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Date Range From
1945
Date Range To
2005
Material Type
Artifact
Materials
STEEL, WOOD
Catalogue Number
P20160029000
  2 images  
Material Type
Artifact
Date Range From
1945
Date Range To
2005
Materials
STEEL, WOOD
No. Pieces
7
Height
30
Diameter
31
Description
A: PRESSURE COOKER POT: STEEL POT WITH TWO BLACK WOODEN HANDLES. HANDLES ARE SCREWED TO LIP OF POT WITH TWO SCREWS EACH. FAIR TO GOOD CONDITION. BLACK RESIDUE, WATER STAINS, AND SCRATCHES ON OVERALL SURFACE OF POT FROM USE. THERE IS A FULL CRACK SEPARATING THE BACK END OF THE RIGHT HANDLE FROM THE POT. B: LID: STEEL LID 31.9CM (D) X 3.8CM (H). LID HAS ONE BLACK WOODEN HANDLE HELD IN PLACE BY TWO SCREWS. BOTH SIDES OF HANDLES HAVE VALVES FOR LETTING OFF/MANAGING PRESSURE. THE CENTER HAS A ROUND GAUGE WHICH READS BOTH PRESSURE (0 TO 20) AND TEMPERATURE IN DEGREES FAHRENHEIT (228° TO 259°). IT READS "WARNING OPEN PETCOCK, EXHAUST STEAM…” GAUGE HAS SINGLE RED NEEDLE. IN FRONT OF GAUGE ON TOP OF LID READS, “IMPROVED KOOK / KWICK STEAM PRESSURE COOKER 22”. LID IS SECURED TO POT WITH REMOVABLE RING THAT IS TIGHTENED BY TURNING A SMALL HANDLE AT THE FRONT. GOOD CONDITION. STAINING ON OVERALL SURFACE OF LID AND BACKGROUND OF GAUGE IS YELLOWED. C: SEALING RING: 36 CM IN DIAMETER UNTIGHTENED. STEEL WITH A RUBBER KNOB AT THE OPENING. HINGE AT THE BACK SIDE OF THE RING. CLAMP AT FRONT IS TIGHTENED BY A METAL HANDLE. GOOD CONDITION. STAINING ON OVERALL SURFACE OF THE STEEL. D: COOKING RACK: 26.5 CM IN DIAMETER. CIRCULAR, METAL RACK WITH A CIRCLE OPENING AT THE CENTER AND A CURVED PATTERN OF TWO ROWS AROUND. THE RACK HAS 6 SECTIONS AROUND. THERE ARE RIDGES ALONG THE VERTICAL LINES ON ONE SIDE. THE OPPOSITE SIDE IS FLAT. THREE OF THE RIDGES HAVE SCREW HOLES ON THE OUTSIDE EDGE. E-G: 3 MASON JAR LID BANDS: ALL 8.5 CM IN DIAMETER. E IS MADE OUT OF A SILVER-COLOURED METAL. F AND G ARE MADE OUT OF GOLD-COLOURED METAL. POOR TO FAIR CONDITION FOR COMPONENTS D THROUGH G. ALL COMPONENTS ARE RUSTING WITH SIGNIFICANT MINERAL BUILD UP ON THEM. THERE IS FURTHER MATERIAL BUILD UP ON COMPONENTS E-G.
Subjects
FOOD PROCESSING T&E
Historical Association
DOMESTIC
History
THE FOLLOWING INFORMATION ABOUT THIS PRESSURE COOKER IS EXTRACTED FROM A SEPTEMBER 2016 INTERVIEW CONDUCTED BY COLLECTIONS TECHNICIAN KEVIN MACLEAN WITH THE ARTIFACT'S DONOR, JEANNETTE HOUTEKAMER: HOUTEKAMER CAME INTO POSSESSION OF THE PRESSURE COOKER FROM HER AUNT, EUGENE SICOTTE: “WELL, FIRST OF ALL, I KNOW IT’S VERY OLD. IT CAME FROM A GREAT AUNT, WHO CAME TO THIS COUNTRY AS A YOUNG GIRL AND WAS LOCATED AROUND THE BEAVER MINE AREA… MUST [HAVE BEEN] LUNDBRECK. SHE WAS THERE WITH HER HUSBAND... SHE ALSO WAS A WONDERFUL COOK, AND SHE COOKED IN A LUMBER CAMP … HER FIRST MARRIED NAME WAS EUGENE (SIC) SICOTTE, MARRIED TO A PETE SICOTTE. [N.B. ALTERNATIVE SPELLING OF FIRST NAME EUGINE OR EUGENIE FROM OBITUARY AND LEGAL NOTICE] … SHE WAS WITH HIM FOR 17 YEARS... HOW SHE MET GEORGE ANDERSON, I’M NOT SURE, BUT HE WAS A FARMER PAST COALDALE - BARNWELL. THEY HAD A FARM UP THERE. AND SHE WAS QUITE A BIT OLDER THAN HIM, BUT THEY MARRIED, AND DID VERY WELL. THEN THEY RETIRED AND MOVED TO THE CITY HERE… I IMAGINE THEY BOUGHT [THE PRESSURE COOKER] DOWN IN GREAT FALLS, BECAUSE HE HAD A SISTER WHO WAS DOWN IN SHELBY. AT THE TIME, IT WAS CONSIDERED MORE EXPENSIVE.” OF THE RELATIONSHIP SHE HAD WITH HER AUNT, HOUTEKAMER STATED: “[W]E WERE VERY CLOSE. THEY HAD NO FAMILY, SO THEY KIND OF ADOPTED MY HUSBAND [MARTIN HOUTEKAMER] AND I... WE DID A LOT OF THINGS FOR THEM WHEN THEY GOT OLDER... SHE WAS A FABULOUS COOK.” HOUTEKAMER’S AUNT’S NAME BECAME EUGENE ANDERSON UNDER HER SECOND MARRIAGE. SOMETIME DURING THE PERIOD AFTER THE EUGENE AND GEORGE ANDERSON MOVED TO LETHBRIDGE AND BEFORE THE PASSING OF MRS. ANDERSON IN 1968, HOUTEKAMER CAME TO ACQUIRE THE PRESSURE COOKER: “WELL, SHE JUST GOT TO THE POINT WHERE SHE WAS GETTING OLDER, AND SHE DIDN’T DO A LOT OF CANNING ANYMORE. SHE HAD DONE A LOT PREVIOUS TO THAT. SHE CANNED EVERYTHING, EVEN MUSHROOMS … [SHE WAS A] FABULOUS COOK … SHE KNEW THAT I DID A LOT OF CANNING, SO SHE THOUGHT [THE PRESSURE COOKER] WOULD HELP." "MY HUSBAND DID A LOT OF FISHING, SO [WE] CANNED FISH, WHICH WAS THE BEST THING FOR IT. WHEN YOU CAN IT IN THERE, IT’S GOING TO BE GOOD… [HE CAUGHT FISH FROM] ALL OVER SOUTHERN ALBERTA. BEAVER MINES WAS ONE OF THE SPECIALS. IN FACT, HIS ASHES ARE IN POLICE LAKE. HE DID A LOT THERE AT POLICE LAKE AND LEE’S CREEK. DEPENDING [ON] HOW MANY FISH YOU HAD TO MAKE IT WORTHWHILE, I WOULD DO A CANNER OF IT. I USED THE SMALL FISH JARS, SO I COULD PACK THEM UP. I DID QUITE A FEW…” PRIOR TO OWNING A PRESSURE COOKER, HOUTEKAMER SAID SHE “USED A BIG CANNER. I HAD ONE THAT HELD 7 OR 8 QUARTS. THAT’S WHAT I DID - MOSTLY FRUIT. I DIDN’T DO A LOT OF VEGETABLES BECAUSE, BY THEN, YOU COULD START FREEZING STUFF. YOU KNOW, IT WAS STARTING TO GET MORE POPULAR.” HOUTEKAMER DID NOT LEARN A GREAT DEAL OF COOKING FROM HER AUNT, “BECAUSE I HAD LEARNED A LOT FROM MY MOTHER. SHE WAS A GOOD COOK. SHE EVEN MADE LEFTOVERS TASTE GOOD. SHE HAD HAD A LOT OF EXPERIENCE… WE DID A LOT OF PRESERVING IN HER DAY. THAT WAS ALL WE HAD AND IT WAS ALWAYS DONE IN A BOILER - A GOOD COPPER BOILER. THAT’S THE WAY YOU LEARNED. … FOR SOME THINGS [THE PRESSURE COOKER WAS BETTER THAN THE COPPER BOILER] BECAUSE MY VEGETABLES TAKE A VERY LONG TIME TO PRESERVE THROUGH BOILING. AND FISH, OH MY GOD, YOU WOULD BE THERE FOREVER TO BOIL, SO THIS [PRESSURE COOKER] IS MUCH BETTER, MUCH FASTER [AND] SAFER, AS WELL. IT WAS HEAVY WORK, MIND YOU. WHEN YOUR COOKER WAS DONE, WHEN YOUR TIME WAS DONE, IF YOU COULD LIFT IT AND TAKE IT OUTDOORS, YOU COULD THROW COLD WATER ON IT AND OPEN IT RIGHT AWAY. THEN YOU WOULD THROW THE CANS IN COLD WATER. FOR JARS, YOU HAD TO WAIT UNTIL IT WENT DOWN BY ITSELF. YOU COULDN’T OPEN IT UNTIL THEN OR ALL THE LIDS WOULD COME OFF.” FOR HOUTEKAMER, CANNING TOOK PLACE MOSTLY DURING THE FALL. SHE WAS ABLE TO PRESERVE A VARIETY OF FOOD WITH THIS PRESSURE COOKER: “I [CANNED] CHICKEN ONE YEAR, AND THAT WAS ENOUGH. WE ALWAYS HAD CHICKEN AROUND [AND] IT WAS BETTER FRESH. MY HUSBAND LOVED HIS FRESH CHICKENS. WE HAD OUR OWN GARDEN, AND SOMETIMES WE WOULD GET SOME CORN IN THE FALL [WHEN THE FARMERS WERE DOING THEIR THRESHING].” OF HER FAVOURITE VEGETABLES TO PRESERVE, HOUTEKAMER SAID, “BEANS, I GUESS. I WOULD GET A LOT OF BEANS. BEETS – I DID SOME – NOT CANNED. [I] DID A LOT OF PICKLES. BEANS WERE THE MAIN THING, AND CHICKEN, AND FISH. AND THAT WAS IT. I DID A LOT OF TOMATOES, BUT THEY WERE SIMPLER TO DO IN THE CANNER, BECAUSE THEY ONLY TAKE ABOUT 20 MINUTES… [THE PRESSURE COOKER] WOULD BE PLACED ON [A] GAS OR ELECTRIC [STOVE]. WHEN THE TIME WAS DONE, YOU JUST SHUT THE STOVE OFF AND LET IT COME DOWN BY ITSELF… I USED TO JUST KNOW WHERE TO PUT THE STOVE AT, THE BURNER, TO KEEP [THE PRESSURE WHERE NEEDED]. YOU HAD TO BE CAREFUL. YOU COULDN’T JUST TURN YOUR BACK ON IT. YOU WOULDN’T WANT THAT. THAT WHOLE THING WOULD COME OFF, AND YOU WOULD HAVE ONE BIG MESS. … NO [THAT NEVER HAPPENED]. I ALWAYS WAS VERY CAREFUL – WATCHED IT CLOSE. I DON’T THINK [MESSES] EVER HAPPENED TO MY AUNT EITHER THAT I’M AWARE OF… MOST OF THE COOKBOOKS IN THOSE DAYS HAD INSTRUCTIONS ABOUT HOW MANY POUNDS TO USE FOR VEGETABLES. I THINK MY FISH WAS 15 POUNDS. FOLLOW THOSE INSTRUCTIONS AND IT WORKED FINE – [IT] DID A VERY GOOD JOB.” HOUTEKAMER WOULD USE THE PRESSURE COOKER AT HER HOME ON THE RESEARCH STATION AND THEN LATER AT HER HOME ON THE NORTH SIDE OF LETHBRIDGE: “… AT THE TIME WE LIVED ON THE RESEARCH STATION FOR TWENTY YEARS. AND I USED IT THERE. MY HUSBAND WORKED THERE, IN POULTRY RESEARCH. WE WERE POOR. WE DID A LOT OF CANNING AND ALWAYS HAD A GARDEN. THAT’S HOW IT CAME ABOUT … WE HAD A PLACE TO LIVE AND OUR OWN GARDEN.” THE PRESSURE COOKER WAS ACTIVELY USED BY HOUTEKAMER UNTIL HER HUSBAND’S DEATH IN 2005: “WELL, I DON’T THINK I’VE USED IT IN THE LAST 10 YEARS BECAUSE I’VE BEEN LIVING IN A CONDO. I JUST HAD IT SITTING AROUND, TOO HEAVY TO MOVE… I DIDN’T DO A LOT OF CANNING ANYMORE…” THIS ARTIFACT BRINGS BACK MEMORIES OF HER LATE HUSBAND: “WE ALWAYS DID A LOT OF FISHING TOGETHER. WHEN HE RETIRED, HE BOUGHT HIS BOAT. WE HAD A CAMPER VAN, SO WE COULD GO OUT AND STAY OVERNIGHT. WE HAD [THE] BOAT, SO WE COULD GO ONTO THE WATER [AND] TRY TO GET SOME FISH. THOSE DAYS, THERE WERE SO MANY FISH... IF YOU WERE LUCKY, YOU HAD A NICE BIG ONE THAT WOULD FILL ABOUT FIVE OR SIX JARS.” CANNING WAS A NECESSITY FOR FOOD PRESERVATION: “WELL, I GUESS IT’S OK IF YOU CAN AFFORD IT, BUT WHEN WE WERE YOUNGER, WE WERE VERY POOR, SO YOU DID WHAT HAD TO DO. KEEP GOING. EAT… MY GIRLS STILL DO SOME, BUT NOW, WITH THE NEW FANCY STOVES, YOU COULD NEVER USE THIS – TOO HEAVY. THE NEW STOVES – THEY JUST CAN’T PUT ANYTHING HEAVY ON THERE. I THINK IT’S KIND OF TOO BAD, BECAUSE A GARDEN IS NOT THAT HARD TO HAVE, AND YOU CAN GET AN AWFUL LOT OF GOOD FOOD OUT OF THERE – NATURAL FOOD, AND VERY HEALTHY FOOD. SOME PEOPLE JUST CAN’T BE BOTHERED. [IT'S] SIMPLER TO GO TO THE STORE… [MY AUNT] COULD HAVE PROBABLY SAID MORE, SHE DID A GREAT DEAL OF CANNING. SHE ALWAYS MADE SURE, WHEN THEY BUILT THEIR HOUSES, THAT THEY HAD A PLACE FOR PUTTING HER CANNED STUFF, WHERE SHE COULD KEEP IT COOLER IN THE SUMMER.” ACCORDING TO HER LETHBRIDGE HERALD OBITUARY, MRS. EUGINE ANDERSON PASSED AWAY IN LETHBRIDGE ON JANUARY 18, 1968 AT THE AGE OF 85. HER SECOND HUSBAND, MR. GEORGE ANDERSON, PASSED AWAY IN CALGARY ON NOVEMBER 26, 1972 AT THE AGE OF 79. MRS. ANDERSON’S FIRST HUSBAND, MR. PETE SICOTTE, PASSED AWAY IN CAMROSE, ALBERTA ON FEBRUARY 15, 1966 AT THE AGE OF 92. A MEMORIAM IN THE LETHBRIDGE HERALD INDICATES THAT THE DONOR’S HUSBAND, MR. MARTIN HOUTEKAMER PASSED AWAY ON APRIL 21, 2005. SEE PERMANENT FILE FOR ADDITIONAL INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION AND COPIES OF OBITUARIES.
Catalogue Number
P20160029000
Acquisition Date
2016-09
Collection
Museum
Images
Less detail
Date Range From
1933
Date Range To
2000
Material Type
Artifact
Materials
CLOTH, FELT, PAINT
Catalogue Number
P20160003002
  1 image  
Material Type
Artifact
Date Range From
1933
Date Range To
2000
Materials
CLOTH, FELT, PAINT
No. Pieces
2
Height
29.5
Width
15
Description
A: HANDMADE DOLL. THE “ESKIMO” DOLL IS MADE WITH LIGHT BLUE, FELT-LIKE FABRIC WITH WHITE FABRIC ACCENTS. THE FACE IS MADE OUT OF A LIGHTER FABRIC THAT IS PEACH-COLOURED. THE FACIAL DETAILS ARE HAND PAINTED. THE DOLL HAS BLUE EYES, EYEBROWS, NOSTRILS, RED LIPS, AND ROSY CHEEKS. THE LIGHT BLUE FABRIC THAT MAKES UP THE MAJORITY OF THE DOLL’S BODY IS ENCOMPASSING THE DOLL’S FACE LIKE A HOOD. THE DOLL’S TORSO IS COVERED IN THE LIGHT BLUE FELT. TWO HEART-SHAPED ARMS, MADE OF THE SAME MATERIAL, ARE ATTACHED TO EITHER SIDE OF THE BODY. THE DOLLS UPPER LEG AND FEET ARE COVERED IN THE LIGHT BLUE FELT. FROM THE KNEES TO THE ANKLES, A LIGHTER, WHITE FABRIC IS COVERING THE LEGS. B: DOLL SKIRT. AROUND THE DOLL’S WAIST IS A DETACHABLE SKIRT MADE OF THE SAME FABRIC AND A WHITE WAISTBAND. POOR CONDITION. ALL FABRIC IS WELL-WORN AND THREADBARE IN MULTIPLE PLACES. THE DOLL’S RED STUFFING IS VISIBLE THROUGH PARTS OF THE FABRIC. THERE IS DISCOLORATION (YELLOWING) OVERALL. THE STUFFING IS NOT EVENLY DISTRIBUTED THROUGHOUT THE DOLL. THE SEAMS AT THE ARMS ARE FRAGILE. THE PAINT FOR THE DOLL’S FACE IS SEVERELY FADED.
Subjects
TOY
Historical Association
ETHNOGRAPHIC
LEISURE
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. THE FAMILY LATER MOVED TO A FARM IN VAUXHALL, ALBERTA. THE PRECEDING AND FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM A TWO-PART INTERVIEW WITH DONOR ELSIE MORRIS, WHICH WAS CONDUCTED BY COLLECTIONS TECHNICIAN KEVIN MACLEAN ON FEBRUARY 17, 2016. ADDITIONAL INFORMATION COMES FROM FAMILY HISTORIES AND TEXTS PROVIDED BY THE DONOR. A FULL HISTORY OF THE KONKIN FAMILY CAN BE FOUND WITH THE RECORD P20160003001. THIS DOLL BELONGED TO MORRIS AS A CHILD. SHE EXPLAINS, “THIS CAME FROM A GREAT AUNT WHO CAME TO VISIT US AND SHE ALWAYS BROUGHT GIFTS AND THIS ONE WAS MINE AND I LOVED THIS DOLL… I REMEMBER PLAYING WITH IT, IT WAS SOFT AND CUDDLY WHEN I HAD IT… MY DAUGHTER WENT THROUGH IT AND MY GRANDDAUGHTER AND THEN I PUT A STOP TO IT BEFORE THEY ATE IT UP OR DID SOMETHING… THEY LOVED IT AND THEY, YOU KNOW LITTLE KIDS, THEY’RE CARELESS SO I’LL KEEP IT...” IN A PHONE CALL WITH COLLECTIONS ASSISTANT ELISE PUNDYK ON OCTOBER 24, 2017, MORRIS SAID SHE RECIEVED THE DOLL FROM HER GREAT AUNT WHO HAD BROUGHT IT FROM VISITING BRITISH COLUMBIA. MORRIS PLAYED WITH THE DOLL AS A CHILD, AS DID MORRIS' CHILDREN. THE DOLL WAS LOVED BY MULTIPLE GENERATIONS IN MORRIS' FAMILY AS HER GRANDCHILDREN AND GREAT GRANDCHILDREN WOULD ALSO PLAY WITH THE DOLL WHEN THEY CAME TO VISIT. PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION, OBITUARIES, PHOTOGRAPHS, AND FAMILY HISTORIES.
Catalogue Number
P20160003002
Acquisition Date
2016-02
Collection
Museum
Images
Less detail
Other Name
"MARQUIS HOTEL"
Date Range From
1928
Date Range To
2015
Material Type
Artifact
Materials
CERAMIC, PAINT
Catalogue Number
P20150037000
  1 image  
Material Type
Artifact
Other Name
"MARQUIS HOTEL"
Date Range From
1928
Date Range To
2015
Materials
CERAMIC, PAINT
No. Pieces
1
Height
5.08
Width
12.4
Description
BLACK, CERAMIC ASHTRAY. THE INSIDE OPENING OF THE ASHTRAY IS 6.4 CM. THE LETTERING ON THE TOP SAYS “THE MARQUIS HOTEL, LETHBRIDGE, ALBERTA, CANADA.” THERE IS AN ABSTRACTED FLORAL DESIGN ON EITHER SIDE OF THIS LETTERING. THE FLOWERS ARE PAINTED RED AND THEIR STEMS PAINTED GREEN. THIS WORDING AND DESIGN REPEATS ON THE OPPOSITE SIDE. THE LETTERING ON THE BOTTOM SAYS, “MADE IN JAPAN 29.” VERY GOOD CONDITION. USED WITH SOME WEAR APPARENT. BLACK PAINT IS WEARING OFF ON SOME PARTS OF THE SURFACE. SIGNIFICANT WEAR TO THE RED AND GREEN PAINT OF THE DECALS.
Subjects
HOUSEHOLD ACCESSORY
Historical Association
DOMESTIC
BUSINESS
History
ON DECEMBER 16, 2015, DONOR CHRIS MORRISON INFORMED COLLECTIONS TECHNICIAN KEVIN MACLEAN THAT SHE CAME INTO POSSESSION OF THE ASHTRAY WHEN SHE AND HER HUSBAND BECAME STEWARDS OF A WATERTON CABIN IN 1976. THE CABIN, LOCATED AT 103 CAMERON FALLS, WAS OWNED BY HER MOTHER-IN-LAW DOROTHY MORRISON (D. 1995). IT WAS AMONG ASSORTED FURNISHINGS LEFT BEHIND WHEN DOROTHY MOVED OUT AND CHRIS MOVED IN. THE DONOR’S RECOLLECTION OF THE ASHTRAY’S USE IMMEDIATELY PRIOR TO IT BECOMING HER PROPERTY WAS AS A CONTAINER. MORRISON SAID, “IT WAS IN A [CABIN] WASHSTAND AND USED TO HOLD LITTLE OBJECTS LIKE ROLLED UP KEROSENE LANTERN TAPE WICKS”. ACCORDING TO MORRISON, IT WAS ALSO KNOWN AS “GRANDPA’S ASHTRAY”. GRANDPA REFERS TO JAMES J. MORRISON OF LETHBRIDGE. “HE ONLY SMOKED CIGARS” SAID THE DONOR, WHEREAS HER MOTHER-IN-LAW DOROTHY DID NOT SMOKE AT ALL. THE ASHTRAY’S USE AS A CONTAINER FOR LANTERN WICKS AND SMALL ITEMS CONTINUED RIGHT UP TO THE DAY THAT IT WAS OFFERED TO THE GALT IN 2015. ACCORDING TO HER OBITUARY IN THE LETHBRIDGE HERALD, DOROTHY MORRISON, PASSED AWAY IN LETHBRIDGE ON NOVEMBER 26, 1995 AT THE AGE OF 83 YEARS. JAMES JACOB MORRISON, DOROTHY’S FATHER-IN-LAW, PASSED ON FEBRUARY 18TH, 1975 AT AGE 93. THE ASHTRAY IS MARKED WITH “MARQUIS HOTEL,” WHICH COULD REFER TO THE LETHBRIDGE HOTEL THAT OPENED IN JUNE 1928. REALIZING A NEED FOR A FIRST-CLASS HOTEL IN LETHBRIDGE, ESPECIALLY ONE WITH A BANQUET HALL, THE BUSINESSMEN OF THE BOARD OF TRADE COMMITTED THEMSELVES TO THE HOTEL IN 1927. AFTER ITS OPENING, THE BOARD OF TRADE WOULD HOLD THEIR REGULAR, NOON-HOUR MEETINGS AT THE HOTEL FOR MANY YEARS TO COME. THE HOTEL CLOSED ITS DOORS IN 1985 AND THE BUILDING WAS DEMOLISHED IN 1988. THIS INFORMATION COMES FROM LETHBRIDGE HERALD ARTICLES AND A WRITE-UP ABOUT THE HOTEL IN THE PUBLICATION TITLED "WHERE WAS IT? A GUIDE TO EARLY LETHBRIDGE BUILDINGS," BY IRMA DOGTEROM. PLEASE SEE PERMANENT FILE FOR MORE INFORMATION INCLUDING LETHBRIDGE HERALD ARTICLES AND A COPY OF THE INFORMATION FROM THE PUBLICATION CITED ABOVE.
Catalogue Number
P20150037000
Acquisition Date
2015-12
Collection
Museum
Images
Less detail
Other Name
CASSEROLE DISH SET
Date Range From
1970
Date Range To
2006
Material Type
Artifact
Materials
CERAMIC
Catalogue Number
P20160001000
  2 images  
Material Type
Artifact
Other Name
CASSEROLE DISH SET
Date Range From
1970
Date Range To
2006
Materials
CERAMIC
No. Pieces
22
Height
22
Length
44
Width
32
Description
BOX OF SUNBURST CASSEROLE DISHES WITH 11 PIECES (5 FULL SETS OF SMALL AND LARGE DISHES AND 1 PARTIAL SET WITH ONE SMALL DISH). THERE ARE 22 PIECES INCLUDING THE STORAGE MATERIALS. A – F: CERAMIC CASSEROLE DISHES. UNGLAZED. “SUNBURST… OVENPROOF” WITH A SUN LOGO STAMPED ON THE BOTTOM. THE DISHES HAVE A RIM AT THE TOP AND A BASE AROUND THE BOTTOM. THERE ARE 2 HANDLES ON OPPOSITE ENDS OF THE TOP OF THE DISHES. A-E HAVE “1.95” WRITTEN ON THE BOTTOMS IN PENCIL. F HAS AN ERASER MARK IN THAT PLACE, AND A WHITE STICKER WITH THE PRICE “$5.00” HANDWRITTEN AND STICKING TO A TOP HANDLE. THE DIAMETERS ARE 19.4 CM, THE LENGTHS INCLUDING THE HANDLES ARE 23.3 CM AND THE DISHES ARE EACH 7.1 CM DEEP. THE CONDITIONS OF DISH A THROUGH D ARE VERY GOOD TO EXCELLENT. THERE IS DUST COATING EACH DISH. B HAS 5 SMALL CHIPS ON THE BASE AND A SLIGHT CRACK (LESS THAN 1 CM LONG) ON THE OUTSIDE OF THE RIM. THE CERAMIC ON C IS ROUGH ON THE INNER RIM. IT ALSO HAS A DARK MARK ON THE OUTSIDE OF THE RIM AND SOME SMALL CHIPS ON THE BASE. D HAS A SCRATCH ON THE BASE. THE CONDITION OF E IS VERY GOOD WITH A SMALL CRACK ON THE SIDE OF THE DISH, A DARK STAIN ON THE EDGE OF THE RIM, AND A SLIGHT SCUFF ON THE BOTTOM. CASSEROLE DISH F IS IN GOOD TO VERY GOOD CONDITION WITH SOME MARKS ALONG THE RIM AND BASE. THERE IS A CHIP IN THE HANDLE. G – K: CERAMIC CASSEROLE DISHES. UNGLAZED. “SUNBURST… OVENPROOF” WITH A SUN LOGO STAMPED ON THE BOTTOM. THE DISHES HAVE A RIM AT THE TOP AND A BASE AROUND THE BOTTOM. THERE ARE 2 HANDLES ON OPPOSITE ENDS OF THE TOP OF THE DISHES. H-J HAVE “2.95” WRITTEN ON THE BOTTOMS IN PENCIL. G HAS AN ERASER MARK IN THAT PLACE, AND A WHITE STICKER WITH THE PRICE “$7.00” HANDWRITTEN AND STICKING TO A TOP HANDLE. THE DIAMETERS ARE 22.6 CM, THE LENGTHS INCLUDING THE HANDLES ARE 27.1 CM AND THE DISHES ARE EACH 8.4 CM DEEP. THE CONDITION OF DISH G IS VERY GOOD WITH DARK IMPURITIES IN THE CLAY, A SCUFF ALONG THE BASE AND A SCRATCH IN THE CLAY ON THE SIDE OF THE DISH. THE CONDITION OF H IS FAIR TO GOOD. THIS DISH HAS A LARGE CHIP IN THE RIM WITH A LENGTH OF APPROXIMATELY 6.1 CM. THERE IS A SCUFF IN THE BOTTOM. DISH I IS IN VERY GOOD CONDITION WITH SOME IMPURITIES IN THE CLAY, AN AIR BUBBLE ON THE SIDE OF THE DISH, A DARK BROWN STAINING ON THE SIDE, AND CHIPS ON THE BOTTOM RIM. DISHES J AND K ARE IN VERY GOOD TO EXCELLENT CONDITION WITH SMALL CHIPS IN THE RIM. L – M: SQUARE PIECES OF CARDBOARD FOR PACKING. THEY ARE BENT TO FOLD AROUND A DISHES WITH A CIRCULAR CREASE IN THE CENTER WITH TWO PARALLEL SLITS (APPROX. 3.5 CM APART) FROM ONE END TO THE CENTER. THE DIMENSIONS OF EACH ARE 21 CM X 21 CM. GOOD CONDITION WITH TEARING IN SOME AREAS (L IS TORN ON ONE SIDE) AND CLAY DUST OVERALL. N – U: RECTANGULAR CARDBOARD SEPARATORS FOR PACKING (THEY ARE PLACED IN BETWEEN THE SMALL AND LARGE DISH IN A SET. THERE ARE 3 SLITS IN EACH SEPARATOR THAT ARE 4.5 CM LONG FROM ONE SHORT END STOPPING AT THE CENTER AND EACH SLIT IS 7.5 CM APART. EACH PIECE IS BENT TO FIT THE SHAPE OF DISHES. FAIR TO GOOD CONDITION WITH REGULAR WEAR (TEARS AND STAINING) OVERALL. V: CARDBOARD BOX WITH ORANGE LETTERING, “SUNBURST CERAMICS” WITH AN ORANGE LOGO ON THE LONG SIDE OF THE BOX. HANDWRITTEN IN BLACK INK ON THE TOP OF THE BOX CAN BE READ “OPICAL EDMONTON ALTA.” ON ONE SHORT SIDE IT SAYS, “6 CASSEROLES 48 OZ…” IN ORANGE PRINT AND THEN IN BLACK HANDWRITING IT READS “6 + 32 OZ 6 – 48 OZ CASS.” THERE ARE 4 LARGE STAPLES HOLDING THE BOTTOM OF THE BOX TOGETHER. THE INSIDE HAS 4 CARDBOARD DIVIDERS (3 LENGTHWISE AND 1 HORIZONTALLY DOWN THE CENTER) THAT FIT TOGETHER THROUGH SLITS IN THE DIVIDERS. THESE MAKE UP 6 SECTIONS IN THE BOX FOR STORING THE SETS OF DISHES. THE OVERALL DIMENSIONS OF THE BOX ARE 32 X 44 X 22 CM. POOR TO FAIR CONDITION. THERE ARE HOLES, BENDS, AND TEARS OVERALL THE WHOLE SURFACE OF THE BOX. ONE CORNER EDGE IS TAPED TOGETHER WITH A BROWN PAPER TAPE. THERE IS A STAPLE LOOSE ON A TOP FLAP. THE BOX IS DIRTY AND STAINED OVERALL.DIRTY AND STAINED OVERALL.
