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Date Range From
1920
Date Range To
1930
Material Type
Artifact
Materials
WOOD, LEATHER, METAL
Catalogue Number
P20180001001
  2 images  
Material Type
Artifact
Date Range From
1920
Date Range To
1930
Materials
WOOD, LEATHER, METAL
No. Pieces
2
Height
9
Length
58.5
Width
22
Description
A. BANJOLELE, 53 CM LONG X 19 CM WIDE X 5.5 CM TALL. BODY IS POLISHED BROWN WOOD WITH WHITE LEATHER DRUM/HEAD; BODY HAS SILVER METAL TAIL PIECE AND TONE RING AROUND DRUM/HEAD. NECK AND HEAD-STOCK ARE COVERED IN PEARL/TORTOISE SHELL; FRET ON NECK IS STRUNG WITH ONE SILVER WIRE AND ONE CLOTH STRING; FRETBARD IS LING WITH SILVER METAL FRETS. HEAD-STOCK HAS FOUR SILVER METAL TUNING PEGS AND BLACK AND GOLD TEXT LABEL “VALENCIA”. BACK HAS FOUR DISCOLORED WHITE, WOODEN TUNING PEGS AND SILVER METAL SPRING AT JUNCTION OF NECK AND HEAD-STOCK. BACK OF DRUM BODY HAS CUT-OUT SWIRLS IN WOOD. WOOD BODY IS SCRATCHED AND WORN AT EDGES; BACK OF NECK HAS PEELING FINISH ON WOOD; LEATHER OF DRUM/HEAD IS WORN AND STAINED BLACK. OVERALL VERY GOOD CONDITION. B. CASE, 58.5 CM LONG X 9 CM TALL X 22 CM WIDE. CASE IS BROWN CLOTH COVERING A PAPER BOARD IN SHAPE OF BANJOLELE, WITH WIDER BASE. CASE OPENS AT BASE AND HAS BROWN LEATHER HINGE AND SILVER METAL CLASP. BROWN LEATHER HANDLE ON SIDE OF CASE IS BROKEN AND DETACHED AT END. INSIDE OF CASE IS LINED WITH DARK GREEN FABRIC. TOP OF CASE HAS “L W” HANDWRITTEN IN BLACK INK. CASE IS WORN AROUND EDGES AND CLOTH IS FRAYING; BOTTOM OF CASE HAS WATER DAMAGE AND WHITE STAINING; TOP OF CASE HAS WHITE STAINING AND SCRATCHES. LEATHER HINGE AND HANDLE ARE CRACKED AND FADED. OVERALL GOOD CONDITION.
Subjects
MUSICAL T&E
Historical Association
LEISURE
HOME ENTERTAINMENT
History
ON JANUARY 24, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED BEVE SPENGLER AND RUTH HILL REGARDING RUTH’S DONATION OF A BANJOLELE AND GUITAR. THE INSTRUMENTS WERE KEPT AND PLAYED BY THEIR FAMER, SYDNEY JAMES WOMACK, IN THE 1930S AND 1940S. ON THE BANJOLELE, RUTH RECALLED, “I CAN’T REMEMBER [MUCH] ABOUT [IT] AT ALL, BECAUSE HE BOUGHT [THE GUITAR] BUT SOMEHOW HE MUST HAVE SEEN THIS, AND THEN HE THOUGHT FOR LORNE [OUR BROTHER] HE WOULD BUY THAT [BANJOLELE] TO MATCH THE GUITAR.” “MY DAD USED TO PLAY ME TO SLEEP FROM THE TIME…WE WENT OUT TO THE FARM IN ’30. I WAS BORN IN ’27, SO ALL THE ‘30S HE PLAYED ME TO SLEEP EVERY NIGHT…I NEVER SAW MY DAD PLAY [THE BANJOLELE] YET HE BOUGHT IT BECAUSE HE KNEW THERE WAS A MATCHING PAIR. HE COULDN’T AFFORD BOTH OF THEM AT THE SAME TIME. HE BOUGHT HIS GUITAR AND THEN, LATER ON WHEN HE HAD SOME MORE MONEY, HE WENT AND GOT THAT FOR LORNE, BUT I CAN’T REMEMBER HIM PLAYING IT.” “[HE BOUGHT THE BANJOLELE] HERE IN LETHBRIDGE. HE BROUGHT [HIS] VIOLIN FROM THE STATES, BUT THOSE TWO PIECES WERE BOUGHT IN LETHBRIDGE. I DON’T KNOW WHERE AT, BUT I KNOW IT WAS IN THE EARLY ‘20S BECAUSE THEY CAME TO THE FARM WITH US IN ’30. THEY CAME HERE IN ’18…HE WORKED AT THE CPR AS AN OILER AND THEN HE ENDED UP AT THE GALT GARDENS WORKING WITH THE PLANTS. WHEN THAT FIZZLED OUT, HE WANTED A FARM SO WE WENT FARMING.” HILL ELABORATED ON HIS FATHER’S MUSICAL BACKGROUND, NOTING, “[MY PARENTS] MOVED FROM ENGLAND TO IOWA. THEY WERE THERE FOR SEVEN YEARS AND DADDY LEARNED TO PLAY THE VIOLIN IN THE TOILET, IN THE OUTHOUSE. THAT’S WHAT HE TOLD US.” “HE LOVED MUSIC AND ACTUALLY HIS BEST WAS HAWAIIAN GUITAR…THAT’S WHY HE GOT [THE GUITAR], BECAUSE HE LOVED HAWAIIAN MUSIC. HE LOVED TO PLAY HAWAIIAN SONGS ON [THE GUITAR] BECAUSE THEY WERE SLOWER. THE VIOLIN HE COULD REALLY GO TO TOWN AND PLAY TWO STEPS.” “[WE] USED TO GO [TO DANCES] EVERY MONTH. I CAN SEE HIM WITH THE OLD MODEL T—HE WOULD HAVE TO PUT A FIRE UNDER IT TO GET IT STARTED AT HOME, THEN WE WOULD GO FOR THE CHRISTMAS CONCERT AND HE WOULD START PLAYING UNTIL TWO IN THE MORNING. THEN HE HAS TO PUT THE FIRE UNDER TO GET THE CAR GOING AGAIN. THEY WERE BAD YEARS BUT THEY WERE WONDERFUL YEARS…FROM [1933] UNTIL I WENT OUT IN GRADE NINE HE USED TO COME, WE USED TO HAVE DANCES, ALL THROUGH THE THIRTIES WE HAD DANCES AT LEAST TWICE A MONTH.” BEVE ADDED, “HE PLAYED WITH OTHER MEN, HE DIDN’T PLAY BY HIMSELF.” RUTH ELABORATED, “THEY HAD A LADY ON THE PIANO, THEY HAD DADDY ON THE VIOLIN, AND THEN THEY HAD ANOTHER CHAP ON THE DRUMS…[OUR FATHER] TOOK THE LEAD. THE VIOLIN WOULD ALWAYS START BEFORE, BECAUSE HE HAD THE MEMORY OF THE PIECES HE WANTED TO PLAY AND NOBODY ELSE KNEW NOTHING UNTIL HE GOT STARTED. THEN THEY’D JOIN IN.” “HE WAS STILL PLAYING THE VIOLIN, HE USED TO LIKE TO PLAY THE VIOLIN. EVEN IN THE ‘40S [HE LIKED TO PLAY THE VIOLIN], I CAN REMEMBER THAT. HE DIDN’T SO MUCH PLAY [THE OTHER INSTRUMENTS] BUT HE PLAYED THE VIOLIN. “ “HE WAS GOOD. THAT DANCE FLOOR IN THE SCHOOL THERE WOULD BE LOADED AS SOON AS HE STARTED PLAYING. AS SOON AS HE STARTED TO PLAY THEY WERE ALL UP, AND AT NIGHT NOBODY LEFT UNTIL TWO IN THE MORNING…HE USED TO TAKE THE GUITAR AND PLAY THE WALTZES ON THAT, BUT THE VIOLIN HE WOULD PLAY THE OTHERS.” “THAT CLASSICAL [MUSIC], HE HAD NO USE FOR [IT]. HE USED TO SAY, “THERE’S NO BEAT THERE.” THEY WERE HIS WORDS. THERE WAS NO BEAT AND HE SAID, “IF THEY CAN’T PLAY THIS, I’M NOT LISTENING.” HE COULDN’T READ MUSIC, BUT IF HE COULD SEE THE [NOTES] AS [THEY] WENT UP OR DOWN…THAT’S WHAT HE’D LOOK AT, AND THEN HE’D LEARN TO PLAY THAT SONG. THAT WAS ON THE GUITAR, THAT WAS FOR THE HAWAIIAN PART.” “[HE HAD THE INSTRUMENTS] ON OUR FARM AT KIPP, ALBERTA AND ON THE FARMHOUSE, I’M IN THE BED. HE [WOULD] PLAYING THAT AND THEN I’D GO TO SLEEP TO HIM PLAYING THAT DAY IN, WEEK AFTER WEEK. YEAR AFTER YEAR. HE ALWAYS PLAYED ME TO SLEEP.” “HE [PLAYED] IN THE FRONT ROOM. [THE INSTRUMENTS] STAYED IN THE CORNER, HE BUILT A SHELF FOR THE RADIO AND THEN [THE GUITAR] STOOD UNDERNEATH THAT SHELF. THAT’S WHERE [THEY] STAYED…[THE INSTRUMENTS WERE] WITH MY DAD UNTIL ’93, THEN HE CAME TO LIVE WITH ME AND OF COURSE HE BROUGHT HIS THINGS WITH HIM. I NEVER THOUGHT THEY WERE IN MY CLOSET AND I HADN’T DONE A BIG CLEANING, SO THEY’VE JUST BEEN THERE. NOW I THOUGHT IT’S TIME TO LET SOMEBODY ELSE LOOK AT THEM...[OUR FATHER] DIED IN ’98.” “I DIDN’T WANT THE INSTRUMENTS TO BE GARBAGED. I WANTED THEM TO MEAN SOMETHING, AND I KNEW…THE MUSEUM WOULD ACCEPT THEM…IT WAS ABSOLUTELY WONDERFUL [FOR MY DAD TO PLAY FOR ME] BECAUSE I LOVE MUSIC TOO. THAT WAS REALLY SOMETHING TO HAVE HIM PLAYING TO ME ALL THE TIME [AT BEDTIME].” “LET SOMEBODY ELSE LOOK AT [THE INSTRUMENTS] NOW. I’VE GOT ALL THE MEMORIES…I CAN SEE HIM PLAYING [THEM], I CAN HEAR HIM PLAYING [THEM], I CAN SEE IT AT THE DANCEHALL, I’VE GOT IT RIGHT THERE. SO SOMEBODY ELSE CAN LOOK AT [THEM] NOW.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND PHOTOGRAPHS, PLEASE SEE THE PERMANENT FILE P20180001001-GA.
Catalogue Number
P20180001001
Acquisition Date
2018-01
Collection
Museum
Images
Less detail
Date Range From
1920
Date Range To
1930
Material Type
Artifact
Materials
WOOD, METAL, SHELL
Catalogue Number
P20180001002
  2 images  
Material Type
Artifact
Date Range From
1920
Date Range To
1930
Materials
WOOD, METAL, SHELL
No. Pieces
2
Height
9
Length
94
Width
32.5
Description
A. GUITAR, 94 CM LONG X 32.5 CM WIDE X 9 CM TALL. WOODEN BODY WITH PEARL/TORTOISE SHELL INLAID AS PICK GUARD AND ALONG FRET BOARD; GUITAR IS STRUNG WITH SIX WIRE STRINGS. GUITAR HAS SIX TUNING KNOBS AT HEAD WITH WHITE PLASTIC HANDLES ON METAL SCREWS. GUITAR BODY HAS DECORATIVE BROWN, RED AND GREEN TRIM AROUND EDGE; GUITAR HAS BLACK KNOB AT BASE. “VALENCIA” LABEL AT TOP OF HEAD; GUITAR SHOWS WEAR AND STAINING ON PICK GUARD AND FRET BOARD; GUITAR HAS SOILING INSIDE; OVERALL VERY GOOD CONDITION. B. GUITAR CASE, 100 CM LONG X 37 CM WIDE X 13 CM TALL. BLACK FAUX-LEATHER EXTERIOR WITH LEATHER BUCKLE AT BASE AND LEATHER HANDLE FIXED TO TOP WITH SILVER RINGS; CASE OPENS AT BASE. BASE OF CASE HAS BLACK METAL SNAP AROUND LEATHER BUCKLE STRAP. INSIDE OF CASE LINED WITH BROWN FAUX-FUR. CASE IS HEAVILY WORN ON EDGES AND PEELING; CASE IS SCRATCHED ON SIDES; LEATHER BUCKLE STRAP AT BASE IS CRACKED AND FADED; OVERALL VERY GOOD CONDITION.
Subjects
MUSICAL T&E
Historical Association
LEISURE
HOME ENTERTAINMENT
History
ON JANUARY 24, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED BEVE SPENGLER AND RUTH HILL REGARDING RUTH’S DONATION OF A BANJOLELE AND GUITAR. THE INSTRUMENTS WERE KEPT AND PLAYED BY THEIR FAMER, SYDNEY JAMES WOMACK, IN THE 1930S AND 1940S. ON THE GUITAR, RUTH HILL RECALLED, “HE BOUGHT IT AND STARTED STRUMMING ON IT…IT WAS ALWAYS ON HIS LAP…MY DAD USED TO PLAY ME TO SLEEP FROM THE TIME…WE WENT OUT TO THE FARM IN ’30. I WAS BORN IN ’27, SO ALL THE ‘30S HE PLAYED ME TO SLEEP EVERY NIGHT…I NEVER SAW MY DAD PLAY [THE BANJOLELE] YET HE BOUGHT IT BECAUSE HE KNEW THERE WAS A MATCHING PAIR. HE COULDN’T AFFORD BOTH OF THEM AT THE SAME TIME. HE BOUGHT HIS GUITAR AND THEN, LATER ON WHEN HE HAD SOME MORE MONEY, HE WENT AND GOT [THE BANJOLELE] FOR LORNE.” “HE LOVED MUSIC AND ACTUALLY HIS BEST WAS HAWAIIAN GUITAR…THAT’S WHY HE GOT [THE GUITAR], BECAUSE HE LOVED HAWAIIAN MUSIC. HE LOVED TO PLAY HAWAIIAN SONGS ON [THE GUITAR] BECAUSE THEY WERE SLOWER. THE VIOLIN HE COULD REALLY GO TO TOWN AND PLAY TWO STEPS.” “[HE BOUGHT THE GUITAR] HERE IN LETHBRIDGE. HE BROUGHT [HIS] VIOLIN FROM THE STATES, BUT THOSE TWO PIECES WERE BOUGHT IN LETHBRIDGE. I DON’T KNOW WHERE AT, BUT I KNOW IT WAS IN THE EARLY ‘20S BECAUSE THEY CAME TO THE FARM WITH US IN ’30. THEY CAME HERE IN ’18…HE WORKED AT THE CPR AS AN OILER AND THEN HE ENDED UP AT THE GALT GARDENS WORKING WITH THE PLANTS. WHEN THAT FIZZLED OUT, HE WANTED A FARM SO WE WENT FARMING.” HILL ELABORATED ON HIS FATHER’S MUSICAL BACKGROUND, NOTING, “[MY PARENTS] MOVED FROM ENGLAND TO IOWA. THEY WERE THERE FOR SEVEN YEARS AND DADDY LEARNED TO PLAY THE VIOLIN IN THE TOILET, IN THE OUTHOUSE. THAT’S WHAT HE TOLD US.” “[WE] USED TO GO [TO DANCES] EVERY MONTH. I CAN SEE HIM WITH THE OLD MODEL T—HE WOULD HAVE TO PUT A FIRE UNDER IT TO GET IT STARTED AT HOME, THEN WE WOULD GO FOR THE CHRISTMAS CONCERT AND HE WOULD START PLAYING UNTIL TWO IN THE MORNING. THEN HE HAS TO PUT THE FIRE UNDER TO GET THE CAR GOING AGAIN. THEY WERE BAD YEARS BUT THEY WERE WONDERFUL YEARS…FROM [1933] UNTIL I WENT OUT IN GRADE NINE HE USED TO COME, WE USED TO HAVE DANCES, ALL THROUGH THE THIRTIES WE HAD DANCES AT LEAST TWICE A MONTH.” BEVE ADDED, “HE PLAYED WITH OTHER MEN, HE DIDN’T PLAY BY HIMSELF.” RUTH ELABORATED, “THEY HAD A LADY ON THE PIANO, THEY HAD DADDY ON THE VIOLIN, AND THEN THEY HAD ANOTHER CHAP ON THE DRUMS…[OUR FATHER] TOOK THE LEAD. THE VIOLIN WOULD ALWAYS START BEFORE, BECAUSE HE HAD THE MEMORY OF THE PIECES HE WANTED TO PLAY AND NOBODY ELSE KNEW NOTHING UNTIL HE GOT STARTED. THEN THEY’D JOIN IN.” “HE WAS STILL PLAYING THE VIOLIN, HE USED TO LIKE TO PLAY THE VIOLIN. EVEN IN THE ‘40S [HE LIKED TO PLAY THE VIOLIN], I CAN REMEMBER THAT. HE DIDN’T SO MUCH PLAY [THE OTHER INSTRUMENTS] BUT HE PLAYED THE VIOLIN. “ “HE WAS GOOD. THAT DANCE FLOOR IN THE SCHOOL THERE WOULD BE LOADED AS SOON AS HE STARTED PLAYING. AS SOON AS HE STARTED TO PLAY THEY WERE ALL UP, AND AT NIGHT NOBODY LEFT UNTIL TWO IN THE MORNING…HE USED TO TAKE THE GUITAR AND PLAY THE WALTZES ON THAT, BUT THE VIOLIN HE WOULD PLAY THE OTHERS.” “THAT CLASSICAL [MUSIC], HE HAD NO USE FOR [IT]. HE USED TO SAY, “THERE’S NO BEAT THERE.” THEY WERE HIS WORDS. THERE WAS NO BEAT AND HE SAID, “IF THEY CAN’T PLAY THIS, I’M NOT LISTENING.” HE COULDN’T READ MUSIC, BUT IF HE COULD SEE THE [NOTES] AS [THEY] WENT UP OR DOWN…THAT’S WHAT HE’D LOOK AT, AND THEN HE’D LEARN TO PLAY THAT SONG. THAT WAS ON THE GUITAR, THAT WAS FOR THE HAWAIIAN PART.” “[HE HAD THE INSTRUMENTS] ON OUR FARM AT KIPP, ALBERTA AND ON THE FARMHOUSE, I’M IN THE BED. HE [WOULD] PLAYING THAT AND THEN I’D GO TO SLEEP TO HIM PLAYING THAT DAY IN, WEEK AFTER WEEK. YEAR AFTER YEAR. HE ALWAYS PLAYED ME TO SLEEP.” “HE [PLAYED] IN THE FRONT ROOM. [THE INSTRUMENTS] STAYED IN THE CORNER, HE BUILT A SHELF FOR THE RADIO AND THEN [THE GUITAR] STOOD UNDERNEATH THAT SHELF. THAT’S WHERE [THEY] STAYED…[THE INSTRUMENTS WERE] WITH MY DAD UNTIL ’93, THEN HE CAME TO LIVE WITH ME AND OF COURSE HE BROUGHT HIS THINGS WITH HIM. I NEVER THOUGHT THEY WERE IN MY CLOSET AND I HADN’T DONE A BIG CLEANING, SO THEY’VE JUST BEEN THERE. NOW I THOUGHT IT’S TIME TO LET SOMEBODY ELSE LOOK AT THEM...[OUR FATHER] DIED IN ’98.” “I DIDN’T WANT THE INSTRUMENTS TO BE GARBAGED. I WANTED THEM TO MEAN SOMETHING, AND I KNEW…THE MUSEUM WOULD ACCEPT THEM…IT WAS ABSOLUTELY WONDERFUL [FOR MY DAD TO PLAY FOR ME] BECAUSE I LOVE MUSIC TOO. THAT WAS REALLY SOMETHING TO HAVE HIM PLAYING TO ME ALL THE TIME [AT BEDTIME].” “LET SOMEBODY ELSE LOOK AT [THE INSTRUMENTS] NOW. I’VE GOT ALL THE MEMORIES…I CAN SEE HIM PLAYING [THEM], I CAN HEAR HIM PLAYING [THEM], I CAN SEE IT AT THE DANCEHALL, I’VE GOT IT RIGHT THERE. SO SOMEBODY ELSE CAN LOOK AT [THEM] NOW.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND PHOTOGRAPHS, PLEASE SEE THE PERMANENT FILE P20180001001-GA.
