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11 records – page 1 of 1.

Date Range From
1950
Date Range To
1963
Material Type
Artifact
Materials
STEEL, PLASTIC, RUBBER
Catalogue Number
P20180010001
  2 images  
Material Type
Artifact
Date Range From
1950
Date Range To
1963
Materials
STEEL, PLASTIC, RUBBER
No. Pieces
1
Height
38.9
Length
48.5
Width
31.5
Description
TRANSMITTER RADIO WITH SILVER STEEL FRONT AND METAL MESH BODY. FRONT PANEL HAS METER GAUGE IN UPPER LEFT CORNER WITH BLACK FRAMING AND CLEAR COVER, LABEL ABOVE IN WHITE “EXCITER BUFFER, MULT.—DRIVER GRID” AND BLACK LABEL ON METER “D.C. MILLIAMPERES, STARK, SERIAL MODEL 46”; METER GAUGE IN UPPER RIGHT CORNER HAS BLACK FRAMING AND CLEAR COVER, WITH WHITE LABEL ABOVE “R.F. FINAL, POWER AMPLIFIER PLATE” AND BLACK LABEL ON METER “D.C. MILLIAMPERES, TRIPLET, MODEL 327-T, PATENT 2,346,521, 2,364,724 OTHERS PENDING”. RED PLATE AT TOP EDGE WITH WHITE TEXT “ED REDEKOPP” ABOVE WHITE LABEL “TRANSMITTER, VAR. FREQ. OSC.”; CENTER METER GAUGE FRAMED IN BLACK WITH CLEAR COVER AND BLACK KNOB WITH SILVER TRIM BENEATH, METER HAS BLACK LABEL TEXT “NATIONAL CO. INC, MALDEN, MASS, NATIONAL VELVET VERNIER DIAL, TYPE LCN, PATENT [ILLEGIBLE], J475-3”. FRONT HAS BLACK DIAL WITH SILVER ENGRAVED PLATE AROUND ON LEFT SIDE WITH WHITE LABEL “EXCITATION CONTROL”; DIAL ON RIGHT SIDE HAS BLACK HANDLE AND SILVER ENGRAVED PLATE AROUND WITH WHITE LABEL “P.A. PLATE TUNING”. BOTTOM OF FRONT HAS SIX DIALS WITH GREY KNOBS AND SILVER PLATES AROUND, WITH WHITE LABELS ABOVE READING, LEFT TO RIGHT, “METER SWITCH, DR. PLATE TUNING, V.F.O., TEST—OPERATE C.W. A.M., BAND SWITCH HIGH LOW, ANT. COUPLING”. LOWER LEFT CORNER HAS BLACK DIAL WITH SILVER ENGRAVED PLATE AROUND AND WHITE LABEL ABOVE “DR. GRID TUNING”. BOTTOM CENTER OF FRONT HAS THREE SILVER SWITCHES WITH WHITE LABELS, LEFT TO RIGHT, “FILS./CEF, LOW/OFF, HIGH/OFF”. BACK LOWER EDGE HAS SILVER PLATE WITH THREE BLACK PLUGS-INS AND TWO FITTINGS; LOWER RIGHT CORNER HAS WHITE PLASTIC MOUNT WITH FIVE SILVER SCREWS, HANDWRITTEN PENCIL TEXT WRITTEN BESIDE SCREWS ON LEFT AND RIGHT SIDES, LEFT FROM TOP TO BOTTOM, “GOD, B+, GRID” AND RIGHT “H.COV”. LOWER RIGHT CORNER HAS TWO METAL FITTINGS WITH HANDWRITTEN PENCIL TEXT BELOW “KEYER, VFO” AND BRASS KNOB ABOVE. TRANSMITTER SHOWS MINOR SIGN OF WEAR AT BACK; OVERALL EXCELLENT CONDITION.
Subjects
TELECOMMUNICATION T&E
SOUND COMMUNICATION T&E
Historical Association
LEISURE
History
ON MAY 10, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ED REDEKOPP REGARDING HIS DONATION OF AN AMATEUR TRANSMITTER RADIO AND ACCESSORIES. REDEKOPP BEGAN PURSUING HIS INTEREST IN RADIO TRANSMISSION IN THE 1950S. ON THE RADIO TRANSMITTER, REDEKOPP NOTED, “THE TRANSMITTER HAD TO BE SERVICED REGULARLY…I WOULD SAY PROBABLY ’53 [I BUILT THIS RADIO], MID TO LATE ‘50S.” “I WOULD SAY [I USED THIS] PROBABLY SIX YEARS, GIVE OR TAKE. IT’S SOMETHING THAT I COULD HAVE USED FOR A LONG TIME BUT HAD TO GIVE UP…” “THERE’S SEVERAL DIFFERENT REASONS FOR DIALS. [ONE DIAL] IS FOR TUNING THE PLATE. THERE’S A LIGHTBULB IN THERE THAT YOU THROW ON THAT REDUCES THE AC INPUT VOLTAGE TO A LOW VOLTAGE SO THAT YOU CAN TUNE THE PLATE OUTPUT. IF YOU DON’T GET THAT PLATE OUTPUT TUNED QUICKLY, THAT 813 FINAL TUBE WILL JUST GLOW RED HOT AND MELT AND COLLAPSE. HIGH POWER, HIGH WATTAGE. THAT’S THE KEY. I USUALLY KNOW WHERE IT HAS TO BE, AND THEN IT’LL GIVE ME THE READING [ON A METER]. [ONE DIAL] IS THE FREQUENCY. YOU GOTTA WORK FOUR DIFFERENT BANDS, AND THE CERTAIN FREQUENCIES THAT YOU COVER, YOU GOTTA BE RIGHT IN THERE, DEAD ON. YOU CAN’T BE OUT OF CERTAIN FREQUENCIES THAT ARE GOVERNMENT ALLOCATED FOR AMATEUR RADIO ONLY. EIGHTY METERS STARTS AT 3.5 MEGACYCLES AND YOU GOTTA WORK WITHIN THAT AND UP. IF YOU’RE BELOW OR ABOVE WHAT YOU’RE SUPPOSED TO BE, YOU CAN BE IN BIG TROUBLE.” “THERE’S A TUBE IN THE BOTTOM…YOU CAN’T SEE [IT]. THERE’S A FAN AT THE BOTTOM TO COOL THE THING ’CAUSE IT GETS HOT! THERE’S ALL THESE THINGS TO CONSIDER, BUT THAT’S ALL BEEN TAKEN CARE OF BY THE ENGINEER, AND I DESIGNED IT ACCORDING TO SPECIFICATIONS. THAT 813 IS CAPABLE OF 500 WATTS. IT’S A POWERFUL TUBE; IT’S A BIG BOTTLE. BUT, I DON’T HAVE A…POWER TO DRIVE IT. I’VE GOT OIL FILTER CAPACITORS WHICH ARE ALL WAR SURPLUS. I GOT [THEM] FOR CHEAP AND THEY’RE HIGH VOLTAGE-–HIGHER THAN YOUR STANDARD YOU CAN BUY FOR RADIOS; YOU COULD NEVER USE THEM. EVEN NOW, I DON’T KNOW WHETHER YOU COULD EVER BUY AN OIL FILTER CAPACITOR; THAT WAS ALL WAR SURPLUS STUFF.” “A LOT OF THE STUFF AT THE TIME WAS STILL WAR SURPLUS STUFF. THEY USED TO HAVE WAR SURPLUS STORES. YOU COULD BUY STUFF CHEAP! A DIAL SCALE LIKE [THOSE ON THE TRANSMITTER] OR METERS…YOU [WILL] PAY THE PRICE. THERE WERE SO MANY OTHER THINGS THAT WERE CHEAP. A PERSON TOOK ADVANTAGE OF IT AT THE TIME, BUT THAT’S PASSÉ. THAT’S FINISHED; NO MORE.” “[WHEN YOU’RE DIALING SOMEONE TO TALK] IT GOES THROUGH THE MODULATOR…THROUGH THE TRANSMITTER AND AT THAT FREQUENCY. THEY’LL HEAR YOU AT THAT FREQUENCY. YOU’LL HEAR AMATEUR RADIO STATIONS CALLING TO TALK TO SOMEBODY LIKE, “CQ, CQ” MEANS ‘CALLING,’ AND THEN YOU SIGN YOUR STATION. THESE CALLS, IN CANADA, GO NUMERICALLY. V7S ARE ALL [BRITISH COLUMBIA]; V6S ARE ALBERTANS; V5, SASKATCHEWAN; AND V4 AND SO ON DOWN THE LINE.” REDEKOPP DISCUSSED HIS OWN INTEREST IN RADIO CONSTUCTION AND TRANSMISSION, AND HOW HE BEGAN WORKING WITH RADIOS, RECALLING, “I LIVED ON THE FARM IN VAUXHALL. MY DAD’S FARM. I WAS NEVER A FARMER; I’D HAVE STARVED TO DEATH IF I HAD FARMED. BUT, ANOTHER FARMER, WHO WAS TOTALLY ELECTRONICALLY ILLITERATE, HAD AN UNCLE, DORY MALENBERG, THE ASSISTANT ENGINEER AT CJOC. HE WANTED HIM TO GET ON AMATEUR RADIO SO THAT THEY COULD TALK BACK AND FORTH THAT WAY. THIS FARMER – GOT ME INTERESTED IN TALKING ABOUT AMATEUR RADIO WHICH I KNEW NOTHING ABOUT AT THE TIME. I WAS INTO ELECTRONICS BUT NOT AMATEUR RADIO; IT WAS RADIO SERVICING. HE SAYS, “YOU WANT TO GET ON THE AIR,” HE SAYS, “AND WE CAN TALK AND GET A TRANSMITTER GOING.” IT ALL SOUNDED VERY FASCINATING AND INTERESTING. BUT, I’M ON THE FARM, HERE. WE DON’T EVEN HAVE RURAL ELECTRIFICATION. I [SAID], “HOW CAN I EVER DO THAT?” THERE ARE METHODS AND WAYS…YOU TELL ME ABOUT IT. HE FINALLY CONVINCED ME. I [HAD TO] LOOK INTO IT. AND THAT’S WHAT I DID. HE WAS NO HELP BECAUSE HE KNEW NO ELECTRONICS AT ALL BUT I GOT INFORMATION THROUGH BOOKS…AND STARTED STUDYING THE SUBJECT OF AMATEUR RADIO AS A HOBBY. IT BECAME MORE AND MORE FASCINATING, AND MORE RIVETING THE MORE I READ ABOUT IT. [IT SOUNDED] LIKE SOMETHING I [WANTED] TO DO.” “I HAD PREVIOUS ELECTRONIC EXPERIENCE IN TAKING A COURSE WITH THE NATIONAL RADIO INSTITUTE TO BECOME A RADIO SERVICEMAN. I HAD THE BASICS, THE FUNDAMENTALS, AND I KNEW HOW TO DO IT. EVEN THE FIRST TRANSMITTER THAT I BUILT WAS PRETTY SIMPLE, AND THIS [TRANSMITTER] WAS MY FINAL. I HAVE THE MANUAL FOR IT…FROM THE W1AW, THE AMATEUR RADIO RELAY LEAGUE-–THE ENGINEER THAT DESIGNED IT-–AND I BUILT IT FROM THAT, FROM SCRATCH, GETTING ALL THE PARTS TOGETHER. IT WAS A CHALLENGE, VERY ENJOYABLE, BUT REWARDING IN THE END.” “I STARTED TO GET COMPONENTS AND PARTS TOGETHER TO BUILD MY FIRST TRANSMITTER AND MY FIRST RECEIVER. THE CRAZY THING WAS YOU COULD BUILD A POWER SUPPLY AND RUN IT OFF A SIX-VOLT CAR BATTERY. OR [A] TRACTOR BATTERY. THEY WERE ALL SIX-VOLT AT THE TIME; TWELVE VOLTS CAME LATER. I GOT MY VOLTAGES THAT I NEEDED THROUGH THE POWER SUPPLY OFF [THIS] BATTERY. THE NEXT THING I KNOW…I’M [GETTING] SOMEWHERE. THE NEXT THING I KNEW, I GOT INTO IT AND…NOW I GOT IT BUILT AND I CAN’T USE IT. I [HAVE TO] GET A LICENSE FIRST.” “ELMER JOHNSON, THE OTHER FARMER WHO GOT ME INTO IT, [SAID], “I’M GOING TO GO TO CALGARY [TO] WRITE MY EXAM.” SO HE [SAID], “DO YOU WANT TO COME ALONG?” I [SAID], “SURE, I’LL COME ALONG.” BUT, THE CODE…I CAN’T USE THE HAND KEY AT FIFTEEN WORDS A MINUTE AND I WANT TO GET MY FIRST CLASS, NOT MY SECOND CLASS, BECAUSE I COULDN’T USE THE [MICROPHONE]. I SAID, “WELL, I’LL GO WITH [YOU]. I’LL TAKE THE DOW KEY WITH ME, AND I’LL TAKE THE HAND KEY WITH ME, TOO, BUT I’M NOT GOING TO PASS WITH THAT.” I TOLD THE INSPECTOR, “LOOK, I’M HERE TO WRITE MY TEST, BUT I SEE THE REQUIREMENT IS FIFTEEN WORDS A MINUTE WITH THE HAND KEY.” I SAID, “MY CLUMSY HAND WON’T HANDLE THAT.” I [SAID], “AND IF I HAVE TO USE IT, I WON’T EVEN WRITE MY TEST,” I [SAID], “I’M FINISHED.” “WELL,” HE [SAID] TO ME, “I GUESS WE CAN MAKE AN EXCEPTION.” SO HE ALLOWED ME TO USE THE SEMI-AUTOMATIC KEY, WHICH WAS A PIECE OF CAKE. I WENT THROUGH THAT WITH FLYING COLOURS.” “THEN, HE QUESTIONED US ON TECHNOLOGY. HE STARTED WITH ELMER FIRST, UNFORTUNATELY. THE FIRST QUESTION HE ASKED HIM WAS ABOUT AS SIMPLE AN ELECTRONIC QUESTION AS YOU CAN ASK. I CAN’T REMEMBER THE QUESTION, AS A MATTER OF FACT; THAT’S THE BAD PART. BUT, HE COULDN’T ANSWER IT. THE INSPECTOR LOOKED AT HIM AND HE SAID, “YEAH, OKAY,” HE [SAID], “I UNDERSTAND.” HE NEVER GOT A SECOND [QUESTION]; HE FAILED RIGHT THERE. [ELMER] COULD PASS THE CODE, BUT THAT DIDN’T DO HIM ANY GOOD IF HE COULDN’T DO THE TECHNICAL. THEN HE GOT ASKING ME, AND OF COURSE I HAD NO PROBLEM ’CAUSE I WAS CONVERSANT IN ELECTRONICS. I GOT MY FIRST CLASS TICKET USING THE DOW KEY.” “WHEN WE MOVED HERE [AND] BOUGHT THIS HOUSE, I HAD A FAMILY TO LOOK AFTER. I HAD A JOB DURING THE DAY, AND IT WAS TOO MUCH-–I SPENT TOO MUCH TIME ON THE AIR, ON THE RADIO. I’D BE UP SOMETIMES IN THE NIGHT, VERY RARELY, BUT UP TO FOUR IN THE MORNING SOMETIMES, TALKING TO AUSTRALIANS AND NEW ZEALANDERS. AS A WORKING STIFF…I HAD A FAMILY TO LOOK AFTER; THEY NEEDED ATTENTION. I COULDN’T SIMPLY TAKE THE TIME AND BE ON THE AIR ALL THE TIME WITH MY HOBBY. WHEN WE MOVED HERE MY WIFE [SAID], “NO, YOU’RE NOT GONNA GO BACK ON AGAIN.” I HAD A TOWER I WAS GOING TO SET UP, AND SHE [SAID], “NO, YOU’VE GOT A FAMILY TO LOOK AFTER.” AND I [SAID], “YES, YOU ARE CORRECT. I SHALL GIVE IT UP.” THAT’S WHAT I DID, FIFTY-FIVE YEARS AGO.” “BEING ABLE TO CONTACT ANYONE IN THE WORLD, THAT IS OTHER AMATEUR RADIO OPERATORS…WAS VERY INTRIGUING. YOU TALK TO VARIOUS PEOPLE WITH VARIOUS LANGUAGES. WE HAD A Q CODE…WHEN YOU DIDN’T UNDERSTAND THE LANGUAGE, YOU COULD USE THE Q CODE…IT WAS FASCINATING BECAUSE YOU CAN TALK TO PEOPLE IN GREENLAND. I TALK TO PEOPLE IN THE DEW LINE, ALL OVER THE WORLD. LATER ON I BUILT MY MODULATOR, AND THEN IT WAS BY PHONE, AND THOSE THAT SPOKE ENGLISH-–AND IN MOST CASES, I MUST SAY, MOST PEOPLE I CONTACTED, KNEW SOME ENGLISH--THAT’S THE AMAZING PART…YOU COULD UNDERSTAND THEM. BUT, IF YOU WERE ON CODE, YOU JUST USE THE MORSE CODE. IT WAS FASCINATING TO TALK TO DIFFERENT PEOPLE ALL OVER THE WORLD.” “I GOT MARRIED AND THEN WE MOVED TO LETHBRIDGE [IN 1953 TO 7 AVE. A.] AND OF COURSE THEN THAT OLD TRANSMITTER WAS OBSOLETE-–DIDN’T USE IT ON BATTERY ANYMORE [BECAUSE] WE [HAD] ELECTRICITY, SO I WENT ON A BIGGER ONE.” “I STARTED WORKING AT CJOC, BUT…I WAS IN THE STUDIO AND I DIDN’T LIKE THE STUDIO WORK. I WANTED TO GET INTO THE TRANSMITTER BUT THERE WAS NO OPENING. I WAS NOT PREPARED-–I WAS TAKING THE RADIO COURSE ON TRANSMITTERS AS WELL, [BECAUSE] I WANTED TO GET INTO THE STATION. THERE WAS NO OPENING, AND THERE WAS ONLY ONE STATION. TODAY I’M GLAD THAT I DIDN’T GET IN FOR A NUMBER OF REASONS.” “INITIALLY I DON’T THINK I WAS EVEN ON THE AIR. IT ALL TOOK TIME. YOU [HAVE TO] BUILD IT…BY THE TIME YOU GET THAT ALL DONE, THERE’S A LAPSE OF TIME WHERE YOU’RE NOT EVEN ON THE AIR. AS LONG AS YOU KEEP YOUR LICENSE UP…MY CERTIFICATE IS PERMANENT BUT MY STATION LICENSE HAD TO BE RENEWED EVERY YEAR, AT THAT TIME.” “THIS WAS [A] HOBBY, AND MY WIFE WOULD HAVE SAID IT WAS UNNECESSARY. IN A SENSE, SHE’S RIGHT. I [HAVE TO] ADMIT THAT…AND FOR GOOD REASON.” “KEEPING THE STATION LICENSE UP THERE, THAT WAS NOT A PROBLEM. YOU CAN KEEP YOUR STATION LICENSE UP, AND I DON’T THINK THEY WOULD CANCEL IT AS LONG AS YOU PAY THE FEE BECAUSE THAT WAS IMPORTANT TO THEM. BUT THEY HAD THEIR RULES, AND I KNOW THAT LATER ON YOU WOULD GET IT PERMANENTLY. WHETHER YOU WERE ON THE AIR OR NOT, I THINK YOU KEPT YOUR LICENSE.” WHEN ASKED HOW MANY PEOPLE IN THE CITY WORKED IN AMATEUR RADIO, REDEKOPP STATED,“TO TELL YOU THE TRUTH, TOO MANY OF THEM HAVE PASSED AWAY. I HAPPEN TO BE A LITTLE BIT OLDER THAN MOST OF THEM. [I’M] NINETY-THREE. THERE ARE STILL SOME AROUND. I HAVEN’T BEEN AT THE AMATEUR RADIO CLUB AT THE SENIORS’ CENTRE IN A NUMBER OF YEARS NOW. I USED TO GO THERE OCCASIONALLY.” “I THINK [THERE ARE] PROBABLY MORE [PEOPLE] THAN I WOULD REALIZE. THERE ARE TWO ENGINEERS THAT ARE RETIRED. THEY CAN FIX RADIOS.” ON DONATING HIS RADIO TO THE MUSEUM, REDEKOPP ELABORATED, “I’M GETTING TO BE OF AN AGE WHERE I WON’T BE AROUND MUCH LONGER. OF COURSE, I CAN’T DETERMINE MY DAYS BUT I’M NINETY-THREE YEARS OLD, AND I’VE GOT TO DISPOSE OF THIS BECAUSE NO ONE ELSE WILL EVER USE IT. IT WILL GO TO THE DUMP PROBABLY, OTHERWISE, AND THAT’S NO PLACE FOR A TRANSMITTER LIKE THIS. I’VE ENJOYED IT A LOT, AND HOPEFULLY SOMEONE ELSE CAN SEE SOME HISTORY OR PAST HISTORY OF AMATEUR RADIO AND THE TRANSMITTERS THAT WERE BUILT BY THE PEOPLE THAT USED IT. A LOT OF PEOPLE THAT WERE NOT CAPABLE OF BUILDING THEIR OWN PURCHASED COMMERCIAL EQUIPMENT, WHICH IS FINE AND IT WAS LEGAL, BUT AMATEUR RADIO WAS MEANT TO BE JUST THAT-–FOR AMATEURS, BUILDING THEIR OWN AND ENJOYING IT.” “I THOUGHT PERHAPS SOMEONE WOULD APPRECIATE SEEING SOMETHING SOMEONE BUILT HIMSELF, AND USED, AND COMMUNICATED WITH WORLD-WIDE, A TRANSMITTER. THAT IS WHAT IT WAS ALL ABOUT DURING THE YEARS THAT I WAS ACTIVE ON THE AIR.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND PHOTOGRAPHS, PLEASE SEE THE PERMANENT FILE P20180010001-GA.