Subjects
FOOD PROCESSING T&E
Historical Association
INDUSTRY
TRADES
DOMESTIC
History
DONOR MIKE MYCHAJLUK ACQUIRED THIS SET OF CERAMIC DISHES WHEN TROPICAL GARDENS IN EDMONTON, ALBERTA WAS CLOSING BETWEEN THE YEARS 2004 AND 2006. THE OWNER OF THAT BUSINESS HELD AN AUCTION AT HIS WAREHOUSE AND PART OF THAT LOT WAS THE SUNBURST CERAMIC SET, WHICH MYCHAJLUK BOUGHT FOR THIRTY-FIVE DOLLARS. THE FOLLOWING INFORMATION ABOUT THIS CERAMIC SET COMES FROM AN INTERVIEW WITH MYCHAJLUK THAT WAS CONDUCTED BY COLLECTIONS TECHNICIAN KEVIN MACLEAN ON JANUARY 22, 2016: “TROPICAL GARDENS WAS GOING OUT OF BUSINESS AND THEY WERE SELLING OFF IN THEIR STORE. A COUPLE OF BOXES THEY HAD ON DISPLAY THEN A COUPLE OF MONTHS LATER HE HAD THE AUCTION AT HIS WAREHOUSE ON HIS ACREAGE. HE HAD BINS - TONS OF STUFF THERE AND THIS [BOX] HAPPENED TO BE IN [THE SALE] WHEN I BOUGHT IT. I HAD TO BUY THE WHOLE LOT… [FIRST], I’M INTERESTED IN ALBERTA POTTERY STUFF AND NUMBER TWO I KNEW OTHER PEOPLE WERE [TOO]. I WAS GOING TO SELL SOME OF IT OFF BUT THERE WAS SO MUCH OF IT. I’LL NEVER SELL [ALL OF IT] IN MY LIFETIME TO COLLECTORS… NOBODY KNOWS MUCH ABOUT [SUNBURST] AND IF I BRING IT MORE TO THE ATTENTION, MORE PEOPLE WOULD BE INTERESTED IN IT. IT’S ONE OF THE LAST POTTERIES THAT WAS IN ALBERTA… THE STUFF IS ORIGINALLY FROM LETHBRIDGE.” ON THE CERAMICS BEING UNGLAZED, MYCHAJLUK STATES: “I THINK THAT’S WHEN [SUNBURST WAS] GOING OUT OF BUSINESS. THEY JUST PACKAGED WHAT WAS LEFT AND SOLD IT OFF OR EVEN AFTER IT COULD BE A DISPERSAL… I’M ASSUMING [TROPICAL GARDENS] BOUGHT IT TO SELL DRY FLORAL ARRANGEMENTS… THE ONLY THOUGHTS WAS HE COULDN’T USE IT FOR LIVE [FLOWERS] WITH WATER BECAUSE IT WOULD COME APART.” ACCORDING TO MYCHAJLUK, WHO IS INTERESTED IN ALBERTA POTTERY, IT IS NOT USUAL TO FIND A LARGE QUANTITY OF UNGLAZED CERAMICS LIKE WHAT HE FOUND AT TROPICAL GARDENS. WHILE MYCHAJLUK WAS BORN IN LETHBRIDGE, HE DID NOT SPEND MUCH TIME LIVING HERE. SUNBURST CERAMICS WAS ESTABLISHED IN 1961 BY RALPH THRALL SR. AND JR. WHEN THEY BOUGHT OUT NEW MEDALTA CERAMICS FROM MALCOM MCARTHUR IN MEDICINE HAT. AFTER OPERATING WITH THOSE KILNS FOR THE COMPANY’S FIRST YEARS, A NECESSITY TO UPGRADE INFLUENCED THE COMPANY TO MOVE THEIR OPERATION TO LETHBRIDGE, WHERE THEY OPENED A PLANT ON 3RD AVENUE NORTH IN 1965. DURING THEIR EXISTENCE, THE PLANT PRODUCED 200 TYPES OF PRODUCTS. IN THE EARLY 1970S, THEY EXPANDED THEIR OPERATION TO PRODUCE GIFTWARE IN ADDITION TO WHAT THEY WERE PRODUCING IN THE MEDALTA STYLE. THE COMPANY DEVELOPED A REPUTATION AS LEADERS IN THE ALBERTAN CERAMIC INDUSTRY, BRINGING IN THE NEWEST TECHNOLOGIES AND EQUIPMENT FROM GERMANY WITH PROVINCIAL SUPPORT. THIS ALLOWED THEM TO ADD DINNERWARE TO THEIR PRODUCTION LINE. SUNBURST CERAMICS CLOSED ITS DOORS IN 1975. THE THRALL FAMILY BOUGHT THE MCINTYRE RANCH FOLLOWING THE DEATH OF BILLY MCINTYRE IN 1947. THE FAMILY CONTINUES TO OPERATE IT AT THE TIME OF DONATION. PLEASE SEE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPT AND LETHBRIDGE HERALD ARTICLES REGARDING SUNBURST CERAMICS. SEE ALSO FILES FOR ARTIFACTS P19960004001, P19980077001, AND P200000056000 FOR MORE INFORMATION ABOUT SUNBURST CERAMICS.
Catalogue Number
P20160001000
Acquisition Date
2016-01
Collection
Museum
Images
Less detail
Other Name
HMV LISTENING STATION
Date Range From
1994
Date Range To
2017
Material Type
Artifact
Materials
ALUMINIUM, GLASS, RUBBER
Catalogue Number
P20170004001
  2 images  
Material Type
Artifact
Other Name
HMV LISTENING STATION
Date Range From
1994
Date Range To
2017
Materials
ALUMINIUM, GLASS, RUBBER
No. Pieces
4
Height
29.5
Length
20.5
Width
5.6
Description
A- LISTENING STATION FOR COMPACT DISCS (CDS) WITH A BRUSHED ALUMINUM FRONT ON BLACK HOUSING. IT HOLDS UP TO THREE DISCS. THE FRONT READS “HMV” IN A CIRCLE AREA. CIRCULAR, GLASS WINDOW TO DISPLAY THE CURRENT DISC. A CONTROL PANEL WITH BUTTONS ON THE FRONT BOTTOM SECTION OF THE LISTENING STATION. A BLACK METAL HOOK EXTENDING FROM THE BOTTOM OF THE MACHINE FOR HOLDING HEADPHONES. TWO STICKERS ON BACK: ONE READS “MB-K300.” THERE ARE HOLES IN THE BACK TO MOUNT THE MACHINE TO A SUPPORT, SUCH AS A WALL. A KEY HOLE ON THE LEFT SIDE AND HINGES ON THE RIGHT. INSIDE OF THE MACHINE INCLUDES A GREEN CIRCUIT BOARD, MACHINE INSTRUCTIONS, AND OUTLETS FOR HEADPHONES. THE SERIAL NUMBER IS “SERIAL NO. V65111019”. GOOD TO VERY GOOD CONDITION. SCUFFING AND DIRT ON OVERALL SURFACE. THERE IS ADHESIVE ON THE TOP LEFT EDGE OF THE MACHINE. SLIGHT SCRATCHING ON THE GLASS AND SLIGHT SCRATCHES TO THE BACK. PAIR OF HEADPHONES ARE ATTACHED TO THE LISTENING STATION. THEY ARE PRIMARILY BLACK PLASTIC WITH A PADDED HEADBAND AND EAR PADS. “RIGHT” INDICATED ON THE RIGHT SIDE OF THE HEADPHONES. A THICK PROTECTIVE COVERING MADE OF RUBBER COATING THE AUXILIARY CABLE. AT THE END OF THE CABLE IS A METAL HEADPHONE JACK. THE HEADPHONES ARE MARKED WITH “PRO-705”. DIAMETER OF THE EAR PADS IS 9.7 CM. THE HEADBAND LENGTH IS ADJUSTABLE WITH A 42 CM MAXIMUM. THE CABLE IS 134 CM LONG. GOOD CONDITION. GENERAL WEAR TO THE HEADPHONES. SLIGHT DUST, LOSS OF SOME BLACK FINISH OF THE HEADPHONES. AT LEAST TWO VISIBLE HOLES IN THE RUBBER COATING OF THE CABLE. B- BLACK METAL FRAME WITH 3 SLOTS TO HOLD CD CASES. ONE LENGTH END IS OPEN TO INSERT THE CDS. BACK OF THE FRAME HAS SIX SCREW HOLES (2 ON EITHER SIDE OF EACH OF THE THREE SECTIONS) FOR WALL ATTACHMENT. THE JOINTS ARE WELDED AT THE BACK. THE OVERALL DIMENSIONS ARE 44.5 X 13.2 X 1.5 CM. EACH SECTION IS 14.3 CM WIDE. EACH SECTION IS MADE WITH INDIVIDUAL PIECES OF METAL, WELDED TOGETHER AT THE BACK ON TWO METAL BANDS. GOOD TO VERY GOOD CONDITION. SLIGHT SCRATCHES TO THE PAINT. DUST COLLECTING AT EDGES, CORNERS, AND JOINTS. GENERAL WEAR FROM USE. C- LISTENING STATION KEY. SMALL, STAINLESS STEEL KEY WITH CYLINDER END “NO 1”. HOLE AT THE BOW END. THE LONG EDGE OF THE BOW HAS 3 GROVES ON THE RIGHT SIDE. THE KEY IS 3.1 CM IN LENGTH AND 2 CM IN WIDTH. GOOD TO VERY GOOD CONDITION. WEAR ON BOW. RUSTING/WEAR TO FINISH ON KEY.
Subjects
SOUND COMMUNICATION T&E
Historical Association
RETAIL TRADE
History
IN THE EARLY MONTHS OF 2017, THE MUSIC FRANCHISE HMV CANADA BEGAN TO THE PROCESS OF CLOSING DOWN ALL 120 OF THEIR STORES ACROSS CANADA. AFTER 30 YEARS OF BUSINESS, THE COMPANY WENT INTO RECEIVERSHIP. PARK PLACE MALL IN DOWNTOWN LETHBRIDGE HAD AN HMV LOCATION OF ITS OWN, WHICH ACCORDING TO LETHBRIDGE HERALD ADVERTISEMENTS OPENED IN 1994. UPON THE STORE'S CLOSURE THE MUSEUM COLLECTED A LISTENING STATION FROM THE LOCATION. ON FEBRUARY 27, 2017, IN AN INTERVIEW WITH COLLECTIONS TECHNICIAN KEVIN MACLEAN, THE MANAGER OF THE HMV LETHBRIDGE, BRENDAN FRIZZLEY, REFLECTED ON HIS PAST EXPERIENCE AT THE MUSIC STORE, THE SIGNIFICANCE OF MUSIC STORES, AND ON THE RECEIVERSHIP PERIOD. FRIZZLEY COMMENTED ON THE LISTENING STATION, “WELL, I THINK THE INTERESTING THING ABOUT THAT [LISTENING STATION] IS THAT IT GOT MOVED SO THAT THERE WOULD BE ROOM FOR A POSTER RACK, AND I THINK THAT THAT’S SORT OF AN INDICATION OF THE WAY THAT PEOPLE CHANGE, LISTENING TO MUSIC, BECAUSE THE LISTENING STATIONS ARE HUGE. THEY’RE A THING THAT PEOPLE WOULD COME UP TO [AND THEY] WOULDN’T HAVE ANY IDEA ABOUT AN ARTIST [THEN] THEY GOT MOVED. I THINK A LOT OF PEOPLE WERE SORT OF LIKE 'OH, WHY IS THERE LESS OF [THE STATIONS]?' BECAUSE NOBODY USED THEM ANYMORE. PEOPLE ARE ALREADY STREAMING, OR FAMILIARIZING THEMSELVES WITH ARTISTS IN AN INFINITE NUMBER OF WAYS, AND THE CD STORE IS FOR SORT OF THE END PURCHASE. YOU ALREADY MADE A DECISION AS TO WHAT YOU WANT RATHER THAN THE EXPLORATION SIDE OF IT, WHICH IS NOT HOW PEOPLE DO MUSIC ANYMORE... EVEN THE SUPPLIERS AREN’T AS INVESTED AS GETTING THESE FILLED. IT USED TO BE THAT WE WOULD GET THESE MAIL BOXES, AND IT WOULD BE FULL OF CDS. WE WOULD LOAD THEM UP, AND THEY WOULD SAY, ‘THESE ONES GO HERE AND THESE ONES GO HERE,’ AND THAT’S WHERE ALL THE PICTURES WOULD COME FROM. AND [THEN] THE BOXES GET SMALLER AND SMALLER, AND THE NUMBER OF ARTISTS THAT THEY’RE WORRIED ABOUT PROMOTING THAT WAY BECOMES FEWER AND FEWER. IT’S JUST NOT AN ANGLE THAT THEY NEEDED TO PUSH AN ARTIST ANYMORE. SO, THAT WAS IT. THERE USED TO BE SIX AND, I THINK, BY THE TIME WE’RE DONE THERE WAS THREE THAT WERE BEING CONSTANTLY UPDATED.” ACCORDING TO AN ARTICLE PUBLISHED IN 2001 BY STRATEGYONLINE.CA, HMV BEGAN USING LISTENING STATIONS AS A MARKETING STRATEGY IN 1988, ALSO THE YEAR THE RETAILER ARRIVED IN CANADA. FRIZZLEY WORKED AT HMV FOR 8 YEARS. HE EXPLAINED HOW HE BEGAN HIS JOB AT HMV, “I HAD HAD A JOB AT A CALL CENTER THAT HAD BEEN HERE. IT HAD SHUT DOWN, AND I HAD SORT OF GONE OFF ONE DIRECTION, AND STARTED SELLING SPEAKERS. A SORT OF CO-WORKER OF MINE STARTED MANAGING THIS PLACE AND HE WAS COMPLAINING BECAUSE HE COULDN’T FIND AN ASSISTANT MANAGER. IN MY HEAD, I HAD [A] FLASH OF, 'I COULD WORK IN A RECORD STORE,' AND HE JUST HIRED ME. UNFORTUNATELY MY OLD FRIEND [LOST HIS MANAGEMENT JOB]... SOMEBODY IMPORTANT ENOUGH FELT THAT I HAD THE RIGHT SORT OF ATTITUDE FOR THIS, AND SO THEY KEPT ME ON. THEY BROUGHT IN [A FELLOW] FROM THE MEDICINE HAT STORE AND HE ... TURNED THE STORE AROUND AND ... HE GOT PROMOTED TO GO RUN THE STORE AT SOUTH CENTER IN CALGARY, AND THIS BECAME MINE. THAT WAS ABOUT FIVE YEARS AGO.” WHEN DISCUSSING THE SHIFT IN SALES FROM THE BEGINNING OF HIS CAREER IN THE MUSIC STORE TO THE CLOSING OF THE FRANCHISE, FRIZZLEY SAID, “I FEEL THAT SHIFT WAS ALREADY OCCURRING WHEN I STARTED. I [HEARD STORIES FROM] EVEN THREE, FOUR YEARS BEFORE I STARTED [WHEN] THEY WOULD PULL ALL THE MANAGERS FROM EVERY HMV INTO A SORT OF PERSONAL CONCERT OF [THE] CANADIAN MUSIC INDUSTRY... THERE WOULD BE THIS MEET-AND-GREET WITH ALL THE EXECUTIVES AND PRIVATE CONCERTS FROM THE TOP ARTISTS. THAT WAS THE IDEA OF WHAT A MUSIC STORE WAS AND HOW IMPORTANT IT WAS TO THE MARKETING OF MUSIC. THE SHIFT THAT WAS STARTING TO HAPPEN ALREADY WAS THIS IDEA THAT THE MUSIC STORE WASN’T RESPONSIBLE FOR MARKETING ANYMORE. IT MAY HAVE BEEN RESPONSIBLE FOR SELLING [MUSIC], AND I DON’T THINK THAT EVER CHANGED." "PEOPLE ALWAYS WANTED TO TELL ME HOW CDS WERE DYING AND TO AN EXTENT - SURE - BUT NO MORE THAN ANYTHING PHYSICAL. [CDS] STILL HAVE THEIR AUDIENCE, AND THAT WAS TRUE IN 2009 WHEN I STARTED... THERE’S STILL A MARKET FOR THEM... BUT, THE IDEA THAT CD STORES DROVE CUSTOMER’S PURCHASING IS ON THE WAY OUT, AND I THINK THAT THERE WOULD BE LESS PUSH FROM THE LABELS... IN SETTING UP BIG BANNERS [TO MARKET MUSIC]. WHEN I STARTED, MUSICIANS AND THE MUSIC SIDE OF IT HAD PAID FOR THE BANNERS, AND BY THE TIME [OF THE CLOSURE], IT WAS BANNERS FOR MOVIES THAT WE WEREN’T EVEN SELLING. WE WERE THE ‘YOU’VE ALREADY DECIDED WHAT YOU’RE BUYING. COME IN HERE IF YOU ARE BUYING CDS OR RECORDS AND YOU BUY THEM,’ AND THAT’S REALLY DIFFERENT THAN MYSELF, OR ANY OF MY STAFF HERE, CURATING PEOPLE’S MUSIC EXPERIENCE, WHICH I THINK EVERYONE, FROM A CERTAIN AGE, HAS HAD THAT EXPERIENCE OF GOING TO A RECORD STORE, AND A RECORD STORE EMPLOYEE TELLING THEM WHAT TO LISTEN TO... I THINK THAT THAT DIED WELL BEFORE I WAS HERE, BUT I THINK THE LABEL SLOWLY RESPONDED TO THE FACT THAT THAT WAS JUST REALITY. THE LISTENING POST IS A GREAT EXAMPLE OF THAT SORT OF LIMPING OUT FROM THAT SORT OF EXPERIENCE, WHERE A MUSIC STORE DEFINED WHAT PEOPLE WERE LISTENING TO - AS MUCH AS A RADIO STATION DID - TO JUST A PLACE WHERE YOU BOUGHT MUSIC…" "I THINK THE NATURE OF PEOPLE’S RELATIONSHIP WITH THE MUSIC STORE IS REALLY DIFFERENT AND SO PEOPLE WOULD GET VERY PERSONALLY OFFENDED AS THE CHANGES HAPPENED. AND, FOR ME, I ALWAYS KEPT IN MY MIND THAT THE STORE, NO MATTER WHAT THE CHANGES HAPPENED - THE TOYS AND ALL THAT OTHER STUFF - FACILITATED ME BEING ABLE TO HAVE A CD SELECTION; FACILITATED THE ABILITY FOR ME TO SAY, 'HEY, YOU SHOULD CHECK THIS OUT. I DON’T EVEN CARRY IT IN THE STORE, BUT I CAN ORDER IT FOR YOU, AND YOU’RE GOING TO LOVE IT.' SO, AS THE SHIFT STARTED TO HAPPEN, WE PULLED BACK FROM CDS A LITTLE BIT, ESPECIALLY IN THE GENRES THAT JUST STOPPED SELLING, AND THAT SORT OF HAPPENED SLOWLY.” FRIZZLEY RECALLS THE EVENTS THAT TOOK PLACE LEADING UP TO AND AFTER THE COMPANY ANNOUNCED IT HAD WENT INTO RECEIVERSHIP. WHEN ASKED IF HE HAD ANY INDICATION THAT HIS STORE - ALONG WITH EVERY HMV STORE IN CANADA - WOULD BE CLOSING, FRIZZLEY ANSWERED, “NONE WHATSOEVER. IT WAS A SLOWER CHRISTMAS FROM A MALL PERSPECTIVE. IT’S DIFFICULT BECAUSE CORPORATE FINANCIALS ARE VERY DIFFERENT THAN STORE FINANCIALS. BUT WHEN I WAS LOOKING AT MY NUMBERS IT WAS CERTAINLY A STORE THAT COULD’VE CONTINUED TO HAVE RUN. THERE WAS NO INDICATION WHATSOEVER. THERE WAS SOME SLIGHT BUYING DIFFERENCES, AS IN THE PRODUCT THAT WAS COMING [INTO] THE STORE. LOOKING BACK ON IT NOW, IT WAS PROBABLY BECAUSE OF THE DETERIORATING RELATIONSHIPS WE HAD WITH OUR SUPPLIERS. BUT IT WAS ANOTHER PROFITABLE YEAR FOR ME. I MEAN, EVERY YEAR THAT I’VE RUN THIS STORE, I’VE BEEN IN TOP FIVE MOST PROFITABLE STORES IN TERMS OF A PERCENTAGE OF EVERY DOLLAR THAT COMES IN - WHAT BECOMES PROFIT... IF YOU LOOK AT THE CONDITIONS THAT RESULTED IN US CEASING TO EXIST, IT’S A SPECIFIC WAY THAT IT CAME ABOUT. [FROM] THE RESTRUCTURING TO THE PURCHASE [OF THE COMPANY] BACK IN 2011 WHEN WE ACTUALLY ALL THOUGHT THAT WE WERE ALL LOSING OUR JOBS… [HMV WAS] HEMORRHAGING MONEY FOR A NUMBER OF DIFFERENT REASONS. THE CANADIAN ARM WAS NOT DOING PARTICULARLY WELL EITHER, AND THEY NEEDED CASH TO PROVE TO THE BANK THAT [IT COULD] REPAY [ITS] DEBTS. THEY HAD ENOUGH SALES; THEY HAD ENOUGH BUSINESS; EVERYTHING WAS FINE, EXCEPT THEY DIDN’T HAVE ENOUGH CASH ON HAND – SO THEY JUST NEEDED TO HAVE MONEY IN AN ACCOUNT SOMEWHERE. SO, THEY SOLD HMV CANADA OFF FOR BASICALLY A SONG, TO THIS COMPANY CALLED HILCO. HILCO IS A RESTRUCTURING COMPANY... THEY ARE SO GOOD AT LIQUIDATING COMPANIES, THAT THEY, ODDLY, BECAME RIGHT DOWN THE CHAIN SOME WAYS, AND STARTED THEIR WORK TO DO IT… THIS COMPANY BOUGHT US IN 2011. [WE THOUGHT,] 'THAT’S THE END OF US – THEY ARE GOING TO LIQUIDATE US, AND THAT WILL BE THAT.' WE HAD SOME VERY PASSIONATE PEOPLE INVOLVED, AND THEY PITCHED THIS IDEA AS TO WHAT HMV COULD BE AND THAT WAS TO HAVE THE VIDEO GAME SIDE OF IT AND THE MERCHANDISE STUFF. AND WE DID IT. IT DID PHENOMENAL FOR US… WE ALSO WORKED WITH ALL THE SUPPLIERS TO GET BETTER MARGINS; SO, IN FACT, A CD COST $10.00, INSTEAD OF THE $20.00 IT TRADITIONALLY DID, WHEN I STARTED HERE. THAT’S A THING THAT THEY SORT OF NEGOTIATED IN WITH OUR SUPPLIERS." REMEMBERING THE DAY THAT FRIZZLEY LEARNED THE NEWS OF THE COMPANY’S CLOSURE, HE SAID, “SO, I WOKE UP AND CHECKED MY PHONE, AND I SEE THAT I AM REMOVED FROM BEING AN ADMINISTRATOR ON THE STORE’S FACEBOOK PAGE. I’M SORT OF THROWN BY THAT. I DON’T POST A LOT ON THE STORE’S FACEBOOK PAGE, BUT WHEN I DO THERE’S SOME JOKES IN THERE AND I SHOW OFF THE NEW STUFF. I POSTED SOMETHING ON THERE FOR THE FIRST TIME IN A WHILE, AND I GOT A LOT OF LIKES AND SHARES, AND IT’S ALL GOOD... I WAKE UP, AND I’M NOT THE ADMINISTRATOR ON THAT PAGE ANYMORE… I’M SORT OF THROWN BY THAT, AND I’M LIKE, 'WHY WOULD THEY EVER MOVE ME? ARE THEY GETTING RID OF ALL OF THESE?” I LOOK, 'NO, THE PAGE IS STILL THERE.' SEEMS STRANGE. IT OCCURS TO ME THAT MAYBE SOMEBODY DIDN’T GET THE JOKE THAT I MADE, FROM HEAD OFFICE OR SOMETHING… AND, SO I AM CONFUSED. I’M THINKING I MAY HAVE TO ARGUE WITH SOME SORT OF HEAD OFFICE PERSON WHEN I COME TO WORK THAT AFTERNOON. SO I COME IN AND JOHN TELLS ME THAT 'SHIT’S HIT THE FAN.' AND I’M CONFUSED, AND I’M LIKE, 'IS THERE AN E-MAIL FOR ME ABOUT THIS, THAT I’M GOING TO HAVE TO FIGHT WITH?' AND I’M READY TO PICK UP THE PHONE AND START ARGUING WHEN HE SAID, 'NO, LOOK AT THIS NEWS ARTICLE.' AND, THAT IS HOW WE HEARD … [THE] BREAKING THE NEWS. AND MY BOSS AT THE TIME [SAID], 'I WILL FIND OUT WHAT’S GOING ON. I DON’T KNOW ANYTHING EITHER.' MY BOSS WAS ONE OF FIVE REGIONAL MANAGERS, SO HE IS VERY HIGH UP. HE CALLED TO FIND OUT WHAT WAS GOING ON, THAT’S WHEN THEY TOLD HIM HE DIDN’T HAVE A JOB ANYMORE... TO BE FAIR, THIS WAS FLOWING FROM A POINT OF SECURE DEBT, FORCED TO LIQUIDATION. NOBODY HAD ANY IDEA... ALL OF US HERE FOUND OUT THAT DAY, AND IT WAS REAL LATER IN THAT EVENING, AT THAT POINT I WAS SELLING GIFT CARDS, SUGGESTING TO CUSTOMERS THAT THEY REDEEM THEIR PEER POINTS AS QUICKLY AS POSSIBLE, THAT WE KNEW. [IN] THREE DAYS’ TIME, THE GOING OUT OF BUSINESS SALE STARTED… I’M A MUSIC GUY, BUT I’M ALSO VERY WORRIED ABOUT MY STAFF. THAT’S ALWAYS BEEN A THING THAT I’VE BEEN WIRED TO, AND SO IT WAS MAKING SURE THAT PEOPLE [GOT] PAID - HOW TO DO THIS. SOME E-MAILS THAT I GOT SENT WERE VERY VAGUE… SO, IT’S A LOT OF MOVING PARTS, BECAUSE THERE IS A RECEIVERSHIP, WHICH IS THE COMPANY LEGALLY RESPONSIBLE FOR MANAGING THE FINANCIALS, AND THEY SOLICIT A LIQUIDATOR, WHICH IS THE PEOPLE THAT ACTUALLY KNOW HOW TO PROPERLY SHUT DOWN A STORE, BUT NOBODY IS WORKING FOR HMV PROPER ANYMORE, BECAUSE HMV DOESN’T REALLY EXIST, AT SOME FUNDAMENTAL LEVEL. THERE’S A LOT OF PARTS EVERYONE WOULD LIKE TO PASS ON TO EVERYONE ELSE, AS TO THINGS LIKE SEVERANCES, BONUSES, AND THINGS LIKE THAT. NOBODY [WANTED] TO COMMIT TO ANYTHING.” ACCORDING TO HMV’S WEBSITE THE FINAL DAY OF ALL STORES WAS APRIL 14, 2017 WITH SOME STORES CLOSING THEIR DOORS PRIOR TO THAT. PLEASE SEE PERMANENT RECORD FOR ADDITIONAL INFORMATION, INCLUDING THE FULL INTERVIEW TRANSCRIPT AND ARTICLES REGARDING THE RECEIVERSHIP AND LIQUIDATION OF HMV CANADA.
Catalogue Number
P20170004001
Acquisition Date
2017-02
Collection
Museum
Images
Less detail
Date Range From
1960
Date Range To
2018
Material Type
Artifact
Materials
METAL, PLASTIC
Catalogue Number
P20180016001
  2 images  
Material Type
Artifact
Date Range From
1960
Date Range To
2018
Materials
METAL, PLASTIC
No. Pieces
1
Height
127
Length
40.8
Width
11.5
Description
SINGLE-SPACE DUPLEX PARKING METER WITH AN ELECTRONIC MECHANISM. THE METER CASING IS GREY FEATURING TWO GREEN DOMES IN THE SHAPE OF MICKEY MOUSE EARS. THE METERS ARE LABELED “30-61” AND “30-62” ON THE FRONT AND ATTACH TO A HOLLOW, METAL POLE. A STICKER NEAR THE BOTTOM OF THE CASING READS “THIS CAR – INSERT VALID COINS ONLY – DISPLAY INDICATES TIME PURCHASED – CITY OF LETHBRIDGE – THIS CAR.” BOTH METERS HAVE A COIN SLOT AND A LABEL WHICH SAYS “FREE PARKING – WEEKDAYS AFTER 5:30 PM – ALL DAY WEEKENDS AND HOLIDAYS.” THE DIGITAL METERS ARE VISIBLE AT THE TOP OF THE HOUSING, BEHIND SEMI-TRANSPARENT PLASTIC. ON EITHER SIDE OF THE METER'S TIME DISPLAY, THE WORDS “MACKAY" AND "GUARDIAN” ARE INSCRIBED VERTICALLY. A METAL PLATE FASTENS TO THE REAR, AND TWO KEYHOLES PROTRUDE ABOVE IT. THROUGHOUT, THERE ARE MANY SCRATCHES AND PAINT CHIPS. OVERALL GOOD CONDITION.
Subjects
REGULATIVE & PROTECTIVE T&E
Historical Association
TRANSPORTATION
History
ON JULY 4TH, 2018, THE CITY OF LETHBRIDGE REMOVED THIS PARKING METER FROM THE 300 BLOCK OF 3RD STREET SOUTH AND DONATED IT TO THE GALT MUSEUM AND ARCHIVES. ALL OF THE COIN-OPERATED PARKING METERS IN LETHBRIDGE’S DOWNTOWN CORE HAVE SINCE BEEN REMOVED AND REPLACED WITH MULTI-SPACE PARKING KIOSKS. IN DECEMBER 2015, THE CITY OF LETHBRIDGE HOSTED AN INFORMATIONAL SESSION INFORMING LETHBRIDGE RESIDENTS ABOUT AN IMPENDING UPGRADE TO THE DOWNTOWN PARKING SYSTEM. VAL FELLGER WAS THE 2015 INITIATIVE’S PARKING COORDINATOR. FELLGER OUTLINED REASONS FOR UPDATING THE EXISTING PARKING SYSTEM IN A 2018 CITY OF LETHBRIDGE MEDIA RELEASE. THE ANNOUNCEMENT SAYS, “THE PRIMARY OBJECTIVE OF PAID AND TIME ZONED PARKING IN DOWNTOWN LETHBRIDGE IS TO ACHIEVE PARKING TURNOVER WHICH RESULTS IN EQUITABLE AVAILABILITY OF PARKING TO SHOPPERS AND VISITORS TO DOWNTOWN…THERE ARE CURRENTLY A LITTLE OVER 1500 PARKING METERS IN THE DOWNTOWN. APPROXIMATELY 95 PERCENT OF THE PARKING METER INFRASTRUCTURE, PARKING METER HOUSINGS AND SUPPORT POLES ARE GREATER THAN 25 YEARS OLD. THESE HOUSINGS AND POLES ARE STARTING TO SHOW SIGNS OF WEAR AND LOOK UNKEMPT. MANY OF THE METERS CANNOT BE REPROGRAMMED TO ACCEPT NEW COINS OR OTHER PAYMENT OPTIONS.” THE CITY PONDERED THREE OPTIONS FOR THE IMPROVED SYSTEM: 100 PERCENT SINGLE-SPACE METERS WITH FOOT PATROL ENFORCEMENT, 100 PERCENT PAY-BY-PLATE MULTI-SPACE SMART MACHINES WITH MOBILE LICENSE PLATE RECOGNITION ENFORCEMENT, AND A HYBRID SYSTEM COMPRISED OF PAY-BY-PLATE MACHINES WITH MOBILE LICENSE PLATE RECOGNITION ENFORCEMENT AND IN ISOLATED LOCATIONS, INCLUDING BARRIER-FREE PARKING STALLS, SINGLE-SPACE SMART METERS WITH FOOT PATROL ENFORCEMENT. IN THE DOWNTOWN PARKING METER REPLACEMENT PROJECT STAKEHOLDER & PUBLIC ENGAGEMENT REPORT, 80 PERCENT OF THE PUBLIC SELECTED THE HYBRID SYSTEM. IN AUGUST 2017, THE CITY CHOSE A VENDOR, AND BY JUNE 2018 THE NEW SYSTEM WAS UP AND RUNNING. AS A RESULT, 1526 COIN-OPERATED PARKING METERS WERE REMOVED FROM DOWNTOWN STREETS AND 170 MULTI-SPACE KIOSKS WERE INSTALLED. IN A CITY OF LETHBRIDGE MEDIA RELEASE FROM MAY 28, 2018, MAYOR CHRIS SPEARMAN SAYS, “THIS IS ANOTHER SIGN OF HOW OUR CITY IS GROWING UP. WE TALK A LOT ABOUT THE IMPORTANCE OF BEING A “SMART CITY” AND USING TECHNOLOGY TO MAKE US MORE EFFICIENT. THAT’S WHAT THIS NEW SYSTEM DOES.” FELLGER ADDED, “THE KIOSKS ARE SOLAR POWERED MAKING THEM MORE COST EFFECTIVE AND ENVIRONMENTALLY FRIENDLY TO OPERATE THAN THE PREVIOUS PARKING METERS THAT USED AA BATTERIES.” ON DECEMBER 12, 2018, KEVIN MACLEAN INTERVIEWED THE CITY OF LETHBRIDGE’S ACTING PARKING COORDINATOR PHILLIP BERG. BERG ASSISTED FELLGER WITH THE PLANNING OF THE NEW PARKING SYSTEM. CONCERNING THE ROLLOUT OF THE METER REPLACEMENT PROJECT, BERG SAID, “IT WAS PRETTY HECTIC. PEOPLE WERE STILL A LITTLE RESISTANT TO CHANGE. WE HAD CONDITIONED PEOPLE TO A PARKING STYLE FOR THE LAST 50 TO 60 YEARS, AND IN ONE NIGHT WE CHANGED EVERYTHING OVER. SO THERE WAS A LOT OF RESISTANCE.” TO DEAL WITH THE RESISTANCE, BERG KEPT AN OPEN DIALOGUE WITH THE PUBLIC. “THERE WERE TIMES THAT MY PHONE DIDN’T STOP RINGING FOR DAYS, BUT WE’VE MADE A LOT OF CHANGES TO SCREEN DISPLAY AND SIGNAGE. [WE’VE DONE] EVERYTHING WE CAN POSSIBLY DO TO FACILITATE THE BEST PARKING MANAGEMENT STRATEGY WE CAN.” PRIOR TO THE PROJECT, BERG WORKED CLOSELY WITH THE COIN-OPERATED PARKING METERS AS LETHBRIDGE’S PARKING AND TRAFFIC TECHNICIAN. HE SAID, “I DID ALL THE REPAIRS, MAINTENANCE, AND PROGRAMMING THAT HAPPENED WITH THESE SINGLE-SPACE METERS FOR THE LAST EIGHT YEARS. ANYTHING FROM RE-BUILDING HOUSINGS [TO] PUTTING THEM TOGETHER FROM DIFFERENT PIECES TO RE-PROGRAMMING THEM…THEY WERE BROKEN. THERE WAS A LOT OF PIECES THAT WERE ‘FRANKENSTEINED’ TOGETHER TO ALLOW THE METERS TO FUNCTION. THERE WERE TIMES THAT I WAS TAKING AND GRINDING DOWN PARTS TO MAKE THEM WORK. WHEN I FIRST STARTED, I CALLED THE MANUFACTURER OF THE HOUSINGS [AND ASKED TO ORDER PARTS]. THEY LAUGHED AT ME AND [SENT ME EVERYTHING THEY HAD LEFT FOR FREE]. I GOT ALL THESE OLD DUSTY BOXES WITH PIECES WRAPPED IN NEWSPAPER, AND I WOULD BUILD WHATEVER I COULD TO GET THEM OUT ON THE STREET.” BEFORE BERG, LARRY WYROSTOK WAS THE PARKING AND TRAFFIC TECHNICIAN FOR SEVEN YEARS, AND MACLEAN INTERVIEWED HIM ON DECEMBER 20, 2018. WYROSTOK SUGGESTED THAT THE TWO MAIN REASONS THAT THE PARKING METERS BROKE DOWN WERE THEIR AGE AND VANDALISM. REGARDING VANDALISM, HE SAID, “WE USED TO HAVE QUITE A BIT. [ONE TIME I WAS DRIVING BY THE COURT HOUSE] AND SOMEONE USED A ROLL OF DUCK-TAPE ON A METER, [AND] THEY JUST COVERED UP THE WHOLE THING. IT WAS PROBABLY TWO OR THREE INCHES THICK, JUST SO THAT THEY DIDN’T HAVE TO PLUG IT. I TOOK ALL THE DUCK-TAPE OFF, AND THE METER SEEMED TO WORK FINE. YOU SEE ALL KINDS OF STUFF [ON THE STREET.]” WYROSTOK SUGGESTED THAT ANOTHER ASPECT OF THE JOB WAS COLLECTING THE COINS FROM THE METERS. HE SAID, “[I SPENT] A COUPLE OF DAYS A WEEK COLLECTING IN ALL KINDS OF WEATHER; RAIN, SLEET, AND SNOW. I CAN REMEMBER [DAYS THAT WERE] 35 DEGREES BELOW. [I WOULD PUT MY] METER KEY IN THE VAULT DOOR, AND IT WOULDN’T OPEN. IT WAS FROZEN SHUT. [SO I WOULD TAKE] A RUBBER MALLET AND GIVE THE [VAULT DOOR] A LITTLE TAP AND THEN [I WOULD] SPRAY SOME ETHER ON IT. IT COULD BE QUITE TEDIOUS BECAUSE [I HAD] 1500 METERS TO COLLECT FROM.” LIKE PARKING AND TRAFFIC TECHNICIANS, PARKING COMMISSIONAIRES ALSO HAD TO WORK IN ALL KINDS OF CONDITIONS. ON DECEMBER 18, 2018, MACLEAN INTERVIEWED RETIRED PARKING COMMISSIONAIRE, MAVIS BASTIE ABOUT HER TIME WORKING WITH THE PARKING METERS IN LETHBRIDGE’S DOWNTOWN CORE. BASTIE MOVED FROM HALIFAX, NOVA SCOTIA TO LETHBRIDGE, ALBERTA IN 1993. SHE SAID, “WHEN I ARRIVED HERE THE VERY FIRST THING I DID THAT WEEK WAS GO OVER TO THE CORPS OF COMMISSIONAIRES HERE IN LETHBRIDGE AND SAID THAT I WANTED TO BECOME A COMMISSIONAIRE. I WAS IMMEDIATELY GIVEN A JOB, AND THAT JOB HAPPENED TO BE GOING OUT AND DOING PARKING, WHICH MEANT WALKING THE STREETS…WALKING THE STREETS WAS DOING THE METERS AND CHECKING VEHICLES.” BASTIE WORKED AS A PARKING COMMISSIONAIRE FOR APPROXIMATELY TEN YEARS. DURING HER INTERVIEW, SHE EXPLAINED THAT THERE WERE FOUR PARKING BEATS WITHIN LETHBRIDGE, “THE FIRST ROUTE WAS MAINLY WALKING AROUND AND DOING THE TICKETING OF THE CARS THAT WERE AT METERS THAT WERE EXPIRED...BEAT ONE WAS DOWNTOWN, AND IT CAME OUT OF THE OLD POLICE STATION [TO THIRD AVENUE]…THIRD AVENUE BECAME BEAT TWO AND THEN BEAT THREE WAS A DRIVING [AND WALKING] AREA…BEAT THREE WOULD BE MORE OVER TOWARDS THE HOSPITAL…BEAT FOUR WAS JUST THE DRIVING, THAT MEANT DRIVING AROUND THE HOSPITAL.” BASTIE SUGGESTED THAT ONE OF THE BUSIEST TIMES OF YEAR TO BE A PARKING COMMISSIONAIRE WAS DURING THE WHOOP-UP DAYS PARADE, “YOU’RE JOB IS TO MAKE SURE THAT PEOPLE REALIZE THAT JUST BECAUSE IT’S WHOOP-UP DAYS DOESN’T MEAN THAT THEY CAN GET AWAY WITH [PARKING ILLEGALLY]. YOU STILL HAVE TO PLUG THE METERS. IF THAT METER EXPIRES AND YOU DON’T MOVE YOUR VEHICLE YOU GET A TICKET.” BASTIE WAS THE ONLY FEMALE PARKING COMMISSIONAIRE IN LETHBRIDGE DURING THE 1990S. SHE SUGGESTED THAT DUE TO THIS SHE RECEIVED SUPPORT FROM HER COLLEAGUES AND THE LETHBRIDGE POLICE DEPARTMENT, “[IF SOMEONE WAS HARASSING ME] I JUST HAD TO PICK UP THE RADIO… THEY WERE THERE FOR YOU, AND I KNEW THAT NOBODY WOULD EVER HURT ME. THEY WOULDN’T DARE. IT WASN’T BECAUSE I COULDN’T TAKE THEM ON, BUT IT WAS BECAUSE THESE GUYS [WERE LOOKING OUT FOR ME]…YOU’VE ALWAYS GOT THE POLICE DEPARTMENT THERE BEHIND YOU, AND I HONESTLY HAVE TO SAY THAT WHEN I WORKED FOR THE CORP BACK IN THOSE YEARS, WE HAD THE MOST SENSATIONAL POLICE OFFICERS THAT I HAVE EVER HAD ANYTHING TO DO WITH.” FOR BASTIE THE BEST PART OF BEING A PARKING COMMISSIONAIRE WAS WORKING WITH THE PUBLIC. SHE SAID, “[WORKING PARKING WAS] A GREAT OPPORTUNITY TO GET TO KNOW PEOPLE...[IT] WAS SOMETHING THAT I NEVER EXPECTED AND I DON’T THINK PEOPLE THINK OF WHEN THEY THINK OF PARKING… [I GOT TO] ASSOCIATE WITH SO MANY PEOPLE, AND IF [I SHOWED] THEM RESPECT THEY [SHOWED ME] RESPECT BACK…I FOUND YOU HAD TO HAVE A GOOD RAPPORT WITH THE BUSINESS OWNERS BECAUSE THE BUSINESS OWNERS APPRECIATED YOU. IF YOU NEEDED HELP, THEY WERE THERE FOR YOU. IF THEY NEEDED HELP, YOU WERE THERE FOR THEM.” OVERALL, BASTIE ENJOYED HER TIME WORKING AS A PARKING COMMISSIONAIRE. SHE SAID, “WHEN I WORKED THE METERS, I LOVED IT. I ENJOYED WORKING PARKING AND EVERYTHING [THAT] IT INCLUDED…IF I HAD MY LIFE TO LIVE OVER, WOULD I DO IT [AGAIN]? DARN RIGHTS I WOULD.” PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION INCLUDING LETHBRIDGE HERALD ARTICLES, CITY OF LETHBRIDGE MEDIA RELEASES, AND FULL INTERVIEW TRANSCRIPTIONS.