Catalogue Number
P20180001002
Acquisition Date
2018-01
Collection
Museum
Images
Less detail
Other Name
SONY CDP-X779ES
Material Type
Artifact
Materials
METAL, GLASS, WOOD
Catalogue Number
P20190004000
  2 images  
Material Type
Artifact
Other Name
SONY CDP-X779ES
Date
1992
Materials
METAL, GLASS, WOOD
No. Pieces
12
Height
12.5
Length
46
Width
37
Description
A- CD PLAYER; PALE GOLD METAL CONTROL PANEL ON FRONT INCLUDES THIRTEEN BUTTONS OF VARIOUS SIZES, RECTANGULAR GLASS DISPLAY WINDOW, CD DRAWER AND GOLD HEADPHONE PORT. STICKER ABOVE DRAWER READS, “PULSE / D/A CONVERTER”. TOP RIGHT CORNER OF FRONT PANEL READS, “X779ES / HIGH DENSITY LINEAR CONVERTER / DIRECT DIGITAL SYNC”. TOP PANEL IS GOLD COLOUR WITH SILVER SCREWS IN EVERY CORNER AND MIDDLE EDGE. SIDES ARE REFLECTIVE DARK WOOD PANELS. BACK PANEL IS BLACK, COMPLETE WITH A HORIZONTAL ROW OF FOUR GOLD CABLE PORTS, THREE LARGE PALE GOLD PORTS, AND TWO BLACK BUTTONS. BLUE STICKER ON BACK READS “AUDIO VIDEO EQUIPMENT…NN788413”. WHITE TEXT BELOW READS, “…SERIAL NO. A700039…” MAIN BODY STANDS ON FOUR SHORT CYLINDRICAL LEGS. VERY GOOD CONDITION; MINOR WEAR AND STAINING ON FRONT PANEL BUTTONS, FINGERPRINT MARKS ON TOP PANEL. PLUG-IN CABLE ATTACHED TO THE BACK OF CD PLAYER. THICK BLACK RUBBER PROTECTIVE COVERING. GOLD TEXT ON CABLE READS, “E41381-T VW-1…” HARD PLASTIC HEAD, WITH TWO SILVER METAL PRONGS. VERY GOOD CONDITION; SLIGHT WEAR ON PRONGS. B- REMOTE CONTROL: H: 2. L: 17.4. W: 5.8. DARK BROWN AND BLACK BODY. TOP HAS PALE GOLD PERFORATED METAL PANEL WITH 36 BUTTONS, SOME OF WHICH READ, “PEAK SEARCH”, “FILE RECALL”, “CONTINUE”, “C.INDEX”, “ERASE”. BELOW FIRST PANEL, IS A SECOND SOLID GOLD METAL PANEL WITH 14 ADDITIONAL BUTTONS. WHITE TEXT BELOW READS, “CD PLAYER / RM-D995 / SONY”. BACK HAS BLACK PLASTIC PANEL TO COVER BATTERIES. VERY GOOD CONDITION; SLIGHT DUST. C- INSTRUCTION MANUAL: H: 1CM. L: 28.2CM. W: 21CM. WHITE PAPER MANUAL WITH TWO METAL STAPLES ALONG SPINE FOR BINDING. BLACK TEXT IN MIDDLE RIGHT OF THE PAGE READS “COMPACT DISC PLAYER / OPERATING INSTRUCTIONS”. BLACK TEXT ON BOTTOM OF COVER READS “…CDP-X779ES…” GREEN PAGE MARKER VISIBLE AT THE TOP IS ATTACHED TO PAGE 18, “HOOKING UP THE SYSTEM”. GOOD TO VERY GOOD CONDITION; SLIGHT YELLOWING OF PAPER, MINOR BLACK FINGERPRINT SMUDGE AND SCUFF ON THE BACK. D- CARDBOARD BOX: H: 22.8. L: 45.5. W: 56. BROWN RECTANGULAR CARDBOARD BOX WITH CLEAR STRIPS OF BROKEN TAPE OVER TOP, FRONT AND BACK. TOP OF BOX READS “SONY” IN NAVY BLUE TEXT. TO THE RIGHT IS HANDWRITTEN TEXT IN BLACK MARKER THAT READS, “72-YRM”. BELOW IS AN ATTACHED STRIP OF WHITE PLASTIC WITH A SINGLE RED MARK. TEXT ON BOTTOM LEFT CORNER READS, “COMPACT DISC DIGITAL AUDIO” IN NAVY BLUE LETTERING. TEXT ON BOTTOM RIGHT CORNER READS, “CDP-X779ES / COMPACT DISC PLAYER / LECTEUR COMPACT DISC”. ON LEFT SIDE OF BOX, WHITE STICKER READS, “…ORDER: 493553 B/L: 324997…” GOOD CONDITION: CARDBOARD IS RIPPED, DENTED, PEELING AND STAINED FROM TAPE ADHESIVE. E- BAG OF EXTRA SCREWS: H: 2.5. L: 4. W. 7.6. BLACK SCREWS WITH MUSHROOM HEADS AND ‘X’ SHAPED CAVITIES. TEXT ON WHITE STICKER READS, “CAUTION…EXCHANGE LONG SCREWS FOR INCLUDED SHORT ONES…4-943-721-01”. EXCELLENT CONDITION: UNOPENED. F- THIN FOAM SHEET: L: 56.3. W: 130. WHITE STRIPES, WITH WAVED EDGES. DEEP VERTICAL CREASES INDICATE TRIFOLD FOLDING. GOOD CONDITION: HEAVY CREASING, SCUFF MARKS, “U” SHAPED HOLE ON RIGHT HAND EDGE. G- STYROFOAM PACKAGING (TOP REAR): H: 9. L: 54. W: 9.4. WHITE RECTANGULAR STYROFOAM LOG WITH CREVICE TO STORE REMOTE CONTROL. UNDERSIDE IS CUT TO FIT TOP REAR SURFACE OF CD PLAYER. TEXT EMBOSSED ON RIGHT SIDE READS, “TOP REAR”. PACKAGING WAS FOUND ON TOP FRONT. VERY GOOD CONDITION: SMALL AREAS REMOVED FROM ITS UNDERSIDE. H- STYROFOAM PACKAGING (TOP FRONT): H: 9. L: 54. W: 9.4. WHITE RECTANGULAR STYROFOAM LOG, WITH UNDERSIDE CUT TO FIT TOP FRONT SURFACE OF CD PLAYER. TEXT EMBOSSED ON RIGHT SIDE READS, “TOP FRONT”. PACKAGING WAS FOUND ON TOP REAR. EXCELLENT CONDITION. I- STYROFOAM PACKAGING (BOTTOM REAR) H: 8. L: 54. W: 9. WHITE RECTANGULAR STYROFOAM LOG, WITH TOP CUT TO FIT BOTTOM REAR SURFACE OF PLAYER. TEXT EMBOSSED ON MIDDLE TOP READS, “BOTTOM REAR”. FAIR TO GOOD CONDITION: HEAVY CRACKING AND MISSING PIECES OF STYROFOAM. J- STYROFOAM PACKAGING (BOTTOM FRONT) H: 8. L: 54. W: 9. WHITE RECTANGULAR STYROFOAM LOG, WITH TOP CUT TO FIT BOTTOM FRONT SURFACE OF CD PLAYER. TEXT EMBOSSED ON THE MIDDLE TOP READS, “BOTTOM FRONT”. VERY GOOD CONDITION: MINOR CRACKS IN STYROFOAM. K- LEFT STEREO PACKAGING: H: 2. L: 36. W: 11. YELLOW CARDBOARD LINED WITH GREY FOAM. CORNERS ARE HELD TOGETHER BY YELLOW PIECES OF TAPE. BOTH LEFT AND RIGHT SIDES EXHIBIT TWO HOLES, ONE ABOVE THE OTHER, 5CM APART. VERY GOOD CONDITION: SLIGHT WARPING OF CARDBOARD, TWO CIRCULAR INDENTS TO THE LEFT OF LEFT SET OF HOLES. L- RIGHT STEREO PACKAGING: H: 2. L: 36. W: 11. YELLOW CARDBOARD LINED WITH GREY FOAM. CORNERS ARE HELD TOGETHER BY YELLOW PIECES OF TAPE. BOTH LEFT AND RIGHT SIDES EXHIBIT TWO HOLES, ONE ABOVE THE OTHER, 5CM APART. GOOD TO VERY GOOD CONDITION: WARPING OF CARDBOARD ON TOP, BOTTOM AND RIGHT SIDE. TWO MINOR SCRATCHES ON BOTTOM RIGHT CORNER OF FOAM.
Subjects
SOUND COMMUNICATION T&E
Historical Association
HOME ENTERTAINMENT
LEISURE
History
ON JANUARY 29, 2019, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ROD SCHULTZ REGARDING HIS DONATION OF A MODEL X779ES SONY CD PLAYER. SCHULTZ DISCUSSED HOW HE ACQUIRED THE CD PLAYER, “I PURCHASED THIS IN 1994… SONY HAD A BRAND CALLED ES AND THAT’S THE VERY TOP LINE OF THEIR STEREO SYSTEMS … I HAD HEARD THEM BEFORE – I HEARD THIS ONE PARTICULAR UNIT AND I WANTED TO BUY IT. THEN SONY DECIDED THEY WERE GOING TO NOT BE INVOLVED IN MARKETING THOSE HIGH-END PRODUCTS ANYMORE BECAUSE THEY DIDN’T REALLY SEE… A CONTINUATION OF CD’S COMING BECAUSE EVERYTHING WAS GOING TO DIGITAL STREAMING - PEOPLE WEREN’T GOING TO BE BUYING THESE. I WENT OUT AND LISTENED TO THESE UNITS. I COMPARED THEM AND CAME BACK PROBABLY 10 TIMES BEFORE I HEARD THIS UNIT AND I WAS CERTAIN THIS WAS THE ONE I WANTED TO HAVE. MY WIFE WASN’T THRILLED BUT I WAS PREPARED TO MAKE SOME SACRIFICES FOR THAT. WHAT HAPPENED IS THAT I WAS GOING TO BUY IT AND THEN SONY DECIDED THAT THEY WERE GOING TO SHUT DOWN THE STORES THAT THEY HAD IN CANADA. THEY SHUT DOWN THE LETHBRIDGE ONE FIRST. THIS WAS THE ONLY ONE THAT WAS LEFT IN CANADA AND THERE WAS STILL ONE AVAILABLE IN MEDICINE HAT. I DROVE TO MEDICINE HAT AND I BOUGHT IT THERE BECAUSE THEY WOULDN’T SHIP IT FROM MEDICINE HAT TO THE [LETHBRDIGE] STORE THAT WAS GOING TO BE CLOSING. I TOLD THEM, I SAID, “I TELL YOU, I’M COMING TODAY. DO NOT SELL THAT UNIT ON ME.” “PEOPLE WOULD SAY, ‘YOU SPENT $2400 ON A COMPACT DISC PLAYER. THERE IS NO WAY IT CAN BE WORTH THAT KIND OF MONEY.’ I’D SAY, ‘I’LL TELL YOU WHAT, YOU HAVE COMPACT DISCS. YOU BRING YOUR VERY FAVORITE OVER AND LISTEN TO IT SEVERAL TIMES AT YOUR HOUSE AND YOU COME OVER AND YOU LISTEN TO MINE.’ THEY SAID, ‘I CAN’T BELIEVE THE DIFFERENCE. IF SOMEONE HAD TOLD ME THAT I’D HAVE SAID, “NO, IT’S NOT POSSIBLE FOR THERE TO BE THAT KIND OF DIFFERENCE BUT I UNDERSTAND WHY YOU ARE DEVOTED TO BUYING …I FINALLY HEARD THIS WAS THE CREAM OF THE CROP.”’ AND THAT’S WHY I DECIDED THAT WAS THE ONE I WAS GOING TO OWN…AFTER I FOUND IT I DIDN”T BELIEVE IT COULD BE ANY BETTER AND I JUST…TREATED IT THE BEST I COULD.” “IT WAS A THRILL TO OWN THIS PIECE OF EQUIPMENT. I USED TO SPEND 4 HOURS A DAY LISTENING TO MUSIC. WHEN THE KIDS WENT TO BED, I HAD MY QUIET TIME AND THAT’S WHEN I KIND OF FELL OFF THE FACE OF THE EARTH...” “IT STARTED TO FAIL ABOUT NINE MONTHS AGO... YOU MIGHT HAVE TO SHUT THE ON/OFF BUTTON ON TWICE TO FINALLY GET IT TO RUN, AND THEN IT FINALLY WOULD RUN [BUT] IT WOULD NEVER QUIT PART OF THE WAY THROUGH. IT BECAME SOMETHING THAT WAS PERFECT THAT ALL OF A SUDDEN WAS NO LONGER PERFECT.” “I THOUGHT MAYBE THERE WAS SOMETHING WRONG WITH [THE] OTHER COMPONENTS THAT WERE HOOKED TO IT SO I HAD THE AMPLIFIER CHECKED OUT, THE PRE-AMPLIFIER, EVERYTHING ELSE WAS FINE. THERE’S A GUY…WHO WAS AN ELECTRONICS TECHNICIAN THAT OWNED THE SAME PLAYER IN CALGARY… I USED TO GO UP TO CALGARY TO VISIT THIS GUY, AND HE HAD THE SAME ISSUE WITH THE SAME PLAYER, WITH HIS, AND HE WAS NEVER ABLE TO FIX IT…HE TOLD ME IT WAS A DONE DEAL, THERE’S NOTHING I CAN DO ABOUT IT. [I ALMOST HAD TO GO THROUGH A LEVEL OF GRIEVING AND LOTS OF DENIAL] I COULDN’T BELIEVE IT HAPPENED, SO I FINALLY BOUGHT THE REPLACEMENT THROUGH SMITH’S AUDIO.” ON THE ORIGINS OF HIS LOVE FOR MUSIC, SCHULTZ RECALLED, “…I FIRST GOT INTERESTED IN CLASSICAL MUSIC… BECAUSE OF MY FATHER-IN-LAW. HE WAS THE COOLEST GUY IN THE WORLD… WHEN I FINALLY GOT THROUGH SCHOOL AND I STARTED TO PAY ATTENTION TO LISTEN TO MUSIC SERIOUSLY. [I CAME TO LETHBRIDGE] IN 1977 AND I USED TO TAKE OUT 30 LPs AT THE BEGINNING OF THE WEEK AND 30 LPs AT THE END OF THE WEEK AND I WOULD…EXPLORE DIFFERENT COMPOSERS IN LETHBRIDGE – SO I WOULD BORROW THEM FROM THERE AND I WOULD LISTEN TO THEM ON MY PHONOGRAPH… I WAS ABLE TO DETERMINE EXACTLY WHICH COMPOSERS I LIKED AND MUSIC I LIKED, WHICH WERE THE REALLY GOOD ORCHESTRAS. I DEVELOPED THIS REPERTOIRE OF MUSIC THAT… JUST MADE MY SKIN HOT.” “I’M ALMOST POSITIVE THAT [THE FIRST CD I BOUGHT] WAS… A PIECE OF MUSIC BY BACH…IT WAS AN OBOE CONCERTO, IN AN OBOE ENVIRONMENT. IT WAS [AN] ABSOLUTELY GORGEOUS PIECE OF MUSIC... I STILL HAVE IT TODAY AND IT PLAYS BEAUTIFULLY. I LISTEN TO IT ONCE A MONTH.” “I HAVE A LOT OF COMPACT DISCS, PROBABLY 450 THAT ARE PRIMARILY CLASSICAL ONES… I TRY TO PICK MUSIC BY WELL-KNOWN COMPOSERS, BEAUTIFUL THINGS, I CALL IT EAR CANDY AND THAT[‘S] WHAT IT IS TO ME. IT IS SOMETHING THAT CAN BRING ME TO TEARS, THAT