Catalogue Number
P20180010001
Acquisition Date
2018-05
Collection
Museum
Images
Less detail
Date Range From
1950
Date Range To
1963
Material Type
Artifact
Materials
STEEL, PLASTIC, ALUMINUM
Catalogue Number
P20180010002
  2 images  
Material Type
Artifact
Date Range From
1950
Date Range To
1963
Materials
STEEL, PLASTIC, ALUMINUM
No. Pieces
1
Height
22.5
Diameter
12.8
Description
RADIO MICROPHONE FIXED TO BLACK PLASTIC CORD WITH SILVER STEEL FITTINGS. MICROPHONE BASE IS GREY METAL WITH FIXED WOODEN STAND PAINTED GREY. MICROPHONE HAS GREY METAL CASING WITH SILVER GRILL FITTED OVER MICROPHONE; PLATE AT BASE OF MICROPHONE HEAD IS SILVER AND BLACK METAL WITH SILVER TEXT “CANADIAN ASTATIC LIMITED, TORONTO, CANADA, MADE IN CANADA, JT 40, PATENT NOTICE INSIDE”. BLACK CORD IS ATTACHED TO BACK BASE OF MICROPHONE CASING WITH SCREW FITTING. WOODEN STAND HAS PAINT CHIPPED; GREY BASE IS SCUFFED AND STAINED; STEEL FITTING AT END OF CORD IS TARNISHED AND STEEL FITTING SECURED TO MICRORPHONE ON CORD IS CORRODED; OVERALL VERY GOOD CONDITION.
Subjects
SOUND COMMUNICATION T&E
Historical Association
LEISURE
History
ON MAY 10, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ED REDEKOPP REGARDING HIS DONATION OF AN AMATEUR TRANSMITTER RADIO AND ACCESSORIES. REDEKOPP BEGAN PURSUING HIS INTEREST IN RADIO TRANSMISSION IN THE 1950S. ON THE MICROPHONE, REDEKOPP NOTED, “[IT WAS] JUST A CRYSTAL MICROPHONE. CHEAP MICROPHONE. CRYSTALS WERE CHEAP. A DYNAMIC MICROPHONE GETS A LITTLE BIT MORE INVOLVED. THIS IS THE CHEAPEST WAY OF GOING, AND IT’S A HIGH OUTPUT, AND IT’S NOT OF HIGH QUALITY. MICROPHONES-–THE HIGHS ARE A BIT PEAKISH. THERE ARE DIFFERENT LEVELS. IT’S A GOOD MICROPHONE FOR CONVERSATION.” REDEKOPP DISCUSSED HIS OWN INTEREST IN RADIO CONSTUCTION AND TRANSMISSION, AND HOW HE BEGAN WORKING WITH RADIOS, RECALLING, “I LIVED ON THE FARM IN VAUXHALL. MY DAD’S FARM. I WAS NEVER A FARMER; I’D HAVE STARVED TO DEATH IF I HAD FARMED. BUT, ANOTHER FARMER, WHO WAS TOTALLY ELECTRONICALLY ILLITERATE, HAD AN UNCLE, DORY MALENBERG, THE ASSISTANT ENGINEER AT CJOC. HE WANTED HIM TO GET ON AMATEUR RADIO SO THAT THEY COULD TALK BACK AND FORTH THAT WAY. THIS FARMER – GOT ME INTERESTED IN TALKING ABOUT AMATEUR RADIO WHICH I KNEW NOTHING ABOUT AT THE TIME. I WAS INTO ELECTRONICS BUT NOT AMATEUR RADIO; IT WAS RADIO SERVICING. HE SAYS, “YOU WANT TO GET ON THE AIR,” HE SAYS, “AND WE CAN TALK AND GET A TRANSMITTER GOING.” IT ALL SOUNDED VERY FASCINATING AND INTERESTING. BUT, I’M ON THE FARM, HERE. WE DON’T EVEN HAVE RURAL ELECTRIFICATION. I [SAID], “HOW CAN I EVER DO THAT?” THERE ARE METHODS AND WAYS…YOU TELL ME ABOUT IT. HE FINALLY CONVINCED ME. I [HAD TO] LOOK INTO IT. AND THAT’S WHAT I DID. HE WAS NO HELP BECAUSE HE KNEW NO ELECTRONICS AT ALL BUT I GOT INFORMATION THROUGH BOOKS…AND STARTED STUDYING THE SUBJECT OF AMATEUR RADIO AS A HOBBY. IT BECAME MORE AND MORE FASCINATING, AND MORE RIVETING THE MORE I READ ABOUT IT. [IT SOUNDED] LIKE SOMETHING I [WANTED] TO DO.” “I HAD PREVIOUS ELECTRONIC EXPERIENCE IN TAKING A COURSE WITH THE NATIONAL RADIO INSTITUTE TO BECOME A RADIO SERVICEMAN. I HAD THE BASICS, THE FUNDAMENTALS, AND I KNEW HOW TO DO IT. EVEN THE FIRST TRANSMITTER THAT I BUILT WAS PRETTY SIMPLE, AND THIS [TRANSMITTER] WAS MY FINAL. I HAVE THE MANUAL FOR IT…FROM THE W1AW, THE AMATEUR RADIO RELAY LEAGUE-–THE ENGINEER THAT DESIGNED IT-–AND I BUILT IT FROM THAT, FROM SCRATCH, GETTING ALL THE PARTS TOGETHER. IT WAS A CHALLENGE, VERY ENJOYABLE, BUT REWARDING IN THE END.” “I STARTED TO GET COMPONENTS AND PARTS TOGETHER TO BUILD MY FIRST TRANSMITTER AND MY FIRST RECEIVER. THE CRAZY THING WAS YOU COULD BUILD A POWER SUPPLY AND RUN IT OFF A SIX-VOLT CAR BATTERY. OR [A] TRACTOR BATTERY. THEY WERE ALL SIX-VOLT AT THE TIME; TWELVE VOLTS CAME LATER. I GOT MY VOLTAGES THAT I NEEDED THROUGH THE POWER SUPPLY OFF [THIS] BATTERY. THE NEXT THING I KNOW…I’M [GETTING] SOMEWHERE. THE NEXT THING I KNEW, I GOT INTO IT AND…NOW I GOT IT BUILT AND I CAN’T USE IT. I [HAVE TO] GET A LICENSE FIRST.” “ELMER JOHNSON, THE OTHER FARMER WHO GOT ME INTO IT, [SAID], “I’M GOING TO GO TO CALGARY [TO] WRITE MY EXAM.” SO HE [SAID], “DO YOU WANT TO COME ALONG?” I [SAID], “SURE, I’LL COME ALONG.” BUT, THE CODE…I CAN’T USE THE HAND KEY AT FIFTEEN WORDS A MINUTE AND I WANT TO GET MY FIRST CLASS, NOT MY SECOND CLASS, BECAUSE I COULDN’T USE THE [MICROPHONE]. I SAID, “WELL, I’LL GO WITH [YOU]. I’LL TAKE THE DOW KEY WITH ME, AND I’LL TAKE THE HAND KEY WITH ME, TOO, BUT I’M NOT GOING TO PASS WITH THAT.” I TOLD THE INSPECTOR, “LOOK, I’M HERE TO WRITE MY TEST, BUT I SEE THE REQUIREMENT IS FIFTEEN WORDS A MINUTE WITH THE HAND KEY.” I SAID, “MY CLUMSY HAND WON’T HANDLE THAT.” I [SAID], “AND IF I HAVE TO USE IT, I WON’T EVEN WRITE MY TEST,” I [SAID], “I’M FINISHED.” “WELL,” HE [SAID] TO ME, “I GUESS WE CAN MAKE AN EXCEPTION.” SO HE ALLOWED ME TO USE THE SEMI-AUTOMATIC KEY, WHICH WAS A PIECE OF CAKE. I WENT THROUGH THAT WITH FLYING COLOURS.” “THEN, HE QUESTIONED US ON TECHNOLOGY. HE STARTED WITH ELMER FIRST, UNFORTUNATELY. THE FIRST QUESTION HE ASKED HIM WAS ABOUT AS SIMPLE AN ELECTRONIC QUESTION AS YOU CAN ASK. I CAN’T REMEMBER THE QUESTION, AS A MATTER OF FACT; THAT’S THE BAD PART. BUT, HE COULDN’T ANSWER IT. THE INSPECTOR LOOKED AT HIM AND HE SAID, “YEAH, OKAY,” HE [SAID], “I UNDERSTAND.” HE NEVER GOT A SECOND [QUESTION]; HE FAILED RIGHT THERE. [ELMER] COULD PASS THE CODE, BUT THAT DIDN’T DO HIM ANY GOOD IF HE COULDN’T DO THE TECHNICAL. THEN HE GOT ASKING ME, AND OF COURSE I HAD NO PROBLEM ’CAUSE I WAS CONVERSANT IN ELECTRONICS. I GOT MY FIRST CLASS TICKET USING THE DOW KEY.” “WHEN WE MOVED HERE [AND] BOUGHT THIS HOUSE, I HAD A FAMILY TO LOOK AFTER. I HAD A JOB DURING THE DAY, AND IT WAS TOO MUCH-–I SPENT TOO MUCH TIME ON THE AIR, ON THE RADIO. I’D BE UP SOMETIMES IN THE NIGHT, VERY RARELY, BUT UP TO FOUR IN THE MORNING SOMETIMES, TALKING TO AUSTRALIANS AND NEW ZEALANDERS. AS A WORKING STIFF…I HAD A FAMILY TO LOOK AFTER; THEY NEEDED ATTENTION. I COULDN’T SIMPLY TAKE THE TIME AND BE ON THE AIR ALL THE TIME WITH MY HOBBY. WHEN WE MOVED HERE MY WIFE [SAID], “NO, YOU’RE NOT GONNA GO BACK ON AGAIN.” I HAD A TOWER I WAS GOING TO SET UP, AND SHE [SAID], “NO, YOU’VE GOT A FAMILY TO LOOK AFTER.” AND I [SAID], “YES, YOU ARE CORRECT. I SHALL GIVE IT UP.” THAT’S WHAT I DID, FIFTY-FIVE YEARS AGO.” “BEING ABLE TO CONTACT ANYONE IN THE WORLD, THAT IS OTHER AMATEUR RADIO OPERATORS…WAS VERY INTRIGUING. YOU TALK TO VARIOUS PEOPLE WITH VARIOUS LANGUAGES. WE HAD A Q CODE…WHEN YOU DIDN’T UNDERSTAND THE LANGUAGE, YOU COULD USE THE Q CODE…IT WAS FASCINATING BECAUSE YOU CAN TALK TO PEOPLE IN GREENLAND. I TALK TO PEOPLE IN THE DEW LINE, ALL OVER THE WORLD. LATER ON I BUILT MY MODULATOR, AND THEN IT WAS BY PHONE, AND THOSE THAT SPOKE ENGLISH-–AND IN MOST CASES, I MUST SAY, MOST PEOPLE I CONTACTED, KNEW SOME ENGLISH--THAT’S THE AMAZING PART…YOU COULD UNDERSTAND THEM. BUT, IF YOU WERE ON CODE, YOU JUST USE THE MORSE CODE. IT WAS FASCINATING TO TALK TO DIFFERENT PEOPLE ALL OVER THE WORLD.” “I GOT MARRIED AND THEN WE MOVED TO LETHBRIDGE [IN 1953 TO 7 AVE. A.] AND OF COURSE THEN THAT OLD TRANSMITTER WAS OBSOLETE-–DIDN’T USE IT ON BATTERY ANYMORE [BECAUSE] WE [HAD] ELECTRICITY, SO I WENT ON A BIGGER ONE.” “I STARTED WORKING AT CJOC, BUT…I WAS IN THE STUDIO AND I DIDN’T LIKE THE STUDIO WORK. I WANTED TO GET INTO THE TRANSMITTER BUT THERE WAS NO OPENING. I WAS NOT PREPARED-–I WAS TAKING THE RADIO COURSE ON TRANSMITTERS AS WELL, [BECAUSE] I WANTED TO GET INTO THE STATION. THERE WAS NO OPENING, AND THERE WAS ONLY ONE STATION. TODAY I’M GLAD THAT I DIDN’T GET IN FOR A NUMBER OF REASONS.” “INITIALLY I DON’T THINK I WAS EVEN ON THE AIR. IT ALL TOOK TIME. YOU [HAVE TO] BUILD IT…BY THE TIME YOU GET THAT ALL DONE, THERE’S A LAPSE OF TIME WHERE YOU’RE NOT EVEN ON THE AIR. AS LONG AS YOU KEEP YOUR LICENSE UP…MY CERTIFICATE IS PERMANENT BUT MY STATION LICENSE HAD TO BE RENEWED EVERY YEAR, AT THAT TIME.” “THIS WAS [A] HOBBY, AND MY WIFE WOULD HAVE SAID IT WAS UNNECESSARY. IN A SENSE, SHE’S RIGHT. I [HAVE TO] ADMIT THAT…AND FOR GOOD REASON.” “KEEPING THE STATION LICENSE UP THERE, THAT WAS NOT A PROBLEM. YOU CAN KEEP YOUR STATION LICENSE UP, AND I DON’T THINK THEY WOULD CANCEL IT AS LONG AS YOU PAY THE FEE BECAUSE THAT WAS IMPORTANT TO THEM. BUT THEY HAD THEIR RULES, AND I KNOW THAT LATER ON YOU WOULD GET IT PERMANENTLY. WHETHER YOU WERE ON THE AIR OR NOT, I THINK YOU KEPT YOUR LICENSE.” WHEN ASKED HOW MANY PEOPLE IN THE CITY WORKED IN AMATEUR RADIO, REDEKOPP STATED,“TO TELL YOU THE TRUTH, TOO MANY OF THEM HAVE PASSED AWAY. I HAPPEN TO BE A LITTLE BIT OLDER THAN MOST OF THEM. [I’M] NINETY-THREE. THERE ARE STILL SOME AROUND. I HAVEN’T BEEN AT THE AMATEUR RADIO CLUB AT THE SENIORS’ CENTRE IN A NUMBER OF YEARS NOW. I USED TO GO THERE OCCASIONALLY.” “I THINK [THERE ARE] PROBABLY MORE [PEOPLE] THAN I WOULD REALIZE. THERE ARE TWO ENGINEERS THAT ARE RETIRED. THEY CAN FIX RADIOS.” ON DONATING HIS RADIO TO THE MUSEUM, REDEKOPP ELABORATED, “I’M GETTING TO BE OF AN AGE WHERE I WON’T BE AROUND MUCH LONGER. OF COURSE, I CAN’T DETERMINE MY DAYS BUT I’M NINETY-THREE YEARS OLD, AND I’VE GOT TO DISPOSE OF THIS BECAUSE NO ONE ELSE WILL EVER USE IT. IT WILL GO TO THE DUMP PROBABLY, OTHERWISE, AND THAT’S NO PLACE FOR A TRANSMITTER LIKE THIS. I’VE ENJOYED IT A LOT, AND HOPEFULLY SOMEONE ELSE CAN SEE SOME HISTORY OR PAST HISTORY OF AMATEUR RADIO AND THE TRANSMITTERS THAT WERE BUILT BY THE PEOPLE THAT USED IT. A LOT OF PEOPLE THAT WERE NOT CAPABLE OF BUILDING THEIR OWN PURCHASED COMMERCIAL EQUIPMENT, WHICH IS FINE AND IT WAS LEGAL, BUT AMATEUR RADIO WAS MEANT TO BE JUST THAT-–FOR AMATEURS, BUILDING THEIR OWN AND ENJOYING IT.” “I THOUGHT PERHAPS SOMEONE WOULD APPRECIATE SEEING SOMETHING SOMEONE BUILT HIMSELF, AND USED, AND COMMUNICATED WITH WORLD-WIDE, A TRANSMITTER. THAT IS WHAT IT WAS ALL ABOUT DURING THE YEARS THAT I WAS ACTIVE ON THE AIR.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND PHOTOGRAPHS, PLEASE SEE THE PERMANENT FILE P20180010001-GA.
Catalogue Number
P20180010002
Acquisition Date
2018-05
Collection
Museum
Images
Less detail
Other Name
CODE KEY
Date Range From
1950
Date Range To
1963
Material Type
Artifact
Materials
WOOD, METAL, PLASTIC
Catalogue Number
P20180010003
  2 images  
Material Type
Artifact
Other Name
CODE KEY
Date Range From
1950
Date Range To
1963
Materials
WOOD, METAL, PLASTIC
No. Pieces
1
Height
5.5
Length
28.5
Width
10.1
Description
MORSE CODE KEY ATTACHED TO COMPRESSED WOOD BOARD; KEY CODE HAS SILVER UNFINISHED STEEL BODY WITH STEEL FITTINGS AND BAR ATTACHED BLACK METAL KEY. SILVER BAR ATTACHED TO BLACK KEY HAS ENGRAVED TEXT AT BASE “IOF/556”. WOOD BOARD HAS HOLE DRILLED THROUGH ALONG RIGHT EDGE. BOARD HAS HANDWRITTEN TEXT IN UPPER RIGHT CORNER IN PENCIL “E.K. REDEKOPP”. BOARD IS STRATCHED ON TOP AND HAS BLACK STAINING BELOW BLACK KEY; BACK OF BOARD HAS STAINING AND DISCOLORATION; OVERALL VERY GOOD CONDITION.