Catalogue Number
P20180016001
Acquisition Date
2018-07
Collection
Museum
Images
Less detail
Date Range From
1980
Date Range To
2015
Material Type
Artifact
Materials
POLYESTER, WOOL, METAL
Catalogue Number
P20170007001
  2 images  
Material Type
Artifact
Date Range From
1980
Date Range To
2015
Materials
POLYESTER, WOOL, METAL
No. Pieces
1
Length
74
Width
50
Description
PURPLE BLAZER JACKET WITH PURPLE LINING; FRONT LAPELS OF JACKET ARE DECORATED WITH PINS. FRONT LEFT AND RIGHT POCKETS LINED WITH GREY PATTERNED FABRIC; FRONT POCKETS HAVE WHITE AND PURPLE “LETHBRIDGE, NO. 32, OORP” AND “BRANDON, NO. 138, OORP” DIAMOND BADGES SEWN ON, WITH WHITE STAG IN CENTER OF TEXT. INSIDE OF BLAZER HAS BLACK TAG WITH WHITE STITCHED TEXT AT BACK OF COLLAR, “MADE IN / FABRIQUE EN CANADA”. TWO POCKETS SEWN INTO BLAZER LINING WITH WHITE CLOTH LINING; INSIDE RIGHT-WEARING INNER POCKET IS WHITE TAG WITH BILINGUAL (FRENCH AND ENGLISH) TEXT “MADE IN CANADA, CA – 00023, 55% POLYESTER, 45% WOOL DRY CLEAN ONLY”. OUTSIDE OF RIGHT-WEARING INNER POCKET HAS TAG SEWN ON; BLACK WITH WHITE TEXT “VETEMENTS, CLOTHES” AND GOLD-STITCHED TEXT BETWEEN WHITE READING “BILTMORE” AND GOLD AND WHITE LOGO IN UPPER LEFT CORNER “LP”. TWO GOLD CHECKERED BUTTONS DOWN FRONT OF BLAZER AND TWO AT EACH CUFF. BLAZER HAS FADING ON INSIDE OF CUFFS, AND STAINING ON FRONT LEFT-WEARING SIDE; OVERALL VERY GOOD CONDITION. ON FRONT RIGHT-WEARING LAPEL, PINS INCLUDE: GOLD-FINISHED PIN WITH RED AND WHITE CANADA FLAG AND BLUE AND WHITE CROSS FLAG; GOLD-FINISHED FLYING DOVE PIN; RED AND WHITE CANADA FLAG PIN; WHITE PLASTIC NAME TAG WITH SILVER ORDER OF ROYAL PURPLE SEAL AND BLACK TEXT “LETHBRIDGE LODGE NO. 32, DOROTHY TAYLOR”; GOLD-FINISHED PIN GREY, WHITE AND PEACH IMAGE OF WOMAN AND BLACK TEXT ABOVE IMAGE “DEAF DETECTION” AND BLACK TEXT BELOW IMAGE “PHOEBE MCCULLOUGH, 1896-1971”; GOLD-FINISHED PIN OF MAPLE LEAF WITH GOLD ORDER OF ROYAL PURPLE STAG ON A PURPLE BACKGROUND SURROUNDED BY GOLD LETTERS “OORP”; GOLD-FINISHED PIN WITH BAR SHAPED LIKE BOW AND HANGING SEAL OF THE ORDER OF ROYAL PURPLE; GOLD-FINISHED PIN WITH GOLD BORDER AROUND PURPLE AND YELLOW FLOWERS ON GREEN BACKGROUND, WITH ENGRAVED TEXT ON BORDER “MANITOBA ROYAL PURPLE ASSOCIATION”. ON LEFT-WEARING LAPEL IS PURPLE RIBBON WITH GOLD-FINISHED ATTACHMENT TO JACKET AND WHITE FRINGE, ON RIBBON GOLD-FINISHED PINS INCLUDE: TWO GOLD BARS ATTACHED WITH CHAIN AND HANGING ORNATE SEAL OF THE ORDER OF ROYAL PURPLE, TEXT ON TOP BAR READS “BRANDON LODGE NO. 138”, LOWER BAR TEXT READS “1998-1999”; BAR PIN WITH PURPLE TEXT “15 YRS” AND ORDER OF ROYAL PURPLE SEAL IN CENTER; BAR PIN WITH TWO TEXT BANNERS TO THE UPPER LEFT AND LOWER RIGHT OF ORDER OF ROYAL PURPLE SEAL, UPPER BANNER READS “20” AND LOWER BANNER READS “YRS”; OVAL PIN WITH ORDER OF ROYAL PURPLE SEAL IN CENTER AND BOTTOM BANNER READING “LIFE MEMBER”; FLOWER PIN WITH ORDER OF ROYAL PURPLE SEAL IN CENTER AND SIX HANGING BARS THAT READ “25 YEARS”, “30 YEARS”, “35 YEARS”, “40 YEARS”, “45 YEARS”, “50 YEARS”.
Subjects
CLOTHING-OUTERWEAR
Historical Association
ASSOCIATIONS
PERSONAL CARE
History
ON FEBRUARY 22, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED WILMA WOOD, DAUGHTER OF DOROTHY TAYLOR, ABOUT HER DONATION OF TAYLOR’S ORDER OF ROYAL PURPLE REGALIA. THE REGALIA REPRESENTED TAYLOR’S 50-YEAR INVOLVEMENT WITH THE ORDER OF ROYAL PURPLE FROM BRANDON, MANITOBA TO LETHBRIDGE, ALBERTA. WHEN ASKED ABOUT HER MOTHER’S BLAZER, WOOD RECALLED, “[MY MOTHER WAS WEARING THIS] WITHIN THE [PAST] TWO OR THREE YEARS, AS YOU CAN SEE, SHE HAD IT ON WHEN SHE RECEIVED HER 50 YEAR PIN. I THINK SHE WENT TO ONE MORE ACTIVITY BEFORE SHE COULDN’T ANYMORE BECAUSE SHE’S BEEN WHEELCHAIR BOUND FOR 15 YEARS. IT GOT MORE AND MORE DIFFICULT FOR HER TO GET OUT.” MACLEAN ADDITIONALLY INTERVIEWED ANN MARIE MCDONALD OF THE LETHBRIDGE ORDER OF ROYAL PURPLE ON JUNE 6, 2017. ON THE BLAZER, MCDONALD ELABORATED, “WHEN I JOINED IN ’89, THEY WERE MOVING INTO THE NEW JACKETS…WE USED TO PASS DOWN JACKETS. WE USED TO HAVE A CUPBOARD. IF A LADY PASSED AWAY, YOU’D DRY-CLEAN HER JACKET, AND PUT IT INTO THE CUPBOARD…PROBABLY ABOUT 1985 THEY STARTED REPLACING THE JACKETS. I KNOW [THIS WAS DOROTHY’S JACKET] ORIGINALLY, IT HAD PIPING ON IT, AND…IT HAD BRANDON. SHE WORE THE BRANDON [BADGE] ON IT – THEN, SHE OBVIOUSLY GOT THE NEW JACKET MADE, AND THEN PUT THE [PATCH] ON HER POCKETS. IN THOSE DAYS, BEFORE I JOINED ROYAL PURPLE, YOU HAD A PATCH. YOU ALWAYS WORE THE PATCH OF YOUR LODGE ON YOUR JACKET.” “YOU WEAR WHAT ARE CALLED YOUR JEWELS ON YOUR LEFT SIDE. THIS [RIBBON WITH HER YEARS] WOULD BE A JEWEL.” “SHE WAS HONORABLE ROYAL LADY IN BRANDON, IN, POSSIBLY, 1975-76, THAT’S WHEN SHE WOULD HAVE BEEN IN.” MCDONALD ELABORATED ON THE PINS ON TAYLOR’S BLAZER, NOTING, “EACH YEAR THAT YOU STAY IN LODGE, THEY GIVE YOU A BAR. I’M THINKING MAYBE SHE DIDN’T [A BAR PIN] FROM OUR LODGE, BECAUSE SHE WAS ALREADY AN HONORED ROYAL LADY IN BRANDON. SHE JUST TOOK THE BAR, AND HAD THE BAR PUT ON HER OLD PIN – HER BRANDON PIN.” “BARS WERE [GIVEN] IF, FOR EXAMPLE, YOU WERE ON THE DRILL TEAM. YOU WOULD GET A BAR EVERY YEAR THAT YOU’RE ON THE DRILL TEAM. IF YOU WERE OUR PIANIST, YOU GOT A BAR EVERY YEAR THAT YOU STAYED AS PIANIST. SHE WAS OBVIOUSLY ON THE DRILL TEAM FOR 3 YEARS HERE. EVERY YEAR THEY GIVE YOU 1, UP TO 10. EVERY 5 YEARS YOU GOT A BAR.” “[THE CLASP PIN] IS HER 15TH YEAR BAR, SO WHEN SHE WAS IN OUR LODGE 15 YEARS…ALTHOUGH I’M NOT SURE WITH DOROTHY, IF THEY COMBINED HERS OR NOT. I KNOW THEY COMBINED HERS FOR HER 50TH. YOU WOULD WEAR IT ON [THE] RIBBON. ON THE LEFT HAND SIDE. THE LEFT SIDE IS WHAT WE CONSIDER IS OVER YOUR HEART. YOU WEAR ALL YOUR JEWELS OVER YOUR HEART.” “[THE MAPLE LEAF] IS AN INSTALLATION PIN. WHEN YOU JOIN THE LODGE, THEY GIVE YOU AN INSTALLATION PIN. THEY WANT ACKNOWLEDGE [YOUR INSTALLATION], IT’S NOT SOMETHING YOU EARN. IT’S KIND OF “WELCOME TO THE LODGE”. SHE WOULD WEAR THIS…ON HER REGALIA [LEFT] SIDE.” “NOW [THE PINS ON THE RIGHT SIDE] I DON’T KNOW WHAT [THEY ALL] ARE. DEAF DETECTION…ARE PINS, IN OUR ORGANIZATION THEY PUT OUT TONS OF PINS AND THEN SELL THEM. THERE WAS SOME FUND-RAISER FOR DEAF DETECTION, AND SHE BOUGHT A PIN.” “[THE PURPLE FLORAL PIN] IS A MANITOBA ROYAL PURPLE ASSOCIATION. SHE WOULDN’T HAVE [WORN THIS ON HER REGALIA] BECAUSE…THEY SELL THE PINS AND THEY MAKE MONEY. HER PERFECT ATTENDANCE [PIN], 5 YEARS SHE COULD WEAR ON HER REGALIA PIN. THERE IS A KEEPSAKE [PIN] THAT THEY HAD WHEN THEY HAD THEIR YEAR 2000…[YOU] BOUGHT THE PIN TO SUPPORT THE LODGE. THERE IS A BRANDON PIN. SHE WOULDN’T WEAR IT WITH HER REGALIA THOUGH…IT’S PURCHASED FOR BRANDON. [THERE IS] THE 12TH COLLECTION EDITION OF ROYAL PURPLE. THE BIRD [HAS NO SIGNIFICANCE] WITH OUR LODGE. ON DOROTHY TAYLOR’S INVOLVEMENT IN THE ORDER OF ROYAL PURPLE, MCDONALD RECALLED, “SHE WOULD HAVE BEEN IN OUR LODGE BY [1989]. SHE WAS A DUAL MEMBER OF OUR LODGE. SHE PAID HER DUES TO BRANDON, AND SHE PAID TO US FOR MANY YEARS, BECAUSE SHE LOVED BRANDON, AND HER HEART WAS IN BRANDON. SHE HAD FRIENDS, TOO, LADIES IN BRANDON THAT SHE STAYED REALLY GOOD FRIENDS WITH…WHEN SHE WAS HONORABLE ROYAL LADY, [THE BAR PIN] WASN’T THERE. [THE REST] ARE ALL FUND-RAISERS…[THERE IS ONE FOR] FUND FOR CHILDREN, WHICH WAS OUR NATIONAL CHARITY.” WOOD DISCUSSED HER MOTHER’S TIME IN THE ORDER OF ROYAL PURPLE, STATING, “SHE CONSIDERS [THESE OBJECTS IN ACTIVE USE]. SHE IS VERY MUCH A PERSON WHO VALUES THAT SOCIETY. IT HELPED HER A NUMBER OF TIMES. AS YOU GROW OLDER, ALL OF A SUDDEN YOU DISCOVER THAT YOUR BRAIN ISN’T AS ACTIVE AS IT SHOULD BE AND THE MEMORY IS GOING. SHE WOULD PUT HERSELF INTO POSITIONS WITHIN THE ORGANIZATION INCLUDING BEING PRESIDENT, THREE OR FOUR TIMES. SHE HAD TO BE AN ORGANIZER, SHE HAD TO GET HER BRAIN AND KEEP HER BRAIN FUNCTIONING, WHICH I THOUGHT WAS VERY ADMIRABLE FOR A WOMAN HER AGE BECAUSE…SHE WAS IN HER EIGHTIES. SHE RECEIVED HER 50 YEAR PIN, I THINK IT WAS TWO YEARS AGO OR THREE.” “SHE JOINED [THE ORDER OF ROYAL PURPLE] IN BRANDON, MANITOBA WHERE [MY PARENTS] WERE LIVING AT THE TIME, AND MY DAD RETIRED THERE. THEY MOVED HERE TO LETHBRIDGE BECAUSE MY BROTHER LIVED HERE, AND MY UNCLE ART GOOD…HE LIVED HERE AND THEY WANTED TO BE CLOSER TO FAMILY. THEY MOVED TO LETHBRIDGE AND MY DAD DIED SHORTLY AFTER THAT.” “[SHE JOINED] BECAUSE OF HER FRIENDS. SHE HAD A FRIENDSHIP GROUP AND THEY BELONGED. THEY RECRUITED HER.” “WHEN SHE WAS VERY ACTIVE, SHE WAS A MAJOR RECRUITER. SHE WENT OUT AND FOUND YOUNG WOMEN BUT THEY FELL BY THE WAYSIDE BECAUSE OF LIFE. SHE WAS CERTAINLY VERY ACTIVE IN THEIR PROJECTS, ONE OF WHICH WAS FINDING FINANCES TO EDUCATE YOUNG PEOPLE. WHATEVER THEY WERE [DOING], SHE WAS INTO IT FULL TILT BECAUSE THAT’S THE KIND OF PERSON SHE IS…WHATEVER SHE DOES IS FULL BLAST, FULL BORE. SHE NEVER TOLD ME ANY DETAILS ABOUT THE SOCIETY BECAUSE IT’S ONE OF THOSE SECRET SISTERHOODS. SHE WAS ALWAYS VERY PROUD TO BE A MEMBER OF IT.” “THIS [CHAPTER] DID A LOT OF EDUCATIONAL SUPPORT…SHE TRAVELED WITH THEM BECAUSE IT WAS A CANADIAN ORGANIZATION, SO THEY HAD THEIR ANNUAL GENERAL MEETINGS ALL OVER CANADA. SHE CAME OUT TO VANCOUVER TO A MEETING AND I WENT OVER TO VANCOUVER TO MEET HER AND SAY “HOWDY”. SHE WENT OUT TO THE PREMIER’S, AT THAT TIME WAS VANDER ZALM, AND HE HAD THE BIG GARDENS OUT NEAR STEVESTON. SHE WENT OUT THERE AND SHE MET HIM.” “A YEAR AGO ABOUT THIS TIME, THAT’S WHEN [THE ORDER WAS] FOLDING. THE ALBERTA CLUBS WERE ALL IMPLODING, AND I THINK THERE’S ONLY ONE LEFT IN SOUTHERN ALBERTA. IT WAS THE ISSUE THAT THEY WERE ALL OLD PEOPLE AND YOUNG PEOPLE DID NOT WANT TO JOIN THESE KINDS OF ORGANIZATIONS ANY LONGER…[THIS HAPPENED BECAUSE] I THINK WE HAVE MORE LEGAL SUPPORT. THE GOVERNMENT HAS SET UP HEALTH CARE, COMMUNITIES HAVE SET UP ASSISTANCE FOR WOMEN WHO ARE ABUSED, THERE’S DRUG ASSISTANCE. THERE IS MUCH MORE ASSISTANCE AVAILABLE. IN THE EARLY DAYS ON THE PRAIRIES, IF YOU DIDN’T KNOW YOUR NEXT DOOR NEIGHBOR, WHO MIGHT BE TWENTY MILES AWAY, YOU WERE IN DEEP DOO-DOO IF YOU HAD A BIG PROBLEM. THAT’S WHAT THESE SOCIETIES CAME OUT OF WAS THAT NEED. THE NEED PRETTY WELL HAS BEEN TAKEN CARE OF, I THINK. THERE ARE STILL CLUBS BUT THEY’RE DIFFERENT KINDS OF CLUBS NOW.” WHEN ASKED ABOUT HER MOTIVATION FOR DONATING HER MOTHER’S REGALIA TO THE MUSEUM, WOOD NOTED, “MY MOTHER HAS TURNED 99 YEARS OLD IN JANUARY. SHE HAS DEMENTIA AND SO WE’VE HAD TO MOVE HER FROM HER SENIOR’S LODGE ROOM INTO A MORE SECURE ROOM. CONSEQUENTLY THE LAST OF THE THINGS THAT SHE TREASURED OR VALUED MUST BE DISPERSED. MY BROTHER AND I DECIDED THAT, SINCE THE ELKS AND THE ROYAL PURPLE MEANT SO MUCH TO HER, THAT [THESE WERE] THE [OBJECTS] WE WOULD LIKE TO DONATE TO THE MUSEUM. IT DEPICTS A PERIOD OF TIME WHEN THE WOMEN USED THESE ASSOCIATIONS AS A SUPPORT GROUP FOR THEMSELVES. IT WAS ANOTHER ONE OF THESE SECRET SOCIETIES, WHEN IN FACT THEY WERE SISTERHOODS. THEY WERE MEANT MAINLY FOR THEM TO HAVE PEOPLE TO SUPPORT EACH OTHER. SINCE THIS ORGANIZATION HAS BASICALLY COLLAPSED, I THOUGHT IT WAS SOMETHING THAT THE MUSEUM SHOULD HAVE BECAUSE IT DOES SHOW THAT PERIOD OF TIME IN THE SOCIAL HISTORY OF CANADA.” FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTIONS, PLEASE SEE THE PERMANENT FILE P20170007001-GA.
Catalogue Number
P20170007001
Acquisition Date
2017-02
Collection
Museum
Images
Less detail
Date Range From
1980
Date Range To
2015
Material Type
Artifact
Materials
COTTON, PLASTIC
Catalogue Number
P20170007002
  2 images  
Material Type
Artifact
Date Range From
1980
Date Range To
2015
Materials
COTTON, PLASTIC
No. Pieces
1
Length
67
Width
44
Description
WHITE LINEN BLOUSE WITH SIX WHITE PLASTIC BUTTONS RUNNING DOWN FRONT, AND ONE AT EACH CUFF. BLOUSE HAS FLORAL-PATTERNED EMBROIDERED LINING OVER BUTTON HOLES DOWN FRONT, AND FLORAL-PATTERNED EMBROIDERY AT COLLAR. INSIDE COLLAR OF BLOUSE HAS WHITE TAG WITH YELLOW AND BLACK TEXT “ELITE, INTERNATIONAL, CA – 00034. INSIDE LEFT-WEARING SIDE OF BLOUSE IS WHITE TAG WITH BLACK TEXT “18” AND TWO WHITE PLASTIC BUTTONS. BLOUSE SHOWS LITTLE SIGNS OF WEAR; OVERALL EXCELLENT CONDITION.
Subjects
CLOTHING-OUTERWEAR
Historical Association
ASSOCIATIONS
PERSONAL CARE
History
ON FEBRUARY 22, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED WILMA WOOD, DAUGHTER OF DOROTHY TAYLOR, ABOUT HER DONATION OF TAYLOR’S ORDER OF ROYAL PURPLE REGALIA. THE REGALIA REPRESENTED TAYLOR’S 50-YEAR INVOLVEMENT WITH THE ORDER OF ROYAL PURPLE FROM BRANDON, MANITOBA TO LETHBRIDGE, ALBERTA. WOOD DISCUSSED HER MOTHER’S TIME IN THE ORDER OF ROYAL PURPLE, STATING, “SHE CONSIDERS [THESE OBJECTS IN ACTIVE USE]. SHE IS VERY MUCH A PERSON WHO VALUES THAT SOCIETY. IT HELPED HER A NUMBER OF TIMES. AS YOU GROW OLDER, ALL OF A SUDDEN YOU DISCOVER THAT YOUR BRAIN ISN’T AS ACTIVE AS IT SHOULD BE AND THE MEMORY IS GOING. SHE WOULD PUT HERSELF INTO POSITIONS WITHIN THE ORGANIZATION INCLUDING BEING PRESIDENT, THREE OR FOUR TIMES. SHE HAD TO BE AN ORGANIZER, SHE HAD TO GET HER BRAIN AND KEEP HER BRAIN FUNCTIONING, WHICH I THOUGHT WAS VERY ADMIRABLE FOR A WOMAN HER AGE BECAUSE…SHE WAS IN HER EIGHTIES. SHE RECEIVED HER 50 YEAR PIN, I THINK IT WAS TWO YEARS AGO OR THREE.” “SHE JOINED [THE ORDER OF ROYAL PURPLE] IN BRANDON, MANITOBA WHERE [MY PARENTS] WERE LIVING AT THE TIME, AND MY DAD RETIRED THERE. THEY MOVED HERE TO LETHBRIDGE BECAUSE MY BROTHER LIVED HERE, AND MY UNCLE ART GOOD…HE LIVED HERE AND THEY WANTED TO BE CLOSER TO FAMILY. THEY MOVED TO LETHBRIDGE AND MY DAD DIED SHORTLY AFTER THAT.” “[SHE JOINED] BECAUSE OF HER FRIENDS. SHE HAD A FRIENDSHIP GROUP AND THEY BELONGED. THEY RECRUITED HER.” “WHEN SHE WAS VERY ACTIVE, SHE WAS A MAJOR RECRUITER. SHE WENT OUT AND FOUND YOUNG WOMEN BUT THEY FELL BY THE WAYSIDE BECAUSE OF LIFE. SHE WAS CERTAINLY VERY ACTIVE IN THEIR PROJECTS, ONE OF WHICH WAS FINDING FINANCES TO EDUCATE YOUNG PEOPLE. WHATEVER THEY WERE [DOING], SHE WAS INTO IT FULL TILT BECAUSE THAT’S THE KIND OF PERSON SHE IS…WHATEVER SHE DOES IS FULL BLAST, FULL BORE. SHE NEVER TOLD ME ANY DETAILS ABOUT THE SOCIETY BECAUSE IT’S ONE OF THOSE SECRET SISTERHOODS. SHE WAS ALWAYS VERY PROUD TO BE A MEMBER OF IT.” “THIS [CHAPTER] DID A LOT OF EDUCATIONAL SUPPORT…SHE TRAVELED WITH THEM BECAUSE IT WAS A CANADIAN ORGANIZATION, SO THEY HAD THEIR ANNUAL GENERAL MEETINGS ALL OVER CANADA. SHE CAME OUT TO VANCOUVER TO A MEETING AND I WENT OVER TO VANCOUVER TO MEET HER AND SAY “HOWDY”. SHE WENT OUT TO THE PREMIER’S, AT THAT TIME WAS VANDER ZALM, AND HE HAD THE BIG GARDENS OUT NEAR STEVESTON. SHE WENT OUT THERE AND SHE MET HIM.” “A YEAR AGO ABOUT THIS TIME, THAT’S WHEN [THE ORDER WAS] FOLDING. THE ALBERTA CLUBS WERE ALL IMPLODING, AND I THINK THERE’S ONLY ONE LEFT IN SOUTHERN ALBERTA. IT WAS THE ISSUE THAT THEY WERE ALL OLD PEOPLE AND YOUNG PEOPLE DID NOT WANT TO JOIN THESE KINDS OF ORGANIZATIONS ANY LONGER…[THIS HAPPENED BECAUSE] I THINK WE HAVE MORE LEGAL SUPPORT. THE GOVERNMENT HAS SET UP HEALTH CARE, COMMUNITIES HAVE SET UP ASSISTANCE FOR WOMEN WHO ARE ABUSED, THERE’S DRUG ASSISTANCE. THERE IS MUCH MORE ASSISTANCE AVAILABLE. IN THE EARLY DAYS ON THE PRAIRIES, IF YOU DIDN’T KNOW YOUR NEXT DOOR NEIGHBOR, WHO MIGHT BE TWENTY MILES AWAY, YOU WERE IN DEEP DOO-DOO IF YOU HAD A BIG PROBLEM. THAT’S WHAT THESE SOCIETIES CAME OUT OF WAS THAT NEED. THE NEED PRETTY WELL HAS BEEN TAKEN CARE OF, I THINK. THERE ARE STILL CLUBS BUT THEY’RE DIFFERENT KINDS OF CLUBS NOW.” WHEN ASKED ABOUT HER MOTIVATION FOR DONATING HER MOTHER’S REGALIA TO THE MUSEUM, WOOD NOTED, “MY MOTHER HAS TURNED 99 YEARS OLD IN JANUARY. SHE HAS DEMENTIA AND SO WE’VE HAD TO MOVE HER FROM HER SENIOR’S LODGE ROOM INTO A MORE SECURE ROOM. CONSEQUENTLY THE LAST OF THE THINGS THAT SHE TREASURED OR VALUED MUST BE DISPERSED. MY BROTHER AND I DECIDED THAT, SINCE THE ELKS AND THE ROYAL PURPLE MEANT SO MUCH TO HER, THAT [THESE WERE] THE [OBJECTS] WE WOULD LIKE TO DONATE TO THE MUSEUM. IT DEPICTS A PERIOD OF TIME WHEN THE WOMEN USED THESE ASSOCIATIONS AS A SUPPORT GROUP FOR THEMSELVES. IT WAS ANOTHER ONE OF THESE SECRET SOCIETIES, WHEN IN FACT THEY WERE SISTERHOODS. THEY WERE MEANT MAINLY FOR THEM TO HAVE PEOPLE TO SUPPORT EACH OTHER. SINCE THIS ORGANIZATION HAS BASICALLY COLLAPSED, I THOUGHT IT WAS SOMETHING THAT THE MUSEUM SHOULD HAVE BECAUSE IT DOES SHOW THAT PERIOD OF TIME IN THE SOCIAL HISTORY OF CANADA.” FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTIONS, PLEASE SEE THE PERMANENT FILE P20170007001-GA.
Catalogue Number
P20170007002
Acquisition Date
2017-02
Collection
Museum
Images
Less detail
Date Range From
1980
Date Range To
2015
Material Type
Artifact
Materials
POLYESTER, COTTON
Catalogue Number
P20170007003
  1 image  
Material Type
Artifact
Date Range From
1980
Date Range To
2015
Materials
POLYESTER, COTTON
No. Pieces
1
Length
71.5
Width
40
Description
WHITE PLEATED SKIRT WITH ELASTIC WAIST; INSIDE BACK OF SKIRT HAS GREY TAG WITH BLACK TEXT “TRADITION, SEARS”. WHITE TAG UNDERNEATH HAS BLACK AND RED TEXT “100% POLYESTER, CA – 02945, MODELE/STYLE 207902, LOT, 2 ½, TAILLE/SIZE, 16, FABRIQUE AU/MADE IN CANADA, EXCLUSIVE OF TRIM”. FRONT OF SKIRT IS STAINED ON RIGHT-WEARING AND LEFT-WEARING SIDES; OVERALL VERY GOOD CONDITION.