I CAN BE EMOTIONALLY ATTACHED TO IT…TO ME IT’S LIKE A SOOTHER FOR AN ADULT. THIS IS MAYBE A STRANGE THING TO SAY, BUT IT GIVES ME GREAT JOY. I WOULD RATHER BE BLIND THAN TO LOSE MY HEARING BECAUSE IF I LISTEN TO MUSIC, I’D BE CRYING RIGHT IN FRONT OF YOU… I REALLY BELIEVE IN MY HEART THAT COMPOSERS ARE A GIFT FROM GOD.” “IT DOES SOMETHING TO ME…I MEAN, I’VE GOT A BEAUTIFUL WIFE, BEST FAMILY, NICE HOME BUT THIS IS STILL A HUGE PART OF MY LIFE AND MY MENTAL HEALTH.” “SOMETIMES I THINK FOR PEOPLE [MUSIC IS] JUST NOISE IN THE BACKGROUND, BUT…IF I SIT ON THE SOFA AND I LISTEN TO MUSIC, IT’S ALMOST LIKE I ELEVATE FROM THE GROUND. I’M NOT A CRAZY PERSON BUT IT JUST TAKES ME TO A DIFFERENT REALM. IT TAKES ME TO A DIFFERENT PLACE THAT HAS JUST ME ENJOYING SOMETHING I LOVE. IT’S SPECIAL TO ME.” ON DONATING THE CD PLAYER TO THE MUSEUM, SCHULTZ EXPLAINED, “IF I COULD HAVE FIXED THIS, IT WOULD STILL BE IN MY SYSTEM…I JUST COULDN’T DO IT. YOU ASKED ME WHY IT’S IMPORTANT FOR ME TO DO SOMETHING WITH IT. I COULD LEAVE THIS [TO] SIT IN A BOX. IT’S IN A BOX AND IT HAS MEMORIES TO ME, BUT THIS IS AN ELECTRONIC PIECE OF ART AND IT’S A VERY, VERY WELL DESIGNED AND BEAUTIFUL SOUNDING PIECE OF EQUIPMENT… IT IS SUCH A UNIQUE THING AND SOMETHING I’VE PRIZED [TOO] MUCH THAT, TO ME, IT WOULD BE A TRAVESTY TO JUST SIT IN A BOX AND DO NOTHING, WHERE IT COULD POSSIBLY ONE DAY BE APPRECIATED BY OTHER PEOPLE FOR THE BEAUTY OF IT AND FOR THE DESIGN OF IT AND THE FACT THAT IT WAS REALLY AT THE TOP OF ITS CLASS AND THE REVIEWS THAT THEY HAVE STATED THAT THIS WAS ONE OF THE BEST CD PLAYERS THAT HAS EVER BEEN MADE IN THE WORLD.” “THERE’S A PLACE I COULD GO DOWN AND RECYCLE [THE CD PLAYER, BUT IT’S THE] MOST DISRESPECTFUL THING I COULD DO…BECAUSE IT DESERVES BETTER THAN THAT FROM WHAT IT GAVE ME. SO I SAVE THEM. I FEEL EMBARRASSED THAT I’M EMOTIONAL ABOUT IT BUT TO ME – I DON’T KNOW IF IT’S A LOVE AFFAIR WITH SOMETHING, BUT IT’S NOT THAT FAR FROM IT. IT JUST GAVE ME SO MUCH INCREDIBLE JOY. [DESTROYING IT] WOULD BE THE MOST DISRESPECTFUL THING I COULD DO TO SOME INANIMATE OBJECT. I COULDN’T DO IT. THAT’S WHY IT SAT IN MY BASEMENT. I THOUGHT TO MYSELF, ‘THERE’S A BETTER HOME FOR IT THAN A CARDBOARD BOX’.” “I HAVE A CONNECTION HERE [TO THE GALT] AND I BELIEVE IN WHAT YOU’RE DOING AND WHAT YOU’RE TRYING TO ACHIEVE. IT MAKES ME FEEL PEACEFUL. I CAN SAY “GOODBYE.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PHOTOGRAPHS AND ADDITIONAL RECEIPTS DATED 1987, PLEASE SEE THE PERMANENT FILE P20190004000-GA.
Catalogue Number
P20190004000
Acquisition Date
2019-01
Collection
Museum
Images
Less detail
Other Name
CARTON, MILK
Date Range From
1957
Date Range To
1970
Material Type
Artifact
Materials
PAPER, INK
Catalogue Number
P20160019000
  1 image  
Material Type
Artifact
Other Name
CARTON, MILK
Date Range From
1957
Date Range To
1970
Materials
PAPER, INK
No. Pieces
1
Height
24
Length
7.4
Width
7.2
Description
CARDBOARD MILK CARTON. SIDE ONE HAS “HOMOGENIZED MILK” ON TOP FOLD IN GREEN BLOCK LETTERING. FADED, BLACK INK STAMP ON THIS FOLD SAYS “?A 2 -45.” ON THE MAIN SECTION OF THIS SIDE THERE IS THE PURITY LOGO (“PURITY” IN PURPLE CURSIVE FONT), A PURPLE AND GREEN FLOWER, AND THE WORDS “CREAM IN EVERY DROP” IN PURPLE CURSIVE. ON THE BASE OF THIS PANEL IT SAYS “… HEAD OFFICE LETHBRIDGE.” THE OPPOSING SIDE (SIDE 3) IS SIMILAR, BUT WITH THE INDICATION OF “NET CONTENTS ONE QUART” AT THE BASE OF THE PANEL. SIDE 2’S TOP FOLD SAYS, “THE CONTAINER COVERED BY CANADIAN PATENTS 1941 – 395.645 1957 – 542-432… MANUFACTURED UNDER LICENSE FROM EX-CELL-O CORPORATION.” THE MAIN SECTION HAS THE PURITY LOGO AND THE SLOGANS “IT’S PURE. THAT’S SURE” AND “YOURS TO LOVE. OURS TO PROTECT.” ADDITIONALLY THIS SIDE INDICATED THAT THE MILK IS “PASTURIZED” AND IS “NOT LESS THAN 3.25% B.F.” PARALLEL TO THAT IS SIDE 4 WITH A TOP FOLD THAT HAS “SPOUT” MARKED ON IT. ON THE TOP FOLD, IT SAYS “PUREPAK” “YOUR PERSONAL MILK CONTAINER.” THE MAIN SECTION OF THIS HAS A GREEN ILLUSTRATION OF A CHURCH WITH “ATTEND THE CHURCH OF YOUR CHOICE…” ON THE BOTTOM OF THE CARTON, THERE ARE NUMBERS AND/OR LETTERS THAT WERE STAMPED INTO THE BOTTOM. A “W” IS VISIBLE. GOOD CONDITION. COLOUR OF CARDBOARD HAS YELLOWED OVERALL. THERE ARE VARIOUS STAINS ON THE SURFACE. BLACK STAINING AROUND THE CHURCH ILLUSTRATION. THE TOP FLAP OF THE CARTON IS DETERIORATING (BENT/TORN) WITH NOTICEABLE LOSS OF MATERIAL ON ONE SIDE’S CORNER.
Subjects
CONTAINER
Historical Association
BUSINESS
INDUSTRY
History
THE DONOR, HANK VROOM, FOUND THE MILK CARTON IN LETHBRIDGE APPROXIMATELY A DECADE BEFORE THE DATE OF DONATION (JULY 2016), AS A RESULT OF HIS CITY EMPLOYMENT AS A GARBAGE TRUCK DRIVER. THE LOCATION OF THE FIND IS UNKNOWN. IN THE TIME SINCE HIS POSSESSION, THE CARTON HAS BEEN IN A PLASTIC BAG IN A CUPBOARD. ACCORDING TO ADDITIONAL RESEARCH INTO THE EXISTENCE OF THIS TYPE OF MILK CARTON AND BRAND, IT IS ESTIMATED THAT THIS CARTON ORIGINATED PRIOR TO THE MID-1970S BECAUSE MILK MEASUREMENTS WERE CHANGED FROM QUARTS TO LITERS AROUND THAT TIME AND THIS CARTON’S MEASUREMENT IS INDICATED IN QUARTS. IN THE LATE 1950’S, PURITY DAIRY ADVERTISED BEING 100% PURE-PAK, MEANING THAT ALL MILK PRODUCTS CAME IN CARDBOARD CARTONS. BLOW MOLD PLASTIC CONTAINERS REPLACED CARDBOARD SHORTLY AFTER. WITH THE INDICATION OF THE 1957 PATENT NUMBER ON THE CARTON, THIS PLACES THE DATE OF THE MILK CARTON BETWEEN 1957 AND THE 1970S. THE FOLLOWING INFORMATION ABOUT PURITY DAIRY IS FROM THE RECORD FOR ARTIFACT P20070013001: SIMONIE (SAM) FABBI STARTED FABBI DAIRY IN 1923 IN LETHBRIDGE. HE WAS AN ITALIAN IMMIGRANT WHO BEGAN THE BUSINESS WITH THREE COWS AND SOME LARD BUCKETS. THE DAIRY WAS LOCATED AT 12 STREET B NORTH. AT THAT TIME, MILK WAS TRANSPORTED USING LARD PAILS OR CANS, WHICH, WITH THE HELP OF SAM’S SONS, WOULD BE LADLED INTO CUSTOMER’S CONTAINERS. FABBI DAIRY EXPANDED TO THE SOUTHSIDE DAIRY HILL IN THE EARLY 1930S. SHORTLY AFTERWARDS, FABBI DAIRY BOUGHT CITY DAIRY. SONS STAN AND ROMEO BOUGHT THE BUSINESS FROM THEIR FATHER IN 1936. AT THIS POINT, MILK WAS PACKAGED AND SOLD IN GLASS BOTTLES IN PINT, QUART OR GALLON SIZES. THE DAIRY HAD ITS OWN COWS, WHICH WERE MILKED DAILY AND WOULD PASTURE IN THE COULEES. BY 1936, HOWEVER, MILK AND CREAM WERE BROUGHT IN FROM OFFSITE. BETWEEN 1939 AND 1944, THE FABBI DAIRY BOUGHT PAVAN DAIRY AND THE BELLEVUE DAIRY. AT THAT POINT IN TIME, MANY SMALL DAIRIES WERE SUBJECT TO PASTEURIZATION LAWS, AND CHOSE TO CLOSE DOWN RATHER THAN CONVERT. FABBI DAIRY PURCHASED MAJESTIC THEATRE IN THE LATE 1930S OR EARLY 1940S FOR $10,000 FROM MAYOR SHACKERFORD, CONVERTING IT INTO A MILK BOTTLING PLANT. FABBI DAIRY CHANGED ITS NAME TO PURITY DAIRY, AND EXPANDED THROUGHOUT THE LATE 1940S AND 1950S, OPENING UP BUSINESSES IN MEDICINE HAT (1948), CALGARY (1950), EDMONTON (1950), CRANBROOK (1958), RED DEER AND TABER. ALL THESE LOCATIONS HAD DAIRIES EXCEPT FOR TABER, WHICH HAD A DEPOT. ACCORDING TO KEN FABBI, STAN FABBI’S SON, STAN AND ROMEO ESTABLISHED A DAIRY IN CALGARY WITHOUT A LICENSE. THE ONLY WAY TO OBTAIN A LICENSE FOR A DAIRY AT THAT TIME WAS TO BUY OUT AN EXISTING DAIRY. EXPANSION WAS SEEN AS NECESSARY TO THE FABBI BROTHERS, IF THEY WERE TO REMAIN IN BUSINESS. THE PURITY DAIRY IN CALGARY WAS DEEMED ILLEGAL, AND IN THE EARLY 1960S, STAN AND ROMEO FABBI WERE HANDCUFFED AND ARRESTED. PUBLIC SYMPATHY FOR THE FABBI BROTHERS ENABLED THEM TO PURCHASE A LICENSE AFTER THE INCIDENT. PURITY DAIRY HAD MANY INNOVATIVE PRODUCTS THAT OTHER DAIRIES IN TOWN DID NOT HAVE, LIKELY CONTRIBUTING TO THE DAIRY’S POPULARITY WITH THE PUBLIC. PURITY DAIRY WAS THE FIRST DAIRY IN WESTERN CANADA TO RELY SOLELY ON THE USE OF MILK TANKERS, WHICH VISITED VARIOUS LOCALS TO PICK UP MILK AND BRING IT TO THE DAIRY. PRIOR TO 1957, FARMERS WERE REQUIRED TO DELIVER MILK IN CANS TO THE DAIRY THEMSELVES. PURITY DAIRY HAD A SUBSTANTIAL FLEET OF RETAIL DELIVERY VEHICLES. IN ITS EARLY DAYS, HORSES WERE AN INTEGRAL PART OF THE DELIVERY SYSTEM. AT ONE POINT, 17 HORSES WERE BEING USED FOR DELIVERY PURPOSES. IN 1959, PURITY DAIRY REPLACED ITS LAST THREE HORSES WITH DELIVERY TRUCKS. IN THE 1950S, PURITY DIARY BEGAN TO STREAMLINE PRODUCTION. BUTTER WAS PRODUCED IN MEDICINE HAT, WHILE THE LETHBRIDGE BRANCH PRODUCED ICE CREAM, NOVELTIES, BUTTER MILK, AND SOUR CREAM, IN ADDITION TO MILK AND COTTAGE CHEESE. THE EDMONTON PLANT SHARED MILK PRODUCTION WITH LETHBRIDGE, AND BECAME THE SOLE PRODUCER OF BLOW MOLD PLASTIC FOR PURITY DAIRY. BUSINESS BEGAN TO FALL IN THE 1960S, AND IN 1971 STAN AND ROMEO FABBI SOLD PURITY DAIRY TO CO-OP DAIRY, WHICH WAS SUBSEQUENTLY KNOWN AS PURITY CO-OP LTD. BEFORE THE SALE, PURITY DAIRY EMPLOYED ABOUT 200 FULL-TIME STAFF AND SUPPLIED MILK PRODUCTS TO THOUSANDS OF ALBERTANS DAILY. THE LETHBRIDGE PLANT EMPLOYED ABOUT 70 PEOPLE, AND MANUFACTURED ICE CREAM CONFECTIONS, COTTAGE CHEESE, BUTTER, YOGURT, BUTTERMILK, SOUR CREAM, AND FRUIT DRINKS. STAN’S WIFE, NETTI, SAID OF THE SALE, “WE LOST EVERYTHING…WE EXPANDED TOO FAST. I TOLD STAN ‘WHO CARES? I’VE GOT YOU AND WE STILL HAVE THREE MEALS A DAY.’” IN 1972, PURITY CO-OP LTD WAS BOUGHT OUT BY PALM DAIRY, WHICH WAS CLOSED DOWN FOLLOWING A DRAMATIC EXPLOSION IN 1978. IT REOPENED AT A DIFFERENT LOCATION ONE YEAR LATER. IN THE INTERIM, PRODUCTS WERE SHIPPED IN FROM THE CALGARY PLANT. STAN AND ROMEO FABBI DIED IN 1992 AND 1991, RESPECTIVELY. THIS INFORMATION WAS GATHERED IN 2008-09 FROM ANTOINETTE AND KEN FABBI, STAN’S WIFE AND SON, RESPECTIVELY, AND FROM THE LETHBRIDGE HERALD ARCHIVES. FOR MORE INFORMATION, SEE PERMANENT FILE FOR P20070013001. SEE PERMANENT FILE FOR P20160019000 FOR ADDITIONAL LETHBRIDGE HERALD CLIPPINGS, PRINT RESEARCH, AND PATENT DOCUMENTS.