Subjects
TELECOMMUNICATION T&E
SOUND COMMUNICATION T&E
Historical Association
LEISURE
History
ON MAY 10, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ED REDEKOPP REGARDING HIS DONATION OF AN AMATEUR TRANSMITTER RADIO AND ACCESSORIES. REDEKOPP BEGAN PURSUING HIS INTEREST IN RADIO TRANSMISSION IN THE 1950S. ON THE CODE KEY, REDEKOPP NOTED, “LATER ON, I JUST DROPPED [USING THIS] HAND KEY AND WENT TO [THE] DOW KEY.” “MORSE CODE, WE HAD TO LEARN. THAT WAS A MUST. IN AMATEUR RADIO, YOU STARTED WITH IT. YOU DIDN’T START WITH [THE MICROPHONE] AT ALL. IN FACT, IN SECOND CLASS YOU COULDN’T USE A MICROPHONE; YOU HAD TO USE THE KEY ONLY IN MORSE CODE. [THE DOW KEY] IS WHAT I USED BECAUSE MY AWKWARD HAND WOULD NOT HANDLE THAT [HAND KEY]. [IT] DIDN’T WORK VERY WELL FOR ME. I DON’T KNOW HOW ANYONE CAN SEND FIFTEEN WORDS A MINUTE WITH THAT THING AND THAT’S WHAT THEY USE.” REDEKOPP DISCUSSED HIS OWN INTEREST IN RADIO CONSTUCTION AND TRANSMISSION, AND HOW HE BEGAN WORKING WITH RADIOS, RECALLING, “I LIVED ON THE FARM IN VAUXHALL. MY DAD’S FARM. I WAS NEVER A FARMER; I’D HAVE STARVED TO DEATH IF I HAD FARMED. BUT, ANOTHER FARMER, WHO WAS TOTALLY ELECTRONICALLY ILLITERATE, HAD AN UNCLE, DORY MALENBERG, THE ASSISTANT ENGINEER AT CJOC. HE WANTED HIM TO GET ON AMATEUR RADIO SO THAT THEY COULD TALK BACK AND FORTH THAT WAY. THIS FARMER – GOT ME INTERESTED IN TALKING ABOUT AMATEUR RADIO WHICH I KNEW NOTHING ABOUT AT THE TIME. I WAS INTO ELECTRONICS BUT NOT AMATEUR RADIO; IT WAS RADIO SERVICING. HE SAYS, “YOU WANT TO GET ON THE AIR,” HE SAYS, “AND WE CAN TALK AND GET A TRANSMITTER GOING.” IT ALL SOUNDED VERY FASCINATING AND INTERESTING. BUT, I’M ON THE FARM, HERE. WE DON’T EVEN HAVE RURAL ELECTRIFICATION. I [SAID], “HOW CAN I EVER DO THAT?” THERE ARE METHODS AND WAYS…YOU TELL ME ABOUT IT. HE FINALLY CONVINCED ME. I [HAD TO] LOOK INTO IT. AND THAT’S WHAT I DID. HE WAS NO HELP BECAUSE HE KNEW NO ELECTRONICS AT ALL BUT I GOT INFORMATION THROUGH BOOKS…AND STARTED STUDYING THE SUBJECT OF AMATEUR RADIO AS A HOBBY. IT BECAME MORE AND MORE FASCINATING, AND MORE RIVETING THE MORE I READ ABOUT IT. [IT SOUNDED] LIKE SOMETHING I [WANTED] TO DO.” “I HAD PREVIOUS ELECTRONIC EXPERIENCE IN TAKING A COURSE WITH THE NATIONAL RADIO INSTITUTE TO BECOME A RADIO SERVICEMAN. I HAD THE BASICS, THE FUNDAMENTALS, AND I KNEW HOW TO DO IT. EVEN THE FIRST TRANSMITTER THAT I BUILT WAS PRETTY SIMPLE, AND THIS [TRANSMITTER] WAS MY FINAL. I HAVE THE MANUAL FOR IT…FROM THE W1AW, THE AMATEUR RADIO RELAY LEAGUE-–THE ENGINEER THAT DESIGNED IT-–AND I BUILT IT FROM THAT, FROM SCRATCH, GETTING ALL THE PARTS TOGETHER. IT WAS A CHALLENGE, VERY ENJOYABLE, BUT REWARDING IN THE END.” “I STARTED TO GET COMPONENTS AND PARTS TOGETHER TO BUILD MY FIRST TRANSMITTER AND MY FIRST RECEIVER. THE CRAZY THING WAS YOU COULD BUILD A POWER SUPPLY AND RUN IT OFF A SIX-VOLT CAR BATTERY. OR [A] TRACTOR BATTERY. THEY WERE ALL SIX-VOLT AT THE TIME; TWELVE VOLTS CAME LATER. I GOT MY VOLTAGES THAT I NEEDED THROUGH THE POWER SUPPLY OFF [THIS] BATTERY. THE NEXT THING I KNOW…I’M [GETTING] SOMEWHERE. THE NEXT THING I KNEW, I GOT INTO IT AND…NOW I GOT IT BUILT AND I CAN’T USE IT. I [HAVE TO] GET A LICENSE FIRST.” “ELMER JOHNSON, THE OTHER FARMER WHO GOT ME INTO IT, [SAID], “I’M GOING TO GO TO CALGARY [TO] WRITE MY EXAM.” SO HE [SAID], “DO YOU WANT TO COME ALONG?” I [SAID], “SURE, I’LL COME ALONG.” BUT, THE CODE…I CAN’T USE THE HAND KEY AT FIFTEEN WORDS A MINUTE AND I WANT TO GET MY FIRST CLASS, NOT MY SECOND CLASS, BECAUSE I COULDN’T USE THE [MICROPHONE]. I SAID, “WELL, I’LL GO WITH [YOU]. I’LL TAKE THE DOW KEY WITH ME, AND I’LL TAKE THE HAND KEY WITH ME, TOO, BUT I’M NOT GOING TO PASS WITH THAT.” I TOLD THE INSPECTOR, “LOOK, I’M HERE TO WRITE MY TEST, BUT I SEE THE REQUIREMENT IS FIFTEEN WORDS A MINUTE WITH THE HAND KEY.” I SAID, “MY CLUMSY HAND WON’T HANDLE THAT.” I [SAID], “AND IF I HAVE TO USE IT, I WON’T EVEN WRITE MY TEST,” I [SAID], “I’M FINISHED.” “WELL,” HE [SAID] TO ME, “I GUESS WE CAN MAKE AN EXCEPTION.” SO HE ALLOWED ME TO USE THE SEMI-AUTOMATIC KEY, WHICH WAS A PIECE OF CAKE. I WENT THROUGH THAT WITH FLYING COLOURS.” “THEN, HE QUESTIONED US ON TECHNOLOGY. HE STARTED WITH ELMER FIRST, UNFORTUNATELY. THE FIRST QUESTION HE ASKED HIM WAS ABOUT AS SIMPLE AN ELECTRONIC QUESTION AS YOU CAN ASK. I CAN’T REMEMBER THE QUESTION, AS A MATTER OF FACT; THAT’S THE BAD PART. BUT, HE COULDN’T ANSWER IT. THE INSPECTOR LOOKED AT HIM AND HE SAID, “YEAH, OKAY,” HE [SAID], “I UNDERSTAND.” HE NEVER GOT A SECOND [QUESTION]; HE FAILED RIGHT THERE. [ELMER] COULD PASS THE CODE, BUT THAT DIDN’T DO HIM ANY GOOD IF HE COULDN’T DO THE TECHNICAL. THEN HE GOT ASKING ME, AND OF COURSE I HAD NO PROBLEM ’CAUSE I WAS CONVERSANT IN ELECTRONICS. I GOT MY FIRST CLASS TICKET USING THE DOW KEY.” “WHEN WE MOVED HERE [AND] BOUGHT THIS HOUSE, I HAD A FAMILY TO LOOK AFTER. I HAD A JOB DURING THE DAY, AND IT WAS TOO MUCH-–I SPENT TOO MUCH TIME ON THE AIR, ON THE RADIO. I’D BE UP SOMETIMES IN THE NIGHT, VERY RARELY, BUT UP TO FOUR IN THE MORNING SOMETIMES, TALKING TO AUSTRALIANS AND NEW ZEALANDERS. AS A WORKING STIFF…I HAD A FAMILY TO LOOK AFTER; THEY NEEDED ATTENTION. I COULDN’T SIMPLY TAKE THE TIME AND BE ON THE AIR ALL THE TIME WITH MY HOBBY. WHEN WE MOVED HERE MY WIFE [SAID], “NO, YOU’RE NOT GONNA GO BACK ON AGAIN.” I HAD A TOWER I WAS GOING TO SET UP, AND SHE [SAID], “NO, YOU’VE GOT A FAMILY TO LOOK AFTER.” AND I [SAID], “YES, YOU ARE CORRECT. I SHALL GIVE IT UP.” THAT’S WHAT I DID, FIFTY-FIVE YEARS AGO.” “BEING ABLE TO CONTACT ANYONE IN THE WORLD, THAT IS OTHER AMATEUR RADIO OPERATORS…WAS VERY INTRIGUING. YOU TALK TO VARIOUS PEOPLE WITH VARIOUS LANGUAGES. WE HAD A Q CODE…WHEN YOU DIDN’T UNDERSTAND THE LANGUAGE, YOU COULD USE THE Q CODE…IT WAS FASCINATING BECAUSE YOU CAN TALK TO PEOPLE IN GREENLAND. I TALK TO PEOPLE IN THE DEW LINE, ALL OVER THE WORLD. LATER ON I BUILT MY MODULATOR, AND THEN IT WAS BY PHONE, AND THOSE THAT SPOKE ENGLISH-–AND IN MOST CASES, I MUST SAY, MOST PEOPLE I CONTACTED, KNEW SOME ENGLISH--THAT’S THE AMAZING PART…YOU COULD UNDERSTAND THEM. BUT, IF YOU WERE ON CODE, YOU JUST USE THE MORSE CODE. IT WAS FASCINATING TO TALK TO DIFFERENT PEOPLE ALL OVER THE WORLD.” “I GOT MARRIED AND THEN WE MOVED TO LETHBRIDGE [IN 1953 TO 7 AVE. A.] AND OF COURSE THEN THAT OLD TRANSMITTER WAS OBSOLETE-–DIDN’T USE IT ON BATTERY ANYMORE [BECAUSE] WE [HAD] ELECTRICITY, SO I WENT ON A BIGGER ONE.” “I STARTED WORKING AT CJOC, BUT…I WAS IN THE STUDIO AND I DIDN’T LIKE THE STUDIO WORK. I WANTED TO GET INTO THE TRANSMITTER BUT THERE WAS NO OPENING. I WAS NOT PREPARED-–I WAS TAKING THE RADIO COURSE ON TRANSMITTERS AS WELL, [BECAUSE] I WANTED TO GET INTO THE STATION. THERE WAS NO OPENING, AND THERE WAS ONLY ONE STATION. TODAY I’M GLAD THAT I DIDN’T GET IN FOR A NUMBER OF REASONS.” “INITIALLY I DON’T THINK I WAS EVEN ON THE AIR. IT ALL TOOK TIME. YOU [HAVE TO] BUILD IT…BY THE TIME YOU GET THAT ALL DONE, THERE’S A LAPSE OF TIME WHERE YOU’RE NOT EVEN ON THE AIR. AS LONG AS YOU KEEP YOUR LICENSE UP…MY CERTIFICATE IS PERMANENT BUT MY STATION LICENSE HAD TO BE RENEWED EVERY YEAR, AT THAT TIME.” “THIS WAS [A] HOBBY, AND MY WIFE WOULD HAVE SAID IT WAS UNNECESSARY. IN A SENSE, SHE’S RIGHT. I [HAVE TO] ADMIT THAT…AND FOR GOOD REASON.” “KEEPING THE STATION LICENSE UP THERE, THAT WAS NOT A PROBLEM. YOU CAN KEEP YOUR STATION LICENSE UP, AND I DON’T THINK THEY WOULD CANCEL IT AS LONG AS YOU PAY THE FEE BECAUSE THAT WAS IMPORTANT TO THEM. BUT THEY HAD THEIR RULES, AND I KNOW THAT LATER ON YOU WOULD GET IT PERMANENTLY. WHETHER YOU WERE ON THE AIR OR NOT, I THINK YOU KEPT YOUR LICENSE.” WHEN ASKED HOW MANY PEOPLE IN THE CITY WORKED IN AMATEUR RADIO, REDEKOPP STATED,“TO TELL YOU THE TRUTH, TOO MANY OF THEM HAVE PASSED AWAY. I HAPPEN TO BE A LITTLE BIT OLDER THAN MOST OF THEM. [I’M] NINETY-THREE. THERE ARE STILL SOME AROUND. I HAVEN’T BEEN AT THE AMATEUR RADIO CLUB AT THE SENIORS’ CENTRE IN A NUMBER OF YEARS NOW. I USED TO GO THERE OCCASIONALLY.” “I THINK [THERE ARE] PROBABLY MORE [PEOPLE] THAN I WOULD REALIZE. THERE ARE TWO ENGINEERS THAT ARE RETIRED. THEY CAN FIX RADIOS.” ON DONATING HIS RADIO TO THE MUSEUM, REDEKOPP ELABORATED, “I’M GETTING TO BE OF AN AGE WHERE I WON’T BE AROUND MUCH LONGER. OF COURSE, I CAN’T DETERMINE MY DAYS BUT I’M NINETY-THREE YEARS OLD, AND I’VE GOT TO DISPOSE OF THIS BECAUSE NO ONE ELSE WILL EVER USE IT. IT WILL GO TO THE DUMP PROBABLY, OTHERWISE, AND THAT’S NO PLACE FOR A TRANSMITTER LIKE THIS. I’VE ENJOYED IT A LOT, AND HOPEFULLY SOMEONE ELSE CAN SEE SOME HISTORY OR PAST HISTORY OF AMATEUR RADIO AND THE TRANSMITTERS THAT WERE BUILT BY THE PEOPLE THAT USED IT. A LOT OF PEOPLE THAT WERE NOT CAPABLE OF BUILDING THEIR OWN PURCHASED COMMERCIAL EQUIPMENT, WHICH IS FINE AND IT WAS LEGAL, BUT AMATEUR RADIO WAS MEANT TO BE JUST THAT-–FOR AMATEURS, BUILDING THEIR OWN AND ENJOYING IT.” “I THOUGHT PERHAPS SOMEONE WOULD APPRECIATE SEEING SOMETHING SOMEONE BUILT HIMSELF, AND USED, AND COMMUNICATED WITH WORLD-WIDE, A TRANSMITTER. THAT IS WHAT IT WAS ALL ABOUT DURING THE YEARS THAT I WAS ACTIVE ON THE AIR.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND PHOTOGRAPHS, PLEASE SEE THE PERMANENT FILE P20180010001-GA.
Catalogue Number
P20180010003
Acquisition Date
2018-05
Collection
Museum
Images
Less detail
Other Name
ANTENNA TUNER
Date Range From
1950
Date Range To
1963
Material Type
Artifact
Materials
STEEL, COPPER, CERAMIC
Catalogue Number
P20180010006
  2 images  
Material Type
Artifact
Other Name
ANTENNA TUNER
Date Range From
1950
Date Range To
1963
Materials
STEEL, COPPER, CERAMIC
No. Pieces
1
Height
17
Length
25.5
Width
15.3
Description
HOMEMADE ANTENNA TUNER; GREY, UNFINISHED STEEL BASE WITH TWO COPPER COILS ON TOP SECURED WIT SCREWS AND FOUR WHITE CERAMIC MOUNTS. COILS ARE JOINED TOGETER WITH METAL BAR AT SCREWS IN THE CENTER, AND JOINED BY CLOTH-COVERED WIRE AT SCREWS ON ENDS; CENTER METAL BAR JOINING COILS HAS BLUE PLASTIC COVER WRAPPED AROUND IT. COILS JOINED AT END SCREWS WITH CLOTH-COVERED WIRE TO WHITE METAL MOUNT WITH SILVER METAL DISCS. MOUNT HAS TWO SETS OF NINETEEN DISCS; DISCS ARE SHAPED LIKE HALF-CIRCLES; DISCS ARE JOINED AT TOPS WITH METAL ROD RUNNING THROUGH. TUNER SHOWS SIGNS OF WEAR, AND IS STAINED WITH SOILING; TUNER BASE HAS HOLES PUNCHED IN SIDES AND TOP; OVERALL VERY GOOD CONDITION.