Subjects
CLOTHING-OUTERWEAR
Historical Association
ASSOCIATIONS
PERSONAL CARE
History
ON FEBRUARY 22, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED WILMA WOOD, DAUGHTER OF DOROTHY TAYLOR, ABOUT HER DONATION OF TAYLOR’S ORDER OF ROYAL PURPLE REGALIA. THE REGALIA REPRESENTED TAYLOR’S 50-YEAR INVOLVEMENT WITH THE ORDER OF ROYAL PURPLE FROM BRANDON, MANITOBA TO LETHBRIDGE, ALBERTA. WOOD DISCUSSED HER MOTHER’S TIME IN THE ORDER OF ROYAL PURPLE, STATING, “SHE CONSIDERS [THESE OBJECTS IN ACTIVE USE]. SHE IS VERY MUCH A PERSON WHO VALUES THAT SOCIETY. IT HELPED HER A NUMBER OF TIMES. AS YOU GROW OLDER, ALL OF A SUDDEN YOU DISCOVER THAT YOUR BRAIN ISN’T AS ACTIVE AS IT SHOULD BE AND THE MEMORY IS GOING. SHE WOULD PUT HERSELF INTO POSITIONS WITHIN THE ORGANIZATION INCLUDING BEING PRESIDENT, THREE OR FOUR TIMES. SHE HAD TO BE AN ORGANIZER, SHE HAD TO GET HER BRAIN AND KEEP HER BRAIN FUNCTIONING, WHICH I THOUGHT WAS VERY ADMIRABLE FOR A WOMAN HER AGE BECAUSE…SHE WAS IN HER EIGHTIES. SHE RECEIVED HER 50 YEAR PIN, I THINK IT WAS TWO YEARS AGO OR THREE.” “SHE JOINED [THE ORDER OF ROYAL PURPLE] IN BRANDON, MANITOBA WHERE [MY PARENTS] WERE LIVING AT THE TIME, AND MY DAD RETIRED THERE. THEY MOVED HERE TO LETHBRIDGE BECAUSE MY BROTHER LIVED HERE, AND MY UNCLE ART GOOD…HE LIVED HERE AND THEY WANTED TO BE CLOSER TO FAMILY. THEY MOVED TO LETHBRIDGE AND MY DAD DIED SHORTLY AFTER THAT.” “[SHE JOINED] BECAUSE OF HER FRIENDS. SHE HAD A FRIENDSHIP GROUP AND THEY BELONGED. THEY RECRUITED HER.” “WHEN SHE WAS VERY ACTIVE, SHE WAS A MAJOR RECRUITER. SHE WENT OUT AND FOUND YOUNG WOMEN BUT THEY FELL BY THE WAYSIDE BECAUSE OF LIFE. SHE WAS CERTAINLY VERY ACTIVE IN THEIR PROJECTS, ONE OF WHICH WAS FINDING FINANCES TO EDUCATE YOUNG PEOPLE. WHATEVER THEY WERE [DOING], SHE WAS INTO IT FULL TILT BECAUSE THAT’S THE KIND OF PERSON SHE IS…WHATEVER SHE DOES IS FULL BLAST, FULL BORE. SHE NEVER TOLD ME ANY DETAILS ABOUT THE SOCIETY BECAUSE IT’S ONE OF THOSE SECRET SISTERHOODS. SHE WAS ALWAYS VERY PROUD TO BE A MEMBER OF IT.” “THIS [CHAPTER] DID A LOT OF EDUCATIONAL SUPPORT…SHE TRAVELED WITH THEM BECAUSE IT WAS A CANADIAN ORGANIZATION, SO THEY HAD THEIR ANNUAL GENERAL MEETINGS ALL OVER CANADA. SHE CAME OUT TO VANCOUVER TO A MEETING AND I WENT OVER TO VANCOUVER TO MEET HER AND SAY “HOWDY”. SHE WENT OUT TO THE PREMIER’S, AT THAT TIME WAS VANDER ZALM, AND HE HAD THE BIG GARDENS OUT NEAR STEVESTON. SHE WENT OUT THERE AND SHE MET HIM.” “A YEAR AGO ABOUT THIS TIME, THAT’S WHEN [THE ORDER WAS] FOLDING. THE ALBERTA CLUBS WERE ALL IMPLODING, AND I THINK THERE’S ONLY ONE LEFT IN SOUTHERN ALBERTA. IT WAS THE ISSUE THAT THEY WERE ALL OLD PEOPLE AND YOUNG PEOPLE DID NOT WANT TO JOIN THESE KINDS OF ORGANIZATIONS ANY LONGER…[THIS HAPPENED BECAUSE] I THINK WE HAVE MORE LEGAL SUPPORT. THE GOVERNMENT HAS SET UP HEALTH CARE, COMMUNITIES HAVE SET UP ASSISTANCE FOR WOMEN WHO ARE ABUSED, THERE’S DRUG ASSISTANCE. THERE IS MUCH MORE ASSISTANCE AVAILABLE. IN THE EARLY DAYS ON THE PRAIRIES, IF YOU DIDN’T KNOW YOUR NEXT DOOR NEIGHBOR, WHO MIGHT BE TWENTY MILES AWAY, YOU WERE IN DEEP DOO-DOO IF YOU HAD A BIG PROBLEM. THAT’S WHAT THESE SOCIETIES CAME OUT OF WAS THAT NEED. THE NEED PRETTY WELL HAS BEEN TAKEN CARE OF, I THINK. THERE ARE STILL CLUBS BUT THEY’RE DIFFERENT KINDS OF CLUBS NOW.” WHEN ASKED ABOUT HER MOTIVATION FOR DONATING HER MOTHER’S REGALIA TO THE MUSEUM, WOOD NOTED, “MY MOTHER HAS TURNED 99 YEARS OLD IN JANUARY. SHE HAS DEMENTIA AND SO WE’VE HAD TO MOVE HER FROM HER SENIOR’S LODGE ROOM INTO A MORE SECURE ROOM. CONSEQUENTLY THE LAST OF THE THINGS THAT SHE TREASURED OR VALUED MUST BE DISPERSED. MY BROTHER AND I DECIDED THAT, SINCE THE ELKS AND THE ROYAL PURPLE MEANT SO MUCH TO HER, THAT [THESE WERE] THE [OBJECTS] WE WOULD LIKE TO DONATE TO THE MUSEUM. IT DEPICTS A PERIOD OF TIME WHEN THE WOMEN USED THESE ASSOCIATIONS AS A SUPPORT GROUP FOR THEMSELVES. IT WAS ANOTHER ONE OF THESE SECRET SOCIETIES, WHEN IN FACT THEY WERE SISTERHOODS. THEY WERE MEANT MAINLY FOR THEM TO HAVE PEOPLE TO SUPPORT EACH OTHER. SINCE THIS ORGANIZATION HAS BASICALLY COLLAPSED, I THOUGHT IT WAS SOMETHING THAT THE MUSEUM SHOULD HAVE BECAUSE IT DOES SHOW THAT PERIOD OF TIME IN THE SOCIAL HISTORY OF CANADA.” FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTIONS, PLEASE SEE THE PERMANENT FILE P20170007001-GA.
Catalogue Number
P20170007003
Acquisition Date
2017-02
Collection
Museum
Images
Less detail
Date Range From
2000
Date Range To
2015
Material Type
Artifact
Materials
COTTON, PLASTIC, METAL
Catalogue Number
P20170007004
  2 images  
Material Type
Artifact
Date Range From
2000
Date Range To
2015
Materials
COTTON, PLASTIC, METAL
No. Pieces
1
Length
71
Width
23
Description
WHITE PURSE WITH GOLD-COLOURED METAL FINISHING AND WHITE SHOULDER STRAP; PURSE CLOSES WITH GOLD-COLOURED BUTTON ON FRONT. FRONT OF PURSE HAS WHITE AND GOLD METAL TRIM ALONG EDGE OF CLOSING FLAP. INSIDE OF PURSE HAS SMALL ZIPPER COMPARTMENT WITH WHITE AND GOLD ZIPPER, AND A WHITE TAG READING “MADE IN CHINA”. FRONT OF INSIDE HAS RED STAIN; INSIDE ON FRONT OF ZIPPER COMPARTMENT IS A SMALL BROWN STAIN. OUTSIDE OF PURSE IS WORN WITH STAINING ON FRONT AND BACK NEAR TOP. OVERALL VERY GOOD CONDITION.
Subjects
PERSONAL GEAR
Historical Association
ASSOCIATIONS
PERSONAL CARE
History
ON FEBRUARY 22, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED WILMA WOOD, DAUGHTER OF DOROTHY TAYLOR, ABOUT HER DONATION OF TAYLOR’S ORDER OF ROYAL PURPLE REGALIA. THE REGALIA REPRESENTED TAYLOR’S 50-YEAR INVOLVEMENT WITH THE ORDER OF ROYAL PURPLE FROM BRANDON, MANITOBA TO LETHBRIDGE, ALBERTA. ON THE PURSE, WOOD NOTED, “THIS WAS THE OFFICIAL OUTFIT. I KNOW THAT SOME OF THEM, DEPENDING ON WHAT POSITION THEY HELD WITHIN THE CLUB, THEY WOULD WEAR ALL WHITE.” WOOD DISCUSSED HER MOTHER’S TIME IN THE ORDER OF ROYAL PURPLE, STATING, “SHE CONSIDERS [THESE OBJECTS IN ACTIVE USE]. SHE IS VERY MUCH A PERSON WHO VALUES THAT SOCIETY. IT HELPED HER A NUMBER OF TIMES. AS YOU GROW OLDER, ALL OF A SUDDEN YOU DISCOVER THAT YOUR BRAIN ISN’T AS ACTIVE AS IT SHOULD BE AND THE MEMORY IS GOING. SHE WOULD PUT HERSELF INTO POSITIONS WITHIN THE ORGANIZATION INCLUDING BEING PRESIDENT, THREE OR FOUR TIMES. SHE HAD TO BE AN ORGANIZER, SHE HAD TO GET HER BRAIN AND KEEP HER BRAIN FUNCTIONING, WHICH I THOUGHT WAS VERY ADMIRABLE FOR A WOMAN HER AGE BECAUSE…SHE WAS IN HER EIGHTIES. SHE RECEIVED HER 50 YEAR PIN, I THINK IT WAS TWO YEARS AGO OR THREE.” “SHE JOINED [THE ORDER OF ROYAL PURPLE] IN BRANDON, MANITOBA WHERE [MY PARENTS] WERE LIVING AT THE TIME, AND MY DAD RETIRED THERE. THEY MOVED HERE TO LETHBRIDGE BECAUSE MY BROTHER LIVED HERE, AND MY UNCLE ART GOOD…HE LIVED HERE AND THEY WANTED TO BE CLOSER TO FAMILY. THEY MOVED TO LETHBRIDGE AND MY DAD DIED SHORTLY AFTER THAT.” “[SHE JOINED] BECAUSE OF HER FRIENDS. SHE HAD A FRIENDSHIP GROUP AND THEY BELONGED. THEY RECRUITED HER.” “WHEN SHE WAS VERY ACTIVE, SHE WAS A MAJOR RECRUITER. SHE WENT OUT AND FOUND YOUNG WOMEN BUT THEY FELL BY THE WAYSIDE BECAUSE OF LIFE. SHE WAS CERTAINLY VERY ACTIVE IN THEIR PROJECTS, ONE OF WHICH WAS FINDING FINANCES TO EDUCATE YOUNG PEOPLE. WHATEVER THEY WERE [DOING], SHE WAS INTO IT FULL TILT BECAUSE THAT’S THE KIND OF PERSON SHE IS…WHATEVER SHE DOES IS FULL BLAST, FULL BORE. SHE NEVER TOLD ME ANY DETAILS ABOUT THE SOCIETY BECAUSE IT’S ONE OF THOSE SECRET SISTERHOODS. SHE WAS ALWAYS VERY PROUD TO BE A MEMBER OF IT.” “THIS [CHAPTER] DID A LOT OF EDUCATIONAL SUPPORT…SHE TRAVELED WITH THEM BECAUSE IT WAS A CANADIAN ORGANIZATION, SO THEY HAD THEIR ANNUAL GENERAL MEETINGS ALL OVER CANADA. SHE CAME OUT TO VANCOUVER TO A MEETING AND I WENT OVER TO VANCOUVER TO MEET HER AND SAY “HOWDY”. SHE WENT OUT TO THE PREMIER’S, AT THAT TIME WAS VANDER ZALM, AND HE HAD THE BIG GARDENS OUT NEAR STEVESTON. SHE WENT OUT THERE AND SHE MET HIM.” “A YEAR AGO ABOUT THIS TIME, THAT’S WHEN [THE ORDER WAS] FOLDING. THE ALBERTA CLUBS WERE ALL IMPLODING, AND I THINK THERE’S ONLY ONE LEFT IN SOUTHERN ALBERTA. IT WAS THE ISSUE THAT THEY WERE ALL OLD PEOPLE AND YOUNG PEOPLE DID NOT WANT TO JOIN THESE KINDS OF ORGANIZATIONS ANY LONGER…[THIS HAPPENED BECAUSE] I THINK WE HAVE MORE LEGAL SUPPORT. THE GOVERNMENT HAS SET UP HEALTH CARE, COMMUNITIES HAVE SET UP ASSISTANCE FOR WOMEN WHO ARE ABUSED, THERE’S DRUG ASSISTANCE. THERE IS MUCH MORE ASSISTANCE AVAILABLE. IN THE EARLY DAYS ON THE PRAIRIES, IF YOU DIDN’T KNOW YOUR NEXT DOOR NEIGHBOR, WHO MIGHT BE TWENTY MILES AWAY, YOU WERE IN DEEP DOO-DOO IF YOU HAD A BIG PROBLEM. THAT’S WHAT THESE SOCIETIES CAME OUT OF WAS THAT NEED. THE NEED PRETTY WELL HAS BEEN TAKEN CARE OF, I THINK. THERE ARE STILL CLUBS BUT THEY’RE DIFFERENT KINDS OF CLUBS NOW.” WHEN ASKED ABOUT HER MOTIVATION FOR DONATING HER MOTHER’S REGALIA TO THE MUSEUM, WOOD NOTED, “MY MOTHER HAS TURNED 99 YEARS OLD IN JANUARY. SHE HAS DEMENTIA AND SO WE’VE HAD TO MOVE HER FROM HER SENIOR’S LODGE ROOM INTO A MORE SECURE ROOM. CONSEQUENTLY THE LAST OF THE THINGS THAT SHE TREASURED OR VALUED MUST BE DISPERSED. MY BROTHER AND I DECIDED THAT, SINCE THE ELKS AND THE ROYAL PURPLE MEANT SO MUCH TO HER, THAT [THESE WERE] THE [OBJECTS] WE WOULD LIKE TO DONATE TO THE MUSEUM. IT DEPICTS A PERIOD OF TIME WHEN THE WOMEN USED THESE ASSOCIATIONS AS A SUPPORT GROUP FOR THEMSELVES. IT WAS ANOTHER ONE OF THESE SECRET SOCIETIES, WHEN IN FACT THEY WERE SISTERHOODS. THEY WERE MEANT MAINLY FOR THEM TO HAVE PEOPLE TO SUPPORT EACH OTHER. SINCE THIS ORGANIZATION HAS BASICALLY COLLAPSED, I THOUGHT IT WAS SOMETHING THAT THE MUSEUM SHOULD HAVE BECAUSE IT DOES SHOW THAT PERIOD OF TIME IN THE SOCIAL HISTORY OF CANADA.” FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTIONS, PLEASE SEE THE PERMANENT FILE P20170007001-GA.
Catalogue Number
P20170007004
Acquisition Date
2017-02
Collection
Museum
Images
Less detail
Date Range From
1980
Date Range To
2015
Material Type
Artifact
Materials
NYLON, SPANDEX, PLASTIC
Catalogue Number
P20170007005
  2 images  
Material Type
Artifact
Date Range From
1980
Date Range To
2015
Materials
NYLON, SPANDEX, PLASTIC
No. Pieces
2
Length
23
Width
8.5
Description
PAIR OF WHITE, REFLECTIVE GLOVES WITH WHITE AND OPAQUE PLASTIC BEADING ON WRISTS; BEADING FORMS FLOWER PATTERNS WITH BEADED LOOP AND TWO BEADED STRANDS FROM CENTER. TAG INSIDE LEFT HAND GLOVE READS “87.30% NYLON, 12.70% SPANDEX, MADE IN TAIWAN”. FINGERTIPS ON RIGHT HAND GLOVE STAINED RED; BEADING ON BOTH GLOVES IS STAINED RED-BROWN UNDERNEATH. OVERALL VERY GOOD CONDITION.
Subjects
CLOTHING-ACCESSORY
Historical Association
ASSOCIATIONS
PERSONAL CARE
History
ON FEBRUARY 22, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED WILMA WOOD, DAUGHTER OF DOROTHY TAYLOR, ABOUT HER DONATION OF TAYLOR’S ORDER OF ROYAL PURPLE REGALIA. THE REGALIA REPRESENTED TAYLOR’S 50-YEAR INVOLVEMENT WITH THE ORDER OF ROYAL PURPLE FROM BRANDON, MANITOBA TO LETHBRIDGE, ALBERTA. MACLEAN ADDITIONALLY INTERVIEWED ANN MARIE MCDONALD OF THE LETHBRIDGE ORDER OF ROYAL PURPLE ON JUNE 6, 2017. ON THE GLOVES, MCDONALD ELABORATED, “WE ALWAYS WORE WHITE GLOVES FOR FUNERALS, FOR WHEN OUR SUPREME CAME. IF OUR SUPREME CAME, WE ALWAYS HAD OUR DRILL TEAM…THEY WORE LONG SKIRTS, BUT THEY DIDN’T WEAR JACKETS. IF YOU WERE HONORABLE ROYAL LADY, AND YOU HAD SOMEBODY IMPORTANT COME TO VISIT YOU, YOU WORE WHITES, WHICH MEANT WHITE GLOVES. IF YOU GO TO A FUNERAL, AND YOU DRESS IN ROYAL PURPLE, YOU’D BETTER BRING YOUR WHITE GLOVES, OR PUT YOUR HANDS IN YOUR POCKETS.” WILMA WOOD DISCUSSED HER MOTHER’S TIME IN THE ORDER OF ROYAL PURPLE, STATING, “SHE CONSIDERS [THESE OBJECTS IN ACTIVE USE]. SHE IS VERY MUCH A PERSON WHO VALUES THAT SOCIETY. IT HELPED HER A NUMBER OF TIMES. AS YOU GROW OLDER, ALL OF A SUDDEN YOU DISCOVER THAT YOUR BRAIN ISN’T AS ACTIVE AS IT SHOULD BE AND THE MEMORY IS GOING. SHE WOULD PUT HERSELF INTO POSITIONS WITHIN THE ORGANIZATION INCLUDING BEING PRESIDENT, THREE OR FOUR TIMES. SHE HAD TO BE AN ORGANIZER, SHE HAD TO GET HER BRAIN AND KEEP HER BRAIN FUNCTIONING, WHICH I THOUGHT WAS VERY ADMIRABLE FOR A WOMAN HER AGE BECAUSE…SHE WAS IN HER EIGHTIES. SHE RECEIVED HER 50 YEAR PIN, I THINK IT WAS TWO YEARS AGO OR THREE.” “SHE JOINED [THE ORDER OF ROYAL PURPLE] IN BRANDON, MANITOBA WHERE [MY PARENTS] WERE LIVING AT THE TIME, AND MY DAD RETIRED THERE. THEY MOVED HERE TO LETHBRIDGE BECAUSE MY BROTHER LIVED HERE, AND MY UNCLE ART GOOD…HE LIVED HERE AND THEY WANTED TO BE CLOSER TO FAMILY. THEY MOVED TO LETHBRIDGE AND MY DAD DIED SHORTLY AFTER THAT.” “[SHE JOINED] BECAUSE OF HER FRIENDS. SHE HAD A FRIENDSHIP GROUP AND THEY BELONGED. THEY RECRUITED HER.” “WHEN SHE WAS VERY ACTIVE, SHE WAS A MAJOR RECRUITER. SHE WENT OUT AND FOUND YOUNG WOMEN BUT THEY FELL BY THE WAYSIDE BECAUSE OF LIFE. SHE WAS CERTAINLY VERY ACTIVE IN THEIR PROJECTS, ONE OF WHICH WAS FINDING FINANCES TO EDUCATE YOUNG PEOPLE. WHATEVER THEY WERE [DOING], SHE WAS INTO IT FULL TILT BECAUSE THAT’S THE KIND OF PERSON SHE IS…WHATEVER SHE DOES IS FULL BLAST, FULL BORE. SHE NEVER TOLD ME ANY DETAILS ABOUT THE SOCIETY BECAUSE IT’S ONE OF THOSE SECRET SISTERHOODS. SHE WAS ALWAYS VERY PROUD TO BE A MEMBER OF IT.” “THIS [CHAPTER] DID A LOT OF EDUCATIONAL SUPPORT…SHE TRAVELED WITH THEM BECAUSE IT WAS A CANADIAN ORGANIZATION, SO THEY HAD THEIR ANNUAL GENERAL MEETINGS ALL OVER CANADA. SHE CAME OUT TO VANCOUVER TO A MEETING AND I WENT OVER TO VANCOUVER TO MEET HER AND SAY “HOWDY”. SHE WENT OUT TO THE PREMIER’S, AT THAT TIME WAS VANDER ZALM, AND HE HAD THE BIG GARDENS OUT NEAR STEVESTON. SHE WENT OUT THERE AND SHE MET HIM.” “A YEAR AGO ABOUT THIS TIME, THAT’S WHEN [THE ORDER WAS] FOLDING. THE ALBERTA CLUBS WERE ALL IMPLODING, AND I THINK THERE’S ONLY ONE LEFT IN SOUTHERN ALBERTA. IT WAS THE ISSUE THAT THEY WERE ALL OLD PEOPLE AND YOUNG PEOPLE DID NOT WANT TO JOIN THESE KINDS OF ORGANIZATIONS ANY LONGER…[THIS HAPPENED BECAUSE] I THINK WE HAVE MORE LEGAL SUPPORT. THE GOVERNMENT HAS SET UP HEALTH CARE, COMMUNITIES HAVE SET UP ASSISTANCE FOR WOMEN WHO ARE ABUSED, THERE’S DRUG ASSISTANCE. THERE IS MUCH MORE ASSISTANCE AVAILABLE. IN THE EARLY DAYS ON THE PRAIRIES, IF YOU DIDN’T KNOW YOUR NEXT DOOR NEIGHBOR, WHO MIGHT BE TWENTY MILES AWAY, YOU WERE IN DEEP DOO-DOO IF YOU HAD A BIG PROBLEM. THAT’S WHAT THESE SOCIETIES CAME OUT OF WAS THAT NEED. THE NEED PRETTY WELL HAS BEEN TAKEN CARE OF, I THINK. THERE ARE STILL CLUBS BUT THEY’RE DIFFERENT KINDS OF CLUBS NOW.” WHEN ASKED ABOUT HER MOTIVATION FOR DONATING HER MOTHER’S REGALIA TO THE MUSEUM, WOOD NOTED, “MY MOTHER HAS TURNED 99 YEARS OLD IN JANUARY. SHE HAS DEMENTIA AND SO WE’VE HAD TO MOVE HER FROM HER SENIOR’S LODGE ROOM INTO A MORE SECURE ROOM. CONSEQUENTLY THE LAST OF THE THINGS THAT SHE TREASURED OR VALUED MUST BE DISPERSED. MY BROTHER AND I DECIDED THAT, SINCE THE ELKS AND THE ROYAL PURPLE MEANT SO MUCH TO HER, THAT [THESE WERE] THE [OBJECTS] WE WOULD LIKE TO DONATE TO THE MUSEUM. IT DEPICTS A PERIOD OF TIME WHEN THE WOMEN USED THESE ASSOCIATIONS AS A SUPPORT GROUP FOR THEMSELVES. IT WAS ANOTHER ONE OF THESE SECRET SOCIETIES, WHEN IN FACT THEY WERE SISTERHOODS. THEY WERE MEANT MAINLY FOR THEM TO HAVE PEOPLE TO SUPPORT EACH OTHER. SINCE THIS ORGANIZATION HAS BASICALLY COLLAPSED, I THOUGHT IT WAS SOMETHING THAT THE MUSEUM SHOULD HAVE BECAUSE IT DOES SHOW THAT PERIOD OF TIME IN THE SOCIAL HISTORY OF CANADA.” FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTIONS, PLEASE SEE THE PERMANENT FILE P20170007001-GA.
Catalogue Number
P20170007005
Acquisition Date
2017-02
Collection
Museum
Images
Less detail
Date Range From
1970
Date Range To
2015
Material Type
Artifact
Materials
COTTON, POLYESTER, PLASTIC
Catalogue Number
P20170007007
  2 images  
Material Type
Artifact
Date Range From
1970
Date Range To
2015
Materials
COTTON, POLYESTER, PLASTIC
No. Pieces
2
Height
5.5
Diameter
19
Description
A. PURPLE ROUND CAP WITH PURPLE AND WHITE TASSEL ATTACHED TO CENTER BUTTON. INSIDE OF CAP HAS BLACK VELCRO STRIP STAPLED TO BROWN LEATHER LINING, AND BLACK DOUBLE-ELASTIC STRAP ATTACHED. WHITE TAG INSIDE CAP READS “LOT. MEDIUM” WITH HANDWRITTEN INSCRIPTION IN BLUE INK “D. TAYLOR”. HAT HAS TWO PINS ON FRONT, ONE DIAMOND-SHAPED WITH RHINESTONE EDGING AND A STAG WITH PURPLE EYES IN THE CENTER, OVERALL EXCELLENT CONDITION; SECOND PIN COMPRISED OF FOURTEEN RHINESTONES ATTACHED WITH METAL CASINGS WITH TWO PIN ENDS AND PIN BACKINGS ATTACHED, OVERALL VERY GOOD CONDITION. BOTH PINS HAS SILVER-COLOURED FINISHING; RHINESTONE-CHAIN PIN HAS TARNISHING ON PIN ENDS. INSIDE OF CAP HAS STAINS ALONG BACK EDGE AND ON INSIDE LINING; OVERALL VERY GOOD CONDITION. B. HAT BAG, 33CM LONG X 22.5CM WIDE X 6.4CM DEEP, GREY EXTERIOR WITH BLACK, VINYL INTERIOR; HANDLE STITCHED TO TOP OF BAG. TOP FLAP ON BAG SECURES WITH BLACK AND SILVER SNAP BUTTON. INSIDE OF BAG HAS PAPER CARD INSERTED IN PLASTIC SLEEVE THAT READS “NAME DOROTHY TAYLOR, STREET 403 515-6 ST. S, TOWN LETHBRIDGE, PROV. ALTA, PHONE 8-9867, O.O.R.P. LODGE NO. 32”. RIGHT SIDE OF BAG INSIDE HAS GOLD “O.O.R.P.” DIAMOND SEAL WITH ELK IN CENTER. BAG HAS ROUNDED BASE; UPPER FLAP IS CURLED OUT AND BENT, AND TORN AT LOWER RIGHT AND LEFT CORNERS WHERE ATTACHED TO THE BAG; OVERALL VERY GOOD CONDITION.
Subjects
CLOTHING-HEADWEAR
Historical Association
ASSOCIATIONS
PERSONAL CARE
History
ON FEBRUARY 22, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED WILMA WOOD, DAUGHTER OF DOROTHY TAYLOR, ABOUT HER DONATION OF TAYLOR’S ORDER OF ROYAL PURPLE REGALIA. THE REGALIA REPRESENTED TAYLOR’S 50-YEAR INVOLVEMENT WITH THE ORDER OF ROYAL PURPLE FROM BRANDON, MANITOBA TO LETHBRIDGE, ALBERTA. MACLEAN ADDITIONALLY INTERVIEWED ANN MARIE MCDONALD OF THE LETHBRIDGE ORDER OF ROYAL PURPLE ON JUNE 6, 2017. ON THE HAT AND HAT BAG, MCDONALD ELABORATED, “WHEN YOU JOIN THE LODGE, THIS IS THE HAT YOU GET. THIS IS STANDARD. ALL THE LADIES GET THIS. WHEN YOU JOIN THE LODGE, YOUR TASSEL IS JUST PURPLE. WHEN YOU ARE HONORABLE ROYAL LADY, YOU TAKE YOUR TASSEL OFF, AND YOU PUT THIS [PURPLE AND CREAM] TASSEL ON.” “[THE BAG] MUST BE FROM BRANDON. OUR HAT BOXES ARE WHITE, AND THEY ARE HARD, AND YOU PUT YOUR HAT IN. [THEN] YOU TIP YOUR HAT UP, AND YOU PUT YOUR GLOVES AND ANYTHING THAT YOU WANT TO STORE IN THE HAT BOX. THE HAT BOXES ARE QUITE A BIT BIGGER…THEY HAVE A HANDLE ON THEM SO YOU CAN…CARRY THEM. EVERYBODY USED TO KEEP THEIR GLOVES IN THEIR HAT BOX.” WOOD DISCUSSED HER MOTHER’S TIME IN THE ORDER OF ROYAL PURPLE, STATING, “SHE CONSIDERS [THESE OBJECTS IN ACTIVE USE]. SHE IS VERY MUCH A PERSON WHO VALUES THAT SOCIETY. IT HELPED HER A NUMBER OF TIMES. AS YOU GROW OLDER, ALL OF A SUDDEN YOU DISCOVER THAT YOUR BRAIN ISN’T AS ACTIVE AS IT SHOULD BE AND THE MEMORY IS GOING. SHE WOULD PUT HERSELF INTO POSITIONS WITHIN THE ORGANIZATION INCLUDING BEING PRESIDENT, THREE OR FOUR TIMES. SHE HAD TO BE AN ORGANIZER, SHE HAD TO GET HER BRAIN AND KEEP HER BRAIN FUNCTIONING, WHICH I THOUGHT WAS VERY ADMIRABLE FOR A WOMAN HER AGE BECAUSE…SHE WAS IN HER EIGHTIES. SHE RECEIVED HER 50 YEAR PIN, I THINK IT WAS TWO YEARS AGO OR THREE.” “SHE JOINED [THE ORDER OF ROYAL PURPLE] IN BRANDON, MANITOBA WHERE [MY PARENTS] WERE LIVING AT THE TIME, AND MY DAD RETIRED THERE. THEY MOVED HERE TO LETHBRIDGE BECAUSE MY BROTHER LIVED HERE, AND MY UNCLE ART GOOD…HE LIVED HERE AND THEY WANTED TO BE CLOSER TO FAMILY. THEY MOVED TO LETHBRIDGE AND MY DAD DIED SHORTLY AFTER THAT.” “[SHE JOINED] BECAUSE OF HER FRIENDS. SHE HAD A FRIENDSHIP GROUP AND THEY BELONGED. THEY RECRUITED HER.” “WHEN SHE WAS VERY ACTIVE, SHE WAS A MAJOR RECRUITER. SHE WENT OUT AND FOUND YOUNG WOMEN BUT THEY FELL BY THE WAYSIDE BECAUSE OF LIFE. SHE WAS CERTAINLY VERY ACTIVE IN THEIR PROJECTS, ONE OF WHICH WAS FINDING FINANCES TO EDUCATE YOUNG PEOPLE. WHATEVER THEY WERE [DOING], SHE WAS INTO IT FULL TILT BECAUSE THAT’S THE KIND OF PERSON SHE IS…WHATEVER SHE DOES IS FULL BLAST, FULL BORE. SHE NEVER TOLD ME ANY DETAILS ABOUT THE SOCIETY BECAUSE IT’S ONE OF THOSE SECRET SISTERHOODS. SHE WAS ALWAYS VERY PROUD TO BE A MEMBER OF IT.” “THIS [CHAPTER] DID A LOT OF EDUCATIONAL SUPPORT…SHE TRAVELED WITH THEM BECAUSE IT WAS A CANADIAN ORGANIZATION, SO THEY HAD THEIR ANNUAL GENERAL MEETINGS ALL OVER CANADA. SHE CAME OUT TO VANCOUVER TO A MEETING AND I WENT OVER TO VANCOUVER TO MEET HER AND SAY “HOWDY”. SHE WENT OUT TO THE PREMIER’S, AT THAT TIME WAS VANDER ZALM, AND HE HAD THE BIG GARDENS OUT NEAR STEVESTON. SHE WENT OUT THERE AND SHE MET HIM.” “A YEAR AGO ABOUT THIS TIME, THAT’S WHEN [THE ORDER WAS] FOLDING. THE ALBERTA CLUBS WERE ALL IMPLODING, AND I THINK THERE’S ONLY ONE LEFT IN SOUTHERN ALBERTA. IT WAS THE ISSUE THAT THEY WERE ALL OLD PEOPLE AND YOUNG PEOPLE DID NOT WANT TO JOIN THESE KINDS OF ORGANIZATIONS ANY LONGER…[THIS HAPPENED BECAUSE] I THINK WE HAVE MORE LEGAL SUPPORT. THE GOVERNMENT HAS SET UP HEALTH CARE, COMMUNITIES HAVE SET UP ASSISTANCE FOR WOMEN WHO ARE ABUSED, THERE’S DRUG ASSISTANCE. THERE IS MUCH MORE ASSISTANCE AVAILABLE. IN THE EARLY DAYS ON THE PRAIRIES, IF YOU DIDN’T KNOW YOUR NEXT DOOR NEIGHBOR, WHO MIGHT BE TWENTY MILES AWAY, YOU WERE IN DEEP DOO-DOO IF YOU HAD A BIG PROBLEM. THAT’S WHAT THESE SOCIETIES CAME OUT OF WAS THAT NEED. THE NEED PRETTY WELL HAS BEEN TAKEN CARE OF, I THINK. THERE ARE STILL CLUBS BUT THEY’RE DIFFERENT KINDS OF CLUBS NOW.” WHEN ASKED ABOUT HER MOTIVATION FOR DONATING HER MOTHER’S REGALIA TO THE MUSEUM, WOOD NOTED, “MY MOTHER HAS TURNED 99 YEARS OLD IN JANUARY. SHE HAS DEMENTIA AND SO WE’VE HAD TO MOVE HER FROM HER SENIOR’S LODGE ROOM INTO A MORE SECURE ROOM. CONSEQUENTLY THE LAST OF THE THINGS THAT SHE TREASURED OR VALUED MUST BE DISPERSED. MY BROTHER AND I DECIDED THAT, SINCE THE ELKS AND THE ROYAL PURPLE MEANT SO MUCH TO HER, THAT [THESE WERE] THE [OBJECTS] WE WOULD LIKE TO DONATE TO THE MUSEUM. IT DEPICTS A PERIOD OF TIME WHEN THE WOMEN USED THESE ASSOCIATIONS AS A SUPPORT GROUP FOR THEMSELVES. IT WAS ANOTHER ONE OF THESE SECRET SOCIETIES, WHEN IN FACT THEY WERE SISTERHOODS. THEY WERE MEANT MAINLY FOR THEM TO HAVE PEOPLE TO SUPPORT EACH OTHER. SINCE THIS ORGANIZATION HAS BASICALLY COLLAPSED, I THOUGHT IT WAS SOMETHING THAT THE MUSEUM SHOULD HAVE BECAUSE IT DOES SHOW THAT PERIOD OF TIME IN THE SOCIAL HISTORY OF CANADA.” FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTIONS, PLEASE SEE THE PERMANENT FILE P20170007001-GA.