Catalogue Number
P20160019000
Acquisition Date
2016-07
Collection
Museum
Images
Less detail
Other Name
DYE SAMPLES
Date Range From
1940
Date Range To
1977
Material Type
Artifact
Materials
CARDBOARD, FABRIC, INK
Catalogue Number
P20160003004
  1 image  
Material Type
Artifact
Other Name
DYE SAMPLES
Date Range From
1940
Date Range To
1977
Materials
CARDBOARD, FABRIC, INK
No. Pieces
1
Length
22.6
Width
15
Description
BOOK WITH BLACK HARDCOVER. THE FRONT COVER OF THE BOOK HAS IN GOLD LETTERING “NACCO DYES” WITH A SMALL, GOLD LOGO IN THE CENTER AND “NATIONAL ANILINE & CHEMICAL CO. …” IN GOLD AT THE BOTTOM. THE SPINE OF THE BOOK HAS “NACCO DYES NO. 172” IN GOLD LETTERS. THE INSIDE COVER OF THE BOOK BEGINS WITH “NATIONAL SERVICE” WITH ADDITIONAL TEXT SUCCEEDING. THE PAGES ARE THICK, WHITE BOARD THAT ARE ATTACHED TO ONE ANOTHER WITH PAPER SEAMS. THE BOARDS FOLD OUT ACCORDIAN-STYLE INTO A HORIZONTAL LINE. THERE ARE 6 BOARDS IN TOTAL. THE FIRST FOUR BEGINNING FROM THE LEFT ARE TITLED, “NACCO UNION DYES.” EACH BOARD HAS TWO COLUMNS OF RECTANGULAR DYE SAMPLES. THERE ARE 9 ROWS ON EACH BOARD. THE TWO SAMPLES IN EACH ROW ARE THE SAME COLOUR BUT ON DIFFERENT TYPES OF FABRIC. THE 5TH BOARD IS DIVIDED INTO TWO COLUMNS. THE LEFT IS TITLED, “NACCO NEUTRAL DYES” AND THERE ARE 10 SAMPLES OF VARIOUS DYE COLOURS UNDERNEATH IT. THE RIGHT SIDE IS TITLED, “NACCO WOOL DYES.” GOOD CONDITION. THE BOARDS HAVE YELLOWED. SLIGHT SCUFFING ON THE BLACK COVER. SLIGHT BROWN STAIN ON 5TH AND 6TH BOARDS. ACCRETION ON LOWER SECTION ON THE BACKSIDE OF BOARD TO THE RIGHT OF THE TITLE PAGE (5TH BOARD).
Subjects
MERCHANDISING T&E
Historical Association
INDUSTRY
TRADES
RETAIL TRADE
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. MORRIS’ FATHER SOLD DYE TO LOCALS ON THE DOUKHOBOR COLONY. MORRIS DESCRIBES THE PURPOSE OF THE DYES AND HOW HER FATHER BECAME INVOLVED: “DYEING WAS NECESSARY TO DYE THE WOOL THAT YOU SPUN AND SOMETIMES YOU COULDN’T GET THE NECESSARY DYES IN THE STORE, SO I DON’T KNOW WHERE MY DAD GOT THOSE. THEY MIGHT HAVE SENT HIM SOME OR WHAT AND THEN HE WOULD CHOOSE THE COLOURS THEY WANTED AND HE WOULD ORDER THEM. NOW IT SO HAPPENS THAT THE PEOPLE IN THE COLONY ALL WANTED THESE PARTICULAR DYES BECAUSE THEY WERE BETTER THAN THE KIND THEY GOT IN THE STORE. I DON’T KNOW WHY. SO MY DAD BUILT A SCALE AND I REMEMBER THIS SCALE. IT STOOD ON THE TABLE, IT HAD A CENTRAL PART, THEN THERE WAS A ROD GOING ACROSS AND IT CAME DOWN LIKE THIS AND THREE NAILS ON ONE SIDE BROUGHT IT DOWN AND WHEN YOU WANTED TO SELL THE DYE YOU PUT A PIECE OF PAPER DOWN, PUT IN A SPOONFUL UNTIL WE BALANCED [IT] AND THEN YOU GOT AN EVEN BALANCE AND THAT AMOUNT CAME TO TEN CENTS. IF WANTED LESS THEN YOU PUT TWO NAILS DOWN AND THOSE CAME TO FIVE CENTS SO… I SUPPOSE [HE SOLD THE DYE] BECAUSE HE WANTED TO MAKE SOME MONEY. HE SOLD VEGETABLES IN THE WINTERTIME TO THE LOCALS WHO DIDN’T GROW GARDENS. IN SUMMERTIME IF HE COULD GET A JOB HARVESTING WORKING SOMEWHERE ON FARMS HE DID THAT. [HE WAS] THE MIDDLE MAN [SELLING DYES]… [A]ND NOBODY TOLD ANYONE THE STOREKEEPERS THAT OR HE’D HAVE PROBABLY BEEN TOLD TO STOP IT.” PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION, OBITUARIES, PHOTOGRAPHS, AND FAMILY HISTORIES.
Catalogue Number
P20160003004
Acquisition Date
2016-02
Collection
Museum
Images
Less detail
Other Name
KNITTING BAG
Date Range From
1870
Date Range To
1999
Material Type
Artifact
Materials
CANVAS, FABRIC, THREAD
Catalogue Number
P20160003005
  1 image  
Material Type
Artifact
Other Name
KNITTING BAG
Date Range From
1870
Date Range To
1999
Materials
CANVAS, FABRIC, THREAD
No. Pieces
1
Length
41
Width
36
Description
HANDMADE BAG MADE OF 3 SECTIONS OF STRIPS OF ABOUT 5 INCHES (APPROX. 13 CM) EACH. IT IS RED WITH BLUE, YELLOW, GREEN, AND RAW MATERIAL ACCENTS. THE TRIM AT THE TOP OF THE BAG IS BLUE WITH A HANDLE OF THE SAME FABRIC ON EITHER SIDE. THERE IS A STRIP OF RAW, NOT PATTERNED FABRIC AT THE BOTTOM OF THE BAG. BOTH SIDES OF THE BAG HAVE THE SAME ARRANGEMENT OF PATTERNED STRIPS. THERE IS ONE SEAM CONNECTING THE FRONT AND THE BACK OF THE BAG ON BOTH SIDES. THE INSIDE IS UNLINED. GOOD TO VERY GOOD CONDITION. THERE IS SOME STITCHING COMING LOOSE AT VARIOUS POINTS OF THE PATTERNING.
Subjects
CONTAINER
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. A STATEMENT WRITTEN BY MORRIS ATTACHED TO THE BAG STATES THAT THE MATERIAL OF THE BAG ORIGINATES FROM THE 1870S. THE STATEMENT READS: “THIS BAG WAS HAND WOVEN IN STRIPS [THAT WERE USED] TO SEW ON THE BOTTOM OF PETTICOATS. THE GIRLS AT THAT TIME HAD TO HAVE A TROUSEUA [SIC] TO LAST A LIFETIME BECAUSE AFTER MARRIAGE THERE WOULD BE NO TIME TO MAKE CLOTHES SO WHAT THEY MADE WAS STURDY. THEY STARTED ON THEIR TROUSEUS [SIC] AS SOON AS THEY COULD HOLD A NEEDLE. WHEN IT WAS HAYING TIME THE GIRLS WENT OUT INTO THE FIELD TO RAKE THE HAY. THEY WORE PETTICOATS OF LINEN TO WHICH THESE BANDS WERE SEWN. THE LONG SKIRTS WERE PICKED UP AT THE SIDES AND TUCKED INTO THE WAISTBANDS SO THAT THE BOTTOMS OF THE PETTICOATS WERE ON DISPLAY.” “THESE BANDS WERE ORIGINALLY MY GREAT GRANDMOTHER’S WHO CAME OUT OF RUSSIA WITH THE DOUKHOBOR SETTLEMENT IN 1899. THEY WERE PASSED ON TO MY MOTHER, ELIZABETH KONKIN, WHO MADE THEM INTO A BAG IN THE 1940S” THE STRIPS THAT MAKE UP THE BAG SERVED A UTILITARIAN PURPOSE WHEN SEWN TO THE BOTTOM OF THE PETTICOATS. IN THE INTERVIEW, MORRIS EXPLAINS: “… THESE STRIPS ARE VERY STRONG. THEY’RE LIKE CANVAS. THEY WERE SEWN ONTO THE BOTTOM OF THE LADY’S PETTICOATS AND THEY WORE A SKIRT ON TOP OF THE PETTICOATS. THESE STRIPS LASTED A LIFETIME, IN FACT MORE THAN ONE LIFETIME BECAUSE I’VE GOT THEM NOW. THEY WOULD TUCK THE SKIRTS INTO THEIR WAISTBAND ON THE SIDE SO THEIR PETTICOATS SHOWED AND THEY WERE TRYING TO PRESERVE THEIR SKIRTS NOT TO GET CAUGHT IN THE GRAIN. THE GIRLS LIKED TO WEAR THEM TO SHOW OFF BECAUSE THE BOYS WERE THERE AND THEY ALWAYS WORE THEIR VERY BEST SUNDAY CLOTHES WHEN THEY WENT CUTTING WHEAT OR GRAIN." “[THE FABRIC] CAME FROM RUSSIA. WITH THE AREA WHERE THEY CAME FROM IS NOW GEORGIA AND THEY LIVED ABOUT SEVEN MILES NORTH OF THE TURKISH BORDER, THE PRESENT DAY TURKISH BORDER… [THE DOUKHOBORS] CAME TO CANADA IN 1897 AND 1899.” MORRIS EXPLAINS THAT SURPLUS FABRIC WOULD HAVE BEEN BROUGHT TO CANADA FROM RUSSIA BY HER MATERNAL GRANDMOTHER FOR FUTURE USE AND TO AID THE GIRLS IN MAKING THEIR TROUSSEAUS: “THE TROUSSEAU THE GIRLS MADE HAD TO LAST THEM A LIFETIME BECAUSE THEY WOULDN’T HAVE TIME BUT RAISING CHILDREN TO SEWING THINGS. SEWING MACHINES WERE UNKNOWN THEN.” THE BANDS OF FABRIC THAT MAKE UP THE BAG WOULD HAVE BEEN REMAINS NEVER USED FROM ELIZABETH KONKIN’S TROUSSEAU. SHE HAND WOVE THE BAG WHILE SHE WAS LIVING IN SHOULDICE. THE BAG WAS USED BY MORRIS’ MOTHER TO STORE HER KNITTING SUPPLIES. WHEN MORRIS ACQUIRED THE BAG IN THE 1990S, IT MAINTAINED A SIMILAR PURPOSE: “WELL I USED TO CARRY MY STUFF FOR THE WEAVER’S GUILD BUT NOW I DON’T USE IT FOR ANYTHING. IT’S VERY HANDY YOU KNOW IT DOESN’T WEAR OUT.” THERE WAS ONLY ONE BAG MADE OUT OF THESE REMNANTS BY MORRIS’ MOTHER. PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION, OBITUARIES, PHOTOGRAPHS, AND FAMILY HISTORIES.
Catalogue Number
P20160003005
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 BAG
Material Type
Artifact
Materials
PLASTIC
Catalogue Number
P20170004004
  1 image  
Material Type
Artifact
Other Name
HMV BAG
Date
2017
Materials
PLASTIC
No. Pieces
1
Length
22.7
Width
35.7
Description
WHITE, PLASTIC SHOPPING BAG. BOTH SIDES ARE THE SAME. “HMV” IS ON THE BAG IN PINK LETTERING. THE BAG ALSO HAS INFORMATION ABOUT THE BAG INCLUDING “ENVIRONMENTAL TECHNOLOGY” ALONG THE BOTTOM EDGE. THERE IS A HOLE IN THE TOP SIDE OF THE BAG FOR THE HANDLE. VERY GOOD TO EXCELLENT CONDITION. THE BAG IS SLIGHTLY WRINKLED. THERE IS SLIGHT WEAR TO THE HANDLE THROUGH USE.
Subjects
MERCHANDISING T&E
Historical Association
RETAIL TRADE
BUSINESS
History
IN THE EARLY MONTHS OF 2017 THE MUSIC FRANCHISE, HMV CANADA, BEGAN TO THE PROCESS OF CLOSING DOWN ALL 120 OF THEIR STORES ACROSS CANADA. AFTER 30 YEARS OF BUSINESS, THE COMPANY WENT INTO RECEIVERSHIP. PARK PLACE MALL IN DOWNTOWN LETHBRIDGE HAD AN HMV LOCATION OF ITS OWN, WHICH OPENED IN 1994. THIS SHOPPING BAG IS AN EXAMPLE OF SHOPPING BAGS USED AT THE LETHBRIDGE LOCATION OF HMV DURING THE TIME OF RECEIVERSHIP. IT IS ALSO PHYSICAL SYMBOL OF BRICK-AND-MORTAR SHOPPING MALLS. ON 27 FEBRUARY 2017, IN AN INTERVIEW WITH COLLECTIONS TECHNICIAN KEVIN MACLEAN, THE MANAGER OF THE HMV LETHBRIDGE, BRENDAN FRIZZLEY, REFLECTED ON HIS PAST EXPERIENCE AT THE MUSIC STORE, THE SIGNIFICANCE OF MUSIC STORES, AND ON THE RECEIVERSHIP PERIOD. FOR MORE INFORMATION OF FRIZZLEY’S CONNECTION TO THE STORE, PLEASE SEE P20170004001-2. IN THE INTERVIEW, FRIZZLEY SPOKE ABOUT THE CHANGE IN MALL TRAFFIC, “[THERE IS] SUCH A DROP IN TRAFFIC, AS PEOPLE START TO MOVE AWAY FROM MALLS. [THIS IS EXEMPLIFIED BY] THE FACT THAT I’LL HAVE SATURDAYS WHERE I’LL PULL AS MUCH AS I USED TO PULL ON A SLOW MONDAY EIGHT YEARS AGO, IN TERMS OF JUST PEOPLE COMING IN. WE’VE MADE SO MANY CHANGES TO BE ABLE TO MAKE THAT WORK FROM ON OUR SIDE, WHETHER IT’S GETTING BETTER DEALS FOR EVERY CD THAT WE SELL, OR JUST CHANGING THE GENERAL PRICE OF THINGS, OR HAVING THINGS THAT MAKE MORE MONEY… PEOPLE AREN’T SHOPPING IN MALLS ANYMORE. THERE’S STILL PEOPLE COMING IN, ESPECIALLY AROUND CHRISTMAS TIME, BUT IT’S NOT THE SAME AS IT USED TO BE. I REMEMBER MY FIRST CHRISTMAS [WORKING] HERE. WE HAD THREE TILLS – WE’D RUN ALL THREE OF THEM – AND THERE’D BE STILL CRAZY LINES. THAT WAS FOR ALL OF DECEMBER, AND THEN THIS YEAR, BLACK FRIDAY AND BOXING DAY BOTH HAPPENED, AND I DIDN’T HAVE TO OPEN A THIRD TILL…PEOPLE DON’T WANT SHOPPING TO BE A MULTI-HOUR STROLLING EXPERIENCE. WE’VE ALL GOT TO FACE THE ‘BUYING ONLINE,’ AND IF IT’S NOT ‘BUYING ONLINE’, [IT'S] BUYING ‘BIG BOX’. IF YOU WALK INTO WALMART OR COSTCO AND YOU’RE OUT IN AN HOUR, AND YOU GOT EVERYTHING THAT YOU NEED, THAT’S SO MUCH BETTER THAN A DAY AT THE MALL. I DON’T THINK THE THINGS AT THE MALL ARE INTERESTING ENOUGH ANYMORE FOR PEOPLE TO WANT TO PORE OVER THEM, AND HAVE THAT EXPERIENCE WHERE YOU WANDER AROUND THE MALL. THE KIDS WOULD GO OFF ONE WAY; PARENTS WOULD GO OFF THE OTHER. MOM AND DAD WOULD EVENTUALLY SPLIT UP, AS THEY GOT PULLED DIFFERENT WAYS. EVERYONE WOULD SORT OF WANDER AROUND; THEY’D MEET UP AT THE FOOD COURT, AT A CERTAIN TIME, AND THAT WOULD BE THAT, AND IT’S JUST NOT AN EXPERIENCE PEOPLE WANT [ANYMORE]. I THINK PEOPLE FEEL PULLED A LOT OF DIFFERENT WAYS, AND WE’VE GOTTEN VERY GOOD AT GETTING GOOD RECREATIONAL ACTIVITIES, AT THE SAME TIME… MILLENNIALS HAVE FOUND REALLY INTERESTING, ENGAGING WAYS OF OCCUPYING THEIR TIME…YEAH, YOU KNOW PEOPLE ARE THERE TO BUY CERTAIN THINGS AT THE MALL… IF PEOPLE ARE COMING IN FOR A PARTICULAR ITEM AT MY STORE, THEY’RE PROBABLY NOT HITTING ANY OTHER STORE…NOBODY WANTS TO SHOP AROUND. AND THAT’S FINE. I’M NOT A MALL PERSON… WHEN I’M BUYING SOMETHING, I’M PROBABLY GETTING IT OFF AMAZON. I’LL BE IN THE MALL, HEADING OUT TO MY CAR, AND I’LL BE ON MY PHONE ON AMAZON BUYING THE THING THAT I WANT TO BUY, BECAUSE I WANT TO BE ABLE TO TAKE ADVANTAGE OF THAT. I DON’T WANT TO SHOP AROUND IN THE MALL. AND IT’S KIND OF SURREAL THAT I LIVE IN A PLACE THAT SELLS THE THINGS I WANT, BUT I DON’T SEE EXACTLY WHAT I WANT HERE, SO RATHER THAN JUST HAVE TO SETTLE AND BUY THE BEST ONE, I’M JUST GOING TO GET ON MY PHONE…” MACLEAN STATED THAT THERE IS A “KIND OF REVOLUTION OF DIGITAL, IN TERMS OF, NOT JUST THE [HMV] ITSELF, BUT EVEN THE MALL.” FRIZZLEY ELABORATED ON THAT: “[Y]OU APPROACH THIS AWKWARD, POST-WORK SOCIETY WHERE YOU’VE KILLED RETAIL… WE CAN HAVE A LOT OF PEOPLE UNEMPLOYED REALLY QUICKLY IF WE’RE DOING THIS. THAT’S THE BIGGEST THING THERE. I THINK THE LOSS OF - WE ALREADY LOST THE GOOD SIDES OF RETAIL YEARS AGO WHEN WE KILLED THE EXPERTS AND KILLED SPECIALTY STORES…” PLEASE SEE PERMANENT RECORD FOR ADDITIONAL INFORMATION, INCLUDING THE FULL INTERVIEW TRANSCRIPT AND ARTICLES REGARDING THE RECEIVERSHIP AND LIQUIDATION OF HMV CANADA.