Subjects
TELECOMMUNICATION T&E
SOUND COMMUNICATION T&E
Historical Association
LEISURE
History
ON MAY 10, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ED REDEKOPP REGARDING HIS DONATION OF AN AMATEUR TRANSMITTER RADIO AND ACCESSORIES. REDEKOPP BEGAN PURSUING HIS INTEREST IN RADIO TRANSMISSION IN THE 1950S. ON THE INSTRUCTION MANUAL, REDEKOPP NOTED, “THE ANTENNA IS ALMOST THE KEY TO A SUCCESSFUL STATION. THERE’S TWO THINGS: YOU CAN EITHER GET YOUR RADIO WAVES THROUGH THE ANTENNA, OR YOU CAN HEAT YOUR CONDUCTOR, YOUR TRANSMISSION LINE, IF IT DOESN’T MATCH, TOO.” “YOU HAVE TO HAVE YOUR ANTENNA TUNED. FREQUENCY AND WAVE LENGTH GO TOGETHER AND THEY ARE VERY IMPORTANT. YOU HAVE TO HAVE THIS TUNED TO THE CORRECT FREQUENCY SO IT WILL MATCH THE ANTENNA. IF IT DOESN’T MATCH, YOU’RE JUST [HEATING] YOUR CONDUCTOR AND YOU’RE NOT GETTING ANYWHERE FAR. THAT’S THE KEY. THERE’S WHAT THEY CALL A STANDING WAVE RATIO…IF IT’S TOO HIGH, IT’S JUST HEATING A WIRE AND YOU’RE NOT GETTING [A SIGNAL] OUT. THE NEARER TO ONE-TO-ONE THAT YOU CAN GET–THREE-TO-ONE IS GOOD…NOT IDEAL, BUT GOOD—FOUR-TO-ONE, FIVE-TO-ONE-–FORGET [IT]. YOU’RE JUST HEATING THE WIRE. ANTENNAS [ARE] AMAZING. AS A MATTER OF FACT, IT’S A SCIENCE. ANTENNAS [ARE] A SCIENCE.” REDEKOPP DISCUSSED HIS OWN INTEREST IN RADIO CONSTUCTION AND TRANSMISSION, AND HOW HE BEGAN WORKING WITH RADIOS, RECALLING, “I LIVED ON THE FARM IN VAUXHALL. MY DAD’S FARM. I WAS NEVER A FARMER; I’D HAVE STARVED TO DEATH IF I HAD FARMED. BUT, ANOTHER FARMER, WHO WAS TOTALLY ELECTRONICALLY ILLITERATE, HAD AN UNCLE, DORY MALENBERG, THE ASSISTANT ENGINEER AT CJOC. HE WANTED HIM TO GET ON AMATEUR RADIO SO THAT THEY COULD TALK BACK AND FORTH THAT WAY. THIS FARMER – GOT ME INTERESTED IN TALKING ABOUT AMATEUR RADIO WHICH I KNEW NOTHING ABOUT AT THE TIME. I WAS INTO ELECTRONICS BUT NOT AMATEUR RADIO; IT WAS RADIO SERVICING. HE SAYS, “YOU WANT TO GET ON THE AIR,” HE SAYS, “AND WE CAN TALK AND GET A TRANSMITTER GOING.” IT ALL SOUNDED VERY FASCINATING AND INTERESTING. BUT, I’M ON THE FARM, HERE. WE DON’T EVEN HAVE RURAL ELECTRIFICATION. I [SAID], “HOW CAN I EVER DO THAT?” THERE ARE METHODS AND WAYS…YOU TELL ME ABOUT IT. HE FINALLY CONVINCED ME. I [HAD TO] LOOK INTO IT. AND THAT’S WHAT I DID. HE WAS NO HELP BECAUSE HE KNEW NO ELECTRONICS AT ALL BUT I GOT INFORMATION THROUGH BOOKS…AND STARTED STUDYING THE SUBJECT OF AMATEUR RADIO AS A HOBBY. IT BECAME MORE AND MORE FASCINATING, AND MORE RIVETING THE MORE I READ ABOUT IT. [IT SOUNDED] LIKE SOMETHING I [WANTED] TO DO.” “I HAD PREVIOUS ELECTRONIC EXPERIENCE IN TAKING A COURSE WITH THE NATIONAL RADIO INSTITUTE TO BECOME A RADIO SERVICEMAN. I HAD THE BASICS, THE FUNDAMENTALS, AND I KNEW HOW TO DO IT. EVEN THE FIRST TRANSMITTER THAT I BUILT WAS PRETTY SIMPLE, AND THIS [TRANSMITTER] WAS MY FINAL. I HAVE THE MANUAL FOR IT…FROM THE W1AW, THE AMATEUR RADIO RELAY LEAGUE-–THE ENGINEER THAT DESIGNED IT-–AND I BUILT IT FROM THAT, FROM SCRATCH, GETTING ALL THE PARTS TOGETHER. IT WAS A CHALLENGE, VERY ENJOYABLE, BUT REWARDING IN THE END.” “I STARTED TO GET COMPONENTS AND PARTS TOGETHER TO BUILD MY FIRST TRANSMITTER AND MY FIRST RECEIVER. THE CRAZY THING WAS YOU COULD BUILD A POWER SUPPLY AND RUN IT OFF A SIX-VOLT CAR BATTERY. OR [A] TRACTOR BATTERY. THEY WERE ALL SIX-VOLT AT THE TIME; TWELVE VOLTS CAME LATER. I GOT MY VOLTAGES THAT I NEEDED THROUGH THE POWER SUPPLY OFF [THIS] BATTERY. THE NEXT THING I KNOW…I’M [GETTING] SOMEWHERE. THE NEXT THING I KNEW, I GOT INTO IT AND…NOW I GOT IT BUILT AND I CAN’T USE IT. I [HAVE TO] GET A LICENSE FIRST.” “ELMER JOHNSON, THE OTHER FARMER WHO GOT ME INTO IT, [SAID], “I’M GOING TO GO TO CALGARY [TO] WRITE MY EXAM.” SO HE [SAID], “DO YOU WANT TO COME ALONG?” I [SAID], “SURE, I’LL COME ALONG.” BUT, THE CODE…I CAN’T USE THE HAND KEY AT FIFTEEN WORDS A MINUTE AND I WANT TO GET MY FIRST CLASS, NOT MY SECOND CLASS, BECAUSE I COULDN’T USE THE [MICROPHONE]. I SAID, “WELL, I’LL GO WITH [YOU]. I’LL TAKE THE DOW KEY WITH ME, AND I’LL TAKE THE HAND KEY WITH ME, TOO, BUT I’M NOT GOING TO PASS WITH THAT.” I TOLD THE INSPECTOR, “LOOK, I’M HERE TO WRITE MY TEST, BUT I SEE THE REQUIREMENT IS FIFTEEN WORDS A MINUTE WITH THE HAND KEY.” I SAID, “MY CLUMSY HAND WON’T HANDLE THAT.” I [SAID], “AND IF I HAVE TO USE IT, I WON’T EVEN WRITE MY TEST,” I [SAID], “I’M FINISHED.” “WELL,” HE [SAID] TO ME, “I GUESS WE CAN MAKE AN EXCEPTION.” SO HE ALLOWED ME TO USE THE SEMI-AUTOMATIC KEY, WHICH WAS A PIECE OF CAKE. I WENT THROUGH THAT WITH FLYING COLOURS.” “THEN, HE QUESTIONED US ON TECHNOLOGY. HE STARTED WITH ELMER FIRST, UNFORTUNATELY. THE FIRST QUESTION HE ASKED HIM WAS ABOUT AS SIMPLE AN ELECTRONIC QUESTION AS YOU CAN ASK. I CAN’T REMEMBER THE QUESTION, AS A MATTER OF FACT; THAT’S THE BAD PART. BUT, HE COULDN’T ANSWER IT. THE INSPECTOR LOOKED AT HIM AND HE SAID, “YEAH, OKAY,” HE [SAID], “I UNDERSTAND.” HE NEVER GOT A SECOND [QUESTION]; HE FAILED RIGHT THERE. [ELMER] COULD PASS THE CODE, BUT THAT DIDN’T DO HIM ANY GOOD IF HE COULDN’T DO THE TECHNICAL. THEN HE GOT ASKING ME, AND OF COURSE I HAD NO PROBLEM ’CAUSE I WAS CONVERSANT IN ELECTRONICS. I GOT MY FIRST CLASS TICKET USING THE DOW KEY.” “WHEN WE MOVED HERE [AND] BOUGHT THIS HOUSE, I HAD A FAMILY TO LOOK AFTER. I HAD A JOB DURING THE DAY, AND IT WAS TOO MUCH-–I SPENT TOO MUCH TIME ON THE AIR, ON THE RADIO. I’D BE UP SOMETIMES IN THE NIGHT, VERY RARELY, BUT UP TO FOUR IN THE MORNING SOMETIMES, TALKING TO AUSTRALIANS AND NEW ZEALANDERS. AS A WORKING STIFF…I HAD A FAMILY TO LOOK AFTER; THEY NEEDED ATTENTION. I COULDN’T SIMPLY TAKE THE TIME AND BE ON THE AIR ALL THE TIME WITH MY HOBBY. WHEN WE MOVED HERE MY WIFE [SAID], “NO, YOU’RE NOT GONNA GO BACK ON AGAIN.” I HAD A TOWER I WAS GOING TO SET UP, AND SHE [SAID], “NO, YOU’VE GOT A FAMILY TO LOOK AFTER.” AND I [SAID], “YES, YOU ARE CORRECT. I SHALL GIVE IT UP.” THAT’S WHAT I DID, FIFTY-FIVE YEARS AGO.” “BEING ABLE TO CONTACT ANYONE IN THE WORLD, THAT IS OTHER AMATEUR RADIO OPERATORS…WAS VERY INTRIGUING. YOU TALK TO VARIOUS PEOPLE WITH VARIOUS LANGUAGES. WE HAD A Q CODE…WHEN YOU DIDN’T UNDERSTAND THE LANGUAGE, YOU COULD USE THE Q CODE…IT WAS FASCINATING BECAUSE YOU CAN TALK TO PEOPLE IN GREENLAND. I TALK TO PEOPLE IN THE DEW LINE, ALL OVER THE WORLD. LATER ON I BUILT MY MODULATOR, AND THEN IT WAS BY PHONE, AND THOSE THAT SPOKE ENGLISH-–AND IN MOST CASES, I MUST SAY, MOST PEOPLE I CONTACTED, KNEW SOME ENGLISH--THAT’S THE AMAZING PART…YOU COULD UNDERSTAND THEM. BUT, IF YOU WERE ON CODE, YOU JUST USE THE MORSE CODE. IT WAS FASCINATING TO TALK TO DIFFERENT PEOPLE ALL OVER THE WORLD.” “I GOT MARRIED AND THEN WE MOVED TO LETHBRIDGE [IN 1953 TO 7 AVE. A.] AND OF COURSE THEN THAT OLD TRANSMITTER WAS OBSOLETE-–DIDN’T USE IT ON BATTERY ANYMORE [BECAUSE] WE [HAD] ELECTRICITY, SO I WENT ON A BIGGER ONE.” “I STARTED WORKING AT CJOC, BUT…I WAS IN THE STUDIO AND I DIDN’T LIKE THE STUDIO WORK. I WANTED TO GET INTO THE TRANSMITTER BUT THERE WAS NO OPENING. I WAS NOT PREPARED-–I WAS TAKING THE RADIO COURSE ON TRANSMITTERS AS WELL, [BECAUSE] I WANTED TO GET INTO THE STATION. THERE WAS NO OPENING, AND THERE WAS ONLY ONE STATION. TODAY I’M GLAD THAT I DIDN’T GET IN FOR A NUMBER OF REASONS.” “INITIALLY I DON’T THINK I WAS EVEN ON THE AIR. IT ALL TOOK TIME. YOU [HAVE TO] BUILD IT…BY THE TIME YOU GET THAT ALL DONE, THERE’S A LAPSE OF TIME WHERE YOU’RE NOT EVEN ON THE AIR. AS LONG AS YOU KEEP YOUR LICENSE UP…MY CERTIFICATE IS PERMANENT BUT MY STATION LICENSE HAD TO BE RENEWED EVERY YEAR, AT THAT TIME.” “THIS WAS [A] HOBBY, AND MY WIFE WOULD HAVE SAID IT WAS UNNECESSARY. IN A SENSE, SHE’S RIGHT. I [HAVE TO] ADMIT THAT…AND FOR GOOD REASON.” “KEEPING THE STATION LICENSE UP THERE, THAT WAS NOT A PROBLEM. YOU CAN KEEP YOUR STATION LICENSE UP, AND I DON’T THINK THEY WOULD CANCEL IT AS LONG AS YOU PAY THE FEE BECAUSE THAT WAS IMPORTANT TO THEM. BUT THEY HAD THEIR RULES, AND I KNOW THAT LATER ON YOU WOULD GET IT PERMANENTLY. WHETHER YOU WERE ON THE AIR OR NOT, I THINK YOU KEPT YOUR LICENSE.” WHEN ASKED HOW MANY PEOPLE IN THE CITY WORKED IN AMATEUR RADIO, REDEKOPP STATED,“TO TELL YOU THE TRUTH, TOO MANY OF THEM HAVE PASSED AWAY. I HAPPEN TO BE A LITTLE BIT OLDER THAN MOST OF THEM. [I’M] NINETY-THREE. THERE ARE STILL SOME AROUND. I HAVEN’T BEEN AT THE AMATEUR RADIO CLUB AT THE SENIORS’ CENTRE IN A NUMBER OF YEARS NOW. I USED TO GO THERE OCCASIONALLY.” “I THINK [THERE ARE] PROBABLY MORE [PEOPLE] THAN I WOULD REALIZE. THERE ARE TWO ENGINEERS THAT ARE RETIRED. THEY CAN FIX RADIOS.” ON DONATING HIS RADIO TO THE MUSEUM, REDEKOPP ELABORATED, “I’M GETTING TO BE OF AN AGE WHERE I WON’T BE AROUND MUCH LONGER. OF COURSE, I CAN’T DETERMINE MY DAYS BUT I’M NINETY-THREE YEARS OLD, AND I’VE GOT TO DISPOSE OF THIS BECAUSE NO ONE ELSE WILL EVER USE IT. IT WILL GO TO THE DUMP PROBABLY, OTHERWISE, AND THAT’S NO PLACE FOR A TRANSMITTER LIKE THIS. I’VE ENJOYED IT A LOT, AND HOPEFULLY SOMEONE ELSE CAN SEE SOME HISTORY OR PAST HISTORY OF AMATEUR RADIO AND THE TRANSMITTERS THAT WERE BUILT BY THE PEOPLE THAT USED IT. A LOT OF PEOPLE THAT WERE NOT CAPABLE OF BUILDING THEIR OWN PURCHASED COMMERCIAL EQUIPMENT, WHICH IS FINE AND IT WAS LEGAL, BUT AMATEUR RADIO WAS MEANT TO BE JUST THAT-–FOR AMATEURS, BUILDING THEIR OWN AND ENJOYING IT.” “I THOUGHT PERHAPS SOMEONE WOULD APPRECIATE SEEING SOMETHING SOMEONE BUILT HIMSELF, AND USED, AND COMMUNICATED WITH WORLD-WIDE, A TRANSMITTER. THAT IS WHAT IT WAS ALL ABOUT DURING THE YEARS THAT I WAS ACTIVE ON THE AIR.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND PHOTOGRAPHS, PLEASE SEE THE PERMANENT FILE P20180010001-GA.
Catalogue Number
P20180010006
Acquisition Date
2018-05
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
Material Type
Artifact
Materials
WOOL, DYE
Catalogue Number
P20160003006
  2 images  
Material Type
Artifact
Date
1929
Materials
WOOL, DYE
No. Pieces
1
Length
182.5
Width
117.5
Description
HAND-WOVEN RUG MADE FROM HAND-DYED, HANDSPUN WOOL. THERE IS A 3-4 CM WIDE BLACK BORDER AROUND ALL LENGTHS OF THE RUG, WITH FRINGE ON THE SHORT ENDS. INSIDE THE BLACK BORDER IS A SINGLE WOVEN BORDER OF LIGHT BLUE WOOL. INSIDE OF THIS BORDER IS A PATTERN SET ON A DARK BURGUNDY-COLOURED BACKGROUND. THERE IS A BLUE FLOWER IN THE CENTER OF THE RUG. ON ONE END THE DATE “1924” IS WOVEN IN RAW-COLOURED WOOL. THE “9” HAS BEEN WOVEN UPSIDE DOWN. ON THE OPPOSITE END OF THE RUG, THE INITIALS “ ” FOR THE NAME LISAVETA PETROVNA WISHLOW, ARE WOVEN IN LIGHT BLUE. THERE ARE 20 HARPS COLOURED EITHER BLUE, ORANGE, PINK, OR YELLOW AROUND ALL LENGTHS OF THE RUG. UNDER THE HARPS IS A GREEN VINE PATTERN AND A RED DECORATIVE BORDER. THE DESIGN ELEMENTS ARE LAID OUT SYMMETRICALLY OVER THE RUG AND CONSIST OF FLOWERS, DUCKS, AND BUTTERFLIES. VERY GOOD TO EXCELLENT CONDITION. SLIGHT WEAR TO THE WOOL FROM USE.