Catalogue Number
P20170007007
Acquisition Date
2017-02
Collection
Museum
Images
Less detail
Other Name
"ZOLL M" DEFIBRILLATOR
Date Range From
2000
Date Range To
2010
Material Type
Artifact
Materials
PLASTIC, POLYESTER, COTTON
Catalogue Number
P20170016000
  2 images  
Material Type
Artifact
Other Name
"ZOLL M" DEFIBRILLATOR
Date Range From
2000
Date Range To
2010
Materials
PLASTIC, POLYESTER, COTTON
No. Pieces
15
Height
35
Length
36.5
Width
42
Description
A. BLUE, WHITE AND GREY HEART MONITOR AND DEFIBRILLATOR FIXED WITH THREE BLACK ZIPPER POUCHES. DEFIBRILLATOR HAS BLACK HANDLE AT TOP, SQUARE BODY WITH BLUE TRIM AND GREY AND WHITE FRONT; DEFIBRILLATOR HAS BLACK CORD CONNECTED TO RIGHT SIDE POUCH WITH GREEN BLOOD PRESSURE CUFF ATTACHED; LEFT SIDE OF DEFIBRILLATOR HAS BLACK CORD INSIDE LEFT POUCH ATTACHED TO BACK OF DEFIBRILLATOR. LEFT BLACK CORD IS CONNECTED TO A BLACK BOX WITH WHITE LABEL AND BLACK TEXT “8000-1006-02, V1-V6, ZOLL, LL LA RA RL” WITH FOUR BLACK CORDS FIXED TO BOX. FOUR CORDS HAVE WHITE, RED, GREEN AND BLACK NODES ON ENDS LABELLED “RA”, “LL”, “RL”, “LA”. BACK OF DEFIBRILLATOR HAS GREY, BLUE, AND WHITE AND RED CORDS ATTACHED. WHITE AND RED CORD ATTACHES TO “CPR STAT-PADZ” INSIDE BACK POUCH; BLUE CORD ATTACHES TO PULSE OXIMETER INSIDE BACK POUCH. “CPR STAT-PADZ” CONTAINED IN GREY PLASTIC BAG, UNOPENED, WITH WHITE AND RED LABEL “CPR STAT-PADZ, ADULT ELECTRODES WITH REAL CPR HELP, MULTIFUNCTION DEFIBRILLATION CARDIOVERSION CPR FEEDBACK NON-INVASIVE PACING ECG MONITORING, ZOLL MEDICAL CORPORATION, 269 MILL ROAD, CHELMSFORD, MA 01824-4105 USA, 800-348-9011, ZOLL INTERNATIONAL HOLDING B.V., NEWTONWEG 18 6662 PV ELST, THE NETHERLANDS TEL. +31 (0) 481 366410, LOT 1216, REF 8900-0402, 2018-03-19, U.S. PAT. NO’S. 7,074, 199 7,108,665 5,330,526 7,118,542 7,122,014 5,462,157”. RIGHT SIDE POUCH HAS WHITE TEXT “ZOLL” ON FRONT; BACK POUCH HAS WHITE TEXT “SPARE BATTERY STORAGE” ON FRONT; LEFT SIDE POUCH HAS WHITE TEXT “ZOLL” ON FRONT. FRONT OF DEFIBRILLATOR HAS WHITE TEXT ON TOP BLUE TRIM “ZOLL M SERIES, XL BATTERY” AND ON BLUE TRIM ON TOP OF FRONT FACE OF DEFIBRILLATOR “ZOLL M SERIES, RESCUENET READY, 12SL PROGRAM, BLUETOOTH, BIPHASIC 200 JOULES MAX”. FRONT OF DEFIBRILLATOR HAS SCREEN WITH FIVE WHITE ROUND BUTTONS BELOW AND VOLUME BUTTON, BRIGHTNESS/DARKNESS BUTTON, “SUMMARY” BUTTON, “CODE MARKER” BUTTON, AND “NIBP” BUTTON. FRONT HAS BLACK “PACER OUTPUT MA” AND “PACER RATE PPM” EMBEDDED IN GREEN CIRCLES. FRONT HAS RED “1 DEFIB” BUTTONS MARKED “CHARGE”, “ANALYZE”, “ENERGY SELECT”, AND “SHOCK”. FRONT HAS GREY BUTTONS WITH BLACK TEXT “LEAD”, “SIZE”, “ALARM SUSPEND”, AND “RECORDER” BESIDE GREY BUTTON WITH WHITE TEXT “MONITOR”. FRONT HAS A BLACK DIAL WITH WHITE MARKER TO TURN TO LABELS “OFF” BLACK WITH WHITE TEXT, “MONITOR” GREY WITH WHITE TEXT, “1 DEFIB” RED WITH WHITE TEXT” AND “PACER” GREEN WITH WHITE TEXT. TOP OF MONITOR BELOW HANDLE HAS WHITE LABEL WITH RED TEXT “RV 1 STN 1”. MONITOR HAS FADED TEXT ON FRONT LABEL AND SOILING AT TOP; OVERALL VERY GOOD CONDITION. B. PLASTIC BAG (20.2CM LONG X 18.2CM WIDE) WITH GREEN AND WHITE OPAQUE TUBE INSIDE TIED WITH WHITE CLOTH TAPE; END OF WHITE TUBE HAS ORANGE TIP WITH WINGS. BAG HAS WHITE LABEL WITH BLACK TEXT “MICROSTREAM, SMART CAPNOLINE PLUS O2, ADULT/INTERMEDIATE CO2 ORAL/NASAL SAMPLING SET WITH O2 TUBING, REF 009822, REF 010210, LENGTH 2M/7FT, ORIDION, THIS PRODUCT IS COVERED BY ONE OR MORE OF THE FOLLOWING US PATENTS: 6,422,240; 5,857,461; 6,437,316 6,926,005; 5,657,750; 7,383,839; 7,500,483; AND THEIR FOREIGN EQUIVALENTS. ADDITIONAL PATENT APPLICATIONS PENDING”. TOP OF PLASTIC BAG HAS BLACK STAMP “LOT 15F0235JZ”. OVERALL EXCELLENT CONDITION. C. GOLD PLASTIC BAG (21.4CM LONG X 19CM WIDE) WITH BLUE BANNER AT BOTTOM AND WHITE TEXT “CARDIOLOGY” ON FRONT. FRONT HAS FADED BLACK TEXT AND FADED WHITE AND BLACK BARCODE. TOP OF BAG IT SEALED WITH WHITE COTTON TAPE ALONG BACK AND SIDES; BOTTOM RIGHT CORNER OF BAG IS RIPPED TO SHOW CONTENTS OF 59 ECG ELECTRODES. ELECTRODES ARE WHITE WITH PLASTIC COVERING AND BLUE TAB WITH SILVER BUTTON ON TAB. ELECTRODES ARE 3.7CM WIDE AND 4.7CM LONG. BACK OF BAG HAS BLACK, RED AND GREY DIAGRAMS IN TOP LEFT CORNER, COVERED BY CLOTH TAPE; BOTTOM LEFT CORNER HAS BLACK AND WHITE TEXT “EN ECG ELECTRODES” IN 23 LANGUAGES. RIGHT SIDE HAS RED AND BLACK TEXT “AMBU A/S, BALTORPBAKKEN 13, DK-2750 BALLERUP, DENMARK, T +45 7225 2000, F +45 7225 2050, WWW.AMBU.COM”. BAG IS SEVERELY CREASED AND CRINKLED; OVERALL GOOD CONDITION. D. CLEAR PLASTIC BAG (21CM LONG X 17.7CM WIDE), UNOPENED, WITH CLEAR TUBE COILED INSIDEAND TIED WITH WHITE CLOTH TAPE. TUBE ENDS HAVE OPAQUE BLUE AND SOLID ORANGE FITTINGS, AND IS FITTED WITH CLEAR PLASTIC NASAL INSERT. FRONT OF BAG HAS WHITE LABEL WITH BLACK TEXT “MICROSTREAM, SMART CAPNOLINE, PEDIATRIC CO2 ORAL/NASAL SAMPLING SET, REF 007266, LENGTH 2M/7FT, THIS PRODUCT IS COVERED BY ONE OR MORE OF THE FOLLOWING US PATENTS: 6,422,240; 5,857,461; 6,437,316 6,926,005; 5,657,750; 7,383,839; 7,500,483; AND THEIR FOREIGN EQUIVALENTS. ADDITIONAL PATENT APPLICATIONS PENDING. ORIDION”. LABEL SHOWS DIAGRAM FOR USING ORAL/NASAL SAMPLING SET. TOP OF BAG HAS BLACK TEXT STAMPED “LOT: Q150583155”. BAG IS CREASED AND SLIGHTLY CRINKLED; OVERALL VERY GOOD CONDITION. E. GREY PAPER ENVELOPE (22CM LONG X 16.2CM WIDE), UNOPENED, WITH WHITE LABEL AND BLUE AND BLACK TEXT “PEDI-PADZ, PEDIATRIC ELECTRODES, MULTI-FUNCTION DEFIBRILLATION CARDIOVERSION NON-INVASIVE PACING ECG MONITORING, ZOLL MEDICAL CORPORATION, 209 MILL ROAD, CHELMSFORD, MA 01824-4105 USA, 800-348-9011, MADE IN USA, ZOLL INTERNATIONAL HOLDING B.V., NEWTONWEG 18 6662 PV ELST, THE NETHERLANDS TEL +31 (0) 481 366410, LOT 1316, REF 8900-2061, 2017-03-26, U.S. PAT. NO’S. 5,330,526”. LABEL INCLUDES “INSTRUCTIONS FOR USE”, “WARNINGS” AND TWO BLACK AND WHITE IMAGES OF ELECTRODES ATTACHED TO BODY, FRONT AND BACK. BAG IS SEVERELY CREASED AND BENT; OVERALL GOOD CONDITION. F. CARDBOARD PACKAGING WITH DISPOSABLE RAZOR INSIDE (6.6CM LONG X 5CM WIDE). CARDBOARD WHITE WITH BLUE TEXT AND BORDERS; RAZOR HANDLE WHITE PLASTIC AND GROOVED. FRONT LABEL TEXT READS “RECORDER NO. 4251, GALLANT DISPOSABLE PREP RAZOR STAINLESS STEEL BLADE, DYNAREX, MANUFACTURED FOR: DYNAREX CORPORATION, ORANGEBURG, NY 10962, WWW.DYNAREX.COM, MADE IN SWEDEN”. BACK SHOWS IMAGE IN BLUE OF RAZOR IN USE WITH TEXT “PULL GENTLY, DO NOT APPLY PRESSURE”. BACK OF RAZOR HANDLE HAS EMBOSSED TEXT “WORLDWIDE, MADE BY PC SWEDEN, PAT PEND”. CARDBOARD PACKAGE IS TORN ON FRONT AT TOP LEFT CORNER AND AT BOTTOM LEFT AND RIGHT EDGES; OVERALL VERY GOOD CONDITION. G. WHITE PLASTIC BAG WITH CLEAR BACK (15.5CM LONG X 10.1CM WIDE), UNOPENED; INSIDE BAG IS CLEAR PLASTIC RESPIRATORY PIECE. FRONT OF BAG HAS BLACK TEXT, “TEAR TO OPEN, RX ONLY, SINGLE PATIENT USE, PEDIATRIC/ADULT AIRWAY ADAPTER, THIS ADAPTER IS FOR MONITORING PATIENTS WITH AN ET TUBE SIZE GREATER THAN 4.0MM WITH ZOLL CAPNOSTAT MAINSTREAM CO2 SENSORS, MANUFACTURED FOR ZOLL MEDICAL CORPORATION, 269 MILL ROAD, CHELMSFORD, MASSACHUSETTS 01824-4105, U.S.A., 978-421-9655 PHONE, 800 438-9011 PHONE, 978-421-0025 TELEFAX, ZOLL INTERNATIONAL HOLDING B.V., NEWTONWEG 18, 6662 PV ELST, THE NETHERLANDS, 9060-02-E TEL. +31 (0) 481 36 64 10, LOT 30081200, QTY: 1”. FRONT LABEL INCLUDES “DIRECTIONS” AND DIAGRAM FOR PLACING ADAPTER. BAG IS CREASED AND CRINKLED; OVERALL VERY GOOD CONDITION. H. WHITE PLASTIC BAG WITH CLEAR BACK (15.3CM LONG X 10.1CM WIDE, UNOPENED; INSIDE BAG IS OPAQUE PURPLE PLASTIC RESPIRATORY PIECE. FRONT OF BAG HAS BLACK TEXT, “TEAR TO OPEN, RX ONLY, NEONATAL/PEDIATRIC AIRWAY ADAPTER, REF 8000-0261-01, THIS ADAPTER IS FOR MONITORING PATIENTS WITH AN ET TUBE SIZE OF 4.0MM OR SMALLER WITH ZOLL CAPNOSTAT MAINSTREAM CO2 SENSORS, MANUFACTURED FOR ZOLL MEDICAL CORPORATION, 269 MILL ROAD, CHELMSFORD, MASSACHUSETTS 01824-4105, U.S.A., 978-421-9655 PHONE, 800 438-9011 PHONE, 978-421-0025 TELEFAX, ZOLL INTERNATIONAL HOLDING B.V., NEWTONWEG 18, 6662 PV ELST, THE NETHERLANDS, 9061-02-C TEL. +31 (0) 481 36 64 10, LOT 11110900, QTY: 1, U.S. PATENTS 5,146,092 5,153,436 5,793,044 5,616,923 5,693,944, OTHER PATENTS PENDING, CAPNOSTAT IS A REGISTERED TRADEMARK OF RESPIRONICS INC. AND ITS AFFILIATES”. FRONT LABEL INCLUDES “DIRECTIONS” AND DIAGRAM FOR PLACING ADAPTER. BAG IS SEVERELY CREASED AND FRONT TEXT IS FADED; OVERALL GOOD CONDITION. I. CARDBOARD PACKAGING WITH DISPOSABLE RAZOR INSIDE (6.2CM LONG X 5.1CM WIDE). CARDBOARD WHITE WITH BLUE TEXT AND BORDERS; RAZOR HANDLE WHITE PLASTIC AND GROOVED. FRONT LABEL TEXT READS “GALLANT DISPOSABLE PREP RAZOR”. BACK SHOWS IMAGE IN BLUE OF RAZOR IN USE WITH TEXT “PULL GENTLY, DO NOT APPLY PRESSURE, MADE IN SWEDEN”. BACK OF RAZOR HANDLE HAS EMBOSSED TEXT “WORLDWIDE, MADE BY PC SWEDEN, PAT PEND”. TOP OF CARDBOARD PACKAGING HAS BLUE TEXT “MANUFACTURED FOR DYNAREX CORPORATION, ORANGEBURG NY 10962”. CARDBOARD PACKAGE AND TEXT IS FADED; PACKAGE IS TORN AT BOTTOM LEFT AND RIGHT CORNERS; TOP OF PACKAGE IS FRAYED AND WORN; OVERALL VERY GOOD CONDITION. J. GREY PLASTIC-COATED BATTERY (18.3CM LONG X 7CM WIDE); BATTERY HAS WHITE LABEL WITH BLACK TEXT ON TOP “ZOLL PD 4410, (BATTERY PACK NOT EQUIPPED WITH SMART BATTERY MODULE), ZOLL SMART BATTERY, SHORT OPERATING INSTRUCTIONS, PRESS FOR DISPLAY, FAULT: TEST BATTERY, TIME INDICATORS, ZOLL MEDICAL CORPORATION, 269 MILL ROAD, CHELMSFORD MASSACHUSETTS, 01824 U.S.A., SERIAL NO. 23-1600637, MADE IN U.S.A” WITH INSTRUCTIONS FOR USE AND BARCODE. LABEL HAS HANDWRITTEN TEXT IN BLACK INK “LM 10/2/16” AND HANDWRITTEN TEXT IN BLUE INK “SC 10/6/16”. RIGHT SIDE OF BATTERY HAS TWO WHITE LABELS; FIRST LABEL HAS BLACK BARCODE, SECOND LABEL HAS BLACK TEXT “NEW, IN SVC, NOV 28/2016”. BOTTOM OF BATTERY HAS LABEL AT TOP WITH BLACK TEXT “LIFT HERE TO REPLACE”. BOTTOM OF BATTERY HAS TWO ROUND WHITE HOLES; ENDS OF BATTERY HAVE PLASTIC CLIPS. BATTERY TOP LABEL HAS GREY SMUDGE, AND LABELS ON SIDE ARE FADED AND DISCOLOURED; OVERALL VERY GOOD CONDITION. K. GREY POWER CORD (300CM LONG) WITH OPAQUE GREY PLASTIC PLUG END AND GREY ADAPTER END. CORD IS SCUFFED AND DISCOLOURED WITH BLACK AND PINK; ADAPTER IS DESIGNED FOR THREE-PRONG INSERT. PLUG END HAS BLUE, BLACK, WHITE AND GREEN WIRES INSIDE; END OF PLUG END HAS EMBOSSED TEXT “MADE IN U.S.A., ELECTRI-CORD, NESTFIELD, PA, 5-15P” WITH GREEN DOT BETWEEN PRONGS. OVERALL VERY GOOD CONDITION. L. WHITE PLASTIC BAG WITH CLEAR BACK (15.8CM LONG X 10.2CM WIDE, UNOPENED; INSIDE BAG IS OPAQUE PURPLE PLASTIC RESPIRATORY PIECE. FRONT OF BAG HAS BLACK TEXT, “TEAR TO OPEN, NEONATAL/PEDIATRIC AIRWAY ADAPTER, (RE-ORDER NO. 8000-0261), THIS ADAPTER IS FOR MONITORING PATIENTS WITH AN ET TUBE SIZE OF 4.0MM OR SMALLER WITH ZOLL CAPNOSTAT MAINSTREAM CO2 SENSORS, QTY: 1, U.S. PATENTS 4,859,858 4,859,859 4,914,720 5,146,092 5,153,436 5,793,044 5,616,923 5,693,944, OTHER PATENTS PENDING, MANUFACTURED BY NOVAMETRIX MEDICAL SYSTEMS INC., WALLINGFORD, CONN. 06492, MADE IN U.S.A., ZOLL MEDICAL CORPORATION, SECOND AVENUE, BURLINGTON, MASSACHUSETTS 01803, U.S.A., 800-348-9011, LOT 20060300”. FRONT LABEL INCLUDES “DIRECTIONS” AND DIAGRAM FOR PLACING ADAPTER. BAG IS SEVERELY CREASED AND FRONT TEXT IS FADED; BAG IS PUNCTURED AND FRAGILE; OVERALL FAIR CONDITION. M. BLUE BLOOD PRESSURE CUFF (49CM LONG X 12.3CM WIDE); CUFF IS POLYESTER AND COTTON; CUFF HAS VELCRO HOOK ON FRONT SIDE AND VELCRO LOOP ON BACK; CUFF HAS BLACK TUBE UNDER VELCRO HOOK WITH WHITE FITTING AT END OF TUBE. FRONT HAS WHITE LOGO WITH BLUE TEXT “ZOLL” AND WHITE TEXT “SMALL ADULT, LONG, 17-25 CM” WITH DIAGRAM OF OUTLINES OF FIVE FIGURES WITH SECOND-LAST FIGURE SOLID WHITE; UPPER RIGHT CORNER OF FRONT HAS WHITE TEXT “INDEX”. BACK OF CUFF HAS WHITE TEXT ALONG TOP EDGE “RANGE” WITH ARROWS ON BOTH SIDES OF TEXT; WHITE SYMBOLS BESIDE VELCRO LOOP SHOWS NO LATEX AND NO PVC. CUFF IS FRAYED AT TOP AND RIGHT EDGES ON FRONT; VELCRO HOOK HAS COLLECTED DEBRIS; RIGHT EDGE OF CUFF HAS WHITE BORDER AROUND OPENING; OVERALL VERY GOOD CONDITION. N. WHITE PULSE OXIMETER (95.8CM LONG X 2.5CM WIDE) ATTACHED TO BROWN CORD WITH GREY FITTING AT END. OXIMETER TOP HAS EMBOSSED FINGER WITH NAIL AND EIGHT-POINT STAR ON NAIL; OXIMETER END HAS FLAP ON RIGHT SIDE SHOWING TWO BLUE MALE FIGURES AND TWO GREEN FEMALE FIGURES; OXIMETER SIDES HAVE ROUND WHITE BUTTON WITH RED AND WHITE HEART MONITOR GRAPH SPIKE PRINTED. CORD HAS PAPER TAB ATTACHED WITH BLACK TEXT “DO NOT DISCARD, INTENDED FOR MULTIPLE USE”; OPPOSITE SIDE OF TAB SHOWS BLACK MAIL FIGURE BESIDE GARBAGE CAN WITH RED PROHIBITION SIGN PRINTED OVER. GREY FITTING AT END NINE BRASS SPIKES INSIDE GREY BOX AND EMBOSSED TEXT ON TOP “LNCS”AND STAMPED TEXT ON BOTTOM “7H052”. CORD IS DISCOLOURED AND SCUFFED; TAB ON CORD IS FADED AND WORN; WHITE OXIMETER FITTING HAS SOILING. OVERALL GOOD CONDITION. O. DISPOSABLE PREP RAZOR WITH PACKAGING TORN INTO FOUR PIECES (RAZOR 6.2CM LONG X 4.8CM WIDE); RAZOR WHITE PLASTIC WITH BLUE PLASTIC SPIKES UNDER SILVER BLADE; FRONT OF RAZOR HANDLE HAS EMBOSSED TEXT “WORLDWIDE, MADE BY PC SWEDEN, PAT PEND” AND EMBOSSED TEXT ON BACK “GALLANT”. CARDBOARD PACKAGING FRONT PIECE IS WHITE WITH BLUE BORDERS AND TEXT “REORDER NO. 4251, GALLANT DISPOSABLE PREP RAZOR, STAINLESS STEEL BLADE, DYNAREX, MANUFACTURED FOR: DYNAREX CORPORATION, ORANGEBURG, NY 10962, WWW.DYNAREX.COM, MADE IN SWEDEN”. CARDBOARD PACKAGING BACK PIECE HAS BLUE DIAGRAM OF RAZOR IN USE AND BLUE TEXT “PULL GENTLY, DO NOT APPLY PRESSURE”. CARDBOARD PIECES ARE FRAYED AT EDGES FROM BEING TORN; TOP AND BOTTOM PIECES ARE SMUDGED WITH BLUE; OVERALL GOOD CONDITION. P. WHITE PLASTIC BAG WITH CLEAR BACK (16CM LONG X 10.1CM WIDE), UNOPENED; INSIDE BAG IS CLEAR PLASTIC RESPIRATORY PIECE. FRONT OF BAG HAS BLACK TEXT, “TEAR TO OPEN, RX ONLY, SINGLE PATIENT USE, PEDIATRIC/ADULT AIRWAY ADAPTER, THIS ADAPTER IS FOR MONITORING PATIENTS WITH AN ET TUBE SIZE GREATER THAN 4.0MM WITH ZOLL CAPNOSTAT MAINSTREAM CO2 SENSORS, MANUFACTURED FOR ZOLL MEDICAL CORPORATION, 269 MILL ROAD, CHELMSFORD, MASSACHUSETTS 01824-4105, U.S.A., 978-421-9655 PHONE, 800 438-9011 PHONE, 978-421-0025 TELEFAX, ZOLL INTERNATIONAL HOLDING B.V., NEWTONWEG 18, 6662 PV ELST, THE NETHERLANDS, 9060-02-E TEL. +31 (0) 481 36 64 10, LOT 09081000, QTY: 1, U.S. PATENTS 5,146,092 5,153,436 5,793,044 5,618,923 5,693,944; OTHER PATENTS PENDING, CAPNOSTAT IS A REGISTERED TRADEMARK OF RESPIRONICS INC. AND ITS AFFILIATES”. FRONT LABEL INCLUDES “DIRECTIONS” AND DIAGRAM FOR PLACING ADAPTER. BAG IS SEVERELY CREASED AND CRINKLED; TEXT IS FADED; OVERALL GOOD CONDITION. Q. BLACK CORD (119CM LONG X 2.5CM WIDE) THAT CONVERGES MIDWAY INTO SIX WIRES. END OF CORD HAS BLACK ADAPTER WITH EIGHT BRASS SPIKES INSIDE RECTANGLE. ENDS OF SIX WIRES HAVE MULTI-COLOURED NODES WITH WHITE TEXT ON BACK, LABELLED: “V1” RED, “V2” YELLOW, “V3” GREEN, “V4” BLUE, “V5” ORANGE, “V6” PURPLE. BLACK PLASTIC MIDDLE CONNECTOR WHERE WIRES CONVERGE HAS ENGRAVED CLOCK SYMBOL ON FRONT WITH MARKINGS FOR “12, 3, 6, 9” AND ARROW IN CENTER POINTED AT “3”. CORD IS CURLED INTO COIL; OVERALL VERY GOOD CONDITION.