Catalogue Number
P20170004004
Acquisition Date
2017-02
Collection
Museum
Images
Less detail
Other Name
ALL-CANADA TV STATION SHOWMANSHIP AWARD
Date Range From
1960
Date Range To
1961
Material Type
Artifact
Materials
METAL, STONE, WOOD
Catalogue Number
P20150016002
  1 image  
Material Type
Artifact
Other Name
ALL-CANADA TV STATION SHOWMANSHIP AWARD
Date Range From
1960
Date Range To
1961
Materials
METAL, STONE, WOOD
No. Pieces
1
Height
32.5
Diameter
12.5
Description
AWARD TROPHY, “ALL-CANADA TV STATION SHOWMANSHIP AWARD BEST LOCAL PROGRAMMING CJLH-TV LETHBRIDGE, ALTA. 1960-61”. CAST METAL PEBBLED, LAUREL LEAF BASE, FINISHED IN GOLD. PEDESTAL CONSTRUCTED OF WOOD AND POLISHED STONE. GREEN FELT BOTTOM. VERY GOOD CONDITION. GOLD FINISH SCUFFED IN SOME AREAS WITH SOME SCRATCHES ON THE BASE AND DUST BUILD UP. MINOR LOSS TO THE BLACK PAINT AROUND THE BASE AND SLIGHT WEAR TO THE FELT BOTTOM.
Subjects
PERSONAL SYMBOL
Historical Association
COMMEMORATIVE
HOME ENTERTAINMENT
PROFESSIONS
History
EVERAL HORHOZER (NÉE SUPINA) WAS BORN IN LETHBRIDGE IN THE YEAR OF 1927 TO HER PARENTS DONAH (NÉE HILL) AND NICHOLAS SUPINA. SUPINA WAS THE OWNER OF SUPINA’S MERCANTILE ON 13TH STREET NORTH, LETHBRIDGE. COLLECTIONS TECHNICIAN KEVIN MACLEAN CONDUCTED A SERIES OF INTERVIEWS (ON APRIL 2, APRIL 16, AND MAY 7, 2015) WITH HORHOZER REGARDING A GROUP OF ARTIFACTS SHE DONATED TO THE MUSEUM. THE INFORMATION BELOW HAS COME FROM THESE INTERVIEWS AND LETHBRIDGE HERALD RESEARCH REGARDING THE HORHOZER FAMILY AND THE COUNTRY CAPERS - TO WHOM THE TROPHY WAS AWARDED IN 1961. EVERAL MET JOE HORHOZER WHEN HE CAME TO SUPINA’S TO WORK. SHE REMEMBERS: “I WORKED IN THE LADIESWEAR. I LIKED THAT VERY MUCH. THE MEAT DEPARTMENT WAS RIGHT ACROSS FROM THE LADIESWEAR. THAT’S KIND OF HOW I MET JOE. HE WORKED IN THE BUTCHER DEPARTMENT. I REMEMBER THE DAY HE WALKED IN THE STORE, I’LL NEVER FORGET [IT], HE HAD THIS RED CARDIGAN SWEATER ON AND I JUST FELL, HEAD OVER RIGHT THEN. HE WAS JUST STARTING WORK AND I THOUGHT, ‘WELL, THAT’S THE GUY I’M GOING TO MARRY.” THIS TROPHY IS REPRESENTATIVE OF JOE HORHOZER’S TIME AS PART OF THE MUSICAL GROUP CALLED THE COUNTRY CAPERS. PRIOR TO THAT, HE WAS A PART OF THE MUSICAL GROUP, THE ALBERTA RANCH BOYS. THE GROUP FORMED IN 1937 AND HAD SEEN SUCCESS ON BOTH THE LOCAL AND NATIONAL LEVELS. AROUND 1955, THE GROUP HAD SLOWED DOWN FROM THEIR TOURING SCHEDULE, AS A RESULT HORHOZER AND A FELLOW BAND MEMBER, REMO BACEDA, WERE ABLE TO JOIN A GROUP FORMING IN LETHBRIDGE THAT CAME TO BE THE 'COUNTRY CAPERS.' THIS GROUP CONSISTED OF THE POTTS FAMILY ON VOCALS, EDDIE, BETTY (WAGGONTAIL), AND TWINS SHIRLEY ANN (PETRAK) AND SHARON (SCOVILLE), AS WELL AS DONN PETRAL ON VOCALS AND GUITAR, HERB URANO ON BASS, REMO BACEDA ON FIDDLE, AND HORHOZER WITH HIS ACCORDION. HORHOZER SAYS OF THAT TIME, “WELL, THE POTTS ALWAYS SIGNED TOGETHER. THERE WERE THREE SISTERS AND THEN EDDIE, THE BROTHER, AND THEY WERE VERY GOOD SINGERS, BUT THEY WANTED SOMEBODY THAT WAS PROFESSIONAL TO KIND OF TEACH THEM HOW TO SING IN HARMONY. REMO WAS GOOD AT THAT ‘CAUSE HE WAS THE HEAD OF A CHOIR AND [KNEW] HOW TO DO GROUP MUSIC, ‘CAUSE [THE POTTS] WERE GREEN. THEY DIDN’T KNOW ANYTHING. THEN THEY WOULD PRACTICE AND PRACTICE TOGETHER, AND THEN DONN PETRAK, I GUESS, GOT THE RADIO STATION TO HIRE THEM. THEY’VE GOT TO -THEY’VE GOT TO HEAR YOU PLAY FIRST, SO THEY HAD THIS BAND CALLED THE COUNTRY CAPERS AND THEY ALL PLAYED TOGETHER FOR QUITE A LONG TIME ON THE RADIO. I THINK THEY WERE ON THE RADIO FOR MAYBE TWO YEARS OR SOMETHING LIKE THAT – CJOC.” HORHOZER’S DAUGHTER, MELODEE “MEL” MUTCH, WHO WAS ALSO IN THE ROOM FOR THE INTERVIEWS WITH MACLEAN, ADDED, “… IT WAS A TELEVISION SHOW. THAT’S WHAT THEY WERE KNOWN FOR.” ON MARCH 1, 1998, THE LETHBRIDGE HERALD’S “THE WAY WE WERE” COLUMN FEATURED A HISTORY OF THE COUNTRY CAPERS WRITTEN BY GARRY ALLISON. THIS ARTICLE STATES, “THE COUNTRY CAPERS WERE FEATURED ON CJOC RADIO WITH THEIR OWN SHOW AND ON CJLH-TV FOR FIVE YEARS. THEY ALSO TRAVELED TO CALGARY EACH WEEK FOR A CROSS-CANADA RADIO SHOW ON CBC IN 1958. THEIR LOCALLY-PRODUCED TV SHOW WAS SHOWN EACH TUESDAY NIGHT AT FIRST, THEN LATER ON THURSDAY NIGHT.” CJLH-TV WON SEVEN LIBERTY MAGAZINE AWARDS IN TOTAL DURING THE 1950S AND 1960S. THESE AWARDS INCLUDED THE 1960 – 1961 AWARD FOR BEST LOCAL PROGRAMMING, WHICH THE COUNTRY CAPERS WERE A PART OF, AND IN 1962 THE COUNTRY CAPERS WERE PRESENTED WITH THE AWARD FOR BEST STATION MUSIC SHOW. HORHOZER REMEMBERS: “TO TELL YOU THE TRUTH, I DON’T KNOW MUCH ABOUT [THE TROPHY], EXCEPT THIS IS WHEN THEY PLAYED ON TV, THEY ALWAYS GIVE AN AWARD FOR THE BEST MUSICAL BAND ON TV OR SOMETHING. THAT’S WHEN THEY GOT THAT." FOR AN ARTICLE WRITTEN ABOUT JOE HORHOZER IN 2002 FOR THE LETHBRIDGE HERALD, JOE STATED, “[MUSIC’S] MY LIFE – OUTSIDE OF MY FAMILY. [WITHOUT IT], I’D BE LOST.” MUTCH REAFFIRMS HER FATHER’S STATEMENT BY SAYING, “… HIS HANDS WERE ALWAYS TAPPING. HE WAS ALWAYS TAPPING. YOU COULD SEE THAT IN HIS HEAD. PLUS HE HELD DOWN A FULL TIME JOB. AND WHEN THEY NEEDED ENTERTAINMENT – LIKE GARY KIRK. GOSH, IT’S GOT TO BE 50 YEARS AGO, SAID TO MY DAD AND BUCK, 'WOULD YOU COME DOWN TO PLAY AT THIS CABIN?' – LONG LOST RANCH, OR WHEREVER THEY WERE HAVING A FAMILY REUNION – SO THEY WERE THE ENTERTAINMENT. HE WAS … SOUGHT-AFTER, LET’S PUT IT THAT WAY. AND WHEN HE WOULD PLAY MUSIC UNTIL YOU’D WANT TO THROW UP. HE’D COME HOME FROM A DANCE; POUR HIMSELF ANOTHER ONE; AND THEN THE RECORDS WOULD START TO COME OUT. THAT IS HOW THE NIGHT WENT. I’D EVEN COME HOME SOME NIGHTS AND MY MOM AND DAD WOULD BE DANCING. WHEN YOU ARE A TEENAGER, THAT’S HORRIFIC. SO, THERE IS THE HENDERSON LAKE HOTEL, WHATEVER – THE DANCE HALL. THAT WAS VERY MUCH A PART OF THEIR LIVES AS WELL.” JOE HORHOZER PASSED AWAY IN LETHBRIDGE ON OCTOBER 21, 2010 AT THE AGE OF 89 YEARS. HORHOZER WAS THE LAST SURVIVING MEMBER OF THE ALBERTA RANCH BOYS. EVERAL HORHOZER PASSED AWAY IN LETHBRIDGE 6 YEARS LATER ON JUNE 6, 2016 AT THE AGE OF 88 YEARS. PLEASE SEE THE PERMANENT FILE FOR ADDITIONAL INFORMATION ABOUT THE COUNTRY CAPERS, THE ALBERTA RANCH BOYS, AND THE LIFE OF EVERAL AND HER FAMILY, WHICH INCLUDES THE FULL INTERVIEW TRANSCRIPT AND LETHBRIDGE HERALD ARTICLES.
Catalogue Number
P20150016002
Acquisition Date
2015-05
Collection
Museum
Images
Less detail
Other Name
CASSETTE TAPE
Material Type
Artifact
Materials
PLASTIC, PAPER
Catalogue Number
P20180029005
  2 images  
Material Type
Artifact
Other Name
CASSETTE TAPE
Date
1980
Materials
PLASTIC, PAPER
No. Pieces
3
Height
1.7
Length
11
Width
7
Description
A. CASSETTE TAPE CASE, 11 CM LONG X 7 CM WIDE X 1.7 CM TALL. CLEAR PLASTIC RECTANGULAR CASE WITH TWO PLASTIC PRONGS INSIDE. CASE FRONT HAS EMBOSSED STAMP IN LOWER RIGHT CORNER “TDK, MADE IN JAPAN”. RIGHT SIDE HAS INDENT FOR OPENING; CASE IS HINGED ON LEFT SIDE. CASE IS SCRATCHED AND SCUFFED, WITH BLACK STAINING ON FRONT, BACK, AND LEFT SIDE; OVERALL VERY GOOD CONDITION. B. CASSETTE TAPE, 10 CM LONG X 6.4 CM WIDE X 0.7 CM TALL. TAPE IS BLACK PLASTIC WITH TWO HOLES THROUGH CASSETTE; TAPE HAS CLEAR PLASTIC WINDOW BETWEEN HOLES SHOWING TAPE INSIDE; BOTTOM EDGE OF TAPE HAS FIVE SQUARE OPENINGS SHOWING BROWN TAPE. TAPE HAS WHITE TEXT ON FRONT AND BACK; FRONT TEXT “AC DC * BACK IN BLACK, HELLS BELLS/SHOOT TO THRILL/, WHAT DO YOU DO FOR MONEY HONEY, GIVE THE DOG A BONE/LET ME PUT MY LOVE IN YOU, CP 1, DOLBY SYSTEM, XCS 16018, ATLANTIC”, LOWER LABEL HAS WHITE TEXT BILUNGUAL [ENGLISH AND FRENCH] “MANUFACTURED & DISTRIBUTED BY WEA MUSIC OF CANADA LTD., 810 BIRCHMOUNT RD SCARBOROUGH ONTARIO, A WARNER COMMUNICATIONS COMPANY”. TOP EDGE OF TAPE HAS EMBOSSED TEXT “MADE IN CANADA”. BACK OF TAPE HAS WHITE TEXT “AC DC * BACK IN BLACK, BACK IN BLACK/YOU SHOOK ME ALL NIGHT LONG, HAVE A DRINK ON ME, SHAKE A LEG/ROCK AND ROLL AIN’T NOISE POLLUTION, CP 2, DOLBY SYSTEM, XCS 16018, ATLANTIC”, LOWER LABEL HAS WHITE TEXT BILUNGUAL [ENGLISH AND FRENCH] “MANUFACTURED & DISTRIBUTED BY WEA MUSIC OF CANADA LTD., 810 BIRCHMOUNT RD SCARBOROUGH ONTARIO, A WARNER COMMUNICATIONS COMPANY”. TEXT ON TAPE IS WORN AND FADED; LOWER EDGE OF TAPE IS SCUFFED AND STAINED; OVERALL VERY GOOD CONDITION. C. PAPER INSERT FOR CASSETTE TAPE, 10.3 CM LONG X 6.6 CM WIDE X 1.4 CM TALL. PAPER BOOKLET WITH BLACK COVER AND WHITE TEXT; FRONT OF COVER HAS TEXT “AC DC, BACK IN BLACK, ATLANTIC, SUPER CASSETTE”; SIDE OF COVER HAS TEXT “AC/DC, BACK IN BLACK, DOLBY SYSTEM, XCS-16018, SUPER CASSETTE”; BACK OF COVER HAS TEXT INCLUDING TRACK LIST FOR “SIDE ONE/SIDE TWO” AND PHOTOGRAPH OF MAN PLAYING GUITAR, TEXT BELOW PHOTOGRAPH “1980 LEIDSPELEIN PRESSE B.V., UNAUTHORIZED REPRODUCTION OF THIS RECORDING IS PROHIBITED BY LAW AND SUBJECT TO CRIMINAL PROSECUTION”, TEXT BELOW IS BILUNGUAL [ENGLISH AND FRENCH] “MANUFACTURED & DISTRIBUTED BY, WEA MUSIC OF CANADA LTD., 1810 BIRCHMOUNT RD. SCARBOROUGH, ONTARIO, A WARNER COMMUNICATIONS COMPANY”. INSIDE OF COVER WHITE WITH BLACK TEXT “ALL SONGS WRITTEN BY YOUNG, YOUNG AND JOHNSON, PRODUCED BY ROBERT JOHN “MUTT” LANGE, ENGINEERED BY TONY PLATT, ASSISTANT ENGINEERS: JACK NEWBER, BENJI ARMBRISTER, RECORDED AT COMPASS POINT STUDIOS, APRIL-MAY 1980, MIXING ENGINEER: BRAD SAMUELSON, ART DIRECTION: BOB DEFRIN, PHOTOS: ROBERT ELLIS”, WITH “THANKS” BELOW, TEXT BELOW “FOR MORE INFORMATION ON AC/DC’S FAN CLUB AND MERCHANDISING, PLEASE SEND A SELF-ADDRESSED ENVELOPE TO: AC/DC FAN CLUB, 18 WATSON CLOSE, BURY ST. EDMUNDS, SUFFOLK ENGLAND, ALBERT PRODUCTIONS”. BACK INSIDE INCLUDES TEXT ON “NEW LEVELS OF EXCELLENCE” IN ENGLISH AND FRENCH. BACK OF BOOKLET HAS TWO HOLES PUNCHED THROUGH; COVER IS WORN AND FADED; OVERALL VERY GOOD CONDITION.