Subjects
FLOOR COVERING
Historical Association
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. THIS RUG WAS HAND-WOVEN BY ELIZABETH KONKIN IN 1924. THE RUG WAS USED AS A WALL COVER IN THE WINTER AND ACTED AS AN INSULATOR. LATER IT WAS USED ON THE FLOOR AT CHRISTMASTIME. IT WAS INHERITED BY MORRIS PRIOR TO THE PASSING OF HER MOTHER: “I CAME INTO POSSESSION [OF IT] FROM MY MOTHER. SHE DIED IN 2003 AND I GOT THE RUG SLIGHTLY BEFORE THEN AND YES THAT WOULD BE ABOUT THE TIME… I HAVE NO OTHER SIBLINGS AND SO OBVIOUSLY EVERYTHING SHE MADE WOULD GO TO ME. MY SON SAID HE WOULD LIKE TO HAVE THE RUG, BUT CHANGED HIS MIND. HIS WIFE WAS NOT KEEN ON HAVING IT, SO I HAD TO DO SOMETHING WITH IT. TO ME IT IS A VERY BEAUTIFUL RUG AND I WANTED IT SOME PLACE WHERE IT WON’T GET TRASHED BY DOGS OR ANIMALS.” AFTER ACQUIRING THE RUG, MORRIS PLACED IT ON THE FLOOR OF HER HOME IN LETHBRIDGE: “THE LINO [ON THE FLOOR] STARTED TO WEAR OUT AND I THOUGHT YOU CAN’T PUT A RUG LIKE THAT ON ANOTHER LINO. IT JUST DOESN’T GO. BUT I DO LIKE HARDWOOD SO WE HAD HARDWOOD PUT THROUGHOUT THE BEDROOMS. THE LAST ROOM IS MY OFFICE, FIRST OF ALL, I HAD THE RUG IN THIS BEDROOM AND THEN IT WASN’T VERY CONVENIENT TO CLEAN BECAUSE THERE WASN’T THAT MUCH SPACE SO I PUT IT IN MY OFFICE WHERE I LOVED IT, BUT I KEPT STUMBLING OVER IT. I THOUGHT I MIGHT BREAK A LEG IF I DO THIS SO I BETTER GET RID OF IT… THE HARDWOOD WAS PUT IN BEFORE THE GST WENT IN. I DIDN’T HAVE THE RUG THEN BUT I THOUGHT THAT I WOULD BE GETTING THE RUG AND SO I WOULD HAVE IT HARDWOOD… WAS IT 1995? ANYWAY BEFORE GST WENT IN.” THE RUG HAD BEEN PRESENT THROUGHOUT MORRIS’ LIFE – FROM TIME SPENT ON THE DOUKHOBOR COLONY IN SHOULDICE, ALBERTA TO LIFE ON A FARM OUTSIDE OF VAUXHALL, ALBERTA: “I CAN REMEMBER WHEN I WAS BORN. THE RUG WAS IN MY PARENT’S HOME. WE LIVED ON A DOUKHOBOR COLONY, WE HAD MUD PLASTERED WALLS AND OUR HOUSE WAS WELL BUILT. MY DAD BUILT IT. SOME OF THE HOUSES ONLY HAD ONE LAYER OF WOOD AND THEY WERE VERY COLD, HOWEVER OUR BEDROOMS HAD WALLS ON THE NORTH SIDE. IN WINTER THEY GOT CHILLY, SO EVERY WINTER THEY WOULD NAIL UP THIS RUG UP AGAINST THE WALL. IT STAYED THERE FOR THE WINTER. FOR SUMMER IT CAME DOWN, I DON’T [KNOW] WHERE SHE STORED IT, I THINK POSSIBLY IN ONE OF THE BIGGER TRUNKS AND THEN TOOK IT OUT… THIS HOME [WHERE THE RUG WAS PLACED], IT’S OUTSIDE OF VAUXHALL. WE LEFT THE COLONY, MOVED TO VAUXHALL AND MOVED THE HOUSE. THE HOUSE WAS EXPANDED AND THEN WE LIVED IN THAT HOUSE. I LEFT HOME AND MY PARENTS HAD A HOUSE IN LETHBRIDGE WHICH DAD BUILT ALSO AND HE SOLD THE FARM. THEY ASKED IF WE WANTED TO GO AND WE DIDN’T. SO THEY SOLD THE FARM AND THERE WAS A BEAUTIFUL POND WHERE WE SWAM AND BOATED AND WE HAD LOTS OF TREES AROUND THE HOUSE. IT WAS ABOUT AN ACREAGE IF NOT MORE AND WHEN HE SOLD IT THE NEW OWNERS, VERY FRUGAL PEOPLE, [THEY] BURNT DOWN THE HOUSE, THE STEAM BATHROOM, THE GARAGE, THE WORKS. NOW MIND THEY WERE OLD STATE BY NOW AND THEY PLOWED [IT ALL INTO] IN THE POND BECAUSE THEY WANTED TO MAKE MONEY FROM THE GRAIN [FIELDS], SO WHEN I WENT THERE A COUPLE OF YEARS LATER, [I WAS] SURPRISED EVERYTHING WAS GONE, SO THAT WAS THAT." THE RUG MAY HAVE BEEN WOVEN BY MORRIS’ MOTHER ON THE DOUKHOBOR COLONY IN SHOULDICE OR DURING THE WINTER SPENT IN COWLEY: “… IT COULD HAVE BEEN WOVEN IN COWLEY BECAUSE THEY STAYED IN COWLEY FOR THE WINTER BUT I CAN’T BE TOO SURE. IT ALSO COULD HAVE BEEN MADE ON THE COLONY… TWENTY MILES EAST OF MOSSLEIGH.” ELIZABETH KONKIN WAS MARRIED IN 1927, SO THE INITIALS WOVEN ON THE RUG ARE OF HER MAIDEN NAME: “THAT’S AN “L” [ ] THAT’S LISAVETA (SIC.) BUT HER NAME IS YALALISAVETA (SIC.) BUT SHE PUT DOWN LISAVETA. PETROVNA THAT’S A “P” [ ] THAT’S DAUGHTER OF PETRO AND WISHLOW [ ] THAT WAS HER MAIDEN NAME. ... [AFTER MAKING THE RUG] THERE WAS SOME WARP LEFT OVER. … WARP IS THE STUFF THAT RUNS DOWN AND WEFT IS WHAT YOU PUT IN BETWEEN WITH A SHUTTLE BUT THIS WASN’T PUT IN WITH A SHUTTLE. EACH INDIVIDUAL THREAD WAS KNOTTED. IT’S LIKE DIFFAGHAN (SIC.) - A SWEDISH METHOD - AND THAT’S HOW IT WAS DONE. IF THERE WAS SOME LEFT OVER AND HER MOM INSISTED THAT SHE DO ANOTHER RUG. WELL SHE DIDN’T WANT TO DO IT. SHE SAYS “YOU MAKE IT FOR YOUR BROTHER.” SHE FELT HIS WIFE SHOULD DO HER OWN HOPE CHEST BUT SHE DID AND THE INTERESTING THING IS THAT HIS RUG THEY USED IT ON THE FLOOR. MY MOTHER DIDN’T USE THIS ONE ON THE FLOOR EXCEPT AT CHRISTMAS TIME SO THE WISHLOW FAMILY WHO HAD THE OTHER RUG, THE MOTHER WASN’T TOO KEENLY INTERESTED IN IT. THEY HAD IT IN THE LIVING ROOM AND THEN IT WENT UP FOR SALE TO A PLACE THAT WAS OWNED BY A MAN NAMED, HIS LAST NAME WAS EWASHEN (SIC.) …THAT’S [THE RUG’S] TWIN, YES.” MORRIS THEN GOES ON TO DESCRIBE SOME OF THE OTHER PATTERNING FOUND ON THE RUG: “OKAY THOSE ARE HARPS. SHE HAD PATTERNS TO GET THEM FROM OTHER WEAVERS AND THEN SHE’D TRACE THEM OUT. I DON’T KNOW WHAT SHE USED TO TRACE THEM ON THE WARP [WITH] AND THEN SHE’D WEAVE AWAY WITH THE THREAD THAT WERE THE WEFT. SHE PUT THE DESIGNS HERSELF ONTO THE RUG” THE RUG WAS BROUGHT TO LETHBRIDGE WHEN ELIZABETH AND WILLIAM KONKIN RETIRED THERE: “I WAS TEACHING SCHOOL IN COALDALE WHEN THEY MOVED AND DAD MADE THE HOUSE IN NORTH LETHBRIDGE… THE HOUSE IS NICELY BUILT AND IT’S WARM, IT’S COMFORTABLE SO THERE’S NO USE PUTTING IT UP ON THE WALL. EVERY CHRISTMAS SHE’D TAKE IT OUT AND WE’D ROLL AROUND ON THIS RUG AND SHE WOULD HANG IT UP AFTER THE NEW YEAR SO I SAID TO HER ‘WHY DON’T YOU PUT IT ON THE FLOOR?’ AND SHE SAID, 'WELL I DON’T WANT TO MESS IT UP.' HOWEVER, I SAID, 'WELL I’M GOING TO PUT IT ON THE FLOOR,' SO THAT’S WHERE IT WAS UNTIL I STARTED STUMBLING OVER IT.” AMONG THE OTHER ARTIFACTS DONATED BY MORRIS THAT WERE OWNED BY HER MOTHER, THE RUG WAS A SIGNIFIER OF THE HARD WORK REQUIRED WITHIN THE DOUKHOBOR LIFESTYLE: “[THE BLANKET AND THE SPINNING WHEEL] MEANT A LOT WELL AFTER THE WAR AND THINGS WERE CHEAP. THEY DIDN’T HAVE TO WEAVE THEIR OWN STUFF. PRIOR TO THAT, NOT IN MY MOTHER’S TIME EVEN BEFORE THAT MY GRANDMOTHER’S TIME, EVERY GIRL HAD TO WEAVE A TROUSSEAU FOR HERSELF TO LAST A LIFETIME BECAUSE SHE STARTED HAVING CHILDREN AND SHE WOULDN’T HAVE THE TIME TO DO IT. THERE WERE THINGS THAT WERE ANCIENT THAT WERE USED AND USED UNTIL THEY DIED HOWEVER, IN MY MOTHER’S DAY THEY KNITTED THEIR OWN SOCKS, THEY MADE THEIR OWN QUILTS. THE MEN DID THE BUILDING AND THEY LIVED OFF THE GARDENS BECAUSE THEY WERE VEGETARIANS SO THEY DIDN’T HAVE TO WORRY ABOUT MEAT. THEY BOUGHT EGGS FROM THE NEIGHBOURS WHO WERE FARMERS. THE INTERESTING THING THERE WAS THAT THEY WEREN’T SUPPOSED TO EAT MEAT AND I ATE MEAT WHEN I WAS CLOSE TO TWENTY. WHEN I TELL MY VEGETARIAN RELATIVES WHAT ABOUT YOUR SHOES AND YOU’VE GOT LEATHER, COWHIDE WHATEVER AND THEY COULDN’T COME UP WITH AN ANSWER SO… THEY REPRESENTED HARD WORK THAT’S, THIS TAKES A LONG TIME WHEN YOU THINK OF EVERY KNOT THAT HAD TO BE TIED AND IT WAS PART OF HER TROUSSEAU. THE SPINNING WHEEL MEANT A LOT BECAUSE YOU HAD TO SPIN THE WOOL SO.” PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION, OBITUARIES, PHOTOGRAPHS, AND FAMILY HISTORIES.
Catalogue Number
P20160003006
Acquisition Date
2016-02
Collection
Museum
Images
Less detail
Other Name
"ATROPHY MANUSCRIPT" CD, TITLED "THIS PRESENT DAY CONFUSION"
Material Type
Artifact
Materials
PLASTIC, PAPER
Catalogue Number
P20170004002
  1 image  
Material Type
Artifact
Other Name
"ATROPHY MANUSCRIPT" CD, TITLED "THIS PRESENT DAY CONFUSION"
Date
2006
Materials
PLASTIC, PAPER
No. Pieces
1
Height
0.8
Length
14.2
Width
12.1
Description
COMPACT DISC FOR MUSIC. THE COVER DEPICTS A BLUE-TINTED IMAGE OF A GROCERY STORE AISLE. THE CD IS UNOPENED/WRAPPED IN CELLOPHANE. THERE IS A WHITE LABEL STICKING TO THE FRONT TOP CORNER OF THE CASE THAT SAYS “ATROPHY MANUSCRIPT… BURNABY B.C. 2006”. THE BACK READS, “THIS PRESENT DAY CONFUSION” AND LISTS 11 TRACK TITLES IN BLACK INK AGAINST A BLUE BACKGROUND. THE BACK IMAGE IS ABSTRACTED. EXCELLENT CONDITION. SCRATCHES ON CELLOPHANE.
Subjects
SOUND COMMUNICATION T&E
Historical Association
HOME ENTERTAINMENT
LEISURE
History
IN THE EARLY MONTHS OF 2017 THE MUSIC FRANCHISE, HMV CANADA, BEGAN TO THE PROCESS OF CLOSING DOWN ALL 120 OF THEIR STORES ACROSS CANADA. AFTER 30 YEARS OF BUSINESS, THE COMPANY WENT INTO RECEIVERSHIP. PARK PLACE MALL IN DOWNTOWN LETHBRIDGE HAD AN HMV LOCATION OF ITS OWN, WHICH OPENED IN 1994. THIS COMPACT DISC (CD) WAS ON SALE AT HMV AT THE TIME OF CLOSING. THE BAND, ATROPHY MANUSCRIPT, WAS A LETHBRIDGE-BASED ALTERNATIVE/EMO ROCK BAND. THE CD IS TITLED, "THIS PRESENT DAY CONFUSION," AND WAS THE BAND’S SECOND RECORDED ALBUM. ACCORDING TO THE LABEL ATTACHED TO THE FRONT OF THE CD COVER, THE ALBUM WAS RECORDED AT A STUDIO CALLED THE HIVE IN BURNABY, B.C. THE ALBUM WAS EITHER RECORDED IN 2006 (LABEL ON ALBUM COVER) OR 2008 (LETHBRIDGE HERALD ARTICLES). ACCORDING TO THE BAND’S MYSPACE PAGE (WWW.MYSPACE.COM/ATROPHYMANUSCRIPT, ACCESSED 15 AUGUST 2017), THE BAND WAS ACTIVE FROM 2003 UNTIL 2009. ON 27 FEBRUARY 2017, IN AN INTERVIEW WITH COLLECTIONS TECHNICIAN KEVIN MACLEAN, THE MANAGER OF THE HMV LETHBRIDGE, BRENDAN FRIZZLEY, REFLECTED ON HIS PAST EXPERIENCE AT THE MUSIC STORE, THE SIGNIFICANCE OF MUSIC STORES, AND ON THE RECEIVERSHIP PERIOD. FOR MORE INFORMATION OF THAT PERIOD, AS WELL AS FRIZZLEY’S RELATIONSHIP WITH THE STORE, PLEASE SEE P20170004001. DURING THE INTERVIEW, FRIZZLEY REFLECTED ON THE NATURE OF PEOPLES’ RELATIONSHIPS WITH MUSIC STORES. HE EXPLAINED, “… IT’S THE STRANGEST SORT OF STORE BECAUSE IF YOU WENT INTO A GROCERY STORE AND THEY HAD EXPANDED THEIR ORGANIC SECTION YOU WOULDN’T BE OFFENDED… [BUT] WITH MUSIC STORES, IT DOESN’T MATTER IF YOU’RE A 16-YEAR-OLD LISTENING TO PUNK MUSIC, OR A EARLY-20’S METAL GUY, OR AN OLD PERSON LISTENING TO THE GENRE CLASSICAL... THERE’S THIS FEELING THAT WHENEVER ANYTHING IS ASSAULTED, IN TERMS OF MUSIC, LIKE, 'HEY, THE METAL SECTION WENT FROM LIKE 8 FEET OF SPACE TO 12 FEET OF SPACE." WE DIDN’T ACTUALLY ADD ANY PRODUCT, BUT THE METAL GUYS WILL BE ECSTATIC, BECAUSE CLEARLY WE HAD DONE THIS THING THAT HAD MADE IT BETTER. WE CARED ABOUT THEM… AND SIMILARLY, WHEN THE PUNK GUYS LOST THAT SPACE AND WENT FROM 8 FEET OF SPACE TO 4 FEET OF SPACE, THEY WERE LIKE 'YOU KNOW, YOU GUYS JUST DON’T HAVE THE SAME SORT OF SELECTION YOU USED TO.' BUT IT’S THE PERCEPTION OF [HOW MUCH PEOPLE CARE ABOUT THEIR MUSIC] AND THAT’S ALWAYS SORT OF BEEN IT... YOU KNOW, PEOPLE ARE OFFENDED BY MUSIC THAT THAT THEY DON’T LIKE BEING IN A STORE. THE AMOUNT OF TIMES I CAN REMEMBER A NEW JUSTIN BIEBER COMING OUT, AND GOING UP TO THE FRONT OF THE STORE, AND BEING LIKE 'WELL WHAT’S GOING ON HERE?' AND SOMEONE HAD TAKEN MY ENTIRE IRON MAIDEN SECTION AND PUT IT IN FRONT OF EACH JUSTIN BIEBER CD. I CAN’T FATHOM ANYBODY BEING INVESTED IN ANY SORT OF OTHER PURCHASE WHERE THEY WOULD BE LIKE 'THIS SORT OF THING OFFENDS ME...' I CAN’T IMAGINE FEELING THAT WAY ABOUT A PARTICULAR BRAND OF KETCHUP OR A PARTICULAR CAR, OR ANYTHING LIKE THAT…" SPEAKING ABOUT THE TYPICAL HMV SHOPPER FRIZZLEY SAID, "THERE’S THIS NARRATIVE THAT PEOPLE WANT TO [BE] THE OLD, DYING CD BUYER... THERE’S ALWAYS PEOPLE WHO COME IN, AND SAY THINGS LIKE, 'OH, I JUST DON’T DO THE DIGITAL,' - [BUT ALSO] 'OH, I HAVE A CD PLAYER IN MY TRUCK, SO THAT’S THE ONLY REASON I’M BUYING CD’S TODAY,' AND THAT’S ALWAYS BEEN A SUBSECTION OF WHAT WE SELL TO - BUT, I THINK THE MAJORITY OF PEOPLE JUST WANT TO HAVE THAT PHYSICAL CONNECTION WITH THE THING THAT THEY LIKE. AND THAT [TYPE OF] PERSON DIDN’T DIE, BUT THEY ALSO WEREN’T MARKETED TO BY ALL THE MARKETING... SO THAT’S SORT OF WHY THE FOOTPRINT OF CDS SHRUNK. IT WASN’T TO ASSAULT WHAT THEY WANTED, BECAUSE THEY WERE COMING IN [AND] BUYING SPECIFIC THINGS, OR COMING UP AND ORDERING SPECIFIC TITLES THAT THEY’VE ALREADY PUT THEIR RESEARCH INTO. THEY WANT THIS TOKEN OF WHAT THEY LIKE (WHICH IS THE PHYSICAL CD). AND ANYTIME THAT ANY AFFRONT HAPPENED TO CDS, THEY TOOK IT SO PERSONALLY…" AS THE SALE OF CDS DECREASED WITH THE ADVENT OF DIGITAL CONTENT AND STREAMING SERVICES, FRIZZLEY NOTED THAT SOME POSITIVES EMERGED. HE SAID, “THE POSITIVES ARE THAT BARRIERS ARE BROKEN DOWN. YOU KNOW THE FACT THAT BANDCAMP IS HUGE; THAT LITERALLY ANYBODY CAN MAKE MUSIC, AND CAN MAKE IT AVAILABLE IS SO COOL. YOU’VE GOT SHAWN MENDES RIGHT NOW, WHO IS VINE FAMOUS... [MEANING], ‘I MAKE SHORT VIDEO CLIPS OF ME SINGING SONGS AND THAT’S GOING TO LEAD INTO THIS MASSIVE CAREER.' THAT’S SURREAL… [AND] I THINK IT LETS PEOPLE FEEL MORE CONNECTED TO THEIR MUSIC... IT CHANGES THE WAY THAT PEOPLE SORT OF PERCEIVE THEIR CONNECTION TO IT. PEOPLE LOVE THE IDEA OF BEING A PART OF SOMETHING...” FRIZZLEY WENT ON TO DISCUSS THE SHIFT IN THE MUSIC INDUSTRY, “I WOULD LIKE TO SAY THAT THERE’S MORE POSITIVES THAN THAT, BUT I REALLY THINK THE MUSIC INDUSTRY MADE A SYSTEM THAT IS NOT GOING TO BE FINANCIALLY VIABLE FOR A LOT OF MUSICIANS. IF YOU LOOK AT STREAMING, - WHICH IS GREAT - [BUT] I DON'T THINK PEOPLE REALIZE THE DIFFERENCE BETWEEN SPOTIFY AND NETFLIX. WHEN YOU DO NETFLIX, IT’S MOVIES THAT HAVE ALREADY HAD THEIR THEATRE RUN; ALREADY MADE THEIR BILLIONS OF DOLLARS; ALREADY HAD A CHANCE TO BE SOLD, WHETHER DIGITALLY OR PHYSICALLY, AND THEN FINALLY END UP ON NETFLIX. SPOTIFY [IS LIKE], ‘HEY, IT’S $10.00 A MONTH AND HERE’S ALL THE MUSIC FOREVER.’ SPOTIFY ROYALTIES AREN’T ENOUGH. EVERYONE KNOWS THEY’RE NOT ENOUGH, BUT I THINK PEOPLE HAVE IN THEIR HEADS THAT ALL THE MUSIC FOREVER IS WORTH $10.00 A MONTH… MUSIC HAS NO VALUE ANYMORE. LIVE MUSIC DOES AND THE PHYSICAL TOKENS DO, AND THAT’S WHY VINYL IS SEEING THIS RESURGENCE, BUT MUSIC HAS NO VALUE. AND I THINK PART OF THAT [IS] BECAUSE OF THE RADIO, [WHICH IS] SORT OF HOW MUSIC HAPPENED; HOW WE’VE LISTENED TO MUSIC. SO RADIO HAPPENS, AND YOU CAN LISTEN TO RADIO FOR FREE, BUT YOU STILL HAVE TO BUY THE RECORDS. AND IT WORKED. BUT NOW WE STILL HAVE THIS IDEA THAT ‘WELL, THE TECHNOLOGY EXISTS FOR ME TO BE ABLE TO LISTEN TO THE RADIO, AND CHOOSE WHAT I LISTEN TO ON THE RADIO... SO I SHOULD BE ABLE TO CHOOSE WHAT I LISTEN TO, BUT I STILL WANT THAT PREMISE OF FREE MUSIC’… I DON’T KNOW HOW THE WORLD IS ABLE TO FINANCIALLY COMPENSATE YOU FOR MAKING YOUR MUSIC, AND I DON’T KNOW IF IT NECESSARILY NEEDS TO. ART WILL ALWAYS EXIST REGARDLESS WHETHER OR NOT THERE’S PEOPLE PAYING FOR IT. BUT IT DOESN’T CHANGE THE FACT THAT WHEN YOU ARE ABLE TO COMPENSATE PEOPLE, THEY CAN FOCUS ON THEIR ART FULL TIME, [AND] YOU END UP WITH JUST BETTER QUALITY.” PLEASE SEE PERMANENT RECORD FOR ADDITIONAL INFORMATION, INCLUDING THE FULL INTERVIEW TRANSCRIPT AND ARTICLES REGARDING THE RECEIVERSHIP AND LIQUIDATION OF HMV CANADA.