Subjects
MEDICAL & DENTAL T&E
Historical Association
HEALTH SERVICES
SAFETY SERVICES
History
ON OCTOBER 23, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED LYNN VILLIGER WITH LETHBRIDGE FIRE AND EMERGENCY SERVICES ABOUT THE DONATION OF A ZOLL M-SERIES DEFIBRILLATOR AND CARDIAC MONITOR. ACCORDING TO CORRESPONDENCE WITH VILLIGER, THE ZOLL M-SERIES WERE USED WITH LETHBRIDGE FIRE AND EMEMRGENCY SERVICES UPON THEIR ACQUISITION IN 2003, AND WERE REPLACED IN 2011. THE ZOLL M-SERIES CARDIAC MONITORS WERE THE FIRST TO OPERATE WITH BIPHASIC WAVEFORM ENERGY, ENABLING SAFER AND MORE EFFICIENT DEFIBRILLATION. VILLIGER ELABORATED ON THE ZOLL M-SERIES DEFIBRILLATORS, NOTING, “IT’S A CARDIAC MONITOR, NOT ACTUALLY AN AED. IT DOES HAVE AN AED FUNCTION BUILT RIGHT INTO IT, WHICH WAS ONE OF THE AMAZING THINGS IN THIS NEW GENERATION OF CARDIAC MONITORS. IT ALLOWED US TO DO SO MUCH MORE THAN WE WERE ABLE TO DO IN THE PAST. NOT ONLY IS IT A CARDIAC MONITOR; IT’S A CARDIAC DEFIBRILLATOR; IT CAN ALSO CARDIOVERT AND IT CAN PACE AS WELL. THOSE ARE FUNCTIONS THAT WE NEVER HAD IN PREVIOUS GENERATIONS OF MONITORS. IT ALSO CAN MEASURE VITAL SIGNS. IT CAN MEASURE A PERSON’S BLOOD PRESSURE; IT CAN MEASURE THE CARBON DIOXIDE CONTENT OF A PERSON’S BLOOD THROUGH INFRA-RED TECHNOLOGY. IT CAN ALSO RECOGNIZE THE OXYGEN SATURATION OF THEIR BLOOD USING THE SAME TYPE OF TECHNOLOGY, SO IT WAS QUITE A BIG JUMP FOR US. WE WENT FROM A DIFFERENT TYPE OF, IT WAS CALLED, MONOPHASIC ENERGY (WHICH IS THE TYPE OF ENERGY THAT WAS USED IN OLD CARDIAC MONITORS), AND THIS WAS, IN FACT, THE FIRST OF ITS TYPE ANYWHERE IN THE WORLD. ZOLL WAS A DOCTOR WHO INVENTED A TYPE OF CARDIAC ENERGY CALLED BIPHASIC ENERGY, AND IT WAS JUST A MORE EFFICIENT TYPE OF ENERGY FOR ALL OF THOSE PURPOSES. IT WAS JUST MORE EFFICIENT AT DOING [PACING, DEFIBRILLATION, AND CARDIOVERSION], AND, IN DOING SO, BIPHASIC ENERGY IS ACTUALLY SAFER, BECAUSE PRACTITIONERS (NURSES, DOCTORS, PARAMEDICS) ALL HAVE BEEN KILLED USING MONOPHASIC ENERGY IN THE PAST, BY TOUCHING THE PATIENT WHEN THEY GOT DEFIBRILLATED, AND THIS IS QUITE A BIT MORE FORGIVING, JUST IN THE NATURE OF THE WAY THE ELECTRICITY IS DELIVERED TO THE PATIENT. NOT ONLY IS IT MORE EFFICIENT AT CONVERTING THE HEART RHYTHM; IT’S ALSO MORE EFFICIENT, OR LESS EFFICIENT, AT KILLING PEOPLE BY ACCIDENT.” “[THE PEOPLE USING THESE MACHINES] WOULD BE PRACTITIONERS, OR…PARAMEDICS ARE TAUGHT TO MAKE SURE THE WHOLE SCENE IS SAFE BEFORE ANYBODY DISCHARGES THESE TYPE OF MONITORS, AND SO THEY…ARE LOOKING FOR NEGATIVE SPACE AROUND THE PATIENT; THAT NOBODY’S TOUCHING THE PATIENT; NOBODY’S TOUCHING THE GROUND, WHICH COULD BE WET; NOBODY’S TOUCHING THE COT THE PATIENT MAY BE LYING ON. THAT’S INGRAINED IN MOST PARAMEDICS. THERE’S A METHOD TO THAT WHOLE PROCESS…I’M SURE PEOPLE HAVE HEARD SIMILAR THINGS IN CPR COURSES. ONE OF THE OTHER WONDERFUL THINGS ABOUT THIS (AT THE TIME, I DIDN’T THINK IT WAS SO WONDERFUL) WAS, WE GOT HANDS-FREE DEFIBRILLATION FOR THE FIRST TIME. IN THE OLD DAYS, WE HAD PADDLES, AND EVERYBODY REMEMBERS PADDLES FROM THE REALLY-COOL MEDICAL SHOWS ON TV. WE PUT PADS ON THE PATIENT, AND THERE’S CABLES ATTACHED TO THE PADS, WHICH REQUIRES A SAFER PROCESS, BUT NOBODY IS TOUCHING THE PATIENT WHATSOEVER, EVEN WITH PADDLES, AT THAT TIME. THERE’S BENEFITS TO BOTH. IT WAS JUST QUITE A BIT SIMPLER.” “I STARTED [WORKING WITH LETHBRIDGE FIRE AND EMERGENCY SERVICES] IN 1988…WE HAD CARDIAC MONITORS IN THOSE DAYS. THEY WERE PHYSIO CONTROL, OR MEDTRONIC CARDIAC MONITORS, AND THEY DID DEFIBRILLATION. LATER ON, THEY STARTED TO DO CARDIOVERSION, AND PACING AS WELL…THEY HAD COMPONENTS THAT COULD FIT INTO EACH OTHER. ONE OF THE COMPONENTS WAS A RECORDER DEVICE, JUST LIKE A FOUR-TRACK CASSETTE TAPE RECORDER, AND IT LITERALLY WAS THAT. IT SLIPPED RIGHT IN BETWEEN THE CARDIAC MONITOR, AND THE REST OF THE MECHANISM FOR DEFIBRILLATION, OR FOR CARDIOVERSION AND PACING. IT RECORDED EVERYBODY’S VOICE IN THE ROOM, SO YOU COULD CALL OUT DRUG CALCULATIONS AND TIMES…WHICH YOU HAD TO DO IN THOSE DAYS. YOU WOULD TYPICALLY SLIP A CLOCK ONTO THE MONITOR, AND WATCH THE TIME…IT WAS A VERY STRANGE FEELING TO GO BACK AND REVIEW, AND HAVE VOICE RECORDING…THIS MONITOR DOES RECORD EVERYTHING. IT HAS A BUILT-IN TIMER, AND IT SUMMARIZES THE INCIDENT INSTEAD, SO IT PRINTED OUT EXACTLY ALL THE TIMES FOR EVERYTHING THAT YOU DID – INTERVENTIONS - BUT IF YOU WANTED TO GIVE DRUGS OR ANYTHING LIKE THAT, YOU STILL HAD TO MARK THEM DOWN AT THE TIME…” “[IN] 2003, WE DECIDED TO PURCHASE THESE MONITORS. IT WAS SOMEWHAT OF A PROTEST, BECAUSE EVERYBODY WAS USED TO USING THE OLD CARDIAC MONITORS, AND THEY LOVED HAVING PADDLES ON. I REMEMBER, JUST IN FUN, OF COURSE, I MADE A LITTLE PROTEST SIGN THAT SAID 'WE WANT PADDLES, WE WANT PADDLES' AT THE TIME. AFTER YOU USE HANDS-FREE FOR A WHILE, YOU FIND OUT IT’S ACTUALLY QUITE A BIT SAFER. THERE WAS ALWAYS SOME SAFETY INVOLVED IN WATCHING YOUR PARTNER DO THIS – WITH THE GEL ON THE PADDLES, AND, THEN, YOU COULD ACTUALLY PHYSICALLY SEE HIM LEANING OVER THE PATIENT…THERE’S WARNING BUZZERS...WITH HANDS-FREE, I COULD SEE A CHANGE ON THE MONITOR, AND IT WOULD SET OFF AN ALARM, AND THEN THEY COULD CHARGE IT UP, AND DEFIBRILLATE IT, AND YOU HAD TO MAKE SURE THAT EVERYONE’S AWARE.” “THEY TRIED TO INVOLVE EVERYBODY…IT WOULD HAVE BEEN THE MEDICAL TRAINING OFFICER…IN THE TRANSITION BETWEEN THIS MONITOR AND THE OLD VERSION, I BECAME THE MEDICAL TRAINING OFFICER MYSELF, SO WE HAD SOME INFLUENCE FROM THERE…AT THAT TIME, PROBABLY ONLY 20% OF OUR EMPLOYEES WERE PARAMEDICS. THE REST WERE EMT’S, WHO BECAME EMT’S AFTER THEY WERE FIREFIGHTERS. NOW, WE HIRE ONLY PARAMEDICS, AND WE TRAIN THEM TO BE FIREFIGHTERS. ONCE YOU HAD A LOT OF PARAMEDICS ON BOARD, WE COULD HAVE LONGER CONVERSATIONS ABOUT THOSE KINDS OF THINGS. THOSE TYPES OF CONVERSATIONS USUALLY ORIGINATED IN ACLS COURSES…WE TOOK THEM EVERY 3 YEARS, IN-HOUSE. ACLS WAS ADVANCED CARDIAC LIFE SUPPORT. THEY ARE THE GUYS, REALLY, THAT SET THE STANDARDS FOR ALL OF THE CLINICAL THINGS INVOLVING PATIENTS THAT HAVE CONDITIONS THAT NEED INTERVENTIONS WITH CARDIAC MONITORS AND AED’S, BUT THEY DON’T DETERMINE WHICH UNITS YOU USE. THEY’RE NOT REALLY ALLOWED TO SAY WHICH TYPE OF ENERGY, OR MONITOR, IS MORE EFFICIENT THAN THE OTHER ONE. WE LEFT THAT UP TO DATA COLLECTION THAT HAPPENED AFTERWARDS.” “WE WERE AT THE FOREFRONT OF [THE CHANGE TO BIPHASIC MONTIORS]. WE HAD A REALLY COOL POSITION IN THAT, BECAUSE, IN THOSE DAYS, ALBERTA HEALTH SERVICES DIDN’T GOVERN AMBULANCE SERVICES ANYWHERE IN ALBERTA. WE WERE THE LARGEST EMS SERVICE IN THE SOUTH ZONE, AND WE HAD DECIDED ON THE ZOLL CARDIAC MONITOR, SO SOME OF THE SMALLER SERVICES WERE CURIOUS. THEY CAME TO US, SAID, 'WHAT’S GOING ON? WHAT ARE YOU USING? HOW DOES IT WORK?' WE CONVINCED ALMOST EVERY OPERATOR IN THE SOUTH ZONE, AT LEAST WEST OF MEDICINE HAT, TO BUY INTO THE ZOLLS, AND AT ONE TIME, EVERY EMS OPERATOR IN THE SOUTH WAS USING THE ZOLL M SERIES, INCLUDING THE COLLEGE, WHO WAS TRAINING PARAMEDICS AND EMT’S. WE WERE AT THE FOREFRONT OF THAT, AND WE INVITED ALL THESE OTHER PEOPLE, AND, BEFORE YOU KNOW IT, WE WERE ALL SPEAKING THE SAME LANGUAGE.” “WE HEARD ABOUT THE TECHNOLOGY – BIPHASIC ELECTRICITY – THROUGH ADVANCED CARDIAC LIFE SUPPORT COURSES, SO WE HAD TO LOOK INTO IT. WE WERE LEARNING, THROUGH THE DATA THAT WAS COLLECTED, THAT IT WAS SIMPLY SAFER, MORE EFFICIENT…IT JUST CAME DOWN TO IT THAT WE ENDED UP THERE FOR A LOT OF DIFFERENT REASONS. THESE GUYS WERE THE ONLY ONES USING BIPHASIC TECHNOLOGY AT THE TIME. IT WASN’T UNTIL A FEW YEARS LATER THAT THEIR COMPETITORS STARTING USING IT, AND THEY STILL CAN’T USE EXACTLY THE SAME TYPE OF BIPHASIC TECHNOLOGY. THIS PARTICULAR TYPE, IT’S CALLED ‘RECTO LINEAR BIPHASIC’; IS PATENTED BY THIS COMPANY; AND IT IS STILL CONSIDERED THE MOST EFFICIENT TYPE OF ELECTRICAL ENERGY FOR DOING ALL THOSE THINGS – PACING, CARDIOVERSION, DEFIBRILLATION.” “ORIGINALLY, WE BOUGHT 6 OR 8 [ZOLL M-SERIES MACHINES]. WE HAD EVOLVED TO 4 UNITS ON THE STREET. WE WERE TALKING ABOUT IT IN 2004…ONE OF OUR DEPUTY CHIEFS STARTED THE PROCESS OF HAVING ALL OF OUR FRONT-LINE ENGINES, OR PUMPS, ON THE FIRE SIDE, BE ADVANCED LIFE SUPPORT, BECAUSE ALL OF OUR FOLKS WERE PARAMEDICS, SO WE STARTED CARRYING THESE TYPES OF MONITORS NOT ONLY ON OUR AMBULANCES BUT ON EVERY SINGLE FIRE TRUCK AS WELL.” “THERE ARE STILL PEOPLE USING THIS, AND IT’S STILL A GREAT MONITOR. I’D TAKE IT OUT ON THE STREET, AND BE QUITE COMFORTABLE, AND HAVE FAITH THAT IT WOULD DO EVERYTHING NECESSARY.” WHEN ASKED ABOUT HIS MEMORIES OF USING THE ZOLL M-SERIES MONITOR, VILLIGER RECALLED, “WE DO SO MANY EVENTS…PROBABLY 50% OF THE EVENTS WE WOULD GO TO, WE WOULD CONNECT THE CARDIAC MONITOR TO PATIENTS, AT LEAST TO MONITOR THEIR HEART RHYTHM AS PART OF A COMPLETE CLINICAL ASSESSMENT. I CAN’T REMEMBER A PARTICULAR EVENT. ONE OF THE THINGS THAT STOOD OUT IS THEY MADE THE ‘M’ SERIES AS A STREET-WORTHY PARAMEDIC VERSION OF A HOSPITAL-TYPE CARDIAC MONITOR. THEY MADE THEM TOUGH AND THEY WOULD THROW THEM…OFF A MOVING AMBULANCE, OR OFF THE BACK OF A FIRE TRUCK, JUST TO SHOW THEM HOW TOUGH THEY WERE. SOME OF THE OLD VIDEOS…SHOWS THEM EITHER THROWING THEM OFF A BALCONY, OR HAVING A TRUCK DRIVE OVER THEM, AND THEY STILL FUNCTION. OR, SOMEBODY BLASTING IT WITH WATER FROM A HOSE LINE…SO THEY MADE A MONITOR THAT WAS A LITTLE BIT TOUGHER, AND A LITTLE BIT MORE RUGGED THAN THEY HAD BEEN IN THE PAST.” “I REMEMBER US GOING OUT AND SOLICITING FOR DONATIONS TO PURCHASE THESE. ONE OF OUR GUYS WENT OUT…WE ACTUALLY PURCHASED 2 CARDIAC MONITORS, WITH THE HELP OF DIFFERENT ORGANIZATIONS IN THE COMMUNITY, THAT DONATED FUNDS…THE KINSMEN WAS QUITE PREVALENT…IN HELPING US PURCHASE THE FIRST…[AND] A COUPLE OF ADDITIONAL MONITORS…” “I USED [THE MONITOR] FOR A LOT OF YEARS, AND I THOUGHT THEY WERE GREAT MONITORS. THERE IS AN EMOTIONAL ATTACHMENT, BECAUSE I WAS INVOLVED IN THE NEXT TWO PURCHASES. I WAS ON THE FRONT LINES; I WROTE UP THE RFQ, FOR THE PURCHASE OF THE NEXT SERIES OF ‘M’S; THE NEXT SERIES OF ‘E’S; AND THE ‘X’ SERIES…SO I’VE BEEN INVOLVED. I’VE GOT SOME PERSONAL ATTACHMENT, BECAUSE I USED IT AS A STREET PARAMEDIC, AND THEN I GOT ON IN FRONT OF IT IN THE BUSINESS END…I WATCHED HOW THAT PROCUREMENT PROCESS WENT DOWN, WORKING IN COOPERATION WITH OUR PROCUREMENT THROUGH THE CITY OF LETHBRIDGE. WHEN THESE ARRIVED, IT WAS A BIG DAY. IT WAS LIKE CHRISTMAS, WHEN THE NEW CARDIAC MONITORS ARRIVE. I WOULD SPEND 6 WEEKS OR SO JUST GETTING ALL OF THESE ATTACHMENTS [THAT] ARE NOT ON THEM WHEN THEY COME - YOU’RE SCREWING ALL THESE PIECES TOGETHER; PUTTING OUT ALL THE INFORMATION TO THE STAFF; WRITING UP SOG’S AND POLICIES RELATING TO CARDIAC MONITORS.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, LETHBRIDGE HERALD ARTICLES, AND MANUALS ON THE MONITOR, PLEASE SEE THE PERMANENT FILE P20170016000-GA.
Catalogue Number
P20170016000
Acquisition Date
2017-04
Collection
Museum
Images
Less detail
Date Range From
1960
Date Range To
2015
Material Type
Artifact
Materials
STEEL, PLASTIC, RUBBER
Catalogue Number
P20170029003
  2 images  
Material Type
Artifact
Date Range From
1960
Date Range To
2015
Materials
STEEL, PLASTIC, RUBBER
No. Pieces
1
Height
130
Length
80
Width
27
Description
SPOTLIGHT PAINTED BLUE; BODY FIXED ON STAND WITH THREE WHEELS AT BASE. SPOTLIGHT HAS LONG CYLINDRICAL BODY WITH FRONT OPENING TO SHOW LIGHT AND GLASS COVER INSIDE. LEFT SIDE HAS BLACK POWER CORD WOUND ON HOOK ATTACHED TO BODY. RIGHT SIDE HAS RED AND WHITE TEXT SCREWED ON “STRONG TROUPERETTE II"; RIGHT SIDE HAS LEVER WITH RED HANDLE RUNNING ON TRACK FROM THE FRONT TO HALFWAY ALONG BODY. TOP HAS TWO LEVERS WITH ROUND RED KNOBS AT BACK, AND SIX SILVER LEVERS WITH BENT ENDS AND TIERED HEIGHTS. BACK HAS TWO RED HANDLES AND BLACK POWER CORD ATTACHMENT; BACK HAS RED PLATE WITH SILVER DETAILING, BORDER AND TEXT “SPOTLIGHT STRONG TROUPERETTE, VOLTS 115/120, AMPS 5, TYPE 45002-1, SER. NO. 71283, THE STRONG ELECTRIC CORP., TOLEDO, O., U.S.A., 45100, MADE IN U.S.A.”. BACK HAS ENGRAVED TEXT “YATES 63” ON RED PLATE. BACK HAS BLACK “ON/OFF” SWITCH BELOW RED AND SILVER PLATE. METAL STAND IS RUSTED; BASE HAS CHIPPED PAINT AND WHITE PAINT STAINING; BODY HAS CHIPPED PAINT AND SIDES HAVE DISCOLOURED WHITE TAPE AND ADHESIVE STAINING; BODY IS RUSTED AT EDGES. OVERALL VERY GOOD CONDITION.
Subjects
LIGHTING DEVICE
Historical Association
BUSINESS
History
THE CITY OF LETHBRIDGE RECREATION AND CULTURE DEPARTMENT DONATED OBJECTS FROM THE YATES THEATRE IN LETHBRIDGE UPON RENOVATIONS TO THE YATES THEATRE IN SEPTEMBER 2017. THE OBJECTS DONATED WERE USED IN THE YATES AFTER ITS CONSTRUCTION IN THE 1960S. ON DECEMBER 18, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ED AND LINDA BAYLY REGARDING THEIR INVOLVEMENT WITH AND MEMORIES OF THE YATES THEATRE. ED AND LINDA BAYLY IDENTIFIED THE OBJECTS DONATED FROM THE YATES AND RECALLED THEIR OWN EXPERIENCES WITH THE OBJECTS. ON THE SPOT LAMP, ED BAYLY ELABORATED, “THEY’RE PRETTY STRAIGHTFORWARD TO OPERATE AND WE TRIED TO ENCOURAGE, PARTICULARLY WHEN SCHOOLS CAME IN, TO HAVE THE STUDENTS OPERATE THEM, IF THEY WERE WILLING OR ABLE OR WANTED TO. THEY COULDN’T DO MUCH HARM TO THAT. THE FOLLOW SPOT…IT’S LIKE A BIG FLASHLIGHT, WHEN YOU FOCUS ON WHATEVER YOU WANT TO POINT UP. YOU SEE IT ON TV WHEN THE ICE SKATERS, OR FIGURE SKATERS ARE DOING THEIR THING, FOLLOW THEM AROUND WITH THAT.” “[THE SPOT LAMP] COULD HAVE BEEN A BIT MORE POWERFUL, BUT WE COULDN’T AFFORD TO GET MUCH MORE THAN WHAT WE DID GET AT THE TIME. WE COULDN’T JUSTIFY IT…I DON’T THINK WE WERE AWARE OF WHAT WAS NEEDED UNTIL WE GOT INTO OPERATION. THEN IT BECAME EVIDENT THAT WE NEEDED ALL SORTS OF DIFFERENT LIGHTS.” “WE HAD TWO OF [THE SPOT LAMPS] THAT WE BOUGHT LATER ON AND [WERE] PRETTY GOOD. WE HAVE SINCE REPLACED THEM WITH MORE POWERFUL ONES, BUT THEY WERE QUITE ADEQUATE FOR OUR NEEDS AT THAT TIME. THEY FILLED A GAP THAT WE HAD THERE, FOR A FOLLOW SPOT WHICH ENABLED US TO DO MORE.” LINDA BAYLY ADDED, “I REMEMBER HAVING TO USE THAT [LAMP] ONE TIME. THERE WAS A GENTLEMAN IN TOWN BY THE NAME OF BOB (REID) AND HE WORKED IN…AN ELECTRICAL SHOP AND IF ED WAS ON HOLIDAYS, THEN BOB WOULD COME IN AND USE THE FOLLOW SPOT AND DID THE LIGHTING FOR [THE] SHOW. BUT [ONE DAY] BOB COULDN’T COME OVER AND SO THEY ASKED ME TO DO THE LIGHTING. I KNEW NOTHING ABOUT LIGHTING, BUT ED SAT ME DOWN AND SAID, 'NOW, HERE’S YOUR PLOT. DO THIS. DO THAT. AND AT THIS TIME DO WHATEVER.' THERE WERE TWO OCCASIONS. ONE WAS A PIANO RECITAL. [A] LOCAL TEACHER WANTED TO HAVE ALL HER STUDENTS PERFORM ON A STAGE ON A GRAND PIANO--AND WOULD I LIGHT THIS SHOW FOR HER? IT WAS INTERESTING BECAUSE SHE WANTED TO CHANGE THE LIGHTS FOR DIFFERENT MOODS. I COULD HAVE A BLUE LIGHT ON AND THEN CHANGE IT TO A RED LIGHT ON. SHE ASKED ME FOR A HARD ROLLING YELLOW. I HAVE NO IDEA TO THIS DAY WHAT SHE REALLY WANTED. I THINK I GAVE HER A BLUE LIGHT AND SHE WENT AWAY JUST AS HAPPY AS COULD BE. ANOTHER TIME THEY HAD A BRIDAL SHOW IN THERE AND WHOEVER WAS STAGE MANAGING THE BRIDAL SHOW SAID, 'NOW, AT THIS POINT WE WANT YOU TO SHINE A SPOT ON THAT ENTRYWAY, AND IT’S GOING TO BE THE BRIDE IN HER BEAUTIFUL FINERY. JUST HAVE HER LIT UP AND IT’S GOING TO BE WONDERFUL.' I FOLLOWED HER DIRECTIONS, HAD THE LIGHT OVER THERE AND THE OTHER GIRL THAT WAS THE MODEL FOR THE SHOW CAME OVER AND STOOD IN THE DARK, SO I THEN HAD TO, VERY UNPROFESSIONALLY, SWING THE LIGHT OVER AND CATCH HER. ED WOULD NEVER HAVE DONE THAT. HE WOULD HAVE TURNED THE LIGHT OFF, MOVED THE THING, TURNED IT BACK ON AND BROUGHT IT UP PROPERLY, BUT I WAS REALLY HAPPY THAT I WAS NOT DOING LIGHTS.” MACLEAN ADDITIONALLY INTERVIEWED JEFF CARLSON ON NOVEMBER 15, 2017. CARLSON WORKED FULL-TIME IN THE YATES THEATRE PRODUCING, WRITING, AND DIRECTING WITH NEW WEST THEATRE, LETHBRIDGE. CARLSON ELABORATED ON THE SPOT LAMP, “ROSCOE [YATES] GAVE THE MONEY AND THEN CITY COUNCIL OF THE DAY, BRAVELY KEPT PUTTING IT OUT TO PLEBISCITE, 'SHOULD WE BUILD THIS THEATRE?' BY THE TIME THEY FINALLY GOT THE OKAY, THE MONEY HAD DEPRECIATED IN VALUE SO MUCH THAT THEY DIDN’T HAVE ENOUGH TO DO WHAT THEY SHOULD HAVE DONE IN THE FIRST PLACE. IT WOULD HAVE BEEN SMART FOR THE STAFF TO BE SURREPTITIOUSLY BUYING EQUIPMENT AT THE CHEAPER PRICES. I THOUGHT IT MAY HAVE BEEN…WES STEFAN, ONE OF THE MAINSTAYS OF THEATRE IN THE SEVENTIES AND EIGHTIES, UP UNTIL THE EARLY NINETIES BEFORE HE PASSED, [WHO] BOUGHT A BUNCH OF THESE, MAYBE FROM THE YATES AND HAD THEM IN HIS PERSONAL COLLECTION [BECAUSE]…I BORROWED THEM FROM WES TO USE FOR THEATRE PRODUCTIONS AND ON WES’ PASSING, THIS MAY HAVE GONE BACK TO THE YATES. I KNOW HE HAD A LOT OF THESE.” “THERE [WERE] ALSO SOME GUN-METAL GREY ONES…THOSE MAY HAVE BEEN WES’S THEN…WES USED THEM FOR COMEDY SHOWS. [I REMEMBER] DOING THE BOWMAN ARTS, PERFORMING ARTS SUMMER SCHOOL WHICH WOULD HAVE BEEN ‘81 OR ‘82 AND THAT WAS WITH JOAN WATERFIELD. WE GOT TO SPEND A DAY OVER IN THE YATES, AND WE GOT TO GO THROUGH EVERYTHING AND PLAY WITH EVERYTHING INCLUDING [THE SPOT LAMPS] IN THE BOOTH. BUT THE FIRST TIME I RECALL EVER ACTUALLY BEEN HIT WITH ONE…IT WAS LETHBRIDGE MUSICAL THEATRE PRODUCTION OF 'OKLAHOMA' AND I OPENED THE SHOW AS THE LEAD TO CURLY AND WE DID IT IN THE AUDIENCE. I STARTED IN THE AUDIENCE AND THE SHOW OPENED WITH THE BAND DOING THE BIG THING AND THEN BOOM! THE SPOTLIGHT WOULD PIN ME AGAINST A WALL AND IT WAS, 'OH WHAT A BEAUTIFUL MORNING, OH WHAT A BEAUTIFUL DAY.' THAT ONE FACE PROBABLY SHONE ON ME MANY TIMES. I’VE RUN IT MANY TIMES AND LIFTED IT UP AND DOWN STAIRS MANY TIMES AND IT WEIGHS LIKE A BILLION POUNDS.” “RIGHT NOW WITH TECHNOLOGY YOU’VE GOT ONES THAT ARE MUCH EASIER TO OPERATE ‘CAUSE THIS IS ALL LEVERS, SO THE FOCUS AND THE BRIGHTNESS IS ALL DONE THROUGH LEVERS, PLUS, FLIPPING THE SWITCHES WILL GIVE YOU DIFFERENT GEL COLOURS THAT YOU CAN THROW IN OR OUT THERE. YOU CAN EVEN PROBABLY FIT A GOBO INTO IT WHICH WOULD THROW A DESIGN ON THE STAGE. ANY THEATRE COMPANY THAT’S AROUND WOULD PROBABLY LOVE TO HAVE THAT IN THEIR ARSENAL BECAUSE IT DOES STILL WORK. IT’S AN AWESOME UNIT, IT STILL DOES THE TRICK, IT WAS USED UP UNTIL PROBABLY A MONTH AGO.” “AT SOME POINTS IT EVEN HAD TO HAVE TWO PEOPLE RUNNING IT. ONE OF US WOULD BE MOVING IT, OPERATING IT AROUND THE STAGE AND THE OTHER WOULD BE CHANGING THE FOCUS AND THE BRIGHTNESS, OR FLIPPING IN A DIFFERENT GEL COLOUR. IT WAS A TWO-HANDED OPERATION.” ED AND LINDA BAYLY RECALLED THEIR YEARS SPENT WORKING WITH THE YATES THEATRE IN LETHBRIDGE, WITH ED BAYLY NOTING, “I WAS MANAGER AT THE YATES FOR 35 YEARS. I WAS INVOLVED WITH THE LOCAL DRAMA GROUPS FOR A NUMBER OF YEARS BEFORE THAT SO THAT WAS PARTIALLY THE REASON THAT I WAS CHOSEN FOR THE JOB. I HAD THE CONTACTS." “WHAT I REMEMBER MOST OF ALL WAS THE FACT THAT THE CITY PUT THE FUNDING FOR THE YATES UP TO THE PUBLIC IN A PUBLIC PLEBISCITE, AND IT WAS TURNED DOWN TWICE BEFORE THEY WENT AHEAD WITH THE MONEY THAT THEY HAD AND BUILT THE PLACE. PEOPLE WERE SAYING, 'WELL, WHAT DO YOU WANT THAT FOR, NO ONE’S EVER GOING TO USE IT.' THEN WE HAD THE OPENING AND FRED WEATHERUP, WHO WAS THE OWNER OF ENERSON MOTORS, BROUGHT IN SOME GO-GO DANCERS AND THEY HAD CARS PARKED OUT IN FRONT OF THE YATES, AND THAT SORT OF BROUGHT IN OTHER PEOPLE THAT WEREN’T REALLY INTERESTED IN THE ARTS AND THEY GOT A CHANCE TO SEE THE PLACE.” “THE REST OF THE PROVINCE GOT THE JUBILEE AUDITORIUMS WHICH WE DIDN’T. THOSE ARE WAY BIGGER OF COURSE AND A LOT MORE EXPENSIVE. WE WERE VERY FORTUNATE IN THIS MATTER–WE HAD A BEQUEST FROM THE YATES FAMILY THAT PRETTY WELL PAID FOR CONSTRUCTION OF THE BUILDING. AFTER A VERY FEW YEARS, YOU [STARTED TO] WONDER HOW YOU GOT ALONG WITHOUT IT BECAUSE IT WAS IN CONSTANT USE, AND STILL IS. IT WAS VERY WELL BUILT AND IT WILL CONTINUE TO SERVE THE COMMUNITY FOR ANY NUMBER OF YEARS BECAUSE WE’RE IN THE PROCESS OF RENOVATING IT, ADDING ON TO IT.” “I WAS HIRED ON BEFORE THE BUILDING WAS FINISHED SO I WAS THERE DURING THE CONSTRUCTION OF IT. I HAD SOME INPUT. IT WAS EXCITING. [THE] JOB WAS DIFFERENT ALL THE TIME. THEY HAD THESE GROUPS COME IN, AND…IT WAS AN EVERYDAY EVENT FOR ME. THEY ALL USED TO SAY, 'HOW COME YOU STAY SO CALM?' AND I WOULD SAY 'WELL, BECAUSE I DO IT EVERY DAY, AND YOU ONLY DO IT ONCE A YEAR.'” LINDA BAYLY SPOKE ABOUT HER OWN EXPERIENCES WITH THE YATES THEATRE, NOTING, “I WAS THE SECRETARY IN THE FRONT OFFICE AND WORKED WITH MAKING BOOKINGS FOR THE BUILDING AND GENERAL SECRETARIAL WORK AT THAT TIME. ED WAS THE TECHNICIAN FOR A NUMBER OF YEARS BEFORE HE BECAME HE MANAGER. HE HAD TO MAKE SURE ALL THESE RULES BACKSTAGE WERE LOOKED AFTER AND ATTENDED TO AND COMPLETED.” JEFF CARLSON ELABORATED ON HIS TIME WITH THE YATES THEATRE, STATING, “I SPENT MY ENTIRE PRETTY MUCH LIFE…IN THE YATES, IN THE GENEVIEVE YATES MEMORIAL THEATRE. I STARTED GOING TO THE YATES PROBABLY IN THE ‘70S WITH THE KIWANIS MUSIC FESTIVAL AND SCHOOL BAND AND CHOIR EVENTS…BACK IN LAKEVIEW ELEMENTARY SCHOOL. AFTER THAT I STARTED ACTING IN THEATRE AND EVENTUALLY PRODUCING AND DIRECTING THEATRE UP UNTIL LESS THAN A YEAR AGO.” “[AT THE TIME] I FIGURED 'NOW THIS IS FUN, I LIKE THIS, I THINK I’M OKAY AT IT' SO I GAVE MYSELF SOME DEADLINES. I SAID, 'I’LL PURSUE THIS UNTIL I’M THIRTY AND IF I HAVEN’T MADE A CAREER IN IT BY THEN, THEN I WILL DO MY FALLBACK EDUCATION OR POLITICAL SCIENCE OR RUSSIAN HISTORY.' I HAD BITTEN OFF A BIT OF IT AT THAT POINT. BUT, BY THE AGE OF THIRTY, I WAS WORKING FULLTIME IN THEATRE, WRITING, DIRECTING, PRODUCING PRODUCTIONS FOR NEW WEST THEATRE AT THE YATES.” “[I WAS] PROFESSIONALLY EMPLOYED AT THE YATES BY [THE] LATE ‘80S, EARLY ‘90S. THERE WAS A MIX THERE BECAUSE WE WERE DOING FULL-TIME THEATRE PRODUCTIONS BY THE LATE ‘80S BUT THEN I TOOK TIME OFF TO TAKE A TOURING COMPANY THROUGH ALBERTA AND B.C., FOR NEW WEST THEATRE. [I] ENDED UP LIKING IT SO MUCH THAT I STAYED IN VANCOUVER FOR A COUPLE OF YEARS. [I] CAME BACK FOR A TWO-WEEK VISIT ON MY WAY TO TORONTO TO GO INTO FILM AND TV. AS I WAS HERE FOR TWO WEEKS, THE ASSOCIATE DIRECTOR QUIT AND THEY SAID, 'PLEASE, PLEASE, PLEASE – ', AND SO I SAID, 'I’LL DO IT FOR A YEAR.' THAT IS NOW TWENTY-FIVE YEARS AGO. IT WAS JUST CIRCUMSTANCES.” “WE [HAD] REPLACED THE SEATS IN THE YATES AND REPAINTED THE WHOLE THING. IT WAS PROBABLY ONE OF THE MISTAKES THAT WAS MADE, IN MY OPINION, WAS THAT BLUE COLOUR WE PUT ON THE WALLS. THEY CHANGED [THE PAINT COLOUR] TO THIS LIGHT BLUE THAT CAUSED THE LIGHTING DESIGNS TO BE SUCH A CHALLENGE.” “WE DID EVERYTHING. WE RAN THE LIGHTS, HUNG THE LIGHTS, FOCUSED THE LIGHTS. THEY MADE ME SEW COSTUMES. I REMEMBER MAKING A POODLE SKIRT FOR A SHOW IN 1986. I’VE LEARNED HOW TO MAKE A POODLE SKIRT. IT WAS TERRIBLE, BUT I LEARNED HOW TO MAKE IT. IN MY DEGREE AT THE UNIVERSITY OF LETHBRIDGE, YOU HAVE TO GET SO MANY, WHAT THEY CALL ‘BACKSTAGE CREDITS’, IN RUNNING BACKSTAGE SHOWS, HANGING THE LIGHTS, DOING WARDROBE. THEY WAIVED THAT REQUIREMENT FOR ME BECAUSE, GROWING UP IN NEW WEST AND DOING EVERYTHING IN NEW WEST, THEY KNEW WE DID EVERYTHING. WE BUILT THE SETS, PAINTED THE SETS, HUNG THE LIGHTS, DID EVERYTHING. I WAS VERY FORTUNATE.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTIONS, PLEASE SEE THE PERMANENT FILE P20170029001-GA.
Catalogue Number
P20170029003
Acquisition Date
2017-08
Collection
Museum
Images
Less detail
Date Range From
1980
Date Range To
2000
Material Type
Artifact
Materials
PLASTIC, STEEL, GLASS
Catalogue Number
P20180005000
  2 images  
Material Type
Artifact
Date Range From
1980
Date Range To
2000
Materials
PLASTIC, STEEL, GLASS
No. Pieces
1
Height
30.5
Length
57
Width
11.3
Description
CAMCORDER COMPRISED OF LENS, BETACAM DECK, AND COLOR CAMERA. BETACAM DECK AT BACK OF CAMERA IS TWO-TONE GREY WITH TWO PLUG-INS FOR “AUDIO IN, CH-1, CH-2” AND ONE PLUG-IN FOR “DC-IN, 12V”. BETACAM DECK HAS TWO BLACK SLIDE BUTTONS ON TOP LABELLED IN WHITE “EJECT” AND “REW”. BETACAM DECK HAS GREY METAL HANDLE AT TOP THAT FASTENS TO BETA CASSETTE DECK. BETACAM DECK HAS YELLOWED PLASTIC WINDOW ON SIDE TO VIEW INSIDE MECHANISMS; BELOW WINDOW IS GREEN, RED AND BLUE DECAL READING “45 NEWS, 45”. REVERSE SIDE HAS SILVER “POWER ON/OF” SWITCH ABOVE METER MEASURING BATTERY CHARGE, “SONY VU”; BETACAM DECK HAS TWO ROUND BLACK BUTTONS LABELLED “RESET” AND “LIGHT” ABOVE BLACK SWITCH LABELLED “TAPE TIMER, TIME CODE”; SIDE HAS DIGITAL DISPLAY SCREEN READING “HOUR, MIN, SEC”. SIDE HAS ROW OF SIX RED LIGHTS NEAR BOTTOM LABELLED WITH WORN WHITE PAINT WITH FIRST TWO ILLEGIBLE, “HUMID, SLACK, TAPE END, BATTERY”. SIDE HAS PANEL THAT OPENS AT BOTTOM EDGE WITH SIX DARK GREY BUTTONS LABELLED IN PAIRS “HOUR, MINUTE, SECOND” AND TWO BLACK SWITCHES LABELLED “U-BIT, TIME” AND “REC RUN, FREE RUN”. SIDE HAS SILVER PLATE FIXED READING “SONY”. BACK OF BETACAM DECK HAS SILVER LABEL WITH RED, GREEN AND BLUE LOGO “45 CFCN TELEVISION”; BACK HAS BLACK LABEL WITH SILVER TEXT “SONY BETACAM, MODEL BVV-1, VIDEOCASSETTE BETACAM DECK, DCIN, 12V, 10W, NO. 11085, SONY CORPORATION, MADE IN JAPAN, 3-676-119-01”. TOP OF BETACAM DECK HAS BLACK LABEL WITH SILVER TEXT “SAVE MODE ONLY”. COLOR CAMERA IN MID-SECTION IS LIGHT GREY WITH SMALL PIECE OF SILVER TAPE FIXED TO TOP. SIDE OF CAMERA HAS YELLOW LABEL WITH BLACK “1”; SIDE HAS DARK GREY CONTROL PANEL AT BOTTON EDGE WITH EMBOSSED TEXT AND SILVER SWITCHES AND BUTTONS, “AUTO WHITE BAL, CAMERA, PRE HEAT/ON, VTR, SAVE/STOP, GAIN, 12/6/0, OUTPUT, BASS/CAM, WHITE BAL, PRE SET/AUTO”. SIDE HAS DARK GREY BUTTON ABOVE CONTROL PANEL LABELLED “VTR START”. SIDE HAS SILVER FITTING BESIDE PANEL LABELLED “PEDESTAL”. SIDE HAS SILVER LABEL WITH WORN BLACK TEXT “SONY MODEL NO. BVP-1, COLOR VIDEO CAMERA, DC, 12V, 11W, NO. 10505”. SIDE HAS SILVER LABEL WITH BLACK TEXT “FILTER, 1 3200’K, 2 5200’K + 1/4ND, 3 5200’K, 4 6800’K”. REVERSE SIDE HAS BLACK PLATE FIXED WITH SILVER TEXT “SONY” ABOVE BLACK LABEL WITH RED, GREEN, BLUE AND WHITE LOGO “TRINICON”. SIDE HAS SILVER FITTING AT LOWER EDGE WITH EMBOSSED LABEL “MONITOR OUT”; LOWER EDGE HAS SILVER KEY HOLE WITH EMBOSSED LABEL “BATTERY”. CAMERA HAS ATTACHED BLACK ABOVE-VIEWFINDER WITH RUBBER GUARD OVER GLASS LENS. VIEWFINDER IS FIXED TO FRONT OF CAMERA; VIEWFINDER HAS WHITE TAPE ATTACHED TO TOP WITH BLUE HANDWRITTEN TEXT “PASS JULZ DAMAGE TO TUBE OR MULT.PLER”. BACK OF VIEWFINDER HAS SILVER SWITCH “TALLY, ON/OF” AND TWO BLACK METAL TURN-KNOBS “BRIGHT, CONTR”. FRONT OF VIEWFINDER HAS BLACK PLATE ATTACHED WITH SILVER TEXT “SONY”. BLACK LENS AT FRONT FIXED IN LENS STAND WITH LEATHER STRAP ON SIDE AND BLACK PLASTIC BUTTONS “VTR, RET, IRIS M”; SIDE OF LENS STAND HAS BLACK SWITCHES “W/T” AND “IRIS, A/M”. LENS HAS WHITE LABEL AROUND MID-SECTION “CANON MACRO TV ZOOMJ13X9C, 9-117MM, 1.1.6, NO.80581, CANON, JAPAN”. LENS ROTATES TO ADJUST FOCUS AND DEPTH. BETACAM HAS WEAR ON LABELS AND DISCOLORATION ON PLASTIC WINDOW; COLOR CAMERA HAS WEAR ON LABELS AND ADHESIVE RESIDUE ON SIDE; HANDLE ON TOP HAS WORN AND CHIPPED PAINT; VIEWFINDER IS WORN; OVERALL VERY GOOD CONDITION.