Subjects
SOUND COMMUNICATION T&E
Historical Association
LEISURE
HOME ENTERTAINMENT
History
ON DECEMBER 21, 2018, GALT MUSEUM CURATOR AIMEE BENOIT INTERVIWED KEVIN MACLEAN REAGARDING HIS DONATION OF PERSONAL OBJECTS. ON THE CASSETTE TAPE, MACLEAN ELABORATED, “I WOULD THINK IT’S…IN THE WINTER OF GRADE 10 THAT I FOUND AC/DC AND THE SONG WAS, “FOR THOSE ABOUT TO ROCK”. I REMEMBER LISTENING TO IT WITH A BUDDY IN KALISPELL AND PLAYING ARCADE GAMES IN THE HOTEL AND THINKING, “OH, MY GOD, THIS IS THE COOLEST.”” “[BECAUSE] I’M A CATHOLIC KID…WE WERE PRETTY INNOCENT KIDS, AND [LISTENING TO BANDS LIKE AC/DC AND IRON MAIDEN] WOULD BE LIKE, “OH, I’M NOT GONNA GO THERE.” IT’S JUST TOO GRAPHIC…I THOUGHT IT DIDN’T REPRESENT ANYTHING GOOD. AC/DC CAME FIRST [FOR ME].” “THE OTHER THING THAT ATTRACTED ME TO AC/DC…THIS IS 1985, SO PART OF [MY INTEREST] IS THAT THEY’RE QUITE BLUE COLLAR…THE GLAM-ROCK THING…NEVER DID AS MUCH FOR ME. BUT THESE GUYS LOOK LIKE ORDINARY, WORKING-CLASS GUYS WHICH…IN TERMS OF WANTING TO FIT IN AND NOT HAVE A LOOK THAT STANDS OUT THEN, THERE WAS SOME APPEAL TO THESE GUYS, TOO.” “THIS, “BACK IN BLACK”, I’M CARRYING IN MY JEAN JACKET IN THE LEFT BREAST POCKET. WHEN I GO TO PARTIES, EVERY SINGLE WEEKEND, I HAD THIS TAPE BECAUSE IF PEOPLE DIDN’T HAVE “BACK IN BLACK” IN THEIR HOUSE, THEN I HAD IT. THEY COULD PLAY IT WHILE WE WERE PARTYING.” MACLEAN RECALLED HIS INTEREST IN MUSIC IN THE 1980S, NOTING, “[MY] DAD LISTENED TO COUNTRY MUSIC, CHARLEY PRIDE AND WILLIE NELSON, WHICH I WASN’T REALLY GETTING ANYTHING OUT OF. MY MOM, THOUGH, HAS ALWAYS BEEN INTERESTED IN CONTEMPORARY STUFF, WHATEVER THAT WORLD MIGHT BE. SHE IS THE ONE IN THE FAMILY WHO’S PROBABLY BUYING MOST OF THE RECORDS AND WHO IS LISTENING TO MUSIC LOTS, IN THE HOUSEHOLD. SHE DID JAZZERCISE STUFF SO SHE TAUGHT CLASSES. THERE’S LOTS OF VINYL IN THE HOUSE WHEN I’M GROWING UP. AT SOME POINT IN TIME, I DON’T KNOW HOW IT HAPPENED, BUT THERE WAS A RECORD PLAYER THAT WENT INTO MY BEDROOM AND INITIALLY, [BECAUSE] IT’S PROBABLY THE ONLY TIME I LISTENED TO VINYL, IT WAS MOM AND DAD’S KENNY ROGERS RECORD. I THINK I LIKED IT [BECAUSE] I COULD SING TO IT.” “IN ABOUT 1983, I WOULD HAVE AN ALLOWANCE. I START BUYING MUSIC AND THAT’S ALL I WANTED MONEY FOR; TO BUY MUSIC AND TO BUY A TAPE BACK THEN BECAUSE TAPES [WERE] COMPETING WITH VINYL RECORDS. WHERE I HAVE FRIENDS WHO ARE YOUNGER THAN ME OR WHO ARE THE SAME AGE AS ME WHO ARE BUYING VINYL, IT’S GENERALLY, I WOULD SAY, BECAUSE THEY HAVE SIBLINGS WHO ARE ALSO BUYING VINYL. THEY’RE DOING THE RECORD PLAYER THING BUT I WENT RIGHT TO CASSETTE.” “WHEN I FIRST STARTED BUYING MUSIC, THE FIRST RECORD I BOUGHT WAS MICHAEL JACKSON “THRILLER”; THAT WAS THE FIRST ONE. ALMOST AT THE EXACT SAME TIME, I BOUGHT DURAN DURAN “RIO” AND I THINK MY THIRD TAPE WAS EDDY GRANT; IT WAS A SONG CALLED “ELECTRIC AVENUE”. WHEN I’M BUYING MUSIC, I’M COMING INTO LETHBRIDGE. I REMEMBER THERE WAS A MUSIC STORE—THERE [WAS] NO PARK PLACE MALL—IN THE LETHBRIDGE CENTRE MALL.” “MY COUSIN, WHO’S LIVING WITH US—REG—IS SIX YEARS OLDER THAN ME. HE [HAS] A TAPE CASE BEFORE I BUY MY FIRST TAPE CASE. HIS MUSIC IS PREDOMINANTLY CANADIAN ROCK FROM THE EARLY ‘80S. SO, BANDS THAT WERE ALL COMING OUT AT THE SAME TIME LIKE STREETHEART, TORONTO, CHILLIWACK, HEADPINS, PRISM, THE STUFF THAT RON SAKAMOTO, THE PROMOTER, WAS BRINGING INTO THE SPORTSPLEX. BUT I WAS NOT INTERESTED IN ROCK. I WANTED POP MUSIC AND I REMEMBER SHARING MY LOVE OF MY POP MUSIC WITH MY FRIENDS. I REMEMBER WHEN I GOT DURAN DURAN “RIO”, I WOULD CALL UP MY FRIEND ON THE ROTARY DIAL PHONE AND WITH MY VIKING CASSETTE RECORDER/TAPE PLAYER PUSH ‘PLAY’ AND HOLD THE RECEIVER OVER SO THAT HE COULD HEAR THIS MUSIC THAT I WAS SO EXCITED TO SHARE.” “WHEN I BUY, WHEN I TELL MY NEIGHBOUR FRIEND, [I ASK], “IS THIS OKAY? IS THIS A GOOD ONE?” AND THE ONE TIME, I REMEMBER HIM GOING, “YEAH, THAT’S A GOOD CHOICE.” IT WAS A BAND CALLED, THE TUBES. THAT WOULD BE GRADE 8 AND PROBABLY INTO GRADE 9 AND MY TAPE CASE WOULD BE FULL OF STUFF THAT WOULD BE POP, DURAN DURAN AND MICHAEL JACKSON.” “[IN] GRADE 9, RIGHT BEFORE HIGH SCHOOL, I FIND TWISTED SISTER…THIS WOULD BE BY THE SUMMER OF ’84. [THEIR] VIDEO WAS GETTING TO BE A BIG DEAL…THERE WAS, “WE’RE NOT GONNA TAKE IT” WHICH IS REBELLION FROM YOUR PARENTS AND THE DAD IS LIKE A DRILL SERGEANT. THEN [THE KIDS] ALL TURN INTO TWISTED SISTER. I LOVED THIS TAPE. I PLAYED IT OVER AND OVER AGAIN. [IT WAS] MY FIRST ROCK TAPE AND IT WAS LIFE-CHANGING BECAUSE THEN, ALL THIS POP THAT HAD BEEN IN MY TAPE CASE…I SOLD TO JACK PEACOCK BY GRADE 10. I GOT RID OF ALL MY POP, SO WHERE THAT POP HAD BEEN DEFINING…ALL OF A SUDDEN IT’S LIKE, “I’M NOT THAT, ANYMORE.” IT WAS LIKE A LIGHT SWITCH WENT ON…IN GRADE 10.” “I WAS WEARING A JEAN JACKET IN GRADE 11…WHICH IS ABOUT AS MUCH AS, IN TERMS OF ME AND MY DRESS, HOW I’M REFLECTING [MY IDENTITY]. THIS IS A BIG DEAL BECAUSE WHERE MAYBE YOU DON’T WANT, IN YOUR OWN PARTICULAR DRESS, TO BE WEARING CAMOUFLAGE, YOU COULD THEN OPEN UP A TAPE CASE AND, BY PEOPLE SEEING WHAT’S IN YOUR TAPE CASE, THAT IS SPEAKING TO WHO YOU ARE.” “LISTENING TO MUSIC HASN’T NECESSARILY BEEN CONSISTENT BECAUSE THERE WERE YEARS WHEN WE WERE [AT HOME] THAT WE DIDN’T HAVE A STEREO SYSTEM BECAUSE IT JUST DIDN’T FEEL LIKE IT WAS THE RIGHT THING TO DO AT THE TIME. I WOULD HAVE BEEN LISTENING TO [TAPES] MORE IN MY VEHICLE. WHEN WE GOT OUR…SYSTEM BACK, THEN ALL OF A SUDDEN I’M LISTENING TO IT A LOT, AGAIN. BUT, THERE’S NO QUESTION, IT’S BEEN A MAINSTAY.” “MAYBE IT’S BECAUSE MY EYES ARE SO CRAPPY, [I ASK] IF YOU HAD TO CHOOSE BETWEEN YOUR EYESIGHT AND YOUR HEARING, WHAT WOULD YOU CHOOSE? DO I REALLY WANT TO LOSE MY HEARING? I WANT MONEY TO BUY MUSIC. THAT’S ALL I WANT MONEY FOR. NOTHING ELSE…THE FUNNY PART WITH THAT, TOO, THAT I LEARNED WAS THAT YOU NEVER WANTED TO BUY TOO MUCH MUSIC AT THE SAME TIME. IF YOU DID, YOU DIDN’T LISTEN TO A TAPE AS INTENSELY BECAUSE YOU HAD TWO OR THREE TAPES, SO YOU WOULDN’T APPRECIATE THEM EQUALLY. I LEARNED EARLY, YOU SHOULD ONLY BUY ONE RECORD OR ONE TAPE AT A TIME AND LISTEN TO IT OVER AND OVER AND OVER AGAIN.” “I SWITCHED OVER TO CD’S IN THE SUMMER OF ’89. MY TAPE LISTENING WOULD BE A VERY SHORT TIME. TAPES DON’T LAST VERY LONG. CASSETTE TAPES DON’T LAST. WHEN YOU THINK OF CD’S, WHICH YOU CAN STILL GO AND BUY AND THEY WERE BEING SOLD BY, AT LEAST LOCALLY, FOR SURE, BY 1987, AND THEY’RE STILL BEING SOLD, CASSETTE TAPES [DIDN’T LAST LONG]. FOR ME, [I’M BUYING CASSETTE TAPES FROM] ’83 TO ’88. SIX YEARS.” “IT’S FUNNY, BECAUSE [MY TAPE CASE] WOULD HAVE BEEN FULL AND, FOR SOME REASON, I CHOSE TO GET RID OF THE OTHER TAPES. PROBABLY BECAUSE I WASN’T LISTENING TO THEM AND I THOUGHT, ‘OH, I CAN TAKE THEM TO A USED PLACE,’ BUT I SHOULDN’T HAVE DONE THAT. I SHOULD HAVE ACTUALLY KEPT IT FULL. I WISH I HAD [BECAUSE] I HAD ALL THE AC/DC’S. BUT YOU CAN TELL BY WHAT I KEPT, I OBVIOUSLY KNEW THAT THIS WAS A REALLY IMPORTANT TAPE; TWISTED SISTER [AND] “BACK IN BLACK”. THOSE ARE THE MOST IMPORTANT…” FOR MORE INFORMATION INCLUDING ARTICLES FROM THE LETHBRIDGE HERALD, BRANDON SUN, MEDICINE HAT NEWS, AND THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180029001-GA.
Catalogue Number
P20180029005
Acquisition Date
2018-12
Collection
Museum
Images
Less detail
Other Name
"COORS"
Date Range From
1980
Date Range To
1990
Material Type
Artifact
Materials
GLASS, PAPER
Catalogue Number
P20180029007
  2 images  
Material Type
Artifact
Other Name
"COORS"
Date Range From
1980
Date Range To
1990
Materials
GLASS, PAPER
No. Pieces
1
Height
23
Diameter
6
Description
BROWN GLASS BOTTLE WITH SILVER AND YELLOW METAL TOP; TOP HAS FLUTED EDGES AND BLACK TEXT “TWIST OFF, COORS, OR USE OPENER”. BOTTLE NEVER OPENED; CONTENTS INTACT. BOTTLE HAS YELLOW LABEL ON FRONT WITH BLACK TEXT “COORS” WITH BLACK AND WHITE IMAGE OF A WATERFALL AND RED BANNER OVER IMAGE WITH WHITE TEXT “BEER, BANQUET, BIERE”, WHITE TEXT AT LOWER EDGE “341 ML”. LABEL SIDES GOLD WITH BLACK TEXT ON RIGHT “BREWED ACCORDING TO THE QUALITY STANDARDS OF THE ADOLPH COORS COMPANY, GOLDEN, COLORADO, U.S.A., AGED SLOWLY FOR THAT [WORD HAS HOLE IN CENTER], MOUNTAIN SMOOTHNESS AND [WORD HAS HOLE IN CENTER]”, TEXT ON LEFT “BREWED UNDER LICENCE AND SUPERVISION OF THE ADOLPH COORS COMPANY, GOLDEN, COLORADO, U.S.A., MOLSON BREWERIES OF CANADA LTD., MONTREAL, ST. JOHN’S, TORONTO, BARRIE, WINNIPEG, REGINA, EDMONTON, VANCOUVER, CANADA, UNION MADE”. BOTTLE HAS EMBOSSED TEXT IN GLASS ABOVE LABEL “COORS”. LABEL HAS TEARS AND HOLES IN SIDES; LOWER EDGE OF LABEL FRONT IS TORN WITH LOSS; BOTTLE HAS LIGHT SOILING ON FRONT; OVERALL VERY GOOD CONDITION.
Subjects
CONTAINER
Historical Association
LEISURE
History
ON DECEMBER 21, 2018, GALT MUSEUM CURATOR AIMEE BENOIT INTERVIWED KEVIN MACLEAN REAGARDING HIS DONATION OF PERSONAL OBJECTS. ON THE BEER BOTTLE, MACLEAN RECALLED, “AS FAR AS IDENTITY GOES, WITH GOING DOWN TO WHITEFISH, AND SEEING NEON SIGNS IN BAR WINDOWS…THERE’S ALL [THE] NEON SIGNS FOR BEER. I ALWAYS LIKED THE COORS SIGN. MY NEIGHBOR, WHO DIDN’T LIKE MY MUSIC CHOICES, HE LITERALLY HAD, FROM THE U.S., BOUGHT A COORS NEON SIGN AND IT WAS IN HIS BEDROOM WINDOW IN HIS FARMHOUSE. IT WAS THE WHITE MOUNTAINS WITH THE RED COORS, AND I THOUGHT [IT] WAS COOL. THERE’S NO BEER SELECTION BACK THEN. IT WAS FORMS OF LABATT’S, MOLSON, IT WAS A BIG DEAL TO GET KOKANEE, BUT I CHOSE COORS. THAT WAS MY WAY OF EXERCISING SOME LEVEL OF DIFFERENCE.” “WHY [THE BOTTLE] GOT KEPT IS, NUMBER ONE IT HAS COORS ON IT, WHICH WAS MY BEER. [IN GRADE 11 WAS] ABOUT DRINKING AND DRIVING, WHICH IS THE YEAR THAT WE’RE PARTYING, SO THAT WOULD BE ’87. THE SPRING OF ’86, THERE’S A GRADUATION FOR THE KIDS IN GRADE 12 AND, BECAUSE IN GRADE 11 WE’RE BEING VERY SOCIAL AND WE’RE PARTYING…YOU’RE BEING INCLUDED TO GO TO A GRADE 12 [GRADUATION] EVEN THOUGH YOU’RE IN GRADE 11. THAT GRADUATION, FOR THAT YEAR, WHICH WAS 1986, WAS OUT IN IRON SPRINGS. IT WAS AT A SCHOOL, IT WAS IN THE FIELD AND EVERYBODY DROVE. THE WHOLE FIELD [WAS] JUST FULL OF VEHICLES, THAT’S ALL I REMEMBER. HAVE VAGUE MEMORIES OF BEING SICK AND AT A TREE AND SOMEBODY COMING OVER TO ASK HOW I WAS DOING AND I WASN’T DOING WELL, AND JUST THINKING, “THAT WAS REALLY NICE THAT THEY CARED ABOUT ME ENOUGH THAT THEY WOULD COME AND ASK.” WE SLEPT IN THE CAR THAT NIGHT. AT THAT TIME, I WAS LISTENING TO PINK FLOYD AND “THE WALL” AND I WAS LISTENING TO BOSTON.” “[IN] ’87, WE HAVE THE VERY FIRST SAFE GRAD. I DON’T KNOW HOW AND WHY THAT CAME TO PASS. I REMEMBER TWO NIGHTS OF PARTIES. ONE WAS AT SHANNON HYNDS’ FARM, THE OTHER WAS AT ALAN JANZEN’S FARM. THE SECOND NIGHT, AT ALAN’S, I ACTUALLY HAD VIDEO OF THAT PARTY. WE WERE ON BUSES, WE GOT BUSSED [TO THE LOCATION]. WE HAD TO, IN ADVANCE OF THE PARTY, BUY OUR ALCOHOL. WE WERE SUPPOSED TO BUY OUR ALCOHOL, WHICH WAS A CASE OF COORS, IN MY CASE, AND THEN HAVE IT SOMEWHERE SO THAT WE WEREN’T ACTUALLY TAKING THE ALCOHOL ITSELF TO THE SITE. IT WAS ALREADY THERE.” “THE WAY THEY SERVED THIS – I REMEMBER AT SHANNON’S AND MAYBE ALAN’S – THAT THEY HAD GALVANIZED DRINKING TROUGHS FOR CATTLE AND HORSES. THEY FILLED THEM FULL OF ICE WATER AND THEN THAT’S WHAT THESE [BOTTLES] WERE IN. THE REASON I REMEMBER THIS IS THAT BY THE END—AND SOMEONE TRIED TO DO IT TO ME BUT THEY WEREN’T SUCCESSFUL—THEY WERE THROWING KIDS INTO THAT ICE WATER. THE UNCOOL THING IS THAT THE BOTTLES WERE BREAKING AND IT WAS FULL OF BROKEN GLASS AND PEOPLE WERE BEING THROWN IN THERE. THAT WASN’T VERY COOL. WHEN I TOOK THE BOTTLE…I’M DRINKING COORS LIGHT. I HAD MY OWN NEON SIGN, SILVER BULLET. I TAKE THE BOTTLE BECAUSE IN MY MIND, BECAUSE THIS PARTY IS ENDED AND WE HAVE TO LEAVE, DOESN’T MEAN THAT I’M INTERESTED IN STOPPING DRINKING. I TAKE THE BOTTLE TO DRINK WHEREVER I’M GOING NEXT AND THEN I DON’T END UP DRINKING IT ‘CAUSE IT’S PROBABLY FIVE IN THE MORNING. OVER TIME, IT GETS SAVED BECAUSE IT’S A REMINDER OF THIS WHOLE HIGH SCHOOL [CULTURE].” ON HIS TIME DRINKING AND PARTYING, MACLEAN ELABORATED, “MY PARENTS CERTAINLY HAD PARTIES AT THE HOUSE SO THAT WAS SOMETHING THAT WAS FAMILIAR TO ME. THEY BUILT A HOUSE UP IN PICTURE BUTTE IN 1975. THEY HADN’T, INITIALLY, DEVELOPED THEIR BASEMENT. THEY DID WITHIN TWO TO THREE…THERE WERE HERITAGE ELEMENTS EITHER BY DECORATION, BY THE DESIGN OF THE INTERIOR THAT SHE INCORPORATED WHICH SPIKED MY INTEREST. THEY HAD A DANCE FLOOR DOWN THERE, OF WOOD. THE WALLS WERE MIRRORS, SO ALL THAT DISCO ERA-TYPE STUFF. THERE WAS A BAR THAT WAS BUILT, TOO. MY PARENTS WERE FRIENDS WITH AN R.C.M.P. OFFICER’S FAMILY, SO THE FAMILY IS OVER, AND THEY’RE UPSTAIRS AND I’M LITERALLY SERVING THE R.C.M.P. OFFICER’S KIDS…WHISKEY OUT OF THIS BAR. IT WASN’T THAT I HAD SOME SENSE THAT BY DRINKING THE FLUID THERE WAS IMPAIRMENT. IT WAS JUST SOMETHING THAT ADULTS DID.” “IN TERMS OF [MY FRIENDS AND I] IT HAPPENS TO BE THAT VERY TIME [WHEN] WE’RE IN THE BACK OF THAT PICKUP, AS KIDS…WHEN WE FINISH GRADE 9…THE SUMMER OF 1984. MY DAD DROPS US OFF IN THE COULEES DOWN AT THE END OF THE GRAVEL ROAD. THERE’S A BIG, DEEP COULEE DOWN THERE. WE HIKE AROUND AND THEN WE MANAGE TO COME BACK AND THERE’S SHALLOWER COULEES BY MY OWN PLACE. WE SET UP A TENT AND WE SLEEP OVERNIGHT DOWN THERE. ONE KID [WITH US] IS LES. I DON’T REMEMBER HOW OR WHY BUT HE HAD A MICKEY OF VODKA [OR GIN]. HE POUNDED IT BACK. HE DRANK THE WHOLE THING IN FRONT OF US. WE DON’T REALIZE OR UNDERSTAND WHAT THAT’S GOING TO DO EXCEPT TO KNOW THAT ALCOHOL IS SOMETHING THAT ADULTS ARE SUPPOSED TO BE DOING. LATER ON THAT NIGHT HE STARTED THROWING UP [ALL OVER THE PLACE]. THE REST OF US NEVER TOUCHED IT. HE WAS THE ONLY ONE. THEN WE KNEW THAT ALCOHOL MAKES YOU SICK. “IN GRADE 10 WE LEAVE. THERE’S FIVE BOYS AND ELEVEN GIRLS [IN MY CLASS]. WE LEAVE A CATHOLIC SCHOOL AND WE GO INTO THE PUBLIC SYSTEM. WE MERGE WITH ALL THESE OTHER KIDS.” “[WE’RE] STILL IN PICTURE BUTTE…THERE’S THIRTY-FOUR PUBLIC KIDS. SOME OF THOSE KIDS WOULD BE FROM MORE DIVERSE BACKGROUNDS THAN OUR OWN. MOST OF THE KIDS THAT WERE IN MY CLASS WERE ACTUALLY FROM DUTCH FAMILIES. THERE’S A LOT OF DISTRACTION FOR ME BECAUSE OF ALL THESE OTHER KIDS, SOME OF WHOM DON’T NECESSARILY WORK AS HARD IN SCHOOL. I DON’T THINK I WAS A KID WHO EVER THOUGHT IT WAS IMPORTANT TO WORK THAT HARD IN SCHOOL. I JUST WANTED TO HAVE FUN. GRADE 10, THERE’S ALSO THE GIRLS AND STUFF. BUT, THERE’S NO DRINKING AT ALL [IN GRADE 10] THAT I REMEMBER. THERE’S CERTAINLY DISTRACTIONS AS A BOY IN GRADE 10 WOULD HAVE.” “THEN IN THE SUMMER OF…1985, IN AUGUST…I DON’T REMEMBER HOW OR WHY BUT I’M WITH LES. I’VE SPENT NINE YEARS WITH HIM…IN PART, BECAUSE OF WHERE HE LIVED. MY AUNT AND UNCLE LIVED RIGHT NEXT DOOR. HE HAD A SISTER THAT WAS THE SAME AGE AS MY SISTER—HIS PARENTS WERE “FIFTY-SIXERS”, HUNGARIAN REVOLUTION…HE WAS ON THE FARM—WE CONNECTED. I REMEMBER BEING IN THE VEHICLE WITH HIM, AND THE VEHICLE BELONGED TO A [GIRL] NAMED CAROLINE OHLGART. SHE WAS DRIVING AND IT WAS A MUSTANG. SHE WAS THE ONE WHO WAS DRIVING AND THEN THERE WAS ANOTHER [GIRL], MELINDA. I THINK THERE [WERE] THREE BOYS AND TWO GIRLS IN THIS CAR. IT’S THE END OF THE SUMMER AND WE’RE IN SHAUGHNESSY. SOMEHOW THEY GET THIS GUY WHO SOMEBODY KNOWS…AND THEY GET OFF-SALES FROM THE SHAUGHNESSY BAR. THEY GUY HAD A CORVETTE; THE UGLY ‘70S CORVETTE. WE GET A CASE OF BEER AND THAT’S REALLY THE FIRST TIME [I DRINK]. IT WASN’T EVEN SO MUCH THAT WE WERE DRINKING AS THE FACT THAT I WAS WITH THESE OTHER GIRLS AND GUYS. IT JUST FELT LIKE A VERY EXCITING THING TO DO. IT TURNED OUT, AS AN EXPERIENCE GOES, TO BE A REALLY GOOD EXPERIENCE. THAT SET THE STAGE, RIGHT OFF THE BAT, FOR GRADE 11, WHICH WAS PARTYING.” “IN GRADE 11, INITIALLY [LES IS] STILL A FRIEND. I’M HANGING OUT WITH HIM BUT I’M ALSO HANGING OUT WITH EVERYBODY. IT DIDN’T MATTER WHO THEY WERE, I COULD HANG OUT WITH ANYBODY. BUT, I’M NOTING THAT, FOR VARIOUS REASONS, HE AND ANOTHER GUY…[WERE] GOING DOWN A PARTICULAR ROAD AND, IF I EXERCISE SOME CRITICAL JUDGMENT AT [THE] TIME, IT WAS THAT, ‘OKAY, I SHOULD NOT CONTINUE ON THIS PATH’. IT DOESN’T MEAN THAT I CAN’T BE FRIENDS WITH THESE PEOPLE BUT IN TERMS OF MY IMMEDIATE SOCIAL CIRCLE, THAT MIGHT NOT BE A WAY TO GO. THEN I ELECTED…TO BE HANGING OUT MORE WITH [OTHERS]. THEY’RE MORE [INTO] SPORTS. THEY’RE DOING BASKETBALL AND VOLLEYBALL WHICH I NEVER DID ‘CAUSE I COULD NEVER PLAY ANYTHING. THEY’RE ALSO RELATIVELY STRONG ACADEMICALLY. THEY’RE GOOD KIDS FROM GOOD BACKGROUNDS. [THAT] DOESN’T MEAN THAT THEY’RE NOT PARTYING BECAUSE THEY’RE OUT PROBABLY EQUALLY EVERY SINGLE WEEKEND. BUT, THAT PARTYING WOULD INVOLVE BEER AS OPPOSED TO HASH OIL AND WEED WHICH WOULD BE MORE WHAT THE KIDS THAT THINGS DON’T NECESSARILY END UP WELL FOR [DID], LOOKING BACK.” “WE’RE OUT EVERY SINGLE WEEKEND AND, UNLIKE BEING IN LETHBRIDGE WHERE HOUSE PARTIES MIGHT BE A LITTLE BIT MORE ACCESSIBLE AND CLOSE…[OUR] HOUSE PARTIES ARE MILES AWAY. YOU WOULD HAVE TO GET THERE AND GET BACK. I REMEMBER, CERTAINLY IN GRADE 11 IN THE FALL, I DON’T HAVE MY DRIVER’S LICENSE ‘CAUSE THAT’S 1985. [I WAS] THINKING AT THE TIME THAT, AS LONG AS I WASN’T THE ONE DRIVING, THEN IT WAS OKAY AND [I WASN’T] NECESSARILY KNOWING WHAT THE STATE [WAS] OF THE INDIVIDUAL THAT WAS DRIVING.” “IT WOULD BE ALSO AT THIS TIME THAT THE WHOLE DRINKING AND DRIVING THING WAS GOING DOWN BECAUSE, POTENTIALLY, THREE YEARS PREVIOUS IT WAS NOT, CULTURALLY, AS BIG OF A DEAL. BUT, BY 1985, IT’S A BIG DEAL. IT’S STARTING TO REALLY KICK IN…OVER THE YEARS, YOU’VE WITNESSED IT, THAT THERE’S PEOPLE THAT WILL DRINK AND DRIVE, PEOPLE THAT YOU KNOW.” “IN TERMS OF PARTYING, I KNOW THAT IN GRADE 10, I WASN’T PAYING ATTENTION. I WAS KEEPING UP WITH MY FRIENDS BUT I WASN’T PUTTING ANY EXTRA WORK INTO [SCHOOL]…I WAS MORE ABOUT [THE] SOCIAL [ASPECTS]. THEN, IN GRADE 11, IT BECAME PARTYING EVERY WEEKEND. BY GRADE 12, I WAS [THINKING], ‘OH, YOU KNOW WHAT, THIS IS ALL GOING TO COME TO AN END IN FAIRLY SHORT ORDER SO I BETTER START WORKING A LITTLE BIT HARDER.’ I REMEMBER THE WHOLE PARTY THING AS BEING A LITTLE BIT LESS. NOT TO SAY THAT IT WASN’T STILL GOING ON BUT I KNEW THAT I HAD TO WORK HARDER IN SCHOOL. IN GRADE 12, THOUGH, THESE KIDS ARE GETTING TO BE OLDER…THEY ARE ABLE TO START TO DRIVE BECAUSE THEY HAVE DRIVER’S LICENSES TO DRIVE INTO LETHBRIDGE AND ACTUALLY GET ADMITTED TO BARS. THEY WOULDN’T EVEN WANT ME TO BE WITH THEM BECAUSE IF THEY WANTED TO GO TO A SPECIFIC BAR, WHICH, IF IT WAS A REALLY COOL BAR, AND I WAS WITH THEM, AND I COULDN’T GET IN, THEN THEY COULDN’T GO.” “IN ALL HONESTY…MY RELATIONSHIPS WITH [MY CLASSMATES] MEANT SOMETHING AND THAT CLASS OF FIFTY KIDS. I GENERALLY, OVER ALL AT THE TIME, ENJOYED THEIR COMPANY. THEY WERE FRIENDS. WHEN I CAME INTO LETHBRIDGE, FOR SOME YEARS—YOU COULD ALMOST SAY IT WAS NOT TILL UNIVERSITY—BUT THERE WOULD BE A FEW YEARS THAT I WOULD HAVE VERY WARM FEELINGS WHERE TODAY I DON’T LOOK BACK UPON IT AS THIS ‘BEST TIME OF MY LIFE’.” “BECAUSE I DIDN’T GO TO HIGH SCHOOL THE CITY…THE CLASSES ARE A LOT SMALLER [IN PICTURE BUTTE]. BY THE TIME I GRADUATE IN JUNIOR HIGH, THERE’S ONLY SIXTEEN OF US. WHEN I GRADUATE [FROM] HIGH SCHOOL, THERE’S ONLY FIFTY. I THINK [THE LCI GRADUATING CLASS AT THE TIME] WAS THREE HUNDRED KIDS. IT WAS HUGE. WHERE YOU DON’T EVEN KNOW ALL THE KIDS. I GUESS THERE’S MORE OPPORTUNITY FOR POCKETS OF KIDS WHO WANT TO EXPRESS THEMSELVES MORE STRONGLY. TO HAVE OTHER KIDS WHO FEEL THE SAME WAY. TO SUPPORT ONE ANOTHER. BUT THERE, OUT IN PICTURE BUTTE, I WOULDN’T SAY IT’S THE CASE AT ALL. MAYBE IT’S MY NOT WANTING TO STAND OUT AND DRAW ATTENTION TO MYSELF…IT WAS IMPORTANT TO ME THAT I FIT IN WHICH [DRINKING] WAS PART OF, TOO. IT WASN’T THAT I DON’T WANT TO DO THIS BUT I HAVE TO DO THIS, BECAUSE I WAS HAPPY TO DO THIS, ‘CAUSE I LIKE THE SOCIAL PART OF IT. THAT WAS ALSO PART AND PARCEL BECAUSE THEN THAT PUT YOU INTO ANOTHER GROUP IN TERMS OF ACCEPTABILITY. IN FACT KIDS THAT WOULD BE OLDER THAN YOU BY A YEAR OR TWO YEARS WOULD GIVE YOU ACCESS TO THOSE KIDS, TOO, ‘CAUSE THEN YOU WERE SHARING EXPERIENCES WITH THEM ON THE WEEKEND, CREATING CONNECTIONS WITH THEM.” MACLEAN NOTED HIS REASONS FOR SAVING AND DONATING THE BOTTLE, “I THINK I’VE SAVED THIS [BOTTLE] IN PART BECAUSE EITHER I THINK THAT IT’S HISTORICALLY IMPORTANT. I THINK SAFE GRADS AND DRINKING AND DRIVING [ARE] IMPORTANT.” “OVER TIME, [I THOUGHT] ‘YOU KNOW WHAT, THAT WAS FROM THE VERY FIRST SAFE GRAD OUT IN PICTURE BUTTE.’ IT MIGHT BE THE CASE ‘CAUSE WHEN [MY WIFE] GRADUATED, SHE HAD A SAFE GRAD AT LCI AND THAT COULD HAVE BEEN THE SAME YEAR…WEREN’T OUT [OF CLASSES] YET. [GRADUATION WOULD BE] IN JUNE AND I THINK WE WERE STILL IN CLASSES AFTER THAT.” 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
P20180029007
Acquisition Date
2018-12
Collection
Museum
Images
Less detail
Other Name
SLURPEE CUP
Date Range From
2000
Date Range To
2005
Material Type
Artifact
Materials
PLASTIC, INK
Catalogue Number
P20180029008
  2 images  
Material Type
Artifact
Other Name
SLURPEE CUP
Date Range From
2000
Date Range To
2005
Materials
PLASTIC, INK
No. Pieces
1
Height
16.3
Diameter
10.6
Description
PLASTIC CUP WITH YELLOW, ORANGE AND GREY PRINTED IMAGE OF SOLDIER IN HELMET IN CITYSCAPE WITH BLUE AND ORANGE LOGO “HALO 2”. CUP HAS BLUE BORDER UNDER RIM WITH WHITE TEXT “SLURPEE”. LOWER LEFT CORNER OF IMAGE HAS BLACK AND GREEN LOGO “XBOX”; CUP HAS TEXT AT ALONG BASE “32 OZ, US (946 ML)” WITH WHITE, GREEN, RED AND ORANGE LOGO “7 ELEVEN”, AND BARCODE “0 05120 7” AND TEXT “WWW.SLURPEE.COM”. RIGHT END OF IMAGE HAS GREEN BORDER FROM BASE TO RIM WITH GREEN, RED AND WHITE LOGOS “MOUNTAIN DEW”. BESIDE “MOUNTAIN DEW” LOGOS IS WHITE BORDERS WITH BLACK TEXT “[COPYRIGHT SYMBOL] 2004 MICROSOFT CORPORATION. ALL RIGHTS RESERVED. MICROSOFT, BUNGIE, THE BUNGIE LOGO, HALO, XBOX, XBOX LIVE, THE XBOX LOGO AND THE XBOX LIVE LOGO ARE EITHER REGISTERED TRADEMARKS OR TRADEMARKS OF MICROSOFT CORPORATION IN THE U.S. AND/OR IN OTHER COUNTRIES. THIS PROMOTION IS BASED ON A MATURE-RATED VIDEO GAME. MOUNTAIN DEW AND THE MD DESIGN ARE REGISTERED TRADEMARKS OF PEPSICO, INC.” INSIDE OF CUP IS OPAQUE WHITE PLASTIC; BASE OF CUP IS OPAQUE WHITE PLASTIC WITH EMBOSSED TEXT “TECHNIMARK, ASHEBORO, NC, MADE IN USA, 6, TM-32T, [RECYCLING SYMBOL] 7, OTHER”. LABEL ON FRONT HAS TEARS IN IMAGE AND SCUFF MARKS AT BASE; OVERALL VERY GOOD CONDITION.
Subjects
FOOD SERVICE T&E
MERCHANDISING T&E
Historical Association
BUSINESS
History
ON DECEMBER 21, 2018, GALT MUSEUM CURATOR AIMEE BENOIT INTERVIWED KEVIN MACLEAN REAGARDING HIS DONATION OF PERSONAL OBJECTS. ON THE SLURPEE CUP, MACLEAN RECALLED, “I WAS IN THE RESERVES AT THE TIME WHEN [THE] HALO CUPS CAME OUT, SO I’M PRETTY SURE THAT THEY WOULD DATE TO ABOUT 2001 AND 2002. UP UNTIL THAT POINT I WOULD BE USING DISPOSABLE CUPS. I HAD A 7-ELEVEN…WHEN WE LIVED IN THE 300 BLOCK OF 15TH STREET FOR 10 YEARS, THERE WAS A 7-ELEVEN A BLOCK AWAY FROM MY HOUSE. LATER IT WOULD BE ON MAYOR MAGRATH DRIVE…BY THE SANDMAN IS WHERE I WOULD HAVE GOT THE HALO CUPS. WHAT I DID [IS] I BOUGHT A NUMBER OF THOSE CUPS SO I COULD HAVE HAD AS MANY AS 15 TO 20 OF THEM AND THEN I WOULD HAVE A CUP DISPENSER. IF YOU WERE IN MY VEHICLE [A YUKON], THERE WOULD HAVE BEEN 15-20 CUPS ON THE BACK SEAT. I ALWAYS HAD CUPS THAT I WOULD TAKE IN. I WOULD USE THOSE CUPS BECAUSE I THINK I WOULD ACTUALLY GET SOME REDUCTION IN PRICE FOR BRINGING THAT CUP IN. BUT I ALSO THOUGHT IT WAS A REALLY COOL CUP.” “IT MIGHT HAVE BEEN [PART OF A COLLECTOR’S SERIES].” “[THE CUPS WERE] MOVIE BASED…THAT ONE IS ACTUALLY GAME BASED [HALO IS A GAME]. AFTER THAT ONE CAME OUT THERE WAS A NUMBER OF, EITHER GAMES OR MOVIES, THAT WERE COMING OUT THAT 7-ELEVEN WOULD PROMOTE ON THOSE CUPS. I THINK I HAD TERMINATOR CUP, AND I HAD SOME FUTURE HALO CUPS. I NEVER LIKED THEM AS MUCH AS I LIKED THAT CUP THAT I’VE DONATED.” “I [LIKED] THE COLORS OF IT AND, BECAUSE I WAS IN THE ARMY AT THE TIME, I THOUGHT IT WAS A COOL CUP. AT THAT SAME TIME THEY WERE TWINNING MAYOR MAGRATH DRIVE, MAKING IT 3 LANES IN BOTH DIRECTIONS, I REMEMBER COMING FROM THE ARMORY GOING DOWN TO 7-ELEVEN TO GET MY SLURPEE.” “I DON’T [PLAY HALO]. I JUST LIKED THE SOLDIER GUY.” MACLEAN SPOKE TO HIS INTEREST IN SLURPEES, NOTING, “THERE WOULD BE THINGS THAT WOULD BE PART OF MY DAY TO DAY LIFE AND EXISTENCE THAT, I WOULD SAY, ARE PART OF MY IDENTITY IN TERMS OF WHO I AM. DRINKING SLURPEES WOULD HAVE BEEN ONE OF THOSE THINGS. IF YOU WOULD HAVE BEEN AT WORK WITH ME IN THE 1990S THEN YOU POTENTIALLY WOULD HAVE RECALL OF ME DRINKING SLURPEES EVERY SINGLE DAY. IT WAS SUPER IMPORTANT TO ME SO I THOUGHT I SHOULD OFFER ONE TO THE MUSEUM. I KNEW THERE WASN’T ALREADY A SLURPEE CUP.” “I REMEMBER MY AUNT AND UNCLE, WHO ARE BRIAN AND BONNIE MURRAY, TAKING ME AS A KID [AT ABOUT 8 OR 9 YEARS OLD]…THIS WOULD BE IN THE LATE 1970S, AND WE VISITED A STRIP COMMERCIAL SPACE ON MAYOR MAGRATH DRIVE OUT BY THE GREEN STRIP. LOCATED THERE WAS A 7-ELEVEN ADJACENT TO A TACO TIME. I THINK WE WENT TO BOTH LOCATIONS BECAUSE I WAS A FARM KID IN PICTURE BUTTE. I REMEMBER EATING SOFT TACOS WITH MEXI-FRIES AND THEN FOR SURE GOING TO 7-ELEVEN AND HAVING A GRAVEYARD SLURPEE FOR THE VERY FIRST TIME.” “[A GRAVEYARD SLURPEE IS] ORANGE CRUSH MIXED WITH COKE AND ROOT BEER. IT’S A WHOLE BUNCH OF FLAVORS MIXED IN ONE AND I THOUGHT IT WAS THE COOLEST THING. I DON’T KNOW IF IT WAS THE TEXTURE IN MY MOUTH OR IF IT WAS THE TEMPERATURE BUT IT RESONATED WITH ME IN A BIG WAY.” “I POTENTIALLY WOULD DRINK MULTIPLE SLURPEES PER DAY AND THE SLURPEES ARE NOT ALL THE SAME. DEPENDING ON WHEN YOU GO, THE QUALITY OF THE SLURPEE IS GOING TO BE DIFFERENT. YOU HAVE A BAD SLURPEE EXPERIENCE, YOU MIGHT DECIDE NOT TO DRINK THE WHOLE THING AND THEN WHAT YOU’RE GOING TO DO IS GO BACK IN FOUR HOURS AND TRY AGAIN. OR YOU COULD HAVE A REALLY GOOD SLURPEE EXPERIENCE AND YOU WOULD GO BACK AND TRY AGAIN. BUT THERE WOULD BE THINGS LIKE, IF I WALKED INTO THE STORE AND SOMEONE WAS IN FRONT OF ME AND THEY HAPPENED TO HAVE ONE OF THOSE LARGE THERMOS [CUPS], THAT COULD HOLD THE EQUIVALENT OF 4 OR 5 OF [MINE]…THEY WOULD DESTROY THE CONSISTENCY OF THE SLURPEE. IF THEY’RE IN FRONT OF ME, I’D BE GETTING REALLY ANGRY AT THEM OVER A SLURPEE WHICH ISN’T GOOD AT ALL. IT WAS TO THE POINT WHERE I COULD WALK IN THE FRONT DOORS AND I COULD LOOK AT THE MACHINE, WHICH WOULD BE ON THE OPPOSITE SIDE OF THE ROOM AND TELL, JUST BY THE COLOUR AND HOW QUICKLY THAT PADDLE WAS GOING AROUND, HOW GOOD THAT SLURPEE WAS GOING TO BE. I WOULD TURN AROUND AND WALK OUT IF IT WAS MOVING RELATIVELY QUICK AND IT WAS REALLY DARK. SO I KNEW. THAT’S A PROBLEM AND…POTENTIALLY MY BLOOD PRESSURE WOULD CHANGE WHEN I’M DISPENSING THE SLURPEE BECAUSE I’M SO EXCITED TO GET IT. A LOT OF WHAT WE DO AS HUMAN BEINGS IS ABOUT RITUAL AND IT’S NOT EVEN REALLY ABOUT THE SLURPEE ITSELF BUT THAT, AT A CERTAIN POINT OF THE DAY, WE DO THE SAME THING OVER AND OVER AGAIN BECAUSE IT FEELS GOOD. FOR ME, IT WAS AT LUNCH TIME, DRIVING FROM MY HOUSE TO GO GET THAT SLURPEE TO BRING IT BACK TO WORK, WHICH IS A TREMENDOUS WASTE OF TIME. AND FOR WHAT? EXCEPT THAT, I REALLY DID LIKE DRINKING SLURPEES. I REALLY LIKED THE SUGAR RUSH A LOT. IT GAVE ME A LOT OF ENERGY AND I DON’T KNOW IF I HAVE THAT ANY MORE. I NEVER CRASHED AFTER I DRANK THEM. I SAID “IT WAS LIKE I PARACHUTED BACK TO EARTH”. I LOVED THEM LOTS.” “[I STOPPED DRINKING SLURPEES] AROUND [2011/2012]. THE CITY OF LETHBRIDGE WAS OFFERING A HEALTH CHECK-UP WHICH WAS REALLY GOOD. I WENT AND THEY MEASURED MY BLOOD SUGAR WHICH WAS HIGH NORMAL. IT WASN’T OUTSIDE NORMAL, BUT IT WAS HIGH NORMAL AND THEY WERE RECOMMENDING TO ME…THAT PERHAPS I SHOULDN’T BE DRINKING SUGAR EVERY DAY. AND ME KNOWING THAT PANCREATIC CANCER IS SOMETHING THAT COULD BE RELATED TO SUGAR CONSUMPTION, I JUST KNEW THAT THERE WAS REALLY NO GOOD REASON FOR ME TO BE DRINKING THOSE STUPID THINGS AS PART OF MY DAY TO DAY EXISTENCE.” “I CUT THEM OUT. I STOPPED AND I THINK IF YOU CAN BREAK THE RITUAL OF GOING TO GET THEM, BECAUSE YOU CAN GET THERE, YOU DON’T EVEN DRINK IT OR YOU DON’T EVEN GET IT. I JUST THOUGHT I HAVE TO BREAK THE PATTERN. SO I BROKE THE PATTERN AND THEN I HAVEN’T GONE BACK.” “I DON’T THINK I’VE KNOWN ANYONE WHO WOULD HAVE BEEN CONSUMING THE NUMBER OF SLURPEES THAT I WAS. I KNOW MY SISTER AND HER HUSBAND WERE DRINKING BIG GULPS, AND THEY WOULD HAVE MUCH LARGER CONTAINERS THAN I EVER HAD. PEOPLE WERE CRITICAL OF MY SLURPEE CONSUMPTION, AND MY SISTER AND BROTHER-IN-LAW WERE PROBABLY DRINKING AS MUCH IF NOT MORE COKE, [OR] FOUNTAIN POP, THAN ME. I DON’T KNOW WHY SLURPEES GET SUCH A BAD RAP, BUT I’VE NEVER KNOWN MANY PEOPLE THAT LIKED TO DRINK MORE THAN ME. THE OTHER THING IS THAT I HAVE NO CAVITIES. I DON’T EVEN GO TO THE DENTIST EVERY YEAR BECAUSE I THINK IT’S A RACKET. I WOULD GO, AND THEY WOULDN’T FIND ANY CAVITIES.” “[THE CUP HAS] MEANING TO ME TO SEE [IT] BECAUSE [SLURPEES WERE] PART OF MY DAY TO DAY EXISTENCE FOR—IF IT STARTED IN 1979 AND ENDED BY 2012—THE BETTER PART OF THIRTY-TWO YEARS. IT’S A LONG TIME, AND I [THOUGHT] OF THEM EVEN DURING HIGH SCHOOL.” FOR MORE INFORMATION INCLUDING ARTICLES FROM THE LETHBRIDGE HERALD, BRANDON SUN, MEDICINE HAT NEWS, AND THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180029001-GA.
Catalogue Number
P20180029008
Acquisition Date
2018-12
Collection
Museum
Images
Less detail
Other Name
“HONOURARY LIEUTENANT COLONEL FRED T. KING”
Material Type
Artifact
Materials
SILVER, WOOD, FELT
Catalogue Number
P20130018000
  2 images  
Material Type
Artifact
Other Name
“HONOURARY LIEUTENANT COLONEL FRED T. KING”
Date
1968
Materials
SILVER, WOOD, FELT
No. Pieces
1
Height
4.25
Length
18.5
Width
10
Description
RECTANGULAR BOX WITH HINGED LID, MADE OF SILVER WITH WOOD INTERIOR LINING. SCROLLWORK ON UPPER AND LOWER EDGES, WITH SCALLOPED SHAPE ON LIP OF LID. LID IS ENGRAVED WITH TEXT READING “PRESENTED TO HONOURARY LIEUTENANT COLONEL FRED T. KING ON THE OCCASION OF HIS MARRIAGE JANUARY TWENTY FOURTH NINETEEN HUNDRED AND SIXTY EIGHT BY THE COMMANDING OFFICER AND OFFICERS OF THE EIGHTEENTH FIELD ARTILLERY REGIMENT ROYAL CANADIAN ARTILLERY (MILITIA)”. BOTTOM OF BOX HAS FOUR CIRCLES OF GREEN FELT GLUED ON AT THE BOX’S CORNERS. A FAINT MAKERS’ STAMP AND SILVER HALLMARK ARE BARELY VISIBLE AT THE CENTER OF THE BOX’S BOTTOM – ONLY THE WORDS “OLD”, “MADE IN CANADA” AND “98” ARE LEGIBILE. BOX’S WOOD INTERIOR HAS SOME AREAS OF WHITE STAINING FROM REMNANTS OF SILVER POLISH. EXTERIOR IS TARNISHED. VERY GOOD CONDITION OVERALL.
Subjects
HOUSEHOLD ACCESSORY
CONTAINER
PERSONAL SYMBOL
Historical Association
PERSONAL CARE
MILITARY
COMMEMORATIVE
History
THIS BOX WAS GIVEN TO FRED KING TO COMMEMORATE HIS MARRIAGE TO NANCY TIDMARSH ON JANUARY 24, 1968, FROM THE OFFICERS OF THE 18TH FIELD ARTILLERY REGIMENT. AFTER KING’S DEATH IN 1986, NANCY KEPT THE BOX, PASSING IT ALONG TO FAMILY FRIENDS CAROLE AND JACK ROBERTS, THE DONORS. COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE ROBERTS ABOUT THEIR POSSESSION OF THE BOX ON JANUARY 19, 2015. CAROLE SAID: “WE BECAME GOOD FRIENDS [WITH NANCY]. WE HELPED HER MOVE [BECAUSE] SHE WAS ON HER OWN – HER HUSBAND HAD PASSED AWAY YEARS AGO AND SHE WAS A LADY THAT HAD MOVED HERE AS A YOUNG ENGLISH GIRL AFTER THE WAR TO WORK AT ST. MICHAEL’S HOSPITAL… WE CAME INTO POSSESSION [OF THE BOX] BECAUSE SHE THOUGHT WE SHOULD GIVE IT TO THE MUSEUM OR GIVE IT TO THE LEGION. WE WERE DOWNSIZING FOR HER... I POLISHED IT AND PUT IT IN A PLACE OF HONOUR.” THE FOLLOWING BIOGRAPHICAL INFORMATION ON FRED KING WAS FOUND IN THE CATALOGUE RECORD FOR ARTIFACT P19790097000 - KING’S RCA SERGE UNIFORM. ACCORDING TO FREDERICK “FRED” THOMAS KING’S OBITUARY IN THE LETHBRIDGE HERALD, “KING PASSED AWAY ON SATURDAY MARCH 8TH 1986, AT THE AGE OF 82 YEARS, BELOVED HUSBAND OF MRS. NANCY KING OF 1416, 15TH AVENUE SOUTH, LETHBRIDGE. BORN IN LONDON ENGLAND IN 1904, THE LATE MR. KING IMMIGRATED TO CANADA IN 1919 TO MAPLE CREEK SASKATCHEWAN. HE LATER MOVED TO WINNIPEG, MANITOBA WHERE HE TRAINED AS A MECHANIC FOR THE CPR. FRED LATER MOVED TO ALBERTA WHERE HE BECAME INVOLVED IN THE AUTOMOBILE BUSINESS IN LETHBRIDGE IN 1927, FORMING FRED KING MOTOR CO. LTD., IN 1945, AND OPERATED A SUCCESSFUL AUTOMOBILE DEALERSHIP UNTIL RETIRING IN 1971. MR. KING WAS APPOINTED HONORARY LIEUTENANT COLONEL 18TH FIELD REGIMENT, ROYAL CANADIAN ARTILLERY IN 1965 AND HONORARY COLONEL 1969-1977. HE WAS ALSO APPOINTED TO THE BOARD OF GOVERNORS OF THE ARMY CADET LEAGUE OF CANADA FROM 1971-1977 AND SERVED ON THE BOARD OF GOVERNORS OF THE ALBERTA ARMY CADET LEAGUE FROM 1971-78 AND WAS PRESIDENT FROM 1975-1976.” ACCORDING TO THE BIOGRAPHY IN THE PERMANENT FILE, “KING ENLISTED AS GUNNER 112TH FIELD BATTERY, ROYAL CANADIAN ARTILLERY IN 1940 AND WAS COMMISSIONED LIEUTENANT 41ST FIELD REGIMENT, ROYAL CANADIAN ARTILLERY IN 1944. KING WAS ALSO AN HONORARY PRESIDENT OF THE GENERAL STEWART BRANCH OF THE ROYAL CANADIAN LEGION (AT THE TIME OF DONATION IN 1982).” FOR MORE INFORMATION INCLUDING SERVICE RECORDS, PLEASE SEE PERMANENT FILE P19790097000. OTHER COLLECTED ARTIFACTS RELATED TO KING INCLUDE: P19820020000, P19820021000, P19820022001-6, P19820023000, P19820024000, AND P19860039000.
Catalogue Number
P20130018000
Acquisition Date
2013-08
Collection
Museum
Images
Less detail

14 records – page 1 of 1.