Catalogue Number
P20170004002
Acquisition Date
2017-02
Collection
Museum
Images
Less detail
Other Name
"AC/DC", "HIGHWAY TO HELL"
Material Type
Artifact
Materials
PLASTIC, CARDBOARD
Catalogue Number
P20170004003
  1 image  
Material Type
Artifact
Other Name
"AC/DC", "HIGHWAY TO HELL"
Date
2003
Materials
PLASTIC, CARDBOARD
No. Pieces
1
Length
14
Width
12.6
Description
COMPACT MUSIC DISC. THE CD CASE IS MADE FROM CARDBOARD AND PLASTIC THAT IS UNOPENED, COVERED IN CELLOPHANE WRAPPER. THE COVER INCLUDES A PHOTO OF THE BAND AND SAYS “AC/DC” , “HIGHWAY TO HELL”. ON TOP OF THE CELLOPHANE IN A HMV SALE STICKER THAT READS “HMV 2/20…”. THERE IS A SECOND STICKER ON THE FRONT THAT IS BLACK AND SAYS, “DIGITALLY REMASTERED”. THE BACK COVER HAS A BLACK AND WHITE PICTURE OF THE BAND AND LISTS TEN TRACK TITLES. THE LABEL INCLUDES “1979, 2003…” “9699-80206”. EXCELLENT CONDITION. HOLES IN CELLOPHANE ON THE BACKSIDE AND THE BLACK STICKER IS LIFTING.
Subjects
SOUND COMMUNICATION T&E
Historical Association
HOME ENTERTAINMENT
LEISURE
History
IN THE EARLY MONTHS OF 2017 THE MUSIC FRANCHISE, HMV CANADA, BEGAN TO THE PROCESS OF CLOSING DOWN ALL 120 OF THEIR STORES ACROSS CANADA. AFTER 30 YEARS OF BUSINESS, THE COMPANY WENT INTO RECEIVERSHIP. PARK PLACE MALL IN DOWNTOWN LETHBRIDGE HAD AN HMV LOCATION OF ITS OWN, WHICH OPENED IN 1994. THIS AC/DC CD IS INDICATIVE OF A TYPE OF CD SOLD BY HMV. AC/DC IS A POPULAR ROCK BAND THAT FORMED IN THE 1970S IN AUSTRALIA. THE ALBUM, HIGHWAY TO HELL, WAS RELEASED IN 1979 AND WAS THE FIFTH AC/DC ALBUM TO BE RELEASED INTERNATIONALLY. ON 27 FEBRUARY 2017, IN AN INTERVIEW WITH COLLECTIONS TECHNICIAN KEVIN MACLEAN, THE MANAGER OF THE HMV LETHBRIDGE, BRENDAN FRIZZLEY, REFLECTED ON HIS PAST EXPERIENCE AT THE MUSIC STORE, THE SIGNIFICANCE OF MUSIC STORES, AND ON THE RECEIVERSHIP PERIOD. FOR MORE INFORMATION OF THAT PERIOD, AS WELL AS FRIZZLEY’S RELATIONSHIP WITH THE STORE, PLEASE SEE P20170004001. DURING THE INTERVIEW, FRIZZLEY REFLECTED ON THE NATURE OF PEOPLES’ RELATIONSHIPS WITH MUSIC STORES. HE EXPLAINED, “… IT’S THE STRANGEST SORT OF STORE BECAUSE IF YOU WENT INTO A GROCERY STORE AND THEY HAD EXPANDED THEIR ORGANIC SECTION YOU WOULDN’T BE OFFENDED… [BUT] WITH MUSIC STORES, IT DOESN’T MATTER IF YOU’RE A 16-YEAR-OLD LISTENING TO PUNK MUSIC, OR A EARLY-20’S METAL GUY, OR AN OLD PERSON LISTENING TO THE GENRE CLASSICAL... THERE’S THIS FEELING THAT WHENEVER ANYTHING IS ASSAULTED, IN TERMS OF MUSIC, LIKE, 'HEY, THE METAL SECTION WENT FROM LIKE 8 FEET OF SPACE TO 12 FEET OF SPACE." WE DIDN’T ACTUALLY ADD ANY PRODUCT, BUT THE METAL GUYS WILL BE ECSTATIC, BECAUSE CLEARLY WE HAD DONE THIS THING THAT HAD MADE IT BETTER. WE CARED ABOUT THEM… AND SIMILARLY, WHEN THE PUNK GUYS LOST THAT SPACE AND WENT FROM 8 FEET OF SPACE TO 4 FEET OF SPACE, THEY WERE LIKE 'YOU KNOW, YOU GUYS JUST DON’T HAVE THE SAME SORT OF SELECTION YOU USED TO.' BUT IT’S THE PERCEPTION OF [HOW MUCH PEOPLE CARE ABOUT THEIR MUSIC] AND THAT’S ALWAYS SORT OF BEEN IT... YOU KNOW, PEOPLE ARE OFFENDED BY MUSIC THAT THAT THEY DON’T LIKE BEING IN A STORE. THE AMOUNT OF TIMES I CAN REMEMBER A NEW JUSTIN BIEBER COMING OUT, AND GOING UP TO THE FRONT OF THE STORE, AND BEING LIKE 'WELL WHAT’S GOING ON HERE?' AND SOMEONE HAD TAKEN MY ENTIRE IRON MAIDEN SECTION AND PUT IT IN FRONT OF EACH JUSTIN BIEBER CD. I CAN’T FATHOM ANYBODY BEING INVESTED IN ANY SORT OF OTHER PURCHASE WHERE THEY WOULD BE LIKE 'THIS SORT OF THING OFFENDS ME...' I CAN’T IMAGINE FEELING THAT WAY ABOUT A PARTICULAR BRAND OF KETCHUP OR A PARTICULAR CAR, OR ANYTHING LIKE THAT…" SPEAKING ABOUT THE TYPICAL HMV SHOPPER FRIZZLEY SAID, "THERE’S THIS NARRATIVE THAT PEOPLE WANT TO [BE] THE OLD, DYING CD BUYER... THERE’S ALWAYS PEOPLE WHO COME IN, AND SAY THINGS LIKE, 'OH, I JUST DON’T DO THE DIGITAL,' - [BUT ALSO] 'OH, I HAVE A CD PLAYER IN MY TRUCK, SO THAT’S THE ONLY REASON I’M BUYING CD’S TODAY,' AND THAT’S ALWAYS BEEN A SUBSECTION OF WHAT WE SELL TO - BUT, I THINK THE MAJORITY OF PEOPLE JUST WANT TO HAVE THAT PHYSICAL CONNECTION WITH THE THING THAT THEY LIKE. AND THAT [TYPE OF] PERSON DIDN’T DIE, BUT THEY ALSO WEREN’T MARKETED TO BY ALL THE MARKETING... SO THAT’S SORT OF WHY THE FOOTPRINT OF CDS SHRUNK. IT WASN’T TO ASSAULT WHAT THEY WANTED, BECAUSE THEY WERE COMING IN [AND] BUYING SPECIFIC THINGS, OR COMING UP AND ORDERING SPECIFIC TITLES THAT THEY’VE ALREADY PUT THEIR RESEARCH INTO. THEY WANT THIS TOKEN OF WHAT THEY LIKE (WHICH IS THE PHYSICAL CD). AND ANYTIME THAT ANY AFFRONT HAPPENED TO CDS, THEY TOOK IT SO PERSONALLY…" AS THE SALE OF CDS DECREASED WITH THE ADVENT OF DIGITAL CONTENT AND STREAMING SERVICES, FRIZZLEY NOTED THAT SOME POSITIVES EMERGED. HE SAID, “THE POSITIVES ARE THAT BARRIERS ARE BROKEN DOWN. YOU KNOW THE FACT THAT BANDCAMP IS HUGE; THAT LITERALLY ANYBODY CAN MAKE MUSIC, AND CAN MAKE IT AVAILABLE IS SO COOL. YOU’VE GOT SHAWN MENDES RIGHT NOW, WHO IS VINE FAMOUS... [MEANING], ‘I MAKE SHORT VIDEO CLIPS OF ME SINGING SONGS AND THAT’S GOING TO LEAD INTO THIS MASSIVE CAREER.' THAT’S SURREAL… [AND] I THINK IT LETS PEOPLE FEEL MORE CONNECTED TO THEIR MUSIC... IT CHANGES THE WAY THAT PEOPLE SORT OF PERCEIVE THEIR CONNECTION TO IT. PEOPLE LOVE THE IDEA OF BEING A PART OF SOMETHING...” FRIZZLEY WENT ON TO DISCUSS THE SHIFT IN THE MUSIC INDUSTRY, “I WOULD LIKE TO SAY THAT THERE’S MORE POSITIVES THAN THAT, BUT I REALLY THINK THE MUSIC INDUSTRY MADE A SYSTEM THAT IS NOT GOING TO BE FINANCIALLY VIABLE FOR A LOT OF MUSICIANS. IF YOU LOOK AT STREAMING, - WHICH IS GREAT - [BUT] I DON'T THINK PEOPLE REALIZE THE DIFFERENCE BETWEEN SPOTIFY AND NETFLIX. WHEN YOU DO NETFLIX, IT’S MOVIES THAT HAVE ALREADY HAD THEIR THEATRE RUN; ALREADY MADE THEIR BILLIONS OF DOLLARS; ALREADY HAD A CHANCE TO BE SOLD, WHETHER DIGITALLY OR PHYSICALLY, AND THEN FINALLY END UP ON NETFLIX. SPOTIFY [IS LIKE], ‘HEY, IT’S $10.00 A MONTH AND HERE’S ALL THE MUSIC FOREVER.’ SPOTIFY ROYALTIES AREN’T ENOUGH. EVERYONE KNOWS THEY’RE NOT ENOUGH, BUT I THINK PEOPLE HAVE IN THEIR HEADS THAT ALL THE MUSIC FOREVER IS WORTH $10.00 A MONTH… MUSIC HAS NO VALUE ANYMORE. LIVE MUSIC DOES AND THE PHYSICAL TOKENS DO, AND THAT’S WHY VINYL IS SEEING THIS RESURGENCE, BUT MUSIC HAS NO VALUE. AND I THINK PART OF THAT [IS] BECAUSE OF THE RADIO, [WHICH IS] SORT OF HOW MUSIC HAPPENED; HOW WE’VE LISTENED TO MUSIC. SO RADIO HAPPENS, AND YOU CAN LISTEN TO RADIO FOR FREE, BUT YOU STILL HAVE TO BUY THE RECORDS. AND IT WORKED. BUT NOW WE STILL HAVE THIS IDEA THAT ‘WELL, THE TECHNOLOGY EXISTS FOR ME TO BE ABLE TO LISTEN TO THE RADIO, AND CHOOSE WHAT I LISTEN TO ON THE RADIO... SO I SHOULD BE ABLE TO CHOOSE WHAT I LISTEN TO, BUT I STILL WANT THAT PREMISE OF FREE MUSIC’… I DON’T KNOW HOW THE WORLD IS ABLE TO FINANCIALLY COMPENSATE YOU FOR MAKING YOUR MUSIC, AND I DON’T KNOW IF IT NECESSARILY NEEDS TO. ART WILL ALWAYS EXIST REGARDLESS WHETHER OR NOT THERE’S PEOPLE PAYING FOR IT. BUT IT DOESN’T CHANGE THE FACT THAT WHEN YOU ARE ABLE TO COMPENSATE PEOPLE, THEY CAN FOCUS ON THEIR ART FULL TIME, [AND] YOU END UP WITH JUST BETTER QUALITY.” PLEASE SEE PERMANENT RECORD FOR ADDITIONAL INFORMATION, INCLUDING THE FULL INTERVIEW TRANSCRIPT AND ARTICLES REGARDING THE RECEIVERSHIP AND LIQUIDATION OF HMV CANADA.
Catalogue Number
P20170004003
Acquisition Date
2017-02
Collection
Museum
Images
Less detail
Other Name
HMV LISTENING STATION
Date Range From
1994
Date Range To
2017
Material Type
Artifact
Materials
ALUMINIUM, GLASS, RUBBER
Catalogue Number
P20170004001
  2 images  
Material Type
Artifact
Other Name
HMV LISTENING STATION
Date Range From
1994
Date Range To
2017
Materials
ALUMINIUM, GLASS, RUBBER
No. Pieces
4
Height
29.5
Length
20.5
Width
5.6
Description
A- LISTENING STATION FOR COMPACT DISCS (CDS) WITH A BRUSHED ALUMINUM FRONT ON BLACK HOUSING. IT HOLDS UP TO THREE DISCS. THE FRONT READS “HMV” IN A CIRCLE AREA. CIRCULAR, GLASS WINDOW TO DISPLAY THE CURRENT DISC. A CONTROL PANEL WITH BUTTONS ON THE FRONT BOTTOM SECTION OF THE LISTENING STATION. A BLACK METAL HOOK EXTENDING FROM THE BOTTOM OF THE MACHINE FOR HOLDING HEADPHONES. TWO STICKERS ON BACK: ONE READS “MB-K300.” THERE ARE HOLES IN THE BACK TO MOUNT THE MACHINE TO A SUPPORT, SUCH AS A WALL. A KEY HOLE ON THE LEFT SIDE AND HINGES ON THE RIGHT. INSIDE OF THE MACHINE INCLUDES A GREEN CIRCUIT BOARD, MACHINE INSTRUCTIONS, AND OUTLETS FOR HEADPHONES. THE SERIAL NUMBER IS “SERIAL NO. V65111019”. GOOD TO VERY GOOD CONDITION. SCUFFING AND DIRT ON OVERALL SURFACE. THERE IS ADHESIVE ON THE TOP LEFT EDGE OF THE MACHINE. SLIGHT SCRATCHING ON THE GLASS AND SLIGHT SCRATCHES TO THE BACK. PAIR OF HEADPHONES ARE ATTACHED TO THE LISTENING STATION. THEY ARE PRIMARILY BLACK PLASTIC WITH A PADDED HEADBAND AND EAR PADS. “RIGHT” INDICATED ON THE RIGHT SIDE OF THE HEADPHONES. A THICK PROTECTIVE COVERING MADE OF RUBBER COATING THE AUXILIARY CABLE. AT THE END OF THE CABLE IS A METAL HEADPHONE JACK. THE HEADPHONES ARE MARKED WITH “PRO-705”. DIAMETER OF THE EAR PADS IS 9.7 CM. THE HEADBAND LENGTH IS ADJUSTABLE WITH A 42 CM MAXIMUM. THE CABLE IS 134 CM LONG. GOOD CONDITION. GENERAL WEAR TO THE HEADPHONES. SLIGHT DUST, LOSS OF SOME BLACK FINISH OF THE HEADPHONES. AT LEAST TWO VISIBLE HOLES IN THE RUBBER COATING OF THE CABLE. B- BLACK METAL FRAME WITH 3 SLOTS TO HOLD CD CASES. ONE LENGTH END IS OPEN TO INSERT THE CDS. BACK OF THE FRAME HAS SIX SCREW HOLES (2 ON EITHER SIDE OF EACH OF THE THREE SECTIONS) FOR WALL ATTACHMENT. THE JOINTS ARE WELDED AT THE BACK. THE OVERALL DIMENSIONS ARE 44.5 X 13.2 X 1.5 CM. EACH SECTION IS 14.3 CM WIDE. EACH SECTION IS MADE WITH INDIVIDUAL PIECES OF METAL, WELDED TOGETHER AT THE BACK ON TWO METAL BANDS. GOOD TO VERY GOOD CONDITION. SLIGHT SCRATCHES TO THE PAINT. DUST COLLECTING AT EDGES, CORNERS, AND JOINTS. GENERAL WEAR FROM USE. C- LISTENING STATION KEY. SMALL, STAINLESS STEEL KEY WITH CYLINDER END “NO 1”. HOLE AT THE BOW END. THE LONG EDGE OF THE BOW HAS 3 GROVES ON THE RIGHT SIDE. THE KEY IS 3.1 CM IN LENGTH AND 2 CM IN WIDTH. GOOD TO VERY GOOD CONDITION. WEAR ON BOW. RUSTING/WEAR TO FINISH ON KEY.
Subjects
SOUND COMMUNICATION T&E
Historical Association
RETAIL TRADE
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 ACCORDING TO LETHBRIDGE HERALD ADVERTISEMENTS OPENED IN 1994. UPON THE STORE'S CLOSURE THE MUSEUM COLLECTED A LISTENING STATION FROM THE LOCATION. ON FEBRUARY 27, 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. FRIZZLEY COMMENTED ON THE LISTENING STATION, “WELL, I THINK THE INTERESTING THING ABOUT THAT [LISTENING STATION] IS THAT IT GOT MOVED SO THAT THERE WOULD BE ROOM FOR A POSTER RACK, AND I THINK THAT THAT’S SORT OF AN INDICATION OF THE WAY THAT PEOPLE CHANGE, LISTENING TO MUSIC, BECAUSE THE LISTENING STATIONS ARE HUGE. THEY’RE A THING THAT PEOPLE WOULD COME UP TO [AND THEY] WOULDN’T HAVE ANY IDEA ABOUT AN ARTIST [THEN] THEY GOT MOVED. I THINK A LOT OF PEOPLE WERE SORT OF LIKE 'OH, WHY IS THERE LESS OF [THE STATIONS]?' BECAUSE NOBODY USED THEM ANYMORE. PEOPLE ARE ALREADY STREAMING, OR FAMILIARIZING THEMSELVES WITH ARTISTS IN AN INFINITE NUMBER OF WAYS, AND THE CD STORE IS FOR SORT OF THE END PURCHASE. YOU ALREADY MADE A DECISION AS TO WHAT YOU WANT RATHER THAN THE EXPLORATION SIDE OF IT, WHICH IS NOT HOW PEOPLE DO MUSIC ANYMORE... EVEN THE SUPPLIERS AREN’T AS INVESTED AS GETTING THESE FILLED. IT USED TO BE THAT WE WOULD GET THESE MAIL BOXES, AND IT WOULD BE FULL OF CDS. WE WOULD LOAD THEM UP, AND THEY WOULD SAY, ‘THESE ONES GO HERE AND THESE ONES GO HERE,’ AND THAT’S WHERE ALL THE PICTURES WOULD COME FROM. AND [THEN] THE BOXES GET SMALLER AND SMALLER, AND THE NUMBER OF ARTISTS THAT THEY’RE WORRIED ABOUT PROMOTING THAT WAY BECOMES FEWER AND FEWER. IT’S JUST NOT AN ANGLE THAT THEY NEEDED TO PUSH AN ARTIST ANYMORE. SO, THAT WAS IT. THERE USED TO BE SIX AND, I THINK, BY THE TIME WE’RE DONE THERE WAS THREE THAT WERE BEING CONSTANTLY UPDATED.” ACCORDING TO AN ARTICLE PUBLISHED IN 2001 BY STRATEGYONLINE.CA, HMV BEGAN USING LISTENING STATIONS AS A MARKETING STRATEGY IN 1988, ALSO THE YEAR THE RETAILER ARRIVED IN CANADA. FRIZZLEY WORKED AT HMV FOR 8 YEARS. HE EXPLAINED HOW HE BEGAN HIS JOB AT HMV, “I HAD HAD A JOB AT A CALL CENTER THAT HAD BEEN HERE. IT HAD SHUT DOWN, AND I HAD SORT OF GONE OFF ONE DIRECTION, AND STARTED SELLING SPEAKERS. A SORT OF CO-WORKER OF MINE STARTED MANAGING THIS PLACE AND HE WAS COMPLAINING BECAUSE HE COULDN’T FIND AN ASSISTANT MANAGER. IN MY HEAD, I HAD [A] FLASH OF, 'I COULD WORK IN A RECORD STORE,' AND HE JUST HIRED ME. UNFORTUNATELY MY OLD FRIEND [LOST HIS MANAGEMENT JOB]... SOMEBODY IMPORTANT ENOUGH FELT THAT I HAD THE RIGHT SORT OF ATTITUDE FOR THIS, AND SO THEY KEPT ME ON. THEY BROUGHT IN [A FELLOW] FROM THE MEDICINE HAT STORE AND HE ... TURNED THE STORE AROUND AND ... HE GOT PROMOTED TO GO RUN THE STORE AT SOUTH CENTER IN CALGARY, AND THIS BECAME MINE. THAT WAS ABOUT FIVE YEARS AGO.” WHEN DISCUSSING THE SHIFT IN SALES FROM THE BEGINNING OF HIS CAREER IN THE MUSIC STORE TO THE CLOSING OF THE FRANCHISE, FRIZZLEY SAID, “I FEEL THAT SHIFT WAS ALREADY OCCURRING WHEN I STARTED. I [HEARD STORIES FROM] EVEN THREE, FOUR YEARS BEFORE I STARTED [WHEN] THEY WOULD PULL ALL THE MANAGERS FROM EVERY HMV INTO A SORT OF PERSONAL CONCERT OF [THE] CANADIAN MUSIC INDUSTRY... THERE WOULD BE THIS MEET-AND-GREET WITH ALL THE EXECUTIVES AND PRIVATE CONCERTS FROM THE TOP ARTISTS. THAT WAS THE IDEA OF WHAT A MUSIC STORE WAS AND HOW IMPORTANT IT WAS TO THE MARKETING OF MUSIC. THE SHIFT THAT WAS STARTING TO HAPPEN ALREADY WAS THIS IDEA THAT THE MUSIC STORE WASN’T RESPONSIBLE FOR MARKETING ANYMORE. IT MAY HAVE BEEN RESPONSIBLE FOR SELLING [MUSIC], AND I DON’T THINK THAT EVER CHANGED." "PEOPLE ALWAYS WANTED TO TELL ME HOW CDS WERE DYING AND TO AN EXTENT - SURE - BUT NO MORE THAN ANYTHING PHYSICAL. [CDS] STILL HAVE THEIR AUDIENCE, AND THAT WAS TRUE IN 2009 WHEN I STARTED... THERE’S STILL A MARKET FOR THEM... BUT, THE IDEA THAT CD STORES DROVE CUSTOMER’S PURCHASING IS ON THE WAY OUT, AND I THINK THAT THERE WOULD BE LESS PUSH FROM THE LABELS... IN SETTING UP BIG BANNERS [TO MARKET MUSIC]. WHEN I STARTED, MUSICIANS AND THE MUSIC SIDE OF IT HAD PAID FOR THE BANNERS, AND BY THE TIME [OF THE CLOSURE], IT WAS BANNERS FOR MOVIES THAT WE WEREN’T EVEN SELLING. WE WERE THE ‘YOU’VE ALREADY DECIDED WHAT YOU’RE BUYING. COME IN HERE IF YOU ARE BUYING CDS OR RECORDS AND YOU BUY THEM,’ AND THAT’S REALLY DIFFERENT THAN MYSELF, OR ANY OF MY STAFF HERE, CURATING PEOPLE’S MUSIC EXPERIENCE, WHICH I THINK EVERYONE, FROM A CERTAIN AGE, HAS HAD THAT EXPERIENCE OF GOING TO A RECORD STORE, AND A RECORD STORE EMPLOYEE TELLING THEM WHAT TO LISTEN TO... I THINK THAT THAT DIED WELL BEFORE I WAS HERE, BUT I THINK THE LABEL SLOWLY RESPONDED TO THE FACT THAT THAT WAS JUST REALITY. THE LISTENING POST IS A GREAT EXAMPLE OF THAT SORT OF LIMPING OUT FROM THAT SORT OF EXPERIENCE, WHERE A MUSIC STORE DEFINED WHAT PEOPLE WERE LISTENING TO - AS MUCH AS A RADIO STATION DID - TO JUST A PLACE WHERE YOU BOUGHT MUSIC…" "I THINK THE NATURE OF PEOPLE’S RELATIONSHIP WITH THE MUSIC STORE IS REALLY DIFFERENT AND SO PEOPLE WOULD GET VERY PERSONALLY OFFENDED AS THE CHANGES HAPPENED. AND, FOR ME, I ALWAYS KEPT IN MY MIND THAT THE STORE, NO MATTER WHAT THE CHANGES HAPPENED - THE TOYS AND ALL THAT OTHER STUFF - FACILITATED ME BEING ABLE TO HAVE A CD SELECTION; FACILITATED THE ABILITY FOR ME TO SAY, 'HEY, YOU SHOULD CHECK THIS OUT. I DON’T EVEN CARRY IT IN THE STORE, BUT I CAN ORDER IT FOR YOU, AND YOU’RE GOING TO LOVE IT.' SO, AS THE SHIFT STARTED TO HAPPEN, WE PULLED BACK FROM CDS A LITTLE BIT, ESPECIALLY IN THE GENRES THAT JUST STOPPED SELLING, AND THAT SORT OF HAPPENED SLOWLY.” FRIZZLEY RECALLS THE EVENTS THAT TOOK PLACE LEADING UP TO AND AFTER THE COMPANY ANNOUNCED IT HAD WENT INTO RECEIVERSHIP. WHEN ASKED IF HE HAD ANY INDICATION THAT HIS STORE - ALONG WITH EVERY HMV STORE IN CANADA - WOULD BE CLOSING, FRIZZLEY ANSWERED, “NONE WHATSOEVER. IT WAS A SLOWER CHRISTMAS FROM A MALL PERSPECTIVE. IT’S DIFFICULT BECAUSE CORPORATE FINANCIALS ARE VERY DIFFERENT THAN STORE FINANCIALS. BUT WHEN I WAS LOOKING AT MY NUMBERS IT WAS CERTAINLY A STORE THAT COULD’VE CONTINUED TO HAVE RUN. THERE WAS NO INDICATION WHATSOEVER. THERE WAS SOME SLIGHT BUYING DIFFERENCES, AS IN THE PRODUCT THAT WAS COMING [INTO] THE STORE. LOOKING BACK ON IT NOW, IT WAS PROBABLY BECAUSE OF THE DETERIORATING RELATIONSHIPS WE HAD WITH OUR SUPPLIERS. BUT IT WAS ANOTHER PROFITABLE YEAR FOR ME. I MEAN, EVERY YEAR THAT I’VE RUN THIS STORE, I’VE BEEN IN TOP FIVE MOST PROFITABLE STORES IN TERMS OF A PERCENTAGE OF EVERY DOLLAR THAT COMES IN - WHAT BECOMES PROFIT... IF YOU LOOK AT THE CONDITIONS THAT RESULTED IN US CEASING TO EXIST, IT’S A SPECIFIC WAY THAT IT CAME ABOUT. [FROM] THE RESTRUCTURING TO THE PURCHASE [OF THE COMPANY] BACK IN 2011 WHEN WE ACTUALLY ALL THOUGHT THAT WE WERE ALL LOSING OUR JOBS… [HMV WAS] HEMORRHAGING MONEY FOR A NUMBER OF DIFFERENT REASONS. THE CANADIAN ARM WAS NOT DOING PARTICULARLY WELL EITHER, AND THEY NEEDED CASH TO PROVE TO THE BANK THAT [IT COULD] REPAY [ITS] DEBTS. THEY HAD ENOUGH SALES; THEY HAD ENOUGH BUSINESS; EVERYTHING WAS FINE, EXCEPT THEY DIDN’T HAVE ENOUGH CASH ON HAND – SO THEY JUST NEEDED TO HAVE MONEY IN AN ACCOUNT SOMEWHERE. SO, THEY SOLD HMV CANADA OFF FOR BASICALLY A SONG, TO THIS COMPANY CALLED HILCO. HILCO IS A RESTRUCTURING COMPANY... THEY ARE SO GOOD AT LIQUIDATING COMPANIES, THAT THEY, ODDLY, BECAME RIGHT DOWN THE CHAIN SOME WAYS, AND STARTED THEIR WORK TO DO IT… THIS COMPANY BOUGHT US IN 2011. [WE THOUGHT,] 'THAT’S THE END OF US – THEY ARE GOING TO LIQUIDATE US, AND THAT WILL BE THAT.' WE HAD SOME VERY PASSIONATE PEOPLE INVOLVED, AND THEY PITCHED THIS IDEA AS TO WHAT HMV COULD BE AND THAT WAS TO HAVE THE VIDEO GAME SIDE OF IT AND THE MERCHANDISE STUFF. AND WE DID IT. IT DID PHENOMENAL FOR US… WE ALSO WORKED WITH ALL THE SUPPLIERS TO GET BETTER MARGINS; SO, IN FACT, A CD COST $10.00, INSTEAD OF THE $20.00 IT TRADITIONALLY DID, WHEN I STARTED HERE. THAT’S A THING THAT THEY SORT OF NEGOTIATED IN WITH OUR SUPPLIERS." REMEMBERING THE DAY THAT FRIZZLEY LEARNED THE NEWS OF THE COMPANY’S CLOSURE, HE SAID, “SO, I WOKE UP AND CHECKED MY PHONE, AND I SEE THAT I AM REMOVED FROM BEING AN ADMINISTRATOR ON THE STORE’S FACEBOOK PAGE. I’M SORT OF THROWN BY THAT. I DON’T POST A LOT ON THE STORE’S FACEBOOK PAGE, BUT WHEN I DO THERE’S SOME JOKES IN THERE AND I SHOW OFF THE NEW STUFF. I POSTED SOMETHING ON THERE FOR THE FIRST TIME IN A WHILE, AND I GOT A LOT OF LIKES AND SHARES, AND IT’S ALL GOOD... I WAKE UP, AND I’M NOT THE ADMINISTRATOR ON THAT PAGE ANYMORE… I’M SORT OF THROWN BY THAT, AND I’M LIKE, 'WHY WOULD THEY EVER MOVE ME? ARE THEY GETTING RID OF ALL OF THESE?” I LOOK, 'NO, THE PAGE IS STILL THERE.' SEEMS STRANGE. IT OCCURS TO ME THAT MAYBE SOMEBODY DIDN’T GET THE JOKE THAT I MADE, FROM HEAD OFFICE OR SOMETHING… AND, SO I AM CONFUSED. I’M THINKING I MAY HAVE TO ARGUE WITH SOME SORT OF HEAD OFFICE PERSON WHEN I COME TO WORK THAT AFTERNOON. SO I COME IN AND JOHN TELLS ME THAT 'SHIT’S HIT THE FAN.' AND I’M CONFUSED, AND I’M LIKE, 'IS THERE AN E-MAIL FOR ME ABOUT THIS, THAT I’M GOING TO HAVE TO FIGHT WITH?' AND I’M READY TO PICK UP THE PHONE AND START ARGUING WHEN HE SAID, 'NO, LOOK AT THIS NEWS ARTICLE.' AND, THAT IS HOW WE HEARD … [THE] BREAKING THE NEWS. AND MY BOSS AT THE TIME [SAID], 'I WILL FIND OUT WHAT’S GOING ON. I DON’T KNOW ANYTHING EITHER.' MY BOSS WAS ONE OF FIVE REGIONAL MANAGERS, SO HE IS VERY HIGH UP. HE CALLED TO FIND OUT WHAT WAS GOING ON, THAT’S WHEN THEY TOLD HIM HE DIDN’T HAVE A JOB ANYMORE... TO BE FAIR, THIS WAS FLOWING FROM A POINT OF SECURE DEBT, FORCED TO LIQUIDATION. NOBODY HAD ANY IDEA... ALL OF US HERE FOUND OUT THAT DAY, AND IT WAS REAL LATER IN THAT EVENING, AT THAT POINT I WAS SELLING GIFT CARDS, SUGGESTING TO CUSTOMERS THAT THEY REDEEM THEIR PEER POINTS AS QUICKLY AS POSSIBLE, THAT WE KNEW. [IN] THREE DAYS’ TIME, THE GOING OUT OF BUSINESS SALE STARTED… I’M A MUSIC GUY, BUT I’M ALSO VERY WORRIED ABOUT MY STAFF. THAT’S ALWAYS BEEN A THING THAT I’VE BEEN WIRED TO, AND SO IT WAS MAKING SURE THAT PEOPLE [GOT] PAID - HOW TO DO THIS. SOME E-MAILS THAT I GOT SENT WERE VERY VAGUE… SO, IT’S A LOT OF MOVING PARTS, BECAUSE THERE IS A RECEIVERSHIP, WHICH IS THE COMPANY LEGALLY RESPONSIBLE FOR MANAGING THE FINANCIALS, AND THEY SOLICIT A LIQUIDATOR, WHICH IS THE PEOPLE THAT ACTUALLY KNOW HOW TO PROPERLY SHUT DOWN A STORE, BUT NOBODY IS WORKING FOR HMV PROPER ANYMORE, BECAUSE HMV DOESN’T REALLY EXIST, AT SOME FUNDAMENTAL LEVEL. THERE’S A LOT OF PARTS EVERYONE WOULD LIKE TO PASS ON TO EVERYONE ELSE, AS TO THINGS LIKE SEVERANCES, BONUSES, AND THINGS LIKE THAT. NOBODY [WANTED] TO COMMIT TO ANYTHING.” ACCORDING TO HMV’S WEBSITE THE FINAL DAY OF ALL STORES WAS APRIL 14, 2017 WITH SOME STORES CLOSING THEIR DOORS PRIOR TO THAT. PLEASE SEE PERMANENT RECORD FOR ADDITIONAL INFORMATION, INCLUDING THE FULL INTERVIEW TRANSCRIPT AND ARTICLES REGARDING THE RECEIVERSHIP AND LIQUIDATION OF HMV CANADA.
Catalogue Number
P20170004001
Acquisition Date
2017-02
Collection
Museum
Images
Less detail
Other Name
WINDSHIELD COVER
Date Range From
1955
Date Range To
1965
Material Type
Artifact
Materials
COTTON, POLYESTER, INK
Catalogue Number
P20180021005
  2 images  
Material Type
Artifact
Other Name
WINDSHIELD COVER
Date Range From
1955
Date Range To
1965
Materials
COTTON, POLYESTER, INK
No. Pieces
1
Length
174
Width
82
Description
YELLOW COTTON-BLEND COVER WITH MACHINE-STITCHED EDGES; FRONT OF COVER HAS LOGO IN UPPER LEFT CORNER OF WHITE SHIELD WITH RED BORDER, A WHITE ROSE WITH GREEN LEAVES ON YELOW CIRCLE ON SHIELD, AND RED TEXT “WHITE ROSE”. FRONT OF COVER HAS STENCILED GREEN TEXT AT TOP “DRIVE IN-“ AND RED STENCILED TEXT BELOW “LET US CLEAN YOUR WINDSHIELD!” BACK OF COVER IS WHITE COTTON-NYLON FABRIC. FRONT IS STAINED WITH TWO LARGE HOLES ON LEFT AND RIGHT WITH RIPS EXTENDING FROM HOLES; BACK IS STAINED; RIGHT EDGE FRAYED; COVER IS SEVERELY CREASED AND FOLDED. OVERALL GOOD CONDITION.
Subjects
LAND TRANSPORTATION-ACCESSORY
Historical Association
INDUSTRY
TRANSPORTATION
History
ON AUGUST 22, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED MARG OBERG REGARDING HER DONATION OF AN AUTOMOBILE WINDSHIELD COVER. THE COVER WAS USED BY HER FATHER IN LETHBRIDGE. ON HER FATHER’S USE OF THE COVER, OBERG ELABORATED, “[I REMEMBER] HOW EMBARRASSING IT WAS THAT ALL THE OTHER DADS IN THE NEIGHBORHOOD WOULD JUST GET OUT IN THE MORNING, AND SCRAPE THEIR WINDSHIELD OFF, BUT OUR DAD [JACK GRANT KEYS] HAD THIS BRIGHT YELLOW THING STRAPPED ONTO HIS WINDSHIELD TO KEEP THE SNOW OFF. AS CHILDREN, THE PEER PRESSURE WAS PRETTY INTENSE, AND WE WERE THE ONLY ONES ON THE STREET THAT HAD THIS GREAT BIG CANVAS THING ON THE FRONT OF OUR DAD’S CAR. WHEN WE MOVED TO EDMONTON, WE DIDN’T HAVE A GARAGE AT THAT POINT. AGAIN, THERE GOES THIS (EVEN THOUGH WHITE ROSE GASOLINE HAD BECOME OBSOLETE). MY DAD DIDN’T THROW TOO MANY THINGS OUT IF THEY STILL HAD A USEFUL PURPOSE, AND SO, THERE IT WAS, FRONT AND CENTER AGAIN–-THE ONLY GUY ON THE BLOCK. I DON’T KNOW WHY SOMEBODY DIDN’T COME UP WITH SOMETHING NOT QUITE SO OBVIOUS. IT WAS JUST AN EMBARRASSMENT THAT MY FATHER ALWAYS HAD TO COVER UP HIS WINDSHIELD.” “HE WAS THE MANAGER OF THE [WHITE ROSE OIL COMPANY] PLANT. WELL, HE CALLED IT ‘THE PLANT’, BUT THEY DIDN’T MANUFACTURE ANY PRODUCTS THERE. THERE WERE BIG TANKS. I BELIEVE THEY WERE UP ON THIRD AVENUE SOUTH–-I WANT TO SAY IN THE AREA OF HARLEY-DAVIDSON. WE LIVED ON 18TH STREET, AND I KNOW THAT IT WAS STRAIGHT NORTH ON 18TH STREET, AND EITHER LEFT OR RIGHT. IT WAS IN THAT GENERAL AREA. IT WAS WITHIN WALKING DISTANCE, [AND] HE WAS THE MANAGER OF THE PLANT. I THINK HE WAS EVEN THE ONLY EMPLOYEE, BUT HE USED TO GO AROUND IN SOUTHERN ALBERTA TO ALL OF THE GAS STATIONS THAT WERE DEALING IN WHITE ROSE OIL, AND GET THEIR ORDERS…THEN, THERE MUST HAVE BEEN A DRIVER THAT WOULD COME AND FILL UP THEIR TANKER TRUCKS FROM WHERE HE WAS–-THE BULK STATION–-AND GO AND DELIVER IT. I KNOW THAT [DAD] WAS ON THE ROAD AN AWFUL LOT, BUT I DON’T RECALL, AS A CHILD, THAT THERE WERE OTHER EMPLOYEES, OTHER THAN THE TRUCK DRIVER.” “I DON’T RECALL THAT HE WAS THAT FOND OF HIS JOB. IN THE WINTER-TIME, IT WAS REALLY TOUGH. HE USED TO FREEZE HIS FINGERS, ON OCCASION, BECAUSE HE WAS THE ONE THAT HAD TO CLIMB UP THE STAIRCASE THAT WENT AROUND THESE BIG TANKS IN THE COLD OF WINTER, AND DO A DIP STICK TO MEASURE HOW MUCH FUEL WAS IN THE TANKS. WE DIDN’T HAVE SNOW BLOWERS…IT WAS TOUGH BECAUSE HE DID SPEND SOME TIME OUTSIDE, WITH HIS JOB, AND THEN [HAD] AN AWFUL LOT OF TIME ON THE ROADS. THERE WERE MANY TIMES THAT HE WOULD…BE STRANDED IN SMALL COMMUNITIES, BECAUSE OF BAD ROADS. OF COURSE HE WOULD HAVE PREFERRED TO BE HOME WITH HIS FAMILY. I DON’T RECALL THAT HE WAS REALLY ‘GUNG-HO’. I KNOW THAT SHELL TRIED TO GET HIM TO MOVE TO EDMONTON ON A FEW OCCASIONS, AND HE FLATLY REFUSED…WE MOVED IN ’63, SO IT WOULD HAVE BEEN MY GRANDMOTHER WAS ILL, AND DEALING WITH CANCER, AND IT WAS JUST A VERY INAPPROPRIATE TIME FOR US TO LEAVE. MY MOTHER WAS AN ONLY CHILD, SO THERE WERE NO OTHER FAMILY MEMBERS TO STAY AND LOOK AFTER HER. THEN, FINALLY SHELL SAID, “THIS IS YOUR FINAL CHOICE, AND THERE IS NO OPTION.” I GUESS IT WASN’T A CHOICE–-IT WAS EITHER MOVE, OR LOSE YOUR JOB. IT WAS A MATTER OF PUTTING IN TIME UNTIL HE RETIRED.” “MY DAD PASSED AWAY, AND WE ACQUIRED IT FROM HIS WIDOW…IT’S A SMALL PART OF MY DAD. I DIDN’T HAVE A LOT OF THINGS [FROM HIM]. THIS WAS MY DAD’S THIRD MARRIAGE, WHEN HE PASSED, AND HIS FAMILY/HIS WIFE DISPOSED OF A LOT OF THINGS THAT WE [THE CHILDREN] POSSIBLY WOULD HAVE KEPT. THEY MEANT NOTHING TO HER, BUT THEY WERE LIVING OUT ON SALT SPRING ISLAND AT THE TIME. I WAS LIVING IN REGINA. MY BROTHER LIVED IN CHICAGO, AND MY SISTER LIVED IN CALIFORNIA. NONE OF US REALLY WANTED ‘THINGS’, LIKE FURNITURE, SO IT WAS JUST A LITTLE TRINKET THAT BROUGHT BACK SO MANY MEMORIES, AND IT WENT BACK AS FAR AS LETHBRIDGE.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180021001-GA.
Catalogue Number
P20180021005
Acquisition Date
2018-08
Collection
Museum
Images
Less detail
Other Name
CASSETTE TAPE
Date Range From
1985
Date Range To
1990
Material Type
Artifact
Materials
PLASTIC, PAPER
Catalogue Number
P20180029005
  2 images  
Material Type
Artifact
Other Name
CASSETTE TAPE
Date Range From
1985
Date Range To
1990
Materials
PLASTIC, PAPER
No. Pieces
3
Height
1.7
Length
11
Width
7
Description
A. CASSETTE TAPE CASE, 11 CM LONG X 7 CM WIDE X 1.7 CM TALL. CLEAR PLASTIC RECTANGULAR CASE WITH TWO PLASTIC PRONGS INSIDE. CASE FRONT HAS EMBOSSED STAMP IN LOWER RIGHT CORNER “TDK, MADE IN JAPAN”. RIGHT SIDE HAS INDENT FOR OPENING; CASE IS HINGED ON LEFT SIDE. CASE IS SCRATCHED AND SCUFFED, WITH BLACK STAINING ON FRONT, BACK, AND LEFT SIDE; OVERALL VERY GOOD CONDITION. B. CASSETTE TAPE, 10 CM LONG X 6.4 CM WIDE X 0.7 CM TALL. TAPE IS BLACK PLASTIC WITH TWO HOLES THROUGH CASSETTE; TAPE HAS CLEAR PLASTIC WINDOW BETWEEN HOLES SHOWING TAPE INSIDE; BOTTOM EDGE OF TAPE HAS FIVE SQUARE OPENINGS SHOWING BROWN TAPE. TAPE HAS WHITE TEXT ON FRONT AND BACK; FRONT TEXT “AC DC * BACK IN BLACK, HELLS BELLS/SHOOT TO THRILL/, WHAT DO YOU DO FOR MONEY HONEY, GIVE THE DOG A BONE/LET ME PUT MY LOVE IN YOU, CP 1, DOLBY SYSTEM, XCS 16018, ATLANTIC”, LOWER LABEL HAS WHITE TEXT BILUNGUAL [ENGLISH AND FRENCH] “MANUFACTURED & DISTRIBUTED BY WEA MUSIC OF CANADA LTD., 810 BIRCHMOUNT RD SCARBOROUGH ONTARIO, A WARNER COMMUNICATIONS COMPANY”. TOP EDGE OF TAPE HAS EMBOSSED TEXT “MADE IN CANADA”. BACK OF TAPE HAS WHITE TEXT “AC DC * BACK IN BLACK, BACK IN BLACK/YOU SHOOK ME ALL NIGHT LONG, HAVE A DRINK ON ME, SHAKE A LEG/ROCK AND ROLL AIN’T NOISE POLLUTION, CP 2, DOLBY SYSTEM, XCS 16018, ATLANTIC”, LOWER LABEL HAS WHITE TEXT BILINGUAL [ENGLISH AND FRENCH] “MANUFACTURED & DISTRIBUTED BY WEA MUSIC OF CANADA LTD., 810 BIRCHMOUNT RD SCARBOROUGH ONTARIO, A WARNER COMMUNICATIONS COMPANY”. TEXT ON TAPE IS WORN AND FADED; LOWER EDGE OF TAPE IS SCUFFED AND STAINED; OVERALL VERY GOOD CONDITION. C. PAPER INSERT FOR CASSETTE TAPE, 10.3 CM LONG X 6.6 CM WIDE X 1.4 CM TALL. PAPER BOOKLET WITH BLACK COVER AND WHITE TEXT; FRONT OF COVER HAS TEXT “AC DC, BACK IN BLACK, ATLANTIC, SUPER CASSETTE”; SIDE OF COVER HAS TEXT “AC/DC, BACK IN BLACK, DOLBY SYSTEM, XCS-16018, SUPER CASSETTE”; BACK OF COVER HAS TEXT INCLUDING TRACK LIST FOR “SIDE ONE/SIDE TWO” AND PHOTOGRAPH OF MAN PLAYING GUITAR, TEXT BELOW PHOTOGRAPH “1980 LEIDSPELEIN PRESSE B.V., UNAUTHORIZED REPRODUCTION OF THIS RECORDING IS PROHIBITED BY LAW AND SUBJECT TO CRIMINAL PROSECUTION”, TEXT BELOW IS BILINGUAL [ENGLISH AND FRENCH] “MANUFACTURED & DISTRIBUTED BY, WEA MUSIC OF CANADA LTD., 1810 BIRCHMOUNT RD. SCARBOROUGH, ONTARIO, A WARNER COMMUNICATIONS COMPANY”. INSIDE OF COVER WHITE WITH BLACK TEXT “ALL SONGS WRITTEN BY YOUNG, YOUNG AND JOHNSON, PRODUCED BY ROBERT JOHN “MUTT” LANGE, ENGINEERED BY TONY PLATT, ASSISTANT ENGINEERS: JACK NEWBER, BENJI ARMBRISTER, RECORDED AT COMPASS POINT STUDIOS, APRIL-MAY 1980, MIXING ENGINEER: BRAD SAMUELSON, ART DIRECTION: BOB DEFRIN, PHOTOS: ROBERT ELLIS”, WITH “THANKS” BELOW, TEXT BELOW “FOR MORE INFORMATION ON AC/DC’S FAN CLUB AND MERCHANDISING, PLEASE SEND A SELF-ADDRESSED ENVELOPE TO: AC/DC FAN CLUB, 18 WATSON CLOSE, BURY ST. EDMUNDS, SUFFOLK ENGLAND, ALBERT PRODUCTIONS”. BACK INSIDE INCLUDES TEXT ON “NEW LEVELS OF EXCELLENCE” IN ENGLISH AND FRENCH. BACK OF BOOKLET HAS TWO HOLES PUNCHED THROUGH; COVER IS WORN AND FADED; OVERALL VERY GOOD CONDITION.
Subjects
SOUND COMMUNICATION T&E
Historical Association
LEISURE
HOME ENTERTAINMENT
History
ON DECEMBER 21, 2018, GALT MUSEUM CURATOR AIMEE BENOIT INTERVIEWED KEVIN MACLEAN REAGARDING HIS DONATION OF PERSONAL OBJECTS. ON THE CASSETTE TAPE, MACLEAN ELABORATED, “I WOULD THINK IT’S…IN THE WINTER OF GRADE 10 THAT I FOUND AC/DC AND THE SONG WAS, “FOR THOSE ABOUT TO ROCK”. I REMEMBER LISTENING TO IT WITH A BUDDY IN KALISPELL AND PLAYING ARCADE GAMES IN THE HOTEL AND THINKING, “OH, MY GOD, THIS IS THE COOLEST.”” “[BECAUSE] I’M A CATHOLIC KID…WE WERE PRETTY INNOCENT KIDS, AND [LISTENING TO BANDS LIKE AC/DC AND IRON MAIDEN] WOULD BE LIKE, “OH, I’M NOT GONNA GO THERE.” IT’S JUST TOO GRAPHIC…I THOUGHT IT DIDN’T REPRESENT ANYTHING GOOD. AC/DC CAME FIRST [FOR ME].” “THE OTHER THING THAT ATTRACTED ME TO AC/DC…THIS IS 1985, SO PART OF [MY INTEREST] IS THAT THEY’RE QUITE BLUE COLLAR…THE GLAM-ROCK THING…NEVER DID AS MUCH FOR ME. BUT THESE GUYS LOOK LIKE ORDINARY, WORKING-CLASS GUYS WHICH…IN TERMS OF WANTING TO FIT IN AND NOT HAVE A LOOK THAT STANDS OUT THEN, THERE WAS SOME APPEAL TO THESE GUYS, TOO.” “THIS, “BACK IN BLACK”, I’M CARRYING IN MY JEAN JACKET IN THE LEFT BREAST POCKET. WHEN I GO TO PARTIES, EVERY SINGLE WEEKEND, I HAD THIS TAPE BECAUSE IF PEOPLE DIDN’T HAVE “BACK IN BLACK” IN THEIR HOUSE, THEN I HAD IT. THEY COULD PLAY IT WHILE WE WERE PARTYING.” MACLEAN RECALLED HIS INTEREST IN MUSIC IN THE 1980S, NOTING, “[MY] DAD LISTENED TO COUNTRY MUSIC, CHARLEY PRIDE AND WILLIE NELSON, WHICH I WASN’T REALLY GETTING ANYTHING OUT OF. MY MOM, THOUGH, HAS ALWAYS BEEN INTERESTED IN CONTEMPORARY STUFF, WHATEVER THAT WORLD MIGHT BE. SHE IS THE ONE IN THE FAMILY WHO’S PROBABLY BUYING MOST OF THE RECORDS AND WHO IS LISTENING TO MUSIC LOTS, IN THE HOUSEHOLD. SHE DID JAZZERCISE STUFF SO SHE TAUGHT CLASSES. THERE’S LOTS OF VINYL IN THE HOUSE WHEN I’M GROWING UP. AT SOME POINT IN TIME, I DON’T KNOW HOW IT HAPPENED, BUT THERE WAS A RECORD PLAYER THAT WENT INTO MY BEDROOM AND INITIALLY, [BECAUSE] IT’S PROBABLY THE ONLY TIME I LISTENED TO VINYL, IT WAS MOM AND DAD’S KENNY ROGERS RECORD. I THINK I LIKED IT [BECAUSE] I COULD SING TO IT.” “IN ABOUT 1983, I WOULD HAVE AN ALLOWANCE. I START BUYING MUSIC AND THAT’S ALL I WANTED MONEY FOR; TO BUY MUSIC AND TO BUY A TAPE BACK THEN BECAUSE TAPES [WERE] COMPETING WITH VINYL RECORDS. WHERE I HAVE FRIENDS WHO ARE YOUNGER THAN ME OR WHO ARE THE SAME AGE AS ME WHO ARE BUYING VINYL, IT’S GENERALLY, I WOULD SAY, BECAUSE THEY HAVE SIBLINGS WHO ARE ALSO BUYING VINYL. THEY’RE DOING THE RECORD PLAYER THING BUT I WENT RIGHT TO CASSETTE.” “WHEN I FIRST STARTED BUYING MUSIC, THE FIRST [CASSETTE] I BOUGHT WAS MICHAEL JACKSON “THRILLER”; THAT WAS THE FIRST ONE. ALMOST AT THE EXACT SAME TIME, I BOUGHT DURAN DURAN “RIO” AND I THINK MY THIRD TAPE WAS EDDY GRANT; IT WAS A SONG CALLED “ELECTRIC AVENUE”. WHEN I’M BUYING MUSIC, I’M COMING INTO LETHBRIDGE. I REMEMBER THERE WAS A MUSIC STORE—THERE [WAS] NO PARK PLACE MALL—IN THE LETHBRIDGE CENTRE MALL.” “MY COUSIN, WHO’S LIVING WITH US—REG—IS SIX YEARS OLDER THAN ME. HE [HAS] A TAPE CASE BEFORE I BUY MY FIRST TAPE CASE. HIS MUSIC IS PREDOMINANTLY CANADIAN ROCK FROM THE EARLY ‘80S. SO, BANDS THAT WERE ALL COMING OUT AT THE SAME TIME LIKE STREETHEART, TORONTO, CHILLIWACK, HEADPINS, PRISM, THE STUFF THAT RON SAKAMOTO, THE PROMOTER, WAS BRINGING INTO THE SPORTSPLEX. BUT I WAS NOT INTERESTED IN ROCK. I WANTED POP MUSIC AND I REMEMBER SHARING MY LOVE OF MY POP MUSIC WITH MY FRIENDS. I REMEMBER WHEN I GOT DURAN DURAN “RIO”, I WOULD CALL UP MY FRIEND ON THE ROTARY DIAL PHONE AND WITH MY VIKING CASSETTE RECORDER/TAPE PLAYER PUSH ‘PLAY’ AND HOLD THE RECEIVER OVER SO THAT HE COULD HEAR THIS MUSIC THAT I WAS SO EXCITED TO SHARE.” “WHEN I BUY, WHEN I TELL MY NEIGHBOUR FRIEND, [I ASK], “IS THIS OKAY? IS THIS A GOOD ONE?” AND THE ONE TIME, I REMEMBER HIM GOING, “YEAH, THAT’S A GOOD CHOICE.” IT WAS A BAND CALLED, THE TUBES. THAT WOULD BE GRADE 8 AND PROBABLY INTO GRADE 9 AND MY TAPE CASE WOULD BE FULL OF STUFF THAT WOULD BE POP, DURAN DURAN AND MICHAEL JACKSON.” “[IN] GRADE 9, RIGHT BEFORE HIGH SCHOOL, I FIND TWISTED SISTER…THIS WOULD BE BY THE SUMMER OF ’84. [THEIR] VIDEO WAS GETTING TO BE A BIG DEAL…THERE WAS, “WE’RE NOT GONNA TAKE IT” WHICH IS REBELLION FROM YOUR PARENTS AND THE DAD IS LIKE A DRILL SERGEANT. THEN [THE KIDS] ALL TURN INTO TWISTED SISTER. I LOVED THIS TAPE. I PLAYED IT OVER AND OVER AGAIN. [IT WAS] MY FIRST ROCK TAPE AND IT WAS LIFE-CHANGING BECAUSE THEN, ALL THIS POP THAT HAD BEEN IN MY TAPE CASE…I SOLD TO JACK PEACOCK BY GRADE 10. I GOT RID OF ALL MY POP, SO WHERE THAT POP HAD BEEN DEFINING…ALL OF A SUDDEN IT’S LIKE, “I’M NOT THAT, ANYMORE.” IT WAS LIKE A LIGHT SWITCH WENT ON…IN GRADE 10.” “I WAS WEARING A JEAN JACKET IN GRADE 11…WHICH IS ABOUT AS MUCH AS, IN TERMS OF ME AND MY DRESS, HOW I’M REFLECTING [MY IDENTITY]. THIS IS A BIG DEAL BECAUSE WHERE MAYBE YOU DON’T WANT, IN YOUR OWN PARTICULAR DRESS, TO BE WEARING CAMOUFLAGE, YOU COULD THEN OPEN UP A TAPE CASE AND, BY PEOPLE SEEING WHAT’S IN YOUR TAPE CASE, THAT IS SPEAKING TO WHO YOU ARE.” “LISTENING TO MUSIC HASN’T NECESSARILY BEEN CONSISTENT BECAUSE THERE WERE YEARS WHEN WE WERE [AT HOME] THAT WE DIDN’T HAVE A STEREO SYSTEM BECAUSE IT JUST DIDN’T FEEL LIKE IT WAS THE RIGHT THING TO DO AT THE TIME. I WOULD HAVE BEEN LISTENING TO [TAPES] MORE IN MY VEHICLE. WHEN WE GOT OUR…SYSTEM BACK, THEN ALL OF A SUDDEN I’M LISTENING TO IT A LOT, AGAIN. BUT, THERE’S NO QUESTION, IT’S BEEN A MAINSTAY.” “MAYBE IT’S BECAUSE MY EYES ARE SO CRAPPY, [I ASK] IF YOU HAD TO CHOOSE BETWEEN YOUR EYESIGHT AND YOUR HEARING, WHAT WOULD YOU CHOOSE? DO I REALLY WANT TO LOSE MY HEARING? I WANT MONEY TO BUY MUSIC. THAT’S ALL I WANT MONEY FOR. NOTHING ELSE…THE FUNNY PART WITH THAT, TOO, THAT I LEARNED WAS THAT YOU NEVER WANTED TO BUY TOO MUCH MUSIC AT THE SAME TIME. IF YOU DID, YOU DIDN’T LISTEN TO A TAPE AS INTENSELY BECAUSE YOU HAD TWO OR THREE TAPES, SO YOU WOULDN’T APPRECIATE THEM EQUALLY. I LEARNED EARLY, YOU SHOULD ONLY BUY ONE RECORD OR ONE TAPE AT A TIME AND LISTEN TO IT OVER AND OVER AND OVER AGAIN.” “I SWITCHED OVER TO CD’S IN THE SUMMER OF ’89. MY TAPE LISTENING WOULD BE A VERY SHORT TIME. TAPES DON’T LAST VERY LONG. CASSETTE TAPES DON’T LAST. WHEN YOU THINK OF CD’S, WHICH YOU CAN STILL GO AND BUY AND THEY WERE BEING SOLD BY, AT LEAST LOCALLY, FOR SURE, BY 1987, AND THEY’RE STILL BEING SOLD, CASSETTE TAPES [DIDN’T LAST LONG]. FOR ME, [I’M BUYING CASSETTE TAPES FROM] ’83 TO ’88. SIX YEARS.” “IT’S FUNNY, BECAUSE [MY TAPE CASE] WOULD HAVE BEEN FULL AND, FOR SOME REASON, I CHOSE TO GET RID OF THE OTHER TAPES. PROBABLY BECAUSE I WASN’T LISTENING TO THEM AND I THOUGHT, ‘OH, I CAN TAKE THEM TO A USED PLACE,’ BUT I SHOULDN’T HAVE DONE THAT. I SHOULD HAVE ACTUALLY KEPT IT FULL. I WISH I HAD [BECAUSE] I HAD ALL THE AC/DC’S. BUT YOU CAN TELL BY WHAT I KEPT, I OBVIOUSLY KNEW THAT THIS WAS A REALLY IMPORTANT TAPE; TWISTED SISTER [AND] “BACK IN BLACK”. THOSE ARE THE MOST IMPORTANT…” FOR MORE INFORMATION INCLUDING ARTICLES FROM THE LETHBRIDGE HERALD, BRANDON SUN, MEDICINE HAT NEWS, AND THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180029001-GA.
Catalogue Number
P20180029005
Acquisition Date
2018-12
Collection
Museum
Images
Less detail

11 records – page 1 of 1.