Subjects
TELECOMMUNICATION T&E
Historical Association
PROFESSIONS
BUSINESS
History
ON MARCH 22, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED DARREN KRONLUND REGARDING HIS DONATION OF A SONY BVV-1 BETACAM AND CAMCORDER. THE CAMCORDER WAS USED IN THE 1980S BY THE CTV LETHBRIDGE FILM CREW. ON THE FUNCTION OF THE CAMERA IN THE CTV STUDIO, KRONLUND ELABORATED, “THE TECHNOLOGY WITH CAMERAS PROGRESSED QUICKER THAN THE DECKS DID. THESE CAMERAS AND DECKS ARE USED FOR ELECTRONIC FIELD PRODUCTION [AND ARE] CALLED THE EFP CAMERAS. THE DECKS KIND [ARE] THAT TECHNOLOGY WHICH THE MAJORITY OF STATIONS USED FOR THE LONGEST TIME [IN] SONY BETA CAM FORMAT. THAT’S WHAT THE DECK IS, BUT THE CAMERAS THEMSELVES HAD AT ONE TIME THREE TUBES FOR COLOUR CAMERAS. THEN TECHNOLOGY CAME WHERE THEY COULD DO IT WITH JUST SENSORS…SO YOU DIDN’T HAVE TUBES. IT WAS MORE SENSITIVE TO LIGHT AND THAT WAS AN IMPROVEMENT. YOU DIDN’T HAVE TO HAVE TO BRING A BUNCH OF LIGHTS ALONG WITH YOUR SHOOTS. AS THOSE CAMERAS CAME OUT, THEY JUST DID SUCH A BETTER JOB, THAT THESE CAMERAS WERE NO LONGER USED. ALTHOUGH THEY WORKED, THEY WOULD JUST GET STORED AND NEWER TECHNOLOGY, BETTER PICTURES AND LIGHTER [WOULD BE USED].” “[THIS CAMERA] IS A COMPOSITE. AS TECHNOLOGY EVOLVED, THEY COULD SUPPLY [THE] UPPER HALF, THE CAMERA HALF, [AND] YOU COULD CONTINUE TO USE THE OLDER DECK.” TO ME [THE DECK AND CAMERA] ARE DIFFERENT [AGES]. I THINK THE DECK IS NEWER THAN THE CAMERA. OTHERWISE THEY’D BE THE SAME COLOUR. I CAN’T REMEMBER THE OLD, ORIGINAL DECK BUT YOU COULD SWAP OUT DECKS BECAUSE THEY DID MAKE IMPROVEMENTS WITH DECKS AS WELL. THERE WAS A TIME THEY USED METAL TAPES WHICH WAS FOR AUDIO. IT HELPED, YOU COULD GET BETTER AUDIO QUALITY. THEY CALLED THEM METAL, IT’S JUST METAL PARTICLES IN THE TAPE.” “I WOULD SAY THIS CAMERA PROBABLY GOT USED, I’M GOING TO GUESS ’84…IT MIGHT HAVE BEEN IN SERVICE WHEN I GOT HERE…I PROBABLY SERVICED THE] CAMERA AND/OR DECK…[BY 1990 IT WAS] PROBABLY REPLACED WITH THE NEWEST TECHNOLOGY. NOT THE NEWEST TECHNOLOGY BUT NEWEST TO US, CALGARY WOULD HAVE HAD THE NEWEST TECHNOLOGY.” “BETA WAS THE STAPLE FORMAT FOR VIDEO FOR MANY YEARS. PROBABLY LEADING RIGHT UP TO INTO THE DIGITAL WORLD IT WAS THE KING. PANASONIC HAD A FORMAT [TOO]…HITACHI HAD THEIR OWN TOO, BUT THEY EVEN MADE THEIR CAMERAS COMPATIBLE WITH BETA DECKS THAT’S HOW BIG INFLUENCE [WAS]. SOME SMALLER, INDEPENDENT STATIONS MAYBE WENT WITH SOME OF THAT STUFF, BUT I’D SAY 90% OF THE INDUSTRY WAS BETA.” “IT WAS [FOR] REPORTERS. IT WAS FOR NEWS AND VIDEO PRODUCTION.” KRONLUND ELABORATED ON THE CAMERA’S HISTORY IN PRODUCTION, NOTING, “IT’S BEEN IN THE BASEMENT FOR PROBABLY [TEN YEARS]…I FOUND IT IN AN OLD SHIPPING CONTAINER. THERE’S BEEN NUMEROUS UPGRADES TO CAMERAS SINCE THEN, SO NOTHING WAS DONE WITH IT. THE LAST TIME IT WAS USED I’M GOING TO GUESS [WAS] ROUGHLY TEN YEARS AGO, MAYBE MORE.” “I DOUBT YOU WOULD FIND ANYONE USING IT, BUT I WOULDN’T BE SURPRISED IF SOMEBODY HAD IT IN THEIR BASEMENT [FOR] THE SAME REASON OURS WAS. JUST OUT OF SIGHT, OUT OF MIND AND YOU’RE JUST GOING ABOUT YOUR DAY–TO-DAY BUSINESS, UNTIL YOU START CLEANING OUT THINGS AND YOU GO, “OH YEAH, THE OLD BBB1.”” “[WE ACQUIRED EQUIPMENT] USUALLY USED. CALGARY WOULD GET THE NEW STUFF AND THEN THE WORKING STUFF THAT THEY WERE REPLACING WOULD COME DOWN TO US, FOR THE MOST PART. THE CAMERAS WE HAVE NOW WERE BOUGHT BRAND NEW, STATE-OF THE-ART, SO THAT WAS NICE. IT IS NICE FOR THAT, BUT THIS WAS PROBABLY PRE-DATED EVEN ME AND I HAVE BEEN HERE TWENTY-EIGHT YEARS. IT WAS PROBABLY THE CAMERA THEY WERE USING, IF NOT AT THE TIME, BUT LIKELY BEFORE I STARTED.” “THIS [CAMERA] FUNCTIONS TODAY. I’M SURE YOU COULD MAKE PICTURES WITH IT, BUT THE USE OF IT WOULD PROBABLY BE, I’M GOING TO GUESS, MAYBE FIVE OR SIX YEARS. THEN [THE] BUDGETS WOULD [GROW], THEY GOT THIS NEW TECHNOLOGY YOU CAN SHOOT UNDER LESS LIGHT. IT’S A LIGHTER CAMERA AND [THEY] HAVE THESE BENEFITS, SO THEY WOULD BUDGET IN TO UPDATE THE CAMERAS AND DECKS. THROUGH THAT CYCLE, THAT IS WHEN WE WOULD PROBABLY GET A COUPLE OF NEW CAMERAS, THE OLDER STUFF WE’D PUT IN THE BASEMENT.” “I’M [NOW] CLEANING OUT OLD EQUIPMENT, BECAUSE IT BUILDS UP AND WE RUN OUT OF ROOM. IT’S SOMETHING HARD TO GET RID OF BECAUSE THEY’RE ALWAYS WORKING AND USUALLY WORKING AND FUNCTIONING FINE, BUT TECHNOLOGY PROGRESSES AND THEY BECOME BIGGER AND BETTER--OR THERE BECOMES BIGGER AND BETTER WAYS OF DOING THE SAME JOB. IT JUST GETS OUTDATED AND HITS THE SHELF. [I] HATE TO SEE IT JUST GET RECYCLED.” “I’M NOT REALLY THAT TYPE OF [NOSTALGIC] PERSON. THE CAMERAS TODAY ARE ALL DIGITAL, THEY GO RIGHT TO A SD CARD IN DIGITAL FORMAT. THERE’S NO MECHANICAL PARTS AND THAT’S PART OF THE REASON I WAS EMPLOYED BECAUSE SO MUCH OF WHAT I DID WAS BECAUSE PARTS WEAR OUT AND NEED TO BE FIXED AND REPLACED, WHERE THE NEW CAMERAS…IT’S NOT MUCH YOU CAN DO IF IT’S IN DIGITAL FORMAT AND [HAS] NO MECHANICAL MOVING PARTS. I DON’T MISS WORKING ON THEM, THAT COULD BE FRUSTRATING BECAUSE A LOT OF TINY LITTLE GEARS AND TIMING…YOU CAN SPEND HOURS AND NOT GET ANYWHERE, AND THEN FINALLY SHIP IT OUT TO THE MANUFACTURER BECAUSE YOU JUST COULDN’T GET ANYWHERE. YOU SPENT A WEEK WORKING ON IT AND NOW YOU’VE GOT TO, IN THE END, PAY SOMEONE TO DO IT. THOSE ARE FRUSTRATIONS, BUT IT IS SATISFYING WHEN YOU DO FIX A PROBLEM AND ARE ABLE TO FIX IT. BUT THOSE DAYS ARE BEHIND US AND I CAN’T SAY I MISS THEM. IT’S JUST DIFFERENT WAYS OF MAINTAINING CAMERAS NOW.” “IT’S HARD TO THROW OUT BECAUSE THE VALUE OF IT IS LIKE BUYING A CAR…AT THAT TIME. THAT’S WHAT YOU’RE DOING IS PUTTING A CAR ON YOUR SHOULDER, MAYBE NOT QUITE A CAR, BUT I’M GOING TO GUESS THIS CAMERA WAS PROBABLY FIFTEEN THOUSAND DOLLARS BACK THEN. THAT’S A LOT OF MONEY.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180005000-GA.
Catalogue Number
P20180005000
Acquisition Date
2018-03
Collection
Museum
Images
Less detail
Date Range From
2000
Date Range To
2017
Material Type
Artifact
Materials
NYLON, POLYESTER, PLASTIC
Catalogue Number
P20180006004
  2 images  
Material Type
Artifact
Date Range From
2000
Date Range To
2017
Materials
NYLON, POLYESTER, PLASTIC
No. Pieces
1
Length
78
Width
62.5
Description
VEST WITH WHITE FABRIC AT SHOULDERS AND MID-WAY DOWN CHEST; FRONT LOWER HALF OF CHEST IS RED, WITH RED PLASTIC ZIPPER RUNNING DOWN FRONT. COLLAR IS WHITE WITH RED MAPLE LEAVES PATTERN. BACK OF VEST HAS LARGE RED MAPLE LEAF PRINTED. INSIDE OF VEST IS LINED WHITE; INSIDE OF COLLAR HAS FABRIC TAG MACHINE-STITCHED TO VEST LINING WITH RED, BLACK, AND WHITE LOGO “FLAG WEAR”. SMALL PAPER TAG ATTACHED BELOW IS WHITE WITH BLACK TEXT “XL/TG”. FABRIC TAG BELOW IS WHITE WITH BLACK TEXT “FLAGWORKS INC., CA 24838, CALGARY, CANADA, 1 800 661 FLAG (3524), MADE IN CANADA, 100% NYLON SHELL, 100% POLYESTER LINING, FAIT AU CANADA” WITH WASHING INSTRUCTIONS ON BACK OF TAG. FRONT OF VEST HAS POCKETS ON BOTH SIDES LINED WITH RED NYLON. BOTTOM OF JACKET HAS BLACK DRAWSTRINGS INSIDE WITH BLACK PUSH-BUTTONS ON BOTH SIDES FOR ADJUSTNG DRAWSTRINGS; DRAWSTRING BLACK ELASTIC SEWN INTO HEM OF VEST. VEST HAS MINOR FRAYING TO THREADS AT HEM; OVERALL EXCELLENT CONDITION.
Subjects
CLOTHING-OUTERWEAR
Historical Association
COMMEMORATIVE
PERSONAL CARE
History
ON MARCH 29, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED LORI HARASEM AND JENNIE SUDO REGARDING THE CITY OF LETHBRIDGE DONATION OF CANADA 150 MEMORABILIA. HARASEM AND SUDO WERE INVOLVED WITH ORGANIZING THE JULY 1, 2017 EVENTS FOR CANADA 150, WITH SUDO ACTING AS CHAIR FOR THE LETHBRIDGE CANADA DAY COMMITTEE WITH THE CITY OF LETHBRIDGE AND HARASEM AS A MEMBER OF THE COMMITTEE. ON THE VEST, HARASEM ELABORATED, “WE HAD ACTUALLY QUITE A FEW OF THESE BUT EDEN, OUR SUMMER STUDENT WHO DID THE PASSPORT, AND I PROUDLY WORE THESE AROUND CITY HALL DURING THE CANADA 150 PAVILION WEEK AND LEADING UP TO IT TO TRY TO GET SOME EXCITEMENT AROUND THE PAVILION. THEN WE WORE THEM, ALONG WITH ANY VOLUNTEERS OR STAFF WHO HELPED US, AT THE CANADA 150 PAVILION WHEN YOU FIRST WALKED IN, ‘CAUSE WE WERE A 'GREETER DESK.' TO ME, IT KIND OF GAVE THAT CANADA 150 LOOK SO PEOPLE KNEW THEY WERE WALKING INTO THE RIGHT PLACE IF THEY WERE LOOKING FOR THE PAVILION.” “THESE WERE OWNED BY CHINOOK COUNTRY TOURIST ASSOCIATION FOR MANY YEARS AND THEIR CANADA DAY COMMITTEE, WHICH WAS THE CANADA DAY COMMITTEE BEFORE IT CAME TO WHERE IT IS NOW. [THE VESTS] USED TO BE THEIR OFFICIAL CANADA DAY COMMITTEE CLOTHES AND THEY WOULD ALSO WEAR THEM TO A LOT OF TOURISM EVENTS THAT CHINOOK COUNTRY WOULD GO TO PROMOTE LETHBRIDGE AT. THEY HAD DONATED THEM TO THE CITY A NUMBER OF YEARS AGO WHEN THEY STOPPED USING THEM. WE HAD THEM AROUND FOR A WHILE. WE KEPT ONE FOR THE GALT MUSEUM COLLECTION, BUT THE REST OF THEM HAVE GONE TO IMMIGRANT SERVICES TO SEE IF ANY OF THE NEWCOMERS TO CANADA ARE REALLY PROUD AND REALLY WANT TO SHOW OFF THEIR RED AND WHITE. WE HAVE NO IDEA WHERE THEY’RE [GOING TO] SHOW UP IN THE FUTURE, BUT THIS IS THE ONE THAT I WORE FOR A COUPLE OF WEEKS IN AUGUST.” HARASEM AND SUDO RECALLED THEIR TIME PLANNING AND ORGANIZING THE 2017 EVENTS, WITH SUDO NOTING ABOUT THE PLANNING COMMITTEE, “THE LETHBRIDGE CANADA-DAY COMMITTEE IS A COMMITTEE THAT’S MADE UP OF CITY OF LETHBRIDGE EMPLOYEES IN PART WITH COMMUNITY VOLUNTEERS. MY POSITION AS THE COORDINATOR OF RECREATION AND CULTURE, I AM AUTOMATICALLY VOLUNTEERED FOR THIS COMMITTEE ALONG WITH OUR RECREATION AND CULTURE TEAM. THE CHAIRING RESPONSIBILITIES FOR THAT COMMITTEE GET ROTATED BETWEEN OUR TEAM MEMBERS EVERY TWO YEARS AND MY YEAR JUST SO HAPPENED TO FALL ON THIS VERY IMPORTANT, NOSTALGIC YEAR FOR CANADA’S 150.” “[THE COMMITTEE IS] ALWAYS IN EXISTENCE. I THINK [THERE] WAS A LOT OF PRESSURE, BUT REALLY GREAT PRESSURE. I WAS VERY PROUD TO BE ABLE TO BE PART OF THE COMMITTEE. AND BEING ABLE TO LEAD THE TEAM FOR MY VERY FIRST TURN AT CHAIRING THE COMMITTEE. I FELT A LOT OF PRIDE TO BE ABLE TO SHOW THAT OUR COMMUNITY CAN COME TOGETHER AND CELEBRATE CANADA’S 150.” “[THE] COMMITTEE [WAS] COMPRISED OF THE RECREATION AND CULTURE TEAM, WHICH WAS TWO MANAGERS, LORI HARASEM AND JASON FREUND, MYSELF AS THE CHAIR FOR [2017]. WE ALSO [HAD] MARLENE LAPOINTE, SARAH BURTON, SCOTT CARPENTER AND ONE OF OUR TEMPORARY EMPLOYEES, ERIC SHARP, [AS] PART OF THE COMMITTEE AS FAR AS THE CITY OF LETHBRIDGE SIDE GOES. WE ALSO HAD THREE PUBLIC VOLUNTEERS FROM THE COMMUNITY. WE HAD ADELLE HARRINGTON, BOBBY MCCALLUM AND DAVID FRITZ WHO ALSO PLAYED A HUGE ROLE IN HELPING COORDINATE SOME OF THE ACTIVITIES THERE.” “AS SOON AS CANADA DAY 2016 ENDED, WE WERE ALREADY THINKING ABOUT WHAT WE WERE GOING TO BRING BACK, WHAT KIND OF BUDGET WE WERE GOING TO NEED, WHAT KIND OF ACTIVITIES WE WERE GOING TO HAVE, HOW WE WERE GOING TO MAKE IT SPECIAL, AND MAKE IT STAND OUT THE NEXT YEAR…FOR THE REST OF THE CANADA DAY [EVENTS], THE ONES THAT AREN’T CANADA 150 OR STAND-OUT, WE WOULD PROBABLY ONLY START [PLANNING] ABOUT SIX MONTHS IN ADVANCE. BUT, THE PLANNING PROCESS FOR CANADA DAY, PERIOD, IS QUITE LONG AND STRENUOUS. WE HAVE TO THINK ABOUT SOME PRETTY TIGHT TIMELINES WHEN WE’RE TALKING ABOUT PLANNING AN EVENT THAT BIG. WE DEFINITELY NEEDED THE FULL YEAR TO PLAN CANADA 150.” “CURRENTLY, THE ONLY SPECIAL EVENT THAT THE CITY OF LETHBRIDGE REALLY HOSTS, AS A CORPORATION, IS THE CANADA DAY EVENT. WE RELY ON OUR COMMUNITY GROUPS TO DO MOST OF OUR OTHER SPECIAL EVENTS." ON THE EVENTS PLANNED, HARASEM RECALLED, “IN ALL HONESTY, FOR THE CANADA DAY ACTIVITIES ITSELF, THOUGH I’M ON THE COMMITTEE, I’M NOT AS INVOLVED WITH THAT AS OTHER THINGS THAT I OVERSAW THAT LASTED FROM JANUARY 1ST TO DECEMBER 31ST. SEEING JENNIE AND THE TEAM AND HOW MUCH THEY WORKED…THEY EVEN CHANGED THE LAYOUT AT HENDERSON LAKE THAT HAD BEEN THE SAME WAY FOREVER AND WE HAD TO GO TO SENIOR LEADERS OF THE CITY AND ASK FOR EXTRA MONEY BECAUSE THE BUDGET FOR CANADA DAY HASN’T CHANGED FOR TWELVE OR FIFTEEN YEARS. TO PUT ON SOMETHING THAT WE KNEW THE PUBLIC EXPECTED A LOT [FROM]…[WAS] MY BIGGEST ROLE WITH THE CANADA DAY. IT WAS A HUGE AMOUNT OF WORK AND IT WAS SO SUCCESSFUL, ESPECIALLY ON THE SOCIAL MEDIA SIDE. AT THE CITY, WE’RE USED TO SEEING A LOT OF NEGATIVE COMMENTS. OUR COMMUNICATIONS TEAM HAS SAID THAT THE MOST POSITIVE COMMENTS THEY’VE EVER HAD ON ANYTHING THAT THEY’VE EVER POSTED ON THEIR FACEBOOK WAS AFTER THE CANADA DAY. I THINK THAT THEIR TEAM, JENNIE’S TEAM, DID AMAZING AT MEETING THE EXPECTATIONS OF THE PUBLIC WHICH WERE VERY HIGH.” “I CAME IN [WITH THE COMMUNITY GROUPS ORGANIZING]. WE HAD A GRANT, ‘CANADA 150’. WE HAD EXTRA FUNDING INJECTED INTO OUR BUDGET FOR 2017 [AT] OUR REQUEST, SO THAT WE COULD HELP LOCAL GROUPS THAT WERE ALREADY DOING EVENTS TO THEME IT AROUND CANADA 150. NORMALLY, THE CITY’S RULES IS YOU CAN ONLY GET ONE GRANT FOR ANY EVENT, EVEN THOUGH THERE’S MULTIPLE GRANTS AVAILABLE. BUT, FOR CANADA 150, WE ALLOWED GROUPS TO GET THEIR NORMAL GRANT, AND WE ALLOWED THEM TO ASK FOR UP TO $750 EXTRA, AND THAT WOULD ALLOW THEM TO THEN THEME THEIR EVENT. WE DIDN’T CARE HOW THEY DID THAT. IF THEY WANTED TO USE $750 TO BUY RED AND WHITE CUPCAKES AND BALLOONS [THEY COULD]. WE HAD [AT THE] JAPANESE GARDEN A HUNDRED AND FIFTY JAPANESE DANCERS PERFORMING AND THEY BOUGHT SPECIAL RED MATCHING JACKETS WITH THE MONEY THEY GOT. IT WAS OUR WAY OF ENCOURAGING THE COMMUNITY TO CELEBRATE CANADA 150 ALL YEAR-ROUND. BECAUSE ALL WE DO IS CANADA DAY, WE HAD TO FIND A WAY TO HELP THE COMMUNITY CELEBRATE CANADA 150 AND TO PUT IT IN THE PUBLIC’S EYES ALL YEAR-ROUND IN ANY WAY WE COULD. WE HAD A LOT OF GROUPS AND A LOT OF EVENTS. THERE WAS THIRTY-EIGHT EVENTS THAT RECEIVED FUNDING OVER THE COURSE OF THE YEAR, SO THERE WAS SOMETHING EVERY MONTH OF THE YEAR.” “DURING 'PRETTY, WITTY AND GAY', WHICH IS AN EVENT THE LGBTQ COMMUNITY PUTS ON IN FEBRUARY/MARCH, THEY USED THEIR FUNDING TO [HAVE] A BIG BULLETIN BOARD WHERE PEOPLE [COULD] WRITE DOWN THEIR THOUGHTS ABOUT WHAT IT WAS LIKE TO BE GAY IN CANADA. AND TO SHARE THEIR FEELINGS ON [BEING GAY IN CANADA] TO CONNECT BECAUSE, OBVIOUSLY, WE’RE A MORE OPEN-MINDED COUNTRY AROUND THAT THAN MOST OF THE WORLD. THAT, TO ME, WAS A REALLY UNIQUE WAY TO CELEBRATE CANADA’S 150TH.” “WE ALSO HAD A SMALL THEATRE GROUP COME TOGETHER, A COLLECTIVE THAT HAD NEVER EXISTED BEFORE. THEY PUT ON A VERY CONTROVERSIAL PLAY ABOUT FORMER PRIME MINISTER STEPHEN HARPER WHICH I WENT TO SEE AND IT WAS PRETTY SMALL. IT WASN’T THIS HUGE PLAY WHICH IS DONE IN CASA IN THE BLACK BOX [THE COMMUNITY ATB ROOM] BUT IT WAS FUNNY. IT WAS VERY CONTROVERSIAL AND WE DID PUT SOME MONEY BEHIND THAT.” “[THERE WAS] UPPER VICTORIA PARK NEIGHBOURS. I HAD SO MANY NEIGHBOUR DAYS. BUT WITH NEIGHBOUR DAY BEING A VERY POPULAR EVENT IN JUNE, AND WE’VE GOT MORE NEIGHBOURHOOD ASSOCIATIONS FORMING, WE REALLY ENCOURAGED THE NEIGHBOURHOODS TO APPLY FOR THE GRANT. MOST OF THE NEIGHBOURHOOD ASSOCIATIONS, AT THIS POINT, THEIR NEIGHBOUR DAY EVENTS ARE PRETTY SMALL, UNDER A HUNDRED PEOPLE. BUT IT’S THE PERFECT PLACE TO CELEBRATE CANADA DAY AND CELEBRATE YOUR NEIGHBOURS. OF COURSE, UPPER VICTORIA PARK IS THE ‘GO BIG OR GO HOME’ NEIGHBOURHOOD ASSOCIATION FOR NEIGHBOUR DAY. IT’S EXCITING WHENEVER WE’RE ABLE TO SUPPORT THE THEME OF THE EVENT IN ANY WAY BECAUSE WE KNOW THAT PEOPLE FROM EVEN OUTSIDE LETHBRIDGE ATTEND THAT EVENT. WE’RE NOT JUST SUPPORTING THE MEMBERS OF UPPER VICTORIA PARK NEIGHBOURHOOD ASSOCIATION WHEN WE SUPPORT SOMETHING, SO IT WAS NEAT TO BE ABLE TO PUT SOME MONEY THERE.” “OF COURSE, WINTER LIGHTS FESTIVAL AT JAPANESE GARDEN IS A VERY NEW EVENT. THIS WAS ONLY ITS SECOND YEAR, EVER. THOUGH IT IS A TRADITIONAL, JAPANESE, CULTURAL WINTER EVENT, WE WERE ABLE TO GIVE THEM SOME FUNDING, TOO, BECAUSE THEY ACTUALLY [HAD] THE FIRST EVENT IN 2017 BECAUSE THEY START IN EARLY DECEMBER AND GO TILL FEBRUARY. THEY WERE THE LAST EVENT, ‘CAUSE THEY WERE ON NEW YEAR’S EVE IN 2017. THAT FESTIVAL, THE FIRST TWO YEARS OF IT, KICKED OFF THE BEGINNING OF CANADA 150 AND ENDED CANADA 150 FOR US. IT WAS NEAT TO HAVE SUCH AN IMPORTANT CULTURAL GROUP AND ATTRACTION IN LETHBRIDGE…BE THE FOCUS OF THAT. THERE WERE EVENTS OF ALL SIZES. WE EVEN HAD THE DOGS THAT [ON] THE LAST DAY OF OPERATIONS [AT WESTMINSTER POOL] IS JUST FOR DOGS. EVEN THE HUMANE SOCIETY GOT MONEY TO [HAVE] DOG CANDIES THAT WERE RED AND WHITE…DOG TREATS DECORATED WITH RED AND WHITE BALLOONS AND RIBBONS. I WENT TO IT AND IT WAS HILARIOUS. THE DOGS [TOOK] OVER THE POOL AND THEY’RE SO HAPPY, IN CELEBRATION OF CANADA’S 150TH.” “WE ALSO HAD FREE SWIMMING AND SKATING THROUGHOUT THE YEAR THAT THE CITY SPONSORED AS A CELEBRATION. THAT WAS BECAUSE WE OBVIOUSLY WANT PEOPLE TO BE ACTIVE AND WE WANT PEOPLE TO USE OUR FACILITIES, AND WE KNOW THAT COSTS CAN BE A BARRIER. EVERY MONTH WE HAD AT LEAST ONE FREE SWIMMING WHERE THE FIRST HUNDRED AND FIFTY PEOPLE WERE FREE. IN THE SUMMER THAT INCLUDED BOTH OF THE OUTDOOR POOLS, HENDERSON AND WESTMINSTER. HENDERSON WAS REALLY POPULAR ‘CAUSE IT’S ONLY SECOND YEAR OF OPERATIONS…IT’S STILL [A] VERY POPULAR PLACE TO GO. THEN, WE HAD FREE SKATING AT ALL OUR ARENAS, INCLUDING THE NEW ATB CENTRE AND WE HAD THOSE AT LEAST [ONCE] A WEEK THROUGHOUT THE WHOLE YEAR. THOUSANDS OF PEOPLE IN LETHBRIDGE GOT TO PARTICIPATE IN SWIMMING OR SKATING FOR FREE AS [PART OF THE] CELEBRATION. AT SOME OF THOSE, WE HANDED OUT LITTLE CANADA FLAGS OR CANADA TATTOOS OR HAD BALLOONS.” ON THE DONATION OF CANADA 150 MATERIALS TO THE MUSEUM, HARASEM NOTED, “I BELIEVE THAT THIS IS IMPORTANT TO GO TO THE GALT BECAUSE I KNOW THAT WHEN WE FIRST REALIZED WE NEEDED TO DO SOMETHING TO CELEBRATE THE 150TH, THE FIRST THING WE DID WAS LOOK BACK TO SEE WHAT HAPPENED AT THE 100TH AND WHAT WE HAD IN THE MUSEUM AND ELSEWHERE IN LETHBRIDGE FOR CELEBRATIONS THAT OCCURRED AT THAT TIME. [WE WERE LOOKING TO] SEE IF THERE WERE THINGS THAT WE COULD MIMIC OR SHOULD KNOW ABOUT. WE USED A LOT OF PHOTOS THROUGH OUR REC AND CULTURE GUIDE FOR THAT YEAR TO REMIND PEOPLE THAT, FIFTY YEARS AGO WAS THE BIG CENTENNIAL. WE THOUGHT THAT WHEN THE 200TH COMES, THAT PEOPLE WOULD PROBABLY BE WANTING TO LOOK BACK TO 2017 TO SEE WHAT HAD HAPPENED.” SUDO ADDED, “I THINK CANADA’S SESQUICENTENNIAL [150TH ANNIVERSARY] WAS VERY IMPORTANT TO REMEMBER BECAUSE FIFTY YEARS IS A LONG TIME AND A LOT HAPPENS IN FIFTY YEARS. IT’S GREAT TO BE ABLE TO LOOK BACK AT ALL OF THE THINGS THAT WE DID FOR CANADA’S SESQUICENTENNIAL AND REMEMBER ALL OF THE HARD WORK, AND THE COMMUNITY COMING TOGETHER AND SHOWING THEIR CANADIAN PRIDE.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180006007-GA.
Catalogue Number
P20180006004
Acquisition Date
2018-03
Collection
Museum
Images
Less detail
Other Name
"HEARTSIM 2000"
Date Range From
1990
Date Range To
2005
Material Type
Artifact
Materials
PLASTIC, METAL, GLASS
Catalogue Number
P20180009000
  2 images  
Material Type
Artifact
Other Name
"HEARTSIM 2000"
Date Range From
1990
Date Range To
2005
Materials
PLASTIC, METAL, GLASS
No. Pieces
7
Height
14.7
Length
46.5
Width
35.6
Description
A. BLACK PLASTIC CASE, 46.5 CM LONG X 35.6 CM WIDE X 14.7 CM TALL. CASE FRONT HAS BLACK HANDLE WITH SILVER METAL BASE AND BLACK LABEL WITH WHITE TEXT “LETHBRIDGE FIRE DEPARTMENT”; FRONT HAS BLACK PLASTIC CLASPS ON BOTH ENDS. INSIDE OF CASE HAS BASE LINED WITH STYROFOAM INSERT, WITH CUT-OUT SECTIONS FOR STORING MONITOR AND ACCESSORIES. INSIDE CASE AT HINGE HAS CLEAR PLASTIC LABEL ATTACHED WITH BLACK TEXT “SPARE FUSE”. INSIDE OF LID HAS ATTACHED GREY INSTRUCTION SHEET WITH BLACK AND GREY LABEL “PROPERTY OF LETHBRIDGE FIRE DEPARTMENT” ABOVE BLACK TEXT ON GREY SHEET “LAERDAL HEARTSIM 2000, TEACHES ECG INTERPRETATION, ARRHYTHMIA MANAGEMENT AND HEMODYNAMIC WAVEFORM RECOGNITION” WITH LISTINGS OF “FUNCTIONS, ECG SIMULATION, ECG MENU” AND DIAGRAMS BELOW; LOWER RIGHT CORNER OF SHEET HAS LOGO SHOWING ONE FIGURE BANDAGING THE ARM OF ANOTHER AND TEXT “LAERDAL MEDICAL CORP., 1 LABRIOLA COURT, ARMONK, N.Y., 10504, FOR TECHNICAL ASSISTANCE AND SERVICE INFORMATION CALL: 800-431-1055, IN NEW YORK CALL SERVICE DEPARTMENT COLLECT: 914-273-9404”. INSIDE LID UNDER INSTRUCTION SHEET IS BLACK STYROFOAM MOUNT. CASE EXTERIOR IS SCRATCHED, SCUFFED, AND WORN; INSIDE OF CASE IS STAINED AND SOILED; OVERALL VERY GOOD CONDITION. B. HEARTSIM 2000, 8 CM TALL X 30.1 CM LONG X 27 CM WIDE. CREAM-WHITE PLASTIC MONITOR WITH TRI-COLORED RED, GREY AND BROWN STRIPE RUNNING DOWN UPPER LEFT EDGE. MONITOR IS SQUARE AND TOP TAPERS TO LOWER EDGE; LEFT SIDE HAS BROWN, BLACK AND RED LABEL “HEARTSIM 2000, LAERDAL MEDICAL” WITH BLACK AND WHITE LABEL BELOW “PROPERTY OF LETHBRIDGE FIRE DEPARTMENT”. RIGHT SIDE HAS MONITOR CONTROL DISPLAY WITH WHITE TEXT ABOVE “QRS TYPE, BASIC RHYTHM, PREMATURE COMPLEXES, RATE” AND WHITE TEXT ON RIGHT SIDE “RUNNING, WAITING”. KEYPAD BELOW CONTROL DISPLAY WITH DARK GREY, LIGHT GREY, AND RED BUTTONS WITH BLACK LABELS; BELOW BUTTONS BLACK TEXT “HEARTSIM 2000—KEYBOARD” WITH OPERATING INSTRUCTIONS. KEYBOARD DETACHES; BACK OF KEYBOARD HAS EMBOSSED STAMP “MADE IN GERMANY” ABOVE BLACK HANDWRITTEN TEXT “SAIT”; BACK HAS REMOVABLE SECTION IN BACKING FOR BATTERIES. UNDER KEYBOARD ON MONITOR HAS CLEAR LABEL WITH GREY TEXT “CONDENSED INSTRUCTIONS” WITH INSTRUCTIONS FOR OPERATING MONITOR. RIGHT SIDE OF MONITOR HAS SILVER LABEL WITH BLACK TEXT “B 366536, SPECIAL INSPECTION SERVICE” WITH DETAILS ON SPECIAL INSPECTION. BACK OF MONITOR HAS BLACK “ON/OFF” SWITCH WITH RED CIRCLE ON LEFT SIDE OF SWITCH, AND DARK GREY LABELS ON SIDES; BACK HAS OUTPUT INSERTS FOR “HEMODYNAMIC WAVEFORMS OUTPUT CH. 2/CH. 3, MANIKIN, LAERDAL MONITOR INTERFACE, PULSE OUTPUT”; BACK HAS THREE INPUT AND OUTPUT INSERTS ON LEFT SIDE WITH WHITE, GREEN AND RED INPUTS ABOVE OUTPUTS LABELLED “RA, RL, LL”. RIGHT SIDE HAS DARK GREY LABELS “HEARTSIM 2000, 1A/110V~60 HZ/110W, FUSES: 1A SLOW BLOW, SERIAL NO.” WITH ENGRAVED NUMBERS “011618” ON WHITE SQUARE, AND LABEL “LAERDAL MEDICAL CORP., 1 LABRIOLA COURT, ARMONK, N.Y., 10504”. LEFT SIDE OF MONITOR HAS BLACK DIAL WITH CLEAR LABEL ABOVE WITH BLACK AND WHITE YIN AND YANG SYMBOL. BOTTOM OF MONITOR HAS BLACK HANDWRITTEN TEXT “LETHBRIDGE FIRE DEPT.” WITH WHITE LABEL AND BLACK TEXT “THIS EQUIPMENT COMPLIES WITH THE REQUIREMENTS IN PART 15 OF FCC RULES FOR A CLASS A COMPUTING DEVICE. OPERATION OF THIS EQUIPMENT IN A RESIDENTIAL AREA MAY CAUSE UNACCEPTABLE INTERFERENCE TO RADIO AND TV RECEPTION REQUIRING THE OPERATOR TO TAKE WHATEVER STEPS ARE NECESSARY TO CORRECT THE INTERFERENCE. 2407”. WHITE LABEL IN LOWER LEFT CORNER HAS BLACK TEXT “CAUTIONS,” AND THREE STATEMENTS FOR USING THE HEARTSIM 2000. TOP OF MONITOR HAS BLACK MARK ON LEFT SIDE; TOP IS SCUFFED AND WORN; SIDES ARE SCUFFED AND RUBBED; BOTTOM OF MONITOR IS SCUFFED AND RUBBED ON LABELS; OVERALL VERY GOOD CONDITION. C. GREY PLASTIC CORD, 168 CM LONG. CORD HAS TRI-PRONG INSERT AT ONE END, AND TRI-PRONG SILVER PLUG AT OTHER END. INSERT END HAS EMBOSSED TEXT “I-SHENG , IS-14, 10A 125V 1250W” AND EMBOSSED TEXT ON BACK “[COPYRIGHT SYMBOL] E55943, LL41230, [CSA SYMBOL], 214”. CORD HAS BLACK TEXT DOWN SIDES; CORD IS HEAVILY BENT AND COILED; OVERALL VERY GOOD CONDITION. D. GREY PLASTIC CORD, 219 CM LONG. CORD HAS ROUND SILVER INSERT AT ONE END WITH SIX SILVER PLUG-RODS INSIDE; CORD SPLITS INTO THREE WIRES AT OTHER END WITH THREE NODES FORMING END. NODES ARE RED, BLACK, AND WHITE LABELLED “LL, LA, RA”. BASE WHERE CORD DIVERGES INTO THREE WIRES HAS SILVER CLIP ON BACK; FRONT OF BASE HAS EMBOSSED TEXT “ZOLL, 9500-0229-02, LL, LA, RA”; BASE IS ATTACHED TO CORD WITH INSERTS FOR THREE WIRES TO EXTEND. INPUT END IS RUBBED AND SCUFFED; CORD IS HEAVILY BENT AND COILED; OVERALL VERY GOOD CONDITION. E. WHITE PLASTIC SQUARE WITH THREE ROWS OF FOUR CUT-OUT HOLES ON TOP, 7.1 CM WIDE X 5.3 CM LONG X 0.8 CM TALL. SQUARE LEFT AND RIGHT SIDES AND LOWER EDGE ARE BENT DOWN; HOLES ON TOP ARE LABELLED INTO FOUR COLUMNS WITH GREY TEXT “YES, NO, NEXT, RESTART”. TOP HAS GREY TEXT ALONG LOWER EDGE “HEARTSIM 2000 V. FIB. RECOGNITION MODULE” WITH “LAERDAL MEDICAL” LOGO BELOW. LOWER EDGE IS CRACKED; RIGHT AND LEFT CORNERS ARE CRACKED AND CHIPPED; BACK OF MODULE HAS BLACK MARK “L” AND BLACK SMEAR IN LOWER RIGHT CORNER; OVERALL VERY GOOD CONDITION. F. PLASTIC ECG MODULE IN CARDBOARD BOX, 8 CM LONG X 6.7 CM WIDE X 2.1 CM TALL. WHITE CARDBOARD BOX WITH BLACK LABEL ON FRONT WITH WITE TEXT “PROPERTY OF LFD” AND BLUE “LAERDAL MEDICAL” LOGO ON LOWER EDGE OF FRONT AND BACK. UPPER RIGHT CORNER OF FRONT HAS WHITE LABEL WITH GREY TEXT “262003”, TOP HAS WHITE LABEL WITH GREY TEXT “SEQ MODULE”. WHITE PLASTIC MODULE HAS GREY TEXT ON TOP EDGE “HEARTSIM 2000, ECG SEQUENCE MODULE, 2484”; MODULE HAS BLACK LABEL WITH WHITE TEXT ON FRONT “PROPERTY OF LFD”; BACK OF MODULE HAS BLACK HANDWRITTEN TEXT “L.F.D.” AND BLACK PRINTED TEXT ON LOWER EDGE “42/87 ELCO 20 8477 048 006 025”. CARDBOARD BOX WORN AT EDGES AND TORN AT TOP CORNERS; OVERALL VERY GOOD CONDITION. G. PLASTIC ECG MODULE IN CARDBOARD BOX, 7.4 CM LONG X 6.6 CM WIDE X 2.1 CM TALL. WHITE CARDBOARD BOX WITH BLACK LABEL ON FRONT WITH WHITE TEXT “PROPERTY OF LFD” AND BLUE “LAERDAL MEDICAL” LOGO ON LOWER EDGE OF FRONT AND BACK; TOP HAS WHITE LABEL WITH GREY TEXT “V. FIB MODULE”. WHITE PLASTIC MODULE HAS GREY TEXT ON TOP EDGE “HEARTSIM 2000, ECG SEQUENCE MODULE, 2486”; MODULE HAS BLACK LABEL WITH WHITE TEXT ON FRONT “PROPERTY OF LFD”; BACK OF MODULE HAS BLACK HANDWRITTEN TEXT “L.F.D.” AND BLACK PRINTED TEXT ON LOWER EDGE “42/87 ELCO 20 8477 048 006 025”. CARDBOARD BOX WORN AT EDGES AND TORN AT TOP CORNERS; BOX FRONT CREASED ALONG UPPER EDGE; BOX CREASED ON BACK AND SIDES; OVERALL VERY GOOD CONDITION.
Subjects
MEDICAL & DENTAL T&E
Historical Association
SAFETY SERVICES
HEALTH SERVICES
History
ON APRIL 19, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED LETHBRIDGE EMS RESOURCE OFFIER WARD EGGLI REGARDING HIS TIME USING A DONATED HEARTSIM 2000. THE HEARTSIM 2000 TRAINING SIMULATOR WAS DONATED BY THE LETHBRIDGE FIRE AND EMERGENCY SERVICES, AND WAS USED FOR TRAINING NEW RECRUITS. ON THE SIMULATOR, EGGLI ELABORATED, “THIS IS A PIECE OF EQUIPMENT THAT TODAY TECHNOLOGY-WISE HAS JUST SURPASSED ITS USE. IT’S NO LONGER USED IN OUR TRAINING DIVISION. IT WAS USED ORIGINALLY WAS IN TRAINING CARDIAC RHYTHMS.” “THIS IS A VERY VALUABLE TOOL FOR STUDENTS IN RELATION TO CARDIAC RHYTHM INTERPRETATION. THE ADVANTAGE THAT THIS TOOL GAVE US WAS THAT IT WOULD PRODUCE A RHYTHM, LIKE A HUMAN BEING ON THE OTHER END OF THE LEADS WOULD PRODUCE ON A CARDIAC MONITOR. SO IT WAS A REAL WORLD APPLICATION FOR US TO INTERPRET WHAT WE WERE SEEING [ON] A VERY SMALL SCREEN AND THE CONNECTION WOULD BE A CONFIRMATION TO WHAT THE GENERATOR WAS ACTUALLY PRODUCING. NORMAL SINUS RHYTHM FOR EXAMPLE SHOULD BE WHAT WE SEE ON THE MONITOR AND THE CONFIRMATION FROM THE EDUCATION PERSPECTIVE WOULD BE FOUND ON THE SIMULATOR.” “IT’S PROBABLY BEEN OUT OF SERVICE, PROBABLY AT LEAST TEN YEARS AGO [2005 TO 2008].” “WE ONLY HAD THIS ONE AND THEN WE HAD TWO HAND HELD VERSIONS THAT WERE MUCH SMALLER. THEY ONLY PRODUCED SORT OF THE MOST CRITICAL RHYTHMS, BUT WE ONLY HAD THIS ONE IN THE TRAINING DIVISION.” “TRAINING CONFIRMATION AND INTERPRETATION OF CARDIAC RHYTHMS [WAS] ITS SOLE PURPOSE.” “IN [THE] CONSTRUCTION OF THE CASE…[IS] STYROFOAM. IT WAS THE ONLY ONE IN ITS SERVICE AND THEN THE ONES THAT CAME AFTER IT WERE SMALLER AND LESS EXPENSIVE AND LESS CAPABLE THAN THAT ONE WAS FOR ITS TIME…I DON’T KNOW THE COST OF IT, I CAN ONLY IMAGINE THAT IT BEING VERY EXPENSIVE. MOST THINGS IN EMS AND FIRE SERVICES ARE.” “I THINK THE INTERNET, SOME OTHER SOFTWARE APPLICATIONS, DEFINITELY FROM AN EDUCATION PERSPECTIVE STARTED SURPASSING ITS ABILITIES. [FOR] EDUCATION THIS WOULD BE A SIMULATOR THAT PRODUCED A RHYTHM FOR ONE INDIVIDUAL. THE ADVANTAGE OF SOME OF THE TECHNOLOGY IN 2005 AND 2008 WAS YOU WOULD BE ABLE TO BRING IN A WHOLE CLASSROOM AND DO AN INTERPRETATION ON A BIG SCREEN, ON A LAPTOP, ON A COMPUTER…SO IT JUST GOT OLD. [IT] STILL [HAS] VALUE BUT IT JUST GOT OLD.” “IT’S BEEN IN THE DEPARTMENT AS LONG AS I CAN REMEMBER BUT I WASN’T ABLE TO FIND OUT A SERVICE DATE FOR THIS THROUGH THE INTERNET.” ON HIS EXPERIENCE USING THE HEARTSIM 2000, EGGLI RECALLED, “I WAS THE MEDICAL TRAINING OFFICER WHEN THIS WAS IN USE AND EVEN BEFORE THAT AS A NEW RECRUIT, A NEW MEMBER TO THE SERVICE. IN 2000 I BECAME A PARAMEDIC AND IN MY PARAMEDIC TRAINING I WOULD USE THIS DEVICE. I WOULD TAKE IT HOME, MY WIFE ACTUALLY RAN THE REMOTE. SHE DIDN’T KNOW A LOT ABOUT RHYTHMS BUT SHE LEARNED ALONGSIDE ME WITH THIS. [SHE WOULD] BASICALLY PUSH A BUTTON, I WOULD ANALYZE RHYTHM, SHE WOULD TELL ME IF I WAS CORRECT OR NOT FROM THE MACHINE. IT PRODUCES TWENTY-FIVE HUNDRED RHYTHMS SO WE HAD LOTS TO DO.” “AS A STUDENT ON THE OTHER END OF WHAT THE GENERATOR WOULD PRODUCE, IT HONED MY SKILLS. IT REALLY MADE ME QUITE GOOD AT THAT INTERPRETATION BECAUSE I [SAW] A CERTAIN WAVE. I COULD LOOK FROM ALMOST ACROSS THE ROOM AND GO “I KNOW WHAT THAT IS, IT’S THIRD DEGREE HEART BLOCK.” SOME OF THEM ARE TRICKY AND THIS PARTICULAR GENERATION IN ITS DAY GAVE SOME VARIATION TO EACH OF THOSE TYPES OF RHYTHMS, WHICH ALSO MAKES YOU A LITTLE BIT BETTER AT [READING THE RHYTHMS].” “I’M THE EMS RESOURCE OFFICER TODAY BUT I WAS THE MEDICAL TRAINING OFFICER WHEN THIS WAS IN USE…IT’S POSSIBLE [THIS WAS IN USE FROM DAY ONE].” “WE ALSO USED IT IF WE HAD STUDENTS THAT WERE LOOKING FOR SOME EXTRA SUPPORT. WE WOULD THROW A MANNEQUIN ON THE FLOOR, WE WOULD PUT THE HEART 2000 BESIDE THEM, WE WOULD RUN A SCENARIO AND MAYBE END UP WITH A RHYTHM OR TWO THAT THEY WERE INTERPRETING. WE USED IT THAT WAY, BUT MY FONDEST MEMORIES OF USING IT WERE DEFINITELY MY WIFE SITTING IN THE CORNER PUSHING THE BUTTONS FOR HOURS. IT WAS VERY INVALUABLE AND CARDIAC RHYTHM INTERPRETATION WAS ALWAYS SOMETHING I WAS REALLY INTERESTED IN BECAUSE IT’S A UNIQUE ART ALMOST, A SKILL THAT SOME PRACTITIONERS EITHER HAVE OR DON’T. SOME ARE INTERESTED IN IT, SOME AREN’T. I COULD DO IT UNTIL THE COWS CAME HOME.” “TODAY [WITH] A CARDIAC MONITOR YOU CAN SWITCH IT SO THAT IT’S AN AED, IT CAN ACT LIKE AN AED. IT WILL DO MANY THINGS. THE CARDIAC MONITOR THAT WE USE TODAY IN SERVICE DOES BLOOD PRESSURE, IT’LL MEASURE OXYGEN SATURATION, IT’LL MEASURE CARBON DIOXIDE MEASUREMENTS AS WELL. IT CAN HELP US WITH TRACKING THE DRUGS WE USE AND IT HAS SOME MEMORY. WE HAVE THE ABILITY TO USE WI-FI AND BLUETOOTH AND SEND THE ECGS TO EMERGENCY DEVICES WHEN WE’RE IN HOSPITAL, AND WHEN WE GET BACK TO STATION FOR TRACKING AND AUDIT PURPOSES. WE DO SOME AMAZING STUFF AND THIS HEARTSIM 2000 IS A GREAT GRANDFATHER OF SOME OF WHAT WE’RE USING TODAY.” “DEFINITELY, LEADERS IN FIRE, LEADERS IN EMS, LEADERS IN COMBINED SERVICES, IS LETHBRIDGE. WE WERE THE FIRST ORGANIZATION OF ITS KIND TO BE ACCREDITED, [WITH] ACCREDITATION CANADA. ONE OF OUR MEDICAL DIRECTORS, YEARS AGO, CALLED US THE CROWN JEWEL OF SOUTHERN ALBERTA BECAUSE OF THE TYPE OF SERVICE WE WERE, HOW WE TREAT OUR STAFF, HOW WE TRAIN OUR STAFF, THE OUTCOMES THAT WE HAVE IN BOTH FIRE AND EMS AND COMBINED SERVICE. THERE’S NOT MANY ORGANIZATIONS IN THE WORLD THAT HAVE A SERVICE LIKE OURS THAT WOULD RESPOND TO A PATIENT ANYWHERE IN THE CITY IN THE FASHION THAT WE DO, WITH A COUPLE OF UNITS IN HIGH EQUITY CALL WHERE A PUMP AND AN AMBULANCE ARE SUPPORTING GREAT CARE. IT DEFINITELY, APPROPRIATELY I BELIEVE, A CADILLAC SERVICE. OFTEN SOME PEOPLE WOULD SAY “WELL DO WE NEED THE CADILLAC ALL THE TIME?” AND I THINK IN LETHBRIDGE, IF YOU’VE HAD AN OPPORTUNITY TO BE A PART OF A RESPONSE, YOU’RE THANKFUL FOR WHAT YOU GET HERE.” “I CAN ONLY IMAGINE THE NUMBER OF HANDS THAT HAVE TOUCHED THIS HEART SIM 2000. SOME OF THE POTENTIAL PATIENT OUTCOMES THAT WERE REALLY LIFESAVING, IN MY OPINION, [CAME] FROM A DEVICE LIKE THIS. I THINK IT’S BRILLIANT THAT IT’S GOING TO BE KEPT, [THAT] IT’S NOT JUST SOMETHING WE THREW IN THE DUMPSTER. IT’S AN IMPORTANT PART OF HISTORY, IT’S AN IMPORTANT PART OF EMS HISTORY. IT’S A VERY IMPORTANT PART OF LETHBRIDGE FIRE AND EMERGENCY SERVICES’ HISTORY, EDUCATION AND TRAINING, AND OFTEN WE KIND OF FORGET ABOUT WHY WE’RE HERE. IT’S FOR THE PATIENTS AND PEOPLE THAT WE TOUCH IN THE COMMUNITY.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180009000-GA.
Catalogue Number
P20180009000
Acquisition Date
2018-04
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 INTERVIEWED KEVIN MACLEAN REAGARDING HIS DONATION OF PERSONAL OBJECTS. ON THE SLURPEE CUP, MACLEAN RECALLED, “I WAS IN THE [ARMY] 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
"TREES"
Date Range From
1990
Date Range To
2000
Material Type
Artifact
Materials
WOOD, PAINT, CARDBOARD
Catalogue Number
P20190006001
  2 images  
Material Type
Artifact
Other Name
"TREES"
Date Range From
1990
Date Range To
2000
Materials
WOOD, PAINT, CARDBOARD
No. Pieces
1
Length
38.2
Width
48.4
Description
OIL ON WOOD PANEL PAINTING IN BROWN WOODEN FRAME. PAINTING DEPICTS TWO CLUSTERS OF TREES WITH GREEN AND YELLOW-ORANGE LEAVES, WITH A BROWN FOREGROUND AND BLUE BACKGROUND. BACKGROUND HAS TWO TONES OF BLUE DEPICTING HILLS AND SKY. FOREGROUND HAS RED AND GOLD TONES. BRUSH STROKES ARE DISTINCT SHOWING GRASS IN FOREROUND; PAINTING HAS PAINT APPLIED HEAVILY TO YELLOW-ORANGE TREE LEAVES. PAINTING IS SIGNED IN BLUE IN FRONT LOWER RIGHT CORNER OF CANVAS “M. PISKO”. FRAME AROUND CANVAS IS BROWN WITH DOUBLE-CIRCLES ENGRAVED BETWEEN DOUBLE LINES ALONG TRIM; FRAME HAS FOUR SCREWS LOCATED AT UPPER AND LOWER LEFT AND RIGHT CORNERS. BACK OF FRAME HAS CARDBOARD BACKING SECURED TO WOODEN FRAME WITH SILVER TAPE. CARDBOARD BACKING HAS WHITE LABEL ON LEFT SIDE WITH HANDWRITTEN TEXT IN BLACK INK “MIKE PISKO, 1998 $100.00”; CARDBOARD BACKING HAS HANDWRITTEN TEXT IN PENCIL IN UPPER LEFT CORNER “TRUCK [UNDERLINED], 01 0066”. FRONT OF CANVAS HAS YELLOW DISCOLORATION AND STAINING IN UPPER LEFT AND RIGHT CORNERS. FRONT OF FRAME HAS MINOR CHIPPING AND DENTS ALONG OUTER EDGES. CARDBOARD BACKING HAS BROWN AND BLUE STAINING; BACK OF FRAME HAS WHITE STAINING ALONG LOWER LEFT EDGE, AND BLUE STAINING AT UPPER LEFT EDGE; UPPER RIGHT EDGE OF FRAME IS SPLITTING ALONG SEAM. OVERALL VERY GOOD CONDITION.
Subjects
ART
Historical Association
FINE ARTS
History
ON MARCH 5, 2019, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED DON FLAIG REGARDING HIS DONATION OF ARTWORKS. THE ARTWORKS WERE COLLECTED BY FLAIG’S PARENTS, HELEN AND LLOYD FLAIG. ON THE PAINTING BY MIKE PISKO, FLAIG RECALLED, “I HAVE NO MEMORY OF [KNOWING PISKO OR OTHER SKETCH CLUB MEMBERS]. OCCASIONALLY [MY PARENTS] WOULD MENTION THEIR NAMES, AS YOU MIGHT SPEAK OF FRIENDS. I KNOW THEY WOULD GO OUT, AND DO THE ART ELSEWHERE, OR SOME AT HOME. IT JUST SEEMED NATURAL THAT THEY WOULD DEAL WITH THEIR ARTIST FRIENDS…THAT WOULD HAVE BEEN WHEN I WAS VERY YOUNG.” FLAIG ELABORATED ON HIS PARENTS’ AVID INTEREST IN LOCAL ART, NOTING, “MOM AND DAD ALWAYS HAD ART IN THE HOUSE. THEY WERE ALWAYS DOING ART. I REMEMBER DAD DOING LARGE PLASTER SCULPTURES, IN THE BASEMENT, IN THE CITY, AND MOM WAS ALWAYS PAINTING AND THROWING POTS, AND DOING SOMETHING FUNNY OUT IN THE BACK YARD, ART-WISE. GROWING UP, I ASSUMED EVERYBODY HAD ART IN THE HOUSE, BUT I’VE REALIZED THAT’S NOT THE CASE. NOT EVERYBODY LIKES HAVING ART AROUND, ALTHOUGH [THERE IS EFFORT IN] FINDING ART THAT YOU LIKE, AND ACQUIRING IT, OR CREATING IT, AND KEEPING IT. THERE WAS ALWAYS SOMETHING DIFFERENT HANGING ON THE WALLS IN THE HOUSE. [MOM AND DAD] WERE ALWAYS MOVING IT AROUND. THESE THREE PAINTINGS [BY MIKE PISKO AND ERNEST RIETHMAN], I’M AWARE THAT THESE PEOPLE WERE FRIENDS OF MOM AND DAD. THEY WERE …ARTISTS. I DON’T KNOW MUCH ABOUT THEM OTHER THAN THAT THEY WOULD OFTEN GO OUT TO SKETCH, AND PAINT, AND THEIR NAMES ARE FAMILIAR TO ME. [THE ARTWORKS] MEANT SOMETHING TO [MY PARENTS], WHETHER THEY BOUGHT THEM OR THEY WERE JUST GIFTS FROM OTHER ARTISTS, I’LL NEVER KNOW, BUT THERE HAS OBVIOUSLY BEEN A LOT OF CARE AND EFFORT PUT INTO THE WORKS BY THE ARTISTS. I HAVE A LARGE NUMBER OF MY MOTHER’S PAINTINGS, BUT THERE ARE LOTS OF THOSE AROUND THE CITY, AND HER WORK IS WELL PRESERVED. THESE ONES…I KNOW THEY ARE LOCAL ARTISTS SOMEWHERE NOW.” FLAIG RECALLED HIS PARENTS AND THEIR HOME IN LETHBRIDGE, “I GREW UP IN TOWN, ON HENDERSON LAKE BOULEVARD. [MY PARENTS] MOVED OUT IN THE EARLY 1970S TO BROXBURN ROAD. SOME OF [THE PAINTINGS] I’D HAVE SEEN THERE AT HENDERSON LAKE BOULEVARD, AND THE REST WOULD HAVE BEEN ON THE FARM. THEY WOULD HAVE BEEN UP ON THE WALLS, OR DOWN IN THE BASEMENT. THINGS WERE ALWAYS MOVING AROUND, BUT THESE ARE PAINTINGS THAT ARE FAMILIAR TO ME. NOT THAT I PAID THAT MUCH ATTENTION TO THEM, BECAUSE THERE WERE ALWAYS PAINTINGS AROUND, AND I NEVER THOUGHT TO ASK.” “MIKE PISKO IS THE NAME THAT COMES [TO MIND ON ARTISTS MY MOM SPENT MORE TIME WITH]; HAS MORE PAINTINGS, MEMORY-WISE, FOR SURE. OUT ON BROXBURN ROAD, THAT’S WHEN THEY MET THE MALKAS’. MOM SPOKE FREQUENTLY OF MELISSA, AND I PROBABLY MET THEM IN PASSING, BECAUSE I WAS ON TO OTHER STUFF. BUT I THINK THAT, WHEREVER THEY WERE, THEY WOULD HAVE REACHED OUT AND GOT IN TOUCH WITH OTHER ARTISTS. PLUS, WHERE THEY WERE ON BROXBURN ROAD, IT WAS A PLACE WHERE WE COULD DO JUST ABOUT ANYTHING—BUILDING THINGS, TEARING THINGS DOWN, MAKING ART, BLOWING STUFF UP, AS KIDS DO. THERE WERE ALWAYS ANIMALS, SOME HORSES, AND ONE DISASTROUS ATTEMPT AT RAISING SHEEP BY MY FATHER. THEY WERE ALWAYS INTO SOMETHING.” ON HIS MOTIVATIONS FOR DONATING, FLAIG ELABORATED, “AS TIME GOES BY, WE FIND THE NEED TO TIDY UP AND GET READY FOR THE NEXT STAGE OF LIFE. PART OF IT IS FINDING ROOM FOR SOME OF THESE WORKS OF ART THAT HAVE BEEN IN MY HOUSE AND HAVE SURVIVED, SOMEWHAT MIRACULOUSLY, SINCE MOM AND DAD LEFT A LITTLE FAR AND I TOOK THEM OVER, AS WE WERE EMPTYING OUT THE PLACE. THEY’VE BEEN IN MY BASEMENT, UNAPPRECIATED, AND I SUPPOSE AT SOME RISK OF BEING FORGOTTEN, OR LOST, OR THROWN OUT. THEY DO HAVE SOME SENTIMENTAL VALUE FOR ME, AND I CAN APPRECIATE THE ARTWORK THAT IS IN THE PIECES, MYSELF, TO A LIMITED DEGREE.” “MOM AND DAD HAD REACHED THE END OF THE ROAD...AS BEING ABLE TO TAKE CARE OF THEIR FIVE ACRES…OUT ON BROXBURN ROAD. THESE WORKS WERE IN THEIR PLACE, AND, AS WE CLEANED THE PLACE OUT, I TOOK THEM AND PROTECTED THEM, AND SAVED THEM FROM THE BINS…I’M PUTTING THAT AT 2011.” IN 2014, COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. THE FOLLOWING BIOGRAPHICAL INFORMATION ON MICHAEL PISKO WAS FOUND IN A PRESS RELEASE ANNOUNCING THE 'MICHAEL PISKO MEMORIAL AWARD', WHICH WAS ESTABLISHED BY THE ARTIST'S WIDOW AND THE ALBERTA SOCIETY OF ARTISTS IN 2000, TO BE AWARDED TO A GRADUATING BFA DEGREE PAINTER FROM THE UNIVERSITY OF LETHBRIDGE: "MICHAEL PISKO WAS BORN IN LETHBRIDGE IN 1913. HE MADE HIS LIVING AS A SUCCESSFUL SIGN PAINTER THROUGH HIS BUSINESS, CITY SIGN COMPANY, BUT LANDSCAPE PAINTING WAS HIS LIFE'S FULFILLMENT. TO HONE HIS SKILLS, HE STUDIED THREE SUMMERS AT THE BANFF SCHOOL OF FINE ARTS AND SOUGHT INSTRUCTION FROM SENIOR VISITING ARTISTS WHO CAME TO LETHBRIDGE ON INVITATION OF THE LETHBRIDGE SKETCH CLUB, OF WHICH HE, IN 1937, WAS ONE OF THE FOUNDING MEMBERS. PISKO GREATLY ADMIRED A.Y. JACKSON, THE GROUP OF SEVEN MASTER, WITH WHOM HE HAD THE OPPORTUNITY TO SKETCH AND PAINT AROUND LETHBRIDGE WHENEVER JACKSON CAME TO TOWN TO VISIT HIS BROTHER. HE WAS ALSO DEEPLY INFLUENCED BY H.G. GLYDE, WHO TAUGHT AT THE ALBERTA COLLEGE OF ART IN CALGARY AND AT THE BANFF SCHOOL OF FINE ARTS AND WHO VISITED LETHBRIDGE TO TEACH ART CLASSES AT THE LETHBRIDGE SKETCH CLUB. IN 1947 PISKO WAS ACCEPTED FOR MEMBERSHIP IN THE ALBERTA SOCIETY OF ARTISTS. HE WAS A PROLIFIC PAINTER, WHO EXHIBITED REGULARLY WITH THE LETHBRIDGE SKETCH CLUB AND THE ALBERTA SOCIETY OF ARTISTS. HIS WORK IS REPRESENTED IN MANY PRIVATE, CORPORATE AND PUBLIC COLLECTIONS, AMONG THEM THE ALBERTA FOUNDATION FOR THE ARTS AND THE UNIVERSITY OF LETHBRIDGE. MICHAEL PISKO PASSED AWAY IN 1999." FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND LETHBRIDGE HERALD ARTICLES, PLEASE SEE THE PERMANENT FILE P20190006001-GA.
Catalogue Number
P20190006001
Acquisition Date
2019-03
Collection
Museum
Images
Less detail
Other Name
"UNTITLED"
Date Range From
1990
Date Range To
2000
Material Type
Artifact
Materials
PAPER, METAL, PAINT
Catalogue Number
P20190006004
  2 images  
Material Type
Artifact
Other Name
"UNTITLED"
Date Range From
1990
Date Range To
2000
Materials
PAPER, METAL, PAINT
No. Pieces
1
Length
74.8
Width
67
Description
WATERCOLOUR AND PASTEL PAINTING DEPICTING A TREE IN THE FOREGROUND IN BLACK PASTEL ON GREEN, PURPLE, PINK AND BLUE BLENDED WATERCOLOUR BACKGROUND. TREE AND GROUND OUTLINES ARE DONE IN PASTEL WITH ABSTRACT WATERCOLOUR BACKGROUNDS FOR LEAVES AND LANDSCAPE. PAINTING SIGNED IN FRONT LOWER RIGHT CORNER IN BLACK INK, "MELISSA MALKAS". PAINTING BACK IS STAINED, AND HAS INSCRIPTION IN LOWER RIGHT CORNER IN BLACK LEAD "PAINTING BY MELISSA MALKAS". PAINTING WAS DONATED IN A LAVENDER MATTE AND SILVER METAL FRAME. FRAME HAD WHITE COROPLAST BACKING WITH HANDWRITTEN TEXT IN BLUE MARKER ON LEFT SIDE "MELISSA AFTER CALGARY". MATTE CONSISTED OF A FRONT BOARD WITH THE PAINTING SECURED BY MASKING TAPE ALONG FOUR EDGES. A TREATMENT WAS CONDUCTED ON OCTOBER 24, 2019 BY CONSERVATOR JULIET GRAHAM TO REMOVE THE MASKING TAPE FROM THE BACK OF THE PAINTING, AND TO SECURE HOLLYTEX TO THE REMAINING ADHESIVE ON THE PAINTING. PAINTING HAS TWO PINHOLES AT LOWER RIGHT CORNER, AND SMALL TEARS ALONG RIGHT EDGE [REVEALED DURING TREATMENT TO REMOVE TAPE]. PAINTING HAS ADHESIVE RESIDUE ALONG FRONT EDGES FROM PREVIOUS MATTING OR FRAMING. OVERALL VERY GOOD CONDITION. FOR FURTHER CONDITION DETAILS AND THE COMPLETE TREATMENT REPORT BY CONSERVATOR JULIET GRAHAM, PLEASE SEE THE PERMANENT FILE P20190006001-GA.
Subjects
ART
Historical Association
FINE ARTS
History
ON MARCH 5, 2019, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED DON FLAIG REGARDING HIS DONATION OF ARTWORKS. THE ARTWORKS WERE COLLECTED BY FLAIG’S PARENTS, HELEN AND LLOYD FLAIG. ON THE PAINTING BY MELISSA MALKAS, FLAIG RECALLED, “MY BROTHERS AND I HAD MET [MELISSA MALKAS]. WE THOUGHT HIGHLY OF HER AS AN ARTIST, [AND] AS A PERSON. I BELIEVE SHE’S NOT AROUND IN TOWN ANY MORE, BUT SHE WAS PART OF THAT RURAL SCENE, WHERE YOU HAD A GREAT AMOUNT OF FREEDOM.” “I JUST [HAD], I BELIEVE, TWO OF MELISSA’S PIECES, THE PAINTING [WAS ONE], WHICH IS VERY BIG, BEAUTIFUL, AND PRETTY. ON THE BACK IT SAYS ‘AFTER CALGARY’. I’M NOT SURE WHAT THAT MEANS.” “[WE MET THE MALKAS’S] ONCE WE MOVED OUT TO BROXBURN. I DON’T KