VERY THIN PLYWOOD. ON THE BOTTOM OF THE PANEL IS A RECTANGLE IN THREE SHADES OF BROWN/TAN. ALONG THE RIGHT SIDE OF THE PANEL THERE ARE TWO COLUMNS, WHICH HAVE PINK/RED FLOWERS ON GREEN VINES WRAPPED AROUND THEM. NAVY BLUE CURTAIN TO THE LEFT OF COLUMNS. THERE IS A VERTICAL RECTANGLE OVER THIS NAVY CURTAIN. THE RECTANGLE HAS A LIGHT BLUE/GREEN BACKGROUND AND HAS SEVEN CHINESE CHARACTERS IN YELLOW. THERE IS ORNAMENTATION AROUND THIS RECTANGLE. BELOW THIS BLUE RECTANGLE, ON THE NAVY CURTAIN, ARE SEVERAL CHINESE CHARACTERS ON A DIAGONAL, PAINTED ON IN RED. THE NAVY CURTAIN IS HELD BACK WITH A GOLDEN YELLOW TIEBACK NEAR THE TOP. ON THE FAR LEFT SIDE IS A VERTICAL RECTANGLE WITH AN ORANGE BACKGROUND AND SEVEN CHINESE CHARACTERS IN BLACK. SCREW HOLES FOR MOUNTING AROUND EDGE OF PANEL. PANEL IS 303.5CM X 114.3CM POOR TO FAIR CONDITION. LOTS OF CHIPPED PAINT. PANEL IS FADED/DISCOLOURED. BOTTOM BACK IS IN ESPECIALLY POOR CONDITION AND IS VERY DIRTY.
Subjects
PUBLIC ENTERTAINMENT DEVICE
Historical Association
ASSOCIATIONS
FINE ARTS
LEISURE
History
THE FOLLOWING INFORMATION ABOUT THIS ARTIFACT COMES FROM INTERVIEWS HELD WITH MAY LEE AND JUDY CHAN, RICHARD LOO, AND HONG WONG AND JANICE WONG. PERSONAL DETAILS ABOUT THE LIVES OF MAY LEE, RICHARD LOO, AND HONG WONG THEIR IMMIGRATION TO CANADA ARE FOUND BELOW THE ARTIFACT DETAILS AND BELOW THE INFORMATION ABOUT THE CHINESE NATIONAL LEAGUE SOCIETY BUILDING. MAY RECALLED THAT THERE WERE OPERAS AT THE SOCIETY BUILDING, BUT THAT THEY DIDN’T COME VERY OFTEN. SHE DIDN’T RECALL ATTENDING MANY OPERAS, BUT DID REMEMBER THAT “HONG WONG WAS SINGING THERE.” RICHARD, MEANWHILE, THOUGHT THAT THE OPERAS WERE FINISHED BEFORE HE ARRIVED IN LETHBRIDGE. HE NEVER SAW AN OPERA PRODUCTION AT THE SOCIETY BUILDING, BUT DID RECALL THAT PROJECTION FILMS WERE SHOWN. RICHARD SUGGESTED “ASK HONG. HE LIKED A LITTLE BIT OF OPERA TOO … HE SANG IN STUFF LIKE THAT.” HONG INDICATED THAT THERE WAS NO OPERAS AT THE SOCIETY BUILDING WHEN HE CAME IN 1951, BUT THAT THE SOCIETY DID STAGE PRODUCTIONS AT THE UNIVERSITY. ASKED WHERE THE COSTUMES CAME FROM, HONG SAID “WE GOT THEM FROM CALGARY AT THAT TIME, WELL, ACTUALLY WE JUST BORROWED THEM. WE DIDN’T HAVE THE MONEY TO BUY THEM.” HONG CONTINUED SAYING THAT THIS STAGE PERFORMANCE BORDER WAS USED IN CONJUNCTION WITH A LARGE MURAL (SEE P20010027000) AND A STAGE. A SERIES OF ARTICLES PUBLISHED IN THE LETHBRIDGE HERALD GIVE BACKGROUND INFORMATION ABOUT THE CHINESE NATIONAL LEAGUE SOCIETY AND ITS BUILDING: THE BUILDING THAT HOUSED THE CHINESE NATIONAL LEAGUE SOCIETY WAS BUILT IN 1909-1910 IN THE 300 BLOCK OF 2 AVENUE SOUTH AND IT WAS ORIGINALLY A RESTAURANT. BY 1915 IT HAD BECOME THE HEADQUARTERS FOR THE LETHBRIDGE BRANCH OF THE KAO MIN TANG (ALTERNATIVE SPELLINGS INCLUDE KUOMINTANG, KUO MIN TANG, GUOMINDANG, AND GUO MIN DANG). THE BUILDING WAS DESIGNATED AS A PROVINCIAL HERITAGE RESOURCE IN 1995 BECAUSE OF ITS VALUE AS A SOCIAL AND CULTURAL CENTRE FOR THE LETHBRIDGE CHINESE COMMUNITY. THE BUILDING WAS USED IN A VARIETY OF WAYS BY THE SOCIETY AND INCLUDED, AT VARIOUS TIMES, A RESTAURANT, A SCHOOL, AND LIVING ACCOMODATIONS. IN FEBRUARY 2011 A SECTION OF THE BRICK FAÇADE FELL OFF THE BUILDING AND CITY INSPECTORS DETERMINED THAT THE TIMBER AND RED BRICK STRUCTURE WAS POTENTIALLY UNSTABLE. THE BUILDING WAS TORN DOWN A SHORT TIME LATER. LETHBRIDGE'S CHINATOWN EMERGED IN 1901, A RESULT OF THE CHINESE POPULATION BEING RELEGATED TO A SECTION OF THE CITY BETWEEN GALT GARDENS AND THE COULEES. IN A JANUARY 7, 2002 ARTICLE ALBERT LEONG EXPLAINS THAT NO ONE REALLY WANTED CHINESE PEOPLE AROUND AND THAT “’ THEY WERE TOLD THAT THE ONLY PLACE THEY COULD START BUSINESSES WAS BETWEEN THE COULEES AT THE PARK, BECAUSE THE CITY DIDN’T WANT ANY COMPETITION FOR THE WHITE BUSINESSMEN … BUT ‘GHETTO-IZED’ OR NOT, THE CHINESE WHO CAME TO LETHBRIDGE FORMED AN IMPORTANT PART OF THE BACKBONE OF THIS CITY, [AND MADE] NOTEWORTHY [CONTRIBUTIONS] TO THE HISTORY OF THIS PLACE.’” BUSINESSES SUCH AS LAUNDRIES, MARKET GARDENS, AND RESTAURANTS WERE OPENED IN CHINATOWN, WITH THE RESIDENTS LIVING IN ROOMS ABOVE THE BUSINESSES. IN 1912 THERE WERE ABOUT 100 PEOPLE LIVING IN CHINATOWN AND BY THE 1930S, IT WAS A BUSTLING COMMUNITY. THE POPULATION OF CHINATOWN DWINDLED FOLLOWING THE SECOND WORLD WAR. JANICE WONG, PRESIDENT OF THE SOCIETY IN 2015, GAVE THE FOLLOWING INFORMATION ABOUT THE SOCIETY IN AN INTERVIEW: AS OF 2015, THE SOCIETY EXISTS MORE AS A SOCIAL CLUB AND THE SOCIETY HOLDS THREE CELEBRATORY DINNERS EACH YEAR, USUALLY HELD AT THE NEW DYNASTY RESTAURANT. THE SOCIETY ALSO VISITS THE CEMETERY ON A YEARLY BASIS “TO HONOUR THE ANCESTORS, CLEAN THE TOMBS, BRING FOOD, DO THE USUAL THINGS THAT WE USED TO DO – EAT ON GRAVES, BURN THE INCENSE. WE DO THAT EVERY YEAR STILL TO HONOUR OUR ANCESTORS. IT IS USUALLY IN THE SPRING … IN APRIL.” JANICE BRIEFLY DISCUSSED THE FUTURE OF THE SOCIETY, INDICATING THAT THERE IS SOME TALK ABOUT RE-BUILDING “BUT THAT INVOLVES A LOT OF PLANNING, AND MONEY, AND FUNDRAISING” AND SHE QUESTIONS WHETHER OR NOT THERE IS ENOUGH OF A MEMBERSHIP BASE TO GO FORWARD WITH RE-BUILDING. SHE ALSO EXPLAINED THAT PREVIOUS CHINESE IMMIGRANTS HAD TENDED TO COME FROM THE SAME GEOGRAPHIC REGION, BUT THAT PRESENTLY IMMIGRANTS ARE COMING FROM ALL OVER CHINA: “THERE’S A LOT OF INFLUX OF PEOPLE FROM CHINA THAT AREN’T FROM THE SAME AREA, BECAUSE TRADITIONALLY, THE PEOPLE WERE ALL FROM THE SAME AREA AND SPOKE THE SAME DIALECT AND HAD THAT SORT OF THING KEEPING THEM TOGETHER AS A COMMUNITY OVERSEAS FROM CHINA.” PERSONAL DETAILS ABOUT THE LIVES OF MAY LEE, RICHARD LOO, AND HONG WONG AND THEIR IMMIGRATION TO CANADA ARE BELOW: MAY LEE: MAY WAS ACTUALLY BORN IN CANADA AND IS KNOWN AS A GOLD MOUNTAIN GIRL, BECAUSE SHE IS A CANADIAN-BORN CHINESE WOMAN. MAY EXPLAINS: “I WAS BORN IN CANADA. I WAS BORN IN NANOOSE BAY. WHEN I WAS 4 YEARS OLD, WE MOVED TO VICTORIA. WHEN I WAS 9 YEARS OLD AND THE WHOLE FAMILY, IN 1930, GO BACK TO CHINA.” DURING THE WAR, THE JAPANESE BOMBED THE GIRLS’ HIGH SCHOOL IN TOCSIN CITY AND MAY’S MOTHER DECIDED TO SEND MAY AND HER BROTHER TO HONG KONG TO START THE PROCESS OF COMING TO CANADA. MAY STARTED ENGLISH SCHOOL IN HONG KONG, BUT OFTEN MISSED CLASSES BECAUSE SHE WAS SICK FROM THE HEAT. SHE SAYS THAT SHE’S LEARNED MOST OF HER ENGLISH FROM HER HUSBAND, HER CHILDREN, GRANDCHILDREN, AND EVEN GREAT-GRANDCHILDREN. SHE WAS MARRIED TO HOM MEN LEE, AKA JIMMY LEE, ON NOVEMBER 16, 1938 IN VICTORIA, BC. JIMMY WAS BORN IN LETHBRIDGE AT THE GALT HOSPITAL, BUT WAS SENT BACK TO CHINA AS A CHILD FOR HIS EDUCATION. JIMMY’S FAMILY HAD COME TO LETHBRIDGE IN 1914 AND OWNED LEE-DUC CLEANERS. THE LEE FAMILY LIVED ABOVE THE SHOP, WHICH WAS ON 13TH STREET NORTH, NEAR HIGA’S JEWELERS. MAY’S MAIN MEMORY OF CHINATOWN: “ALL I REMEMBER IN CHINATOWN, IN SUMMERTIME, LOTS OF OLD GUYS SITTING IN FRONT OF GUOMINDANG. AUNTIE HELEN GREW UP IN CHINATOWN. I THINK SHE KNOWS MORE ABOUT CHINATOWN. IN THE OLDEN DAYS, I HARDLY GO OUT, JUST TO BUY GROCERIES.” JUDY ADDED THAT MAY HAD 8 CHILDREN AND WAS KEPT BUSY AT HOME RAISING THEM. RICHARD LOO: RICHARD ARRIVED IN LETHBRIDGE IN 1953, HAVING LEFT THE MAINLAND OF CHINA IN 1949. RICHARD’S GRANDFATHER HAD MOVED TO CANADA IN EITHER LATE 1800S OR THE EARLY 1900S AND HAD HAD TO PAY THE HEAD TAX. HIS GRANDFATHER WORKED AS A COOK IN RESTAURANTS, EITHER IN LETHBRIDGE OR IN TABER (ACCORDING TO RICHARD, HIS GRANDFATHER WORKED THROUGH THE WAR YEARS IN TABER). RICHARD’S GRANDFATHER HAD PLANNED ON MOVING BACK TO CHINA WHEN HE RETIRED, BUT THEN THE COMMUNISTS TOOK OVER, AND HE ELECTED TO STAY. AT THAT TIME, HE INVITED RICHARD TO MOVE TO LETHBRIDGE AS WELL. RICHARD LEFT HONG KONG, AFTER LIVING THERE FOR 8 MONTHS, ON A FRIDAY AFTERNOON AT 2PM LOCAL TIME. HE FINALLY ARRIVED IN LETHBRIDGE SUNDAY AFTERNOON. HE WAS LUCKY IN THAT HE WAS ABLE TO GET HIS FLIGHTS ON SALE. NORMALLY A TICKET FROM HONG KONG TO VANCOUVER WOULD HAVE COST $700, BUT RICHARD WAS ABLE TO SECURE A FLIGHT FOR ONLY $500. HE ALSO INDICATED THAT HIS FLIGHT TO LETHBRIDGE WAS ONLY $39.95. ON RECALLING HIS FIRST TIME IN LETHBRIDGE, RICHARD RECOUNTED THE FOLLOWING STORY: “SO, BY THE TIME I GOT TO THE AIRPORT, I DIDN’T KNOW HOW TO SAY NOTHING. DIDN’T KNOW – MAYBE COULD SAY ‘GOOD MORNING’ – THAT’S ALL YOU COULD SAY, JUST ANYWAYS HOW TO SAY ‘HELLO’ – SO, ANYWAY, SO IN THE MEANTIME, THE FELLOW AT THE AIRPORT MUST HAVE KNOWN ZEKE, YOU KNOW ZEKE QUAN [OWNER OF] THE LOTUS INN [RESTAURANT], AND HE PHONED HIM UP. HE SAYS, ‘ZEKE.’ I DIDN’T KNOW WHAT HE WAS TALKING ABOUT – NOTHING. AND THEN HE SAYS, ‘HEY, THIS IS A CHINA BOY HERE. WHAT ARE YOU GOING TO DO WITH HIM?’ SO, ZEKE SAYS, ‘OH, JUST TAKE HIM TO CHINATOWN AND DUMP HIM.’ NOW, I DIDN’T KNOW THOSE, NOT UNTIL LATER ON. ZEKE’S SON GO TO SAME SCHOOL I DID – CENTRAL SCHOOL.” RICHARD INITIALLY LIVED IN THE SOCIETY BUILDING FOR SEVERAL YEARS, OCCUPYING A ROOM THAT HAD BEEN RECENTLY VACATED BY ANOTHER MAN NAMED LOO WHO HAD GONE TO WORK IN PICTURE BUTTE. RICHARD RECALLED THAT THE SOCIETY WAS A GOOD PLACE TO FEEL A SENSE OF COMMUNITY AND THAT IT WAS A WELCOMING PLACE FOR NEW CHINESE IMMIGRANTS, A PLACE WHERE THEY WEREN’T DISCRIMINATED AGAINST. HONG WONG: HONG ARRIVED IN LETHBRIDGE IN 1951 AND WAS INVITED TO THE CITY BY HIS UNCLE SHUEY WONG, WHO WAS ALREADY LIVING HERE. UNCLE SHUEY HAD COME TO CANADA SEVERAL YEARS BEFORE AND HAD HAD TO PAY THE $500 HEAD TAX. HONG TRAVELED WITH HIS BROTHER FROM MAINLAND CHINA TO HONG KONG, IN ORDER TO GO TO THE CANADIAN EMBASSY. ON HIS FERRY RIDE TO HONG KONG, HE WAS SHOT BY BANDITS AND WAS REQUIRED TO STAY IN THE HOSPITAL FOR QUITE SOME TIME TO RECOVER. HIS BROTHER ELECTED TO REMAIN IN HONG KONG, AS HIS MOTHER-IN-LAW LIVED IN THE CITY AND GOT HONG’S BROTHER WORK IN A THEATRE. TO GET TO CANADA, HONG FLEW FROM JAPAN TO GUAM, TO VANCOUVER, AND THEN FINALLY TO LETHBRIDGE. HIS FIRST IMPRESSION OF LETHBRIDGE: COLD. HONG SAID: “’WELL, IN HONG KONG IT WAS AROUND MAYBE 20 SOME 30 ABOVE. AND HERE, AT THAT TIME, MAYBE 20 BELOW, OR 20 SOME BELOW. I DIDN’T HAVE THE EAR MUFFS. I SAID, ‘GEE, I’M NOT SO HAPPY HERE, IT SEEMS SO COLD.’” UNCLE SHUEY TOLD HONG THAT IT WAS ONE OF THE COLDEST WINTERS HE COULD REMEMBER. HONG WORKED FOR HIS UNCLE IN HIS SHOP ON 9TH AVENUE, DOING CHORES AROUND THE STORE, UNTIL HIS ENGLISH HAD IMPROVED ENOUGH SO THAT HE COULD SERVE CUSTOMERS. HE JOINED THE CHINESE NATIONALIST LEAGUE SOCIETY ALMOST AS SOON AS HE ARRIVED: “WHEN I CAME HERE, I JOINED IN THE SAME YEAR BECAUSE MY UNCLE WAS A MEMBER. SO THAT’S WHY HE GOT ME IN TO BE A MEMBER. OH, AT THAT TIME, I BET, 95% OF THE CHINESE PEOPLE THEY BELONG TO THE CHINESE NATIONAL LEAGUE, I BELIEVE.” HE CONTINUED, SAYING THAT YOU COULDN’T BE A MEMBER OF BOTH THE SOCIETY AND THE MASONS, AND HE BELIEVES ABOUT 5% OF THE CITY’S CHINESE POPULATION WOULD HAVE BELONGED TO THE MASONS. HE ADDED: “BUT WE ARE STILL FRIENDS, STILL FRIENDS. WE’RE NOT ENEMY OR ANYTHING BUT, IT’S JUST THAT THE ORGANIZATIONS ARE DIFFERENT. THAT’S ALL.” HONG ENJOYED THE CAMARADERIE OF THE SOCIETY. HE SAID: “I REMEMBER, I LIKE IT BECAUSE THEY HAVE THE PARTY AND SO MANY PEOPLE. AND THEN YOU MEET ALL THE CHINESE PEOPLE THERE IN THE ONE GROUP. WELL, ANYWAY, WHEN YOU SEE SO MANY PEOPLE IN ONE PARTY, AND THEN WHEN THEY COME OUT MOSTLY THE PEOPLE THAT PARTY AND IT FEELS LIKE A LOTS OF FRIENDS OR EVEN LIKE THE FAMILY. SO YOU FEEL GOOD, YOU FEEL BETTER, AND THEN, WELL, MY UNCLE BELONGS THERE TOO AND THEN THE OTHERS BELONG THERE TOO, YEAH, EVERYBODY LIKE IN THE BIG FAMILY. YES, NICE, OTHERWISE YOU DON’T HAVE ANY FRIENDS, YOU DON’T MEET ANYBODY, IF YOU NOT BELONG THERE, I THINK NOT SO FRIENDLY TO YOU.” HONG INDICATED THAT WHEN A SPECIAL MEAL WAS HELD AT THE SOCIETY, IT WAS THE MEN WHO DID THE COOKING: “AT THAT TIME JUST ABOUT EVERYBODY KNOWS HOW TO COOK BECAUSE MOSTLY WE WORK IN THE KITCHEN WHEN THEY CAME HERE.” HE SAID THAT DINERS WOULD PAY A SMALL FEE TO EAT AT THE LEAGUE WHEN SPECIAL MEALS WERE PUT ON. SEE PERMANENT FILE FOR COPIES OF LETHBRIDGE HERALD ARTICLES AND FOR INTERVIEW TRANSCRIPTS.
Catalogue Number
P20110031021
Acquisition Date
2011-11
Collection
Museum
Images
Less detail
Other Name
ALBERTA RANCH BOYS UNIFORM PANTS
Date Range From
1937
Date Range To
1962
Material Type
Artifact
Materials
SYNTHETIC FABRIC
Catalogue Number
P20150016007
  2 images  
Material Type
Artifact
Other Name
ALBERTA RANCH BOYS UNIFORM PANTS
Date Range From
1937
Date Range To
1962
Materials
SYNTHETIC FABRIC
No. Pieces
1
Length
104.5
Width
35.5
Description
MEN’S PANTS, COMMERCIALLY MADE. KHAKI-COLOURED, SYNTHETIC FABRIC BODY WITH BLUE FABRIC ACCENTS AT SEAT, THE BELT LOOPS, SCALLOPED POCKET FLAPS AND CENTER LEG STRIPE. INSIDE WAISTBAND AND POCKET LINING DISPLAY MULTIPLE HAND INK MARKINGS, INCLUDING NUMBERS AND “HORHOZER”. ATTACHED TO THE HEM OF THE PANTS ARE ELASTIC STIRRUPS (ONE BLACK AND ONE KHAKI-COLOURED). THERE IS A STRONG CREASE DOWN THE CENTER OF THE PANTS. FAIR TO GOOD CONDITION. ON THE RIGHT SIDE THERE IS A STAIN AND SLIGHT TEARING AT THE BOTTOM HEM. THERE IS A STAIN AT THE KNEE, AND TEARING AT THE POCKET. THE BOTTOM BUTTON OF THE FLY HAS BEEN LOST. THERE IS TEARING AT THE CROTCH SEAM. ON THE LEFT SIDE, THERE IS TEARING NEAR THE POCKET. THERE IS SLIGHT STAINING ON THE OVERALL SURFACE OF THE PANTS.
Subjects
CLOTHING-OUTERWEAR
Historical Association
PERSONAL CARE
LEISURE
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. THESE PANTS WERE PART OF THE STAGE OUTFIT WORN BY JOE HORHOZER WHEN HE WAS THE ACCORDION PLAYER AND MUSIC ARRANGER FOR A WELL-KNOWN LETHBRIDGE MUSICAL GROUP CALLED THE ALBERTA RANCH BOYS. THE GROUP FORMED IN THE SUMMER OF 1937 WITH MEMBERS LOUIS (LOU) GONZY, MATT (BUCK) WASOWICH, PETER (CURLY) GURLOCK, REMO BACEDA, AND ‘LITTLE JOE’ HORHOZER. 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 HISTORY. IN THE INTERVIEW, HORHOZER DESCRIBED HOW SHE MET HER HUSBAND, JOE HORHOZER, WHEN HE CAME TO WORK FOR SUPINA’S MERCANTILE. FOR THE STORY OF HOW THEY MET, PLEASE SEE RECORDS P20150016003 AND P20150016004. JOE HORHOZER WAS THE ACCORDION PLAYER AND MUSIC ARRANGER FOR A WELL-KNOWN LETHBRIDGE MUSICAL GROUP CALLED THE ALBERTA RANCH BOYS. THE GROUP FORMED IN THE SUMMER OF 1937 WITH MEMBERS LOUIS (LOU) GONZY, MATT (BUCK) WASOWICH, PETER (CURLY) GURLOCK, REMO BACEDA, AND ‘LITTLE JOE’ HORHOZER. HORHOZER SAYS OF HER HUSBAND: “I WOULD CALL HIM THE LEAD INSTRUMENT BECAUSE AN ACCORDION IS, EH? AND HE WAS EXCEPTIONALLY GIFTED WITH THE ACCORDION; THAT’S WHAT EVERYBODY SAID, THAT THERE ISN’T ANYONE, AT LEAST AROUND THIS COUNTRY, THAT COULD COMPARE WITH HIM.” DESCRIBED IN THEIR SOUVENIR BOOK PUBLISHED IN 1941 AS “PROFESSIONAL RADIO ENTERTAINERS”, THE ‘ALBERTA RANCH BOYS’ WERE FORMED WHEN THE LOCAL EXHIBITION AND STAMPEDE PARADE WAS FOUND WANTING FOR A “COWBOY BAND” AS PART OF ITS LINEUP. ACCOLADES FOR THE PARADE ACT FOLLOWED, INSPIRING THE GROUP “TO EMBARK ON THE LONG ROAD TO FAME AND FORTUNE”. IN A YEAR’S TIME – AND AFTER TOURING THROUGH ALBERTA AND BC – THE BAND ENDED UP IN VANCOUVER. THERE, IT ESTABLISHED ITSELF, ACCORDING TO THE BOOKLET, AS “WESTERN CANADA’S MOST VERSATILE STAGE AND DANCE FAVOURITE,” BROADCASTING ITS COWBOY MELODIES FOR OVER TWO CONTINUOUS YEARS VIA CKWX (VANCOUVER’S LARGEST RADIO STUDIO AT THE TIME). DURING THE WAR, IT DONATED ITS TALENTS TO THE PROMOTION OF WAR SAVINGS CERTIFICATES. ONE VICTORY RALLY SONG FOR STAMPS WAS “WE’VE BOUGHT THEM BEFORE AND WE’LL BUY THEM AGAIN.” BY EARLY JAN-FEB 1943, THE BAND HAD PEAKED. ONE MEMBER IS REPORTED TO HAVE ENLISTED IN THE CANADIAN ARMY WHILE OTHERS, ACCORDING TO THE DONOR, “GOT SICK”. “THEY DID A LOT IN TORONTO.” RECALLED EVERAL IN AN INTERVIEW. “[IT WAS FROM] TORONTO THEN THEY COULD HAVE GONE [TO NEW YORK] - THAT’S WHERE THEY WERE OFFERED THE BIG JOB OF RECORDING AND BEING ON TV…BUT THEN [JOE] SAYS THAT HE DOESN’T CARE, BECAUSE HE SAYS IF HE WOULD HAVE WENT, HE WOULDN’T HAVE MET ME, SO, I MEAN, THAT WAS A NICE THING TO SAY. HE SAYS LIFE TURNED OUT GOOD FOR HIM.” EVERAL WAS NOT AWARE OF THIS AT THE TIME OF THEIR MEETING. AFTER FINDING OUT, SHE SAID, “WELL, I THOUGHT, GEE WHIZ, HE JUST ISN’T AN EVERYDAY JOE AND EVERYBODY IN TOWN KNEW HIM AND ADMIRED HIM. YEAH, IT MADE ME A LITTLE MORE HAPPY.” OF THE PERFORMANCE COSTUME EVERAL HORHOZER SAID: “THEY WORE [THE SAME UNIFORM] WHEN THEY PLAYED AT THE TRIANON FOR A WHILE AND THEY JUST STARTED TO USE SUITS … WELL HE DIDN’T WANT - SEE, WHEN THEY STARTED PLAYING AT THE TRIANON. THEN I TELL YOU, THEY START WEARING MORE BAND [CLOTHING] - LIKE, THEY HAD DIFFERENT BLAZERS, COLOURED BLAZERS – BLUE ONES AND RED ONES AND ALL WORE BLAZERS THEN. ‘CAUSE THEY WANTED TO BECOME LIKE A DANCE BAND, I GUESS YOU’D SAY.” “HE WOULD NEVER FORGET THAT TIME [WITH THE RANCH BOYS],” HORHOZER SAID OF HER HUSBAND, “HE TALKED ABOUT IT ALL THE TIME. HOW THEY MET SO MANY [PEOPLE], LIKE THEY’D PLAY AT PRIVATE PARTIES FOR WEALTHY PEOPLE. HE ABSOLUTELY LOVED HIS MUSIC. HE LIVED FOR HIS MUSIC.” BACK HERE IN LETHBRIDGE IN 1958, EVERAL’S HUSBAND JOE WENT ON TO PERFORM WITH THE COUNTRY CAPERS, PLAYING ACCORDION FOR A WEEKLY BROADCAST VIA THE LOCAL TV STATION CJLH. IN 1961, THE STATION AND THE BROADCAST WERE PRESENTED WITH A NATIONAL LIBERTY AWARD FOR “TV STATION SHOWMANSHIP” AND “BEST LOCAL PROGRAMMING.” IN HIS TIME, ‘LITTLE JOE’ PLAYED WITH ROY ROGERS, GENE AUTRY, AND TOMMY HUNTER. HE DIED IN 2010 AT AGE 89. 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 INCLUDING FULL INTERVIEW TRANSCRIPTS, LETHBRIDGE HERALD ARTICLES, AND FURTHER PUBLICATIONS.
Catalogue Number
P20150016007
Acquisition Date
2015-05
Collection
Museum
Images
Less detail
Other Name
ACME BOOT
Date Range From
1937
Date Range To
1962
Material Type
Artifact
Materials
LEATHER
Catalogue Number
P20150016005
  1 image  
Material Type
Artifact
Other Name
ACME BOOT
Date Range From
1937
Date Range To
1962
Materials
LEATHER
No. Pieces
2
Height
28.5
Length
30.5
Description
A-B: RED COWBOY BOOTS (LEFT AND RIGHT BOOT). THE LEATHER BOOT BODIES ARE RED WITH GOLD ACCENTS AND GOLD OPENING TRIMS. LEATHER SOLES HAVE BEEN RE-HEELED. INTERIORS LABELLED “ACME BOOT” AND INK STAMPED, “MADE IN THE USA”. GOOD CONDITION. ON BOTH BOOTS, THERE IS A RED DYE LOSS IN VARIOUS PLACES, ESPECIALLY AT THE TOES. SOME OF THE GOLD ACCENTS ARE SCUFFED. REGULAR WEAR TO THE BOTTOM SOLES. THERE IS WEAR TO THE INSIDE SOLES (MORE SEVERELY ON BOOT A). BOTH BOOTS ARE MISSHAPEN (BOOT B TO A GREATER EXTENT). ON BOOT A, THERE IS A LOOSE THREAD ON THE TOE DESIGN. THERE IS A LOOSE YELLOW THREAD ON THE INSIDE HEEL ON BOOT B.
Subjects
CLOTHING-FOOTWEAR
Historical Association
PERSONAL CARE
PROFESSIONS
LEISURE
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. THESE COWBOY BOOTS WERE PART OF THE STAGE OUTFIT WORN BY JOE HORHOZER WHEN HE WAS THE ACCORDION PLAYER AND MUSIC ARRANGER FOR A WELL-KNOWN LETHBRIDGE MUSICAL GROUP CALLED THE ALBERTA RANCH BOYS. THE GROUP FORMED IN THE SUMMER OF 1937 WITH MEMBERS LOUIS (LOU) GONZY, MATT (BUCK) WASOWICH, PETER (CURLY) GURLOCK, REMO BACEDA, AND ‘LITTLE JOE’ HORHOZER. 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 HISTORY. IN THE INTERVIEW, HORHOZER EXPLAINED SHE MET HER HUSBAND, JOE HORHOZER, WHEN HE CAME TO WORK FOR SUPINA’S MERCANTILE. FOR THE STORY OF HOW THEY MET, PLEASE SEE RECORDS P20150016003 AND P20150016004. WHEN DESCRIBING HER HUSBAND'S MUSIC CAREER, HORHOZER SAID, “I WOULD CALL HIM THE LEAD INSTRUMENT BECAUSE AN ACCORDION IS, EH? AND HE WAS EXCEPTIONALLY GIFTED WITH THE ACCORDION; THAT’S WHAT EVERYBODY SAID, THAT THERE ISN’T ANYONE, AT LEAST AROUND THIS COUNTRY, THAT COULD COMPARE WITH HIM.” DESCRIBED IN THEIR SOUVENIR BOOK PUBLISHED IN 1941 AS “PROFESSIONAL RADIO ENTERTAINERS”, THE ‘ALBERTA RANCH BOYS’ WERE FORMED WHEN THE LOCAL EXHIBITION AND STAMPEDE PARADE WAS FOUND WANTING FOR A “COWBOY BAND” AS PART OF ITS LINEUP. ACCOLADES FOR THE PARADE ACT FOLLOWED, INSPIRING THE GROUP “TO EMBARK ON THE LONG ROAD TO FAME AND FORTUNE”. IN A YEAR’S TIME – AND AFTER TOURING THROUGH ALBERTA AND BC – THE BAND ENDED UP IN VANCOUVER. THERE IT ESTABLISHED ITSELF, ACCORDING TO THE BOOKLET, AS “WESTERN CANADA’S MOST VERSATILE STAGE AND DANCE FAVOURITE,” BROADCASTING ITS COWBOY MELODIES FOR OVER TWO CONTINUOUS YEARS VIA CKWX (VANCOUVER’S LARGEST RADIO STUDIO AT THE TIME). DURING THE WAR, IT DONATED ITS TALENTS TO THE PROMOTION OF WAR SAVINGS CERTIFICATES. ONE VICTORY RALLY SONG FOR STAMPS WAS “WE’VE BOUGHT THEM BEFORE AND WE’LL BUY THEM AGAIN.” BY EARLY JAN-FEB 1943, THE BAND HAD PEAKED. ONE MEMBER IS REPORTED TO HAVE ENLISTED IN THE CANADIAN ARMY WHILE OTHERS, ACCORDING TO THE DONOR, “GOT SICK”. “THEY DID A LOT IN TORONTO.” RECALLED EVERAL IN AN INTERVIEW. “[IT WAS FROM] TORONTO THEN THEY COULD HAVE GONE [TO NEW YORK] - THAT’S WHERE THEY WERE OFFERED THE BIG JOB OF RECORDING AND BEING ON TV…BUT THEN [JOE] SAYS THAT HE DOESN’T CARE, BECAUSE HE SAYS IF HE WOULD HAVE WENT, HE WOULDN’T HAVE MET ME, SO, I MEAN, THAT WAS A NICE THING TO SAY. HE SAYS LIFE TURNED OUT GOOD FOR HIM.” EVERAL WAS NOT AWARE OF THIS AT THE TIME OF THEIR MEETING. AFTER FINDING OUT, SHE SAID, “WELL, I THOUGHT, GEE WHIZ, WELL, HE JUST ISN’T AN EVERYDAY JOE AND EVERYBODY IN TOWN KNEW HIM AND ADMIRED HIM. YEAH, IT MADE ME A LITTLE MORE HAPPY.” THESE RED COWBOY BOOTS WERE PART OF THE COSTUME JOE HORHOZER WORE WHEN HE PERFORMED WITH THE ALBERTA RANCH BOYS, AND LATER THE 'COUNTRY CAPERS,' A LETHBRIDGE-BASED BAND FOR WHICH HE PLAYED THE ACCORDION BEGINNING IN 1958. IT WAS EVERAL WHO DYED THEM THE BRIGHT RED COLOUR: “HE ASKED ME [TO DYE THE BOOTS]. HE SAID HE WANTED TO CHANGE, THEY WERE GETTING TO LOOK KIND OF SHABBY, AND I DON’T KNOW WHY HE PICKED RED, BUT THAT’S WHAT HE DID SO, THAT’S WHAT I - ACTUALLY THESE STOOD UP QUITE WELL [LAUGHS]. THE REGULAR COLOUR WAS - I THINK THEY WERE BLACK-LIKE. BLACK WITH WHITE... THOSE WERE THE ONLY BOOTS THAT HE HAD.” OF THE PERFORMANCE COSTUME EVERAL HORHOZER SAID: “WHEN THEY STARTED PLAYING AT THE TRIANON THEN, I TELL YOU, THEY START WEARING MORE BAND [CLOTHES] - LIKE THEY HAD DIFFERENT BLAZERS, COLOURED BLAZERS – BLUE ONES AND RED ONES AND ALL WORE BLAZERS THEN ‘CAUSE THEY WANTED TO BECOME LIKE A DANCE BAND, I GUESS YOU’D SAY.” “HE WOULD NEVER FORGET THAT TIME [WITH THE RANCH BOYS],” HORHOZER SAID OF HER HUSBAND, “HE TALKED ABOUT IT ALL THE TIME. HOW THEY MET SO MANY [PEOPLE], LIKE THEY’D PLAY AT PRIVATE PARTIES FOR WEALTHY PEOPLE. HE ABSOLUTELY LOVED HIS MUSIC. HE LIVED FOR HIS MUSIC.” BACK HERE IN LETHBRIDGE IN 1958, EVERAL’S HUSBAND JOE WENT ON TO PERFORM WITH THE COUNTRY CAPERS, PLAYING ACCORDION FOR A WEEKLY BROADCAST VIA THE LOCAL TV STATION CJLH. IN 1961, THE STATION AND THE BROADCAST WERE PRESENTED WITH A NATIONAL LIBERTY AWARD FOR “TV STATION SHOWMANSHIP” AND “BEST LOCAL PROGRAMMING.” IN HIS TIME, ‘LITTLE JOE’ PLAYED WITH ROY ROGERS, GENE AUTRY AND TOMMY HUNTER. HE DIED IN 2010 AT AGE 89. 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 INCLUDING FULL INTERVIEW TRANSCRIPTS, LETHBRIDGE HERALD ARTICLES, AND FURTHER PUBLICATIONS.
Catalogue Number
P20150016005
Acquisition Date
2015-05
Collection
Museum
Images
Less detail
Other Name
ALBERTA RANCH BOYS UNIFORM SHIRT
Date Range From
1937
Date Range To
1962
Material Type
Artifact
Materials
SYNTHETIC FABRIC
Catalogue Number
P20150016006
  2 images  
Material Type
Artifact
Other Name
ALBERTA RANCH BOYS UNIFORM SHIRT
Date Range From
1937
Date Range To
1962
Materials
SYNTHETIC FABRIC
No. Pieces
1
Length
78
Width
38
Description
COLLARED MEN’S SHIRT. TAILOR-MADE WITH LONG-SLEEVED, OFF-WHITE SYNTHETIC SILK BODY AND NAVY BLUE FABRIC ACCENTS EDGING FRONT CLOSURE, ON SHOULDERS, AND BORDERING CUFFS. OPEN CRESCENT POCKETS AT BREASTS. BLUE IRIDESCENT SNAP CLOSURES. 5 SNAPS ON THE CUFFS AND 7 SNAPS DOWN THE FRONT OF THE SHIRT. THE LENGTH IS 78 CM, THE WIDTH ACROSS THE BACK IS 38 CM, AND THE SLEEVES ARE 60 CM LONG. FAIR CONDITION. AT LEAST 11 STAINS ON THE FRONT. DARK BROWN STAIN ON THE BOTTOM OF THE LEFT SLEEVE.
Subjects
CLOTHING-OUTERWEAR
Historical Association
PERSONAL CARE
LEISURE
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. THIS DRESS SHIRT WAS PART OF THE STAGE OUTFIT WORN BY JOE HORHOZER WHEN HE WAS THE ACCORDION PLAYER AND MUSIC ARRANGER FOR A WELL-KNOWN LETHBRIDGE MUSICAL GROUP CALLED THE ALBERTA RANCH BOYS. THE GROUP FORMED IN THE SUMMER OF 1937 WITH MEMBERS LOUIS (LOU) GONZY, MATT (BUCK) WASOWICH, PETER (CURLY) GURLOCK, REMO BACEDA, AND ‘LITTLE JOE’ HORHOZER. 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 HISTORY. IN THE INTERVIEW, HORHOZER DESCRIBED HOW SHE MET HER HUSBAND, JOE HORHOZER, WHEN HE CAME TO WORK FOR SUPINA’S MERCANTILE. FOR THE STORY OF HOW THEY MET, PLEASE SEE RECORDS P20150016003 AND P20150016004. JOE HORHOZER WAS THE ACCORDION PLAYER AND MUSIC ARRANGER FOR A WELL-KNOWN LETHBRIDGE MUSICAL GROUP CALLED THE ALBERTA RANCH BOYS. THE GROUP FORMED IN THE SUMMER OF 1937 WITH MEMBERS LOUIS (LOU) GONZY, MATT (BUCK) WASOWICH, PETER (CURLY) GURLOCK, REMO BACEDA, AND ‘LITTLE JOE’ HORHOZER. HORHOZER SAYS OF HER HUSBAND: “I WOULD CALL HIM THE LEAD INSTRUMENT BECAUSE AN ACCORDION IS, EH? AND HE WAS EXCEPTIONALLY GIFTED WITH THE ACCORDION; THAT’S WHAT EVERYBODY SAID, THAT THERE ISN’T ANYONE, AT LEAST AROUND THIS COUNTRY, THAT COULD COMPARE WITH HIM.” DESCRIBED IN THEIR SOUVENIR BOOK PUBLISHED IN 1941 AS “PROFESSIONAL RADIO ENTERTAINERS”, THE ‘ALBERTA RANCH BOYS’ WERE FORMED WHEN THE LOCAL EXHIBITION AND STAMPEDE PARADE WAS FOUND WANTING FOR A “COWBOY BAND” AS PART OF ITS LINEUP. ACCOLADES FOR THE PARADE ACT FOLLOWED, INSPIRING THE GROUP “TO EMBARK ON THE LONG ROAD TO FAME AND FORTUNE”. IN A YEAR’S TIME – AND AFTER TOURING THROUGH ALBERTA AND BC – THE BAND ENDED UP IN VANCOUVER. THERE, IT ESTABLISHED ITSELF, ACCORDING TO THE BOOKLET, AS “WESTERN CANADA’S MOST VERSATILE STAGE AND DANCE FAVOURITE,” BROADCASTING ITS COWBOY MELODIES FOR OVER TWO CONTINUOUS YEARS VIA CKWX (VANCOUVER’S LARGEST RADIO STUDIO AT THE TIME). DURING THE WAR, IT DONATED ITS TALENTS TO THE PROMOTION OF WAR SAVINGS CERTIFICATES. ONE VICTORY RALLY SONG FOR STAMPS WAS “WE’VE BOUGHT THEM BEFORE AND WE’LL BUY THEM AGAIN.” BY EARLY JAN-FEB 1943, THE BAND HAD PEAKED. ONE MEMBER IS REPORTED TO HAVE ENLISTED IN THE CANADIAN ARMY WHILE OTHERS, ACCORDING TO THE DONOR, “GOT SICK”. “THEY DID A LOT IN TORONTO.” RECALLED EVERAL IN AN INTERVIEW. “[IT WAS FROM] TORONTO THEN THEY COULD HAVE GONE [TO NEW YORK] - THAT’S WHERE THEY WERE OFFERED THE BIG JOB OF RECORDING AND BEING ON TV…BUT THEN [JOE] SAYS THAT HE DOESN’T CARE, BECAUSE HE SAYS IF HE WOULD HAVE WENT, HE WOULDN’T HAVE MET ME, SO, I MEAN, THAT WAS A NICE THING TO SAY. HE SAYS LIFE TURNED OUT GOOD FOR HIM.” EVERAL WAS NOT AWARE OF THIS AT THE TIME OF THEIR MEETING. AFTER FINDING OUT, SHE SAID, “WELL, I THOUGHT, GEE WHIZ, HE JUST ISN’T AN EVERYDAY JOE AND EVERYBODY IN TOWN KNEW HIM AND ADMIRED HIM. YEAH, IT MADE ME A LITTLE MORE HAPPY.” OF THE PERFORMANCE COSTUME EVERAL HORHOZER SAID: “THEY WORE [THE SAME UNIFORM] WHEN THEY PLAYED AT THE TRIANON FOR A WHILE AND THEY JUST STARTED TO USE SUITS … WELL HE DIDN’T WANT - SEE, WHEN THEY STARTED PLAYING AT THE TRIANON. THEN I TELL YOU, THEY START WEARING MORE BAND [CLOTHING] - LIKE, THEY HAD DIFFERENT BLAZERS, COLOURED BLAZERS – BLUE ONES AND RED ONES AND ALL WORE BLAZERS THEN. ‘CAUSE THEY WANTED TO BECOME LIKE A DANCE BAND, I GUESS YOU’D SAY.” “HE WOULD NEVER FORGET THAT TIME [WITH THE RANCH BOYS],” HORHOZER SAID OF HER HUSBAND, “HE TALKED ABOUT IT ALL THE TIME. HOW THEY MET SO MANY [PEOPLE], LIKE THEY’D PLAY AT PRIVATE PARTIES FOR WEALTHY PEOPLE. HE ABSOLUTELY LOVED HIS MUSIC. HE LIVED FOR HIS MUSIC.” BACK HERE IN LETHBRIDGE IN 1958, EVERAL’S HUSBAND JOE WENT ON TO PERFORM WITH THE COUNTRY CAPERS, PLAYING ACCORDION FOR A WEEKLY BROADCAST VIA THE LOCAL TV STATION CJLH. IN 1961, THE STATION AND THE BROADCAST WERE PRESENTED WITH A NATIONAL LIBERTY AWARD FOR “TV STATION SHOWMANSHIP” AND “BEST LOCAL PROGRAMMING.” IN HIS TIME, ‘LITTLE JOE’ PLAYED WITH ROY ROGERS, GENE AUTRY, AND TOMMY HUNTER. HE DIED IN 2010 AT AGE 89. 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 INCLUDING FULL INTERVIEW TRANSCRIPTS, LETHBRIDGE HERALD ARTICLES, AND FURTHER PUBLICATIONS.
Catalogue Number
P20150016006
Acquisition Date
2015-05
Collection
Museum
Images
Less detail

PROJECTOR, MOTION-PICTURE

https://collections.galtmuseum.com/en/permalink/artifact13342
Other Name
MOTIOGRAPH AA PROJECTOR
Date Range From
1940
Date Range To
1950
Material Type
Artifact
Materials
STEEL, GLASS, PLASTIC
Catalogue Number
P20120038001
  2 images  
Material Type
Artifact
Other Name
MOTIOGRAPH AA PROJECTOR
Date Range From
1940
Date Range To
1950
Materials
STEEL, GLASS, PLASTIC
No. Pieces
4
Height
202
Length
57
Description
A. PROJECTOR, FILM. GREY METAL BODY FIXED AT FRONT WITH MOTIOGRAPH AA PROJECTOR MECHANISM. BACK OF THE BODY HAS POWER (“ON/OFF”) AND IGNITE SWITCHES; BACK HAS GAUGES WITH GLASS COVERS MARKING HOURS (“16270”) AND 0-100 MV. BACK HAS SILVER LABEL WITH BLACK TEXT “STRONG X-16 TWO-SIDE LAMPHOUSE, D.C. VOLTS 28-32, D.C. AMPS. 60-95, TYPE NO. 76002-3, SERIAL NO. 65196, MFD. BY THE STRONG ELECTRIC CORP., TOLEDO, OHIO, UNITED STATES OF AMERICA, 76100” AND A BLUE STICKER ON LABEL “CSA SPECIAL TESTING LABORATORIES, S108124, ACCEPTANCE”. BACK HAS THREE BLACK DIALS MARKED “V”, “H”, “F”; FRONT HAS THREE BLACK DIALS MARKED “V”, “H”, “F” ON BLACK METAL PLATE WITH WHITE TEXT “VERT”, “HORTZ”, “FOCUS”. BASE HAS A WHITE SWITCH BENEATH THE MAIN LAMP HOUSE. LAMP HOUSE SIDE HAS HINGED COVER WITH SILVER AND RED PLATE FIXED TO COVER, “CAUTION, USE FACE MASK, OBSERVE SAFETY RULES, ALLOW LAMP TO COOL 10 MIN BEFORE OPENING DOORS”. FRONT HAS REEL MOUNTS FIXED TO TOP AND BOTTOM; TOP REEL MOUNT IS MARKED “A-675” AND HAS SILVER SHIPPING REEL WITH 35MM FILM ATTACHED (B); BOTTOM REEL MOUNT IS MARKED A-676 AND HAS EMPTY SILVER SHIPPING REEL ATTACHED (D). BENEATH REEL MOUNT IS MOUNTED ELECTRIC CHANGEOVER MECHANISM; UNFINISHED STEEL WITH SILVER SCREWS AND INSERTS; SILVER PLATE ON FRONT OF MECHANISM HAS RED TEXT READING “ZIPPER” AND BLACK TEXT READING “ELECTRIC CHANGEOVER, PATENT 1796970, OTHER PATS. PEND., MODEL 14-14, SERIAL 2537, VOLTS 117 A.C., AMPS 2, MFD. BY ESSANNAY ELECTRIC MFG., G.G., 1438 N. CLARK ST., CHICAGO 10, ILL.” MOTIOGRAPH AA PROJECTOR MECHANISM HAS LENS ATTACHED AT FRONT (C); MOTIOGRAPH AA PROJECTOR MECHANISM HAS RED DIAL BESIDE FRONT CHAMBER COVER WITH WHITE TEXT “FRAME”. MOTIOGRAPH AA PROJECTOR MECHANISM HAS HINGED CHAMBER COVER WITH FRONT FIXED SILVER PLATE WITH RED TEXT READING “MOTIOGRAPH” IN RED, AND YELLOW AND BLACK LABEL READING “SHARP’S THEATRE SUPPLIES LIMITED, FILM EXCHANGE BUILDING, PHONE M-4076—CALGARY, ALBERTA.” INSIDE HINGED CHAMBER COVER IS WHITE LABEL “UL, MODEL AA, FRAMING LAMP 120V 25W, MOTIOGRAPH INC., CHICAGO”. BENEATH IS LOWER CHAMBER WITH STEEL AND GLASS HINGED COVER. BASE OF LAMP HOUSE PEDESTAL IS SCRATCHED; INSIDE OF MOTIOGRAPH AA PROJECTOR MECHANISM TOP CHAMBER IS DETACHED BLACK METAL SLIDE WITH CENTER CUT OUT AND RED KNOB AT THE END. OVERALL PROJECTOR AND COMPONENTS IN GOOD CONDITION. B. FILM REEL, 37.2CM DIAMETER X 4.3CM DEEP, INCLUDES 35MM FILM. SHIPPING REEL; UNFINISHED PRESSED STEEL; FIXED WITH UNMARKED WHITE TAPE. REEL IS HANDMARKED WITH RED “T”. C. LENS, PROJECTOR, 41.7CM LONG X 11.5CM DIAMETER. CINEMASCOPE/ANAMORPHIC (LONG LENS) FORMAT. BRASS END COMPONENT IS STAMPED “SUPER SNAPLITE”, “KOLLMORGEN OPTICAL CORP”, “BX 241 F:1.9 3 ¼ IN.” SILVER LENS COMPONENT IS MARKED “MADE IN JAPAN, 19313, PROMINAR ANAMORPHIC”. LENS FRONT IS BLACK; LENS GOES TO 350 FEET. D. FILM REEL, 37CM DIAMETER X 5.3CM DEEP, SHIPPING. UNFINISHED PRESSED STEEL, EMPTY, HANDMARKED IN RED “2” AND ON MASKING TAPE IN BLACK “7”. FIXED TO LOWER REEL MOUNT ON PROJECTOR.
Subjects
VISUAL COMMUNICATION T&E
Historical Association
BUSINESS
LEISURE
History
ON APRIL 11, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED LARRY AND ANDREA BECKER, OWNERS OF THE FORMER WATERTON THEATRE IN SOUTHERN ALBERTA WHERE THE PROJECTION EQUIPMENT WAS USED. DURING THE INTERVIEW, THE BECKERS ELABORATED ON HOW THEIR THEATRE CLOSED, HOW THE EQUIPMENT WAS USED IN THEIR THEATRE, AND HOW AL ANCTIL CAME INTO POSSESSION OF THE THEATRE PROJECTION EQUIPMENT. LARRY BECKER SPOKE TO HOW ANCTIL BECAME THE OWNER AND DONOR OF THE EQUIPMENT, STATING, “THIS EQUIPMENT IS BUILT AND DESIGNED TO EXHIBIT 35 MM MOTION PICTURE FILM. IN 2011, WHEN WE DISPOSED OF THE EQUIPMENT, FILM WAS BECOMING OBSOLETE. IT WAS NO LONGER AVAILABLE TO US AS AN EXHIBITION MEDIUM, SO WE WERE FACED WITH THE CHALLENGE OF CONVERTING TO A DIGITAL PROJECTION, IF WE WANTED TO CONTINUE SHOWING MOTION PICTURES. WE HAD TO GET RID OF THIS, AND AL [ANCTIL] THOUGHT HE HAD A USE FOR IT. AT THE TIME, HE WAS SELLING US COFFEE. WE WERE RUNNING A COFFEE SHOP IN THE THEATRE, SO WE HAD THAT RELATIONSHIP WITH AL; AND I’M NOT SURE WHY AL WANTED IT…I DON’T KNOW IF HE EVER INTENDED TO USE IT. I THINK, UNDER CERTAIN CIRCUMSTANCES, IT MIGHT BE USEFUL, IF SOMEBODY COULD ACCESS SOME 35 MM FILM TO RUN THROUGH IT. WHEN WE HEARD THAT AL WANTED IT, WE SAID “SURE, YOU CAN HAVE IT AL. WE NO LONGER HAVE ANY USE FOR IT.”” “IT WAS THE COST OF THE CONVERSION [THAT INFLUENCED OUR DECISION TO CLOSE]. INITIALLY, WHEN ALL OF THE THEATRES WERE FACED WITH THE CONVERSION, WITHIN A VERY SHORT WINDOW, THE DEMAND FOR THE EQUIPMENT WAS VERY HIGH; COSTS WERE VERY HIGH, AND IT JUST WASN’T FINANCIALLY VIABLE IN A SEASONAL OPERATION, SO WE DECIDED NOT TO PROCEED, AT THAT TIME, WITH THE DIGITAL UPGRADING/CONVERSION. WE WERE WORKING QUITE HARD, BECAUSE WE WERE RUNNING A COFFEE SHOP, AN ICE CREAM STORE, AND A MOVIE THEATRE. THE MOVIE THEATRE WAS THE FUN PART OF IT.” “WE WERE AT THE END OF OUR LAST SEASON IN 2011, AND WE HAD WORKED OUT AN ARRANGEMENT WITH THE TENANT, TO TAKE IT OVER, TO RUN IT AS A ‘STAGE AND GRILL’ KIND OF OPERATION. THEY WERE GOING TO PUT A KITCHEN IN, AND SERVE MEALS, AND PRESENT MUSIC ACTS ON STAGE.” ON THE PROJECTOR, LARRY BECKER INDICATED, “IT WAS OLD [IN 2011]. IT WAS VERY WELL-DESIGNED, AND BUILT EQUIPMENT, WHEN IT WAS NEW. THE PROJECTOR IS…THE HEART OF THE OPERATION, AND IT’S A MOTIOGRAPH PROJECTOR WITH THE MOTIOGRAPH SOUND HEAD…AND THAT WAS PROBABLY NEW IN THE LATE '40S OR EARLY ‘50S, WHEN THE MOTION PICTURE INDUSTRY WAS IN AN ABSOLUTE HEY-DAY. HUGE INVESTMENTS WERE MADE IN DEVELOPING HIGH QUALITY EQUIPMENT FOR THE MOTION PICTURE EXHIBITIONS. THIS PROJECTOR, EVEN THOUGH IT WAS VERY OLD, BENEFITTED FROM THAT DESIGN PERIOD, AND WAS STILL WORKING REASONABLY WELL.” “WE REPLACED THE LAMP HOUSE [FROM AN OLD CARBON ARC LAMP TO…A ZENON BULB AS A LIGHT SOURCE]. [WE PICKED UP BULBS AND EQUIPMENT] FROM ‘TEN STORIES’. “[THERE WOULD BE A] BELL HERE, BEFORE WE PUT THE PLATTER SYSTEM IN… [THE BELL] WAS ATTACHED TO THE PROJECTOR, AND THIS WAS WHEN THESE SMALL 20 MINUTE REELS WOULD BE LOADED ON TO THIS REEL LINE, AND WHEN THERE WAS ABOUT 2 OR 2 1/2 MINUTES FILM LEFT ON THE PAY-OUT REEL…[THE] BELL WOULD START TO RING; START TO TURN AT A SPEED, AND THAT WAS TO SIGNAL THE PROJECTIONIST TO GET READY, BECAUSE HE WAS GOING TO HAVE TO DO A CHANGE-OVER. WHEN THAT BELL RANG, THE PROJECTIONIST WOULD LOOK THROUGH A PORT IN THE PROJECTION ROOM, AND LOOK FOR A LITTLE DOT UP IN THE RIGHT HAND CORNER OF THE FILM. THERE WOULD BE TWO OF THEM. WHEN YOU HEARD THE BELL, YOU’D STRIKE THE LAMP WITH THE OLD CARBON ARCS; GET THE LAMP HOUSE RUNNING. THEN YOU’D SEE THE FIRST DOT, THAT WAS YOUR SIGNAL TO START THE PROJECTOR, THEN, WHEN YOU SAW THE SECOND DOT, THERE WAS A PEDAL ON THE FLOOR, OR A HAND SWITCH, THAT YOU WOULD ACTIVATE, AND THAT WOULD CLOSE THE SHUTTER ON ONE PROJECTOR, AND OPEN IT ON THE OTHER ONE. IF THE PROJECTIONIST WAS GOOD, IT WAS SEAMLESS. THE AUDIENCE WOULD NEVER KNOW THAT THERE WAS A REEL CHANGE.” “THERE WOULD BE TWO PROJECTORS RUNNING SIDE-BY-SIDE. I DID OPERATE IT FOR A WHILE, WITH THE CHANGE-OVERS, BUT THAT WAS ONE OF THE THINGS THAT I REALLY WANTED TO CHANGE ABOUT WATERTON. I WANTED JUST TO MAKE MY JOB A LOT EASIER. [THAT WAS] THE INTRODUCTION OF THE PLATTER SYSTEM, AND THE ZENON LAMP.” LARRY BECKER DISCUSSED THE PURPOSE OF THE LENS IN USE WITH PROJECTOR EQUIPMENT, STATING, “FILM WAS STILL AVAILABLE IN BOTH FORMATS, AND WHEN IT CAME IN, WE HAD TO KNOW WHICH FORMAT IT WAS, BECAUSE THEN WE WOULD USE THE APPROPRIATE LENS. [THE LENS] WAS STILL IN USE. PRODUCTION COSTS WERE PROBABLY…A LITTLE HIGHER IF THEY WERE SHOOTING IN THE CINEMASCOPE. I THINK THE FLAT LENS, THE 185 ASPECT RATIO WAS A BETTER RATIO FOR TELEVISION. I ALWAYS THOUGHT THAT, IF THEY THOUGHT THAT THE MOVIE WAS GOING TO HAVE A SHORT RUN IN THEATRES, AND THEN A BROADER AUDIENCE ON TELEVISION, THEN THAT FORMAT [185 ASPECT RATIO] WAS MORE SUITABLE. WE REPLACED [THE ORIGINAL LENSES].” THE BECKERS SPOKE ABOUT THEIR ARRIVAL IN WATERTON AND THEIR HISTORY WORKING IN THEATRES, WITH LARRY BEGINNING HIS CAREER WORKING IN THE PALACE THEATRE IN CALGARY, ALBERTA. IN 1975, THE BECKERS BECAME INTERESTED IN PURCHASING THE THEATRE IN WATERTON, AND BY 1976 THEY WERE RUNNING THE WATERTON THEATRE. LARRY NOTED HOW THE BECKERS BECAME INVOLVED WITH THE WATERTON THEATRE “I WAS TRAVELING TO WATERTON. I HAD NEVER BEEN TO WATERTON. I HAD AN OCCASION TO GO TO GREAT FALLS. IT WAS ON…A BUSINESS TRIP, AND IT WAS OVER A WEEKEND. I LOOKED AT THE MAP, AND I THOUGHT, “IF WE LEAVE AROUND DINNERTIME ON FRIDAY, WE CAN SPEND A NIGHT IN WATERTON…AND THEN WE CAN CONTINUE TO GREAT FALLS THE NEXT DAY.” GOT INTO WATERTON, AND, BY THIS TIME, THE SUN HAD SET, AND I STILL DIDN’T REALIZE I WAS IN THE MOUNTAINS. I SORT OF LOOKED AROUND. I DIDN’T HAVE A ROOM BOOKED, AND GOT A ROOM IN ALLEN’S LAKESHORE BUNGALOWS, WHICH WERE ON THE SHORE OF WATERTON LAKE, AT THAT TIME, AND WHEN I GOT UP IN THE MORNING, AND LOOKED AROUND, I COULDN’T BELIEVE WHERE I WAS. I MEAN, IT WAS JUST THE MOST BEAUTIFUL THING…IT WAS STUNNINGLY, GORGEOUS! THEN I THOUGHT, “I’LL TAKE A STROLL AROUND TOWN”, AND THERE WAS A MOVIE THEATRE. OF COURSE, BEING IN THE BUSINESS, I’VE GOT TO STOP AND YOU…FIND OUT WHAT’S GOING ON THERE. I CHATTED WITH A YOUNG FAMILY THAT WERE LOOKING AFTER THE PLACE FOR LOTTIE BREWERTON. LOTTIE, AND HER HUSBAND, GORDON, HAD BUILT IT BACK IN ’35. LOTTIE WAS GORDON’S WIDOW. SHE WASN’T INVOLVED IN THE OPERATION, BUT SHE HAD SOME YOUNG FAMILY THAT WERE HELPING HER OUT, SO, IN THE CONVERSATION, THEY SAID, “YOU KNOW, I THINK LOTTIE WANTS TO SELL.” I WENT BACK TO CALGARY, AND NEVER REALLY THOUGHT TOO MUCH ABOUT IT UNTIL SEVERAL MONTHS LATER, AND IT WAS SORT OF ON MY MIND, AND I THOUGHT, “WELL, I’M GOING TO GET AHOLD OF LOTTIE AND SEE WHAT THE DEAL IS HERE?” “IT NEEDED WORK. IT’S NOT A BIG MONEY-MAKING OPERATION IN WATERTON, SO IT WAS…HARD TO DO THE THINGS THAT NEEDED TO BE DONE. OVER THE YEARS, WE KIND OF KEPT IT GOING…BUT IT WAS ALWAYS…AN EXPERIENTIAL THING. IT WAS KIND OF AN ANTIQUE IN ITSELF. IT WAS NEVER INTENDED TO BE LIKE THE CITY THEATRES – IT’S A MUCH MORE CASUAL ENVIRONMENT.” “I LIKE THE STYLE OF THE BUILDING. IT’S A GORGEOUS OLD BUILDING – TUDOR-REVIVAL. IT’S GOT AN INTERESTING HISTORY. BACK IN THE MID-‘30S, PARKS CANADA WAS ENCOURAGING DEVELOPMENT IN WATERTON, AND WAS GIVING OUT THE COMMERCIAL LEASES, BUT THEY ALSO WANTED SORT OF AN ARCHITECTURAL THEME TO THE TOWNSITE. THEY HAD AN ARCHITECTURAL DIVISION, AND THEY HAD ARCHITECTS ON STAFF, AND IT WAS THAT BRANCH OF PARKS CANADA, THAT DESIGNED THAT BUILDING, AND MANY OF THE OTHER BUILDINGS IN WATERTON. IT’S GOT SOME CHARM. IT’S NICE THAT WAY.” ANDREA BECKER ADDED, “IT’S…A PRIVILEGE TO BE A WATERTON BUSINESS OWNER. IT’S A VERY SMALL COMMUNITY, AND IT’S A LIFESTYLE KIND OF ENVIRONMENT, AS WELL, FOR THE BUSINESS PEOPLE THERE. WE…FEEL THAT IT IS A SPECIAL THING TO DO…” LARRY BECKER SPOKE TO HIS TRAINING WORKING IN THEATRES AND HIS EARLY START IN THE WATERTON THEATRE, “WHEN I STARTED DOING PROJECTION WORK, IT WAS A LICENSED TRADE IN THE PROVINCE OF ALBERTA, AND, IN THE EARLY DAYS OF MOTION PICTURE EXHIBITION, THE FILM STOCK WAS A SILVER NITRATE FILM STOCK WHICH WAS, LITERALLY, EXPLOSIVE. PROJECTION ROOMS, INCLUDING THE ONE IN WATERTON, WERE BUILT LIKE A BUNKER. THEY WERE CEMENT ROOMS, WITH FIRE SHUTTERS, THAT WOULD SLAM SHUT IF SOMETHING WENT WRONG IN THE PROJECTION ROOM. THE APPRENTICESHIP PROGRAM TO BECOME A PROJECTIONIST WAS A 3 YEAR PROGRAM, AND THERE WAS DIFFERENT CATEGORIES OF LICENSING. WHEN I STARTED IN [1977] I OWNED THE THEATRE IN FORT MACLEOD AND I HAD TO DO AN APPRENTICESHIP, IN MY OWN THEATRE, BEFORE I WAS ALLOWED TO OPERATE THE EQUIPMENT. I BECAME A CERTIFIED PROJECTIONIST. I MENTION THE EARLY DAYS WITH THE SILVER NITRATE FILM, WHICH WAS HIGHLY FLAMMABLE, AND DANGEROUS. THAT HAD BEEN REPLACED BY ACETATE FILM, LONG BEFORE I BECAME INVOLVED, AND SO THE FILM STOCK WAS NO LONGER…COMBUSTIBLE, AND SO IT WAS A MUCH SAFER ENVIRONMENT. NONETHELESS, SOME OF THE OLD REGULATIONS SORT OF CARRIED FORWARD, AND SLOWLY CHANGED.” I WAS NEVER A PROJECTIONIST IN MEDICINE HAT AND CALGARY. I WAS JUST IN MANAGEMENT, SO I WASN’T THAT FAMILIAR WITH ALL OF THIS [WHEN WE BOUGHT THE WATERTON THEATRE]. IT WAS A BIT OF A LEARNING PROCESS FOR ME. I ENDED UP DOING AN APPRENTICESHIP IN MY OWN THEATRE IN FORT MACLEOD. I HIRED A PROJECTIONIST THE FIRST COUPLE OF YEARS IN WATERTON, AND I HAD TO BRING SOMEBODY DOWN FROM CALGARY TO RUN THE PROJECTOR. WHEN I GOT INTO FORT MACLEOD, I WANTED TO DO MY OWN PROJECTION WORK, AND THAT’S WHEN I DID THE APPRENTICESHIP.” [THE PROJECTIONIST WE BROUGHT TO WATERTON] WAS A FELLOW BY THE NAME OF DOUG COOPER…HE WAS FAMILIAR WITH THIS EQUIPMENT. THE CHANGES HAD STARTED IN THE CITY, BUT HE WAS FAMILIAR WITH DOING THIS KIND OF WORK. HE HAD LEARNED ON IT TOO, SO IT WASN’T A MYSTERY TO HIM. HE WAS ABLE TO MANAGE IT QUITE WELL. [WE HIRED] A DIFFERENT GUY EACH YEAR. DOUG WAS THE FIRST YEAR.” “ONE OF THE THINGS THAT WAS INTERESTING ABOUT THE THEATRE WHEN I TOOK IT OVER IS THAT, FOR LIGHT SOURCES IN THE PROJECTION ROOM, THE LAMPS THAT ILLUMINATED THE SCREEN WERE BURNING CARBON ARCS. CARBON ARCS CAME IN A BOX; YOU INSTALLED THEM IN THE LAMP HOUSE. WHEN YOU STARTED THE MOVIE, YOU’D STRIKE THEM TOGETHER, AND THEY WOULD CREATE AN ARC AND FLAME BETWEEN THESE CARBON RODS. THAT WAS WHAT PRODUCED THE LIGHT. IT WAS MAGNIFIED BY A MIRROR DOWN THROUGH THE LENS, AND WITH THE SCREEN. WITH THAT KIND OF A LIGHT SOURCE, YOU HAD TO BE IN THE PROJECTION ROOM…ALL THE TIME. YOU COULDN’T LEAVE THE PROJECTION ROOM WHILE THE MOVIE WAS RUNNING. AS A MATTER OF FACT, PROJECTION ROOMS HAD TOILETS IN THEM DURING THAT PERIOD. CHANGING THAT OUT WAS ONE OF THE FIRST THINGS THAT I DID, BECAUSE IT MADE IT A LOT EASIER TO GET OUT OF THE PROJECTION ROOM. THE OTHER THING – THE FILM WAS RUN OFF OF 18 20-MINUTE REELS AT THAT TIME, SO THERE WERE 2 PROJECTORS. WE WERE CONSTANTLY CHANGING BACK AND FORTH, FROM ONE PROJECTOR TO THE OTHER. GETTING RID OF THE CARBON ARC LAMP HOUSES, AND INSTALLING A PLATTER SYSTEM, WHICH ALLOWED…THE PROGRAM TO BE SPLICED TOGETHER ON THE SINGLE REELS.” FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPT AND HISTORIES OF THE WATERTON THEATRE, PLEASE SEE THE PERMANENT FILE P20120038001-GA.
Catalogue Number
P20120038001
Acquisition Date
2012-10
Collection
Museum
Images
Less detail
Other Name
"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

41 records – page 1 of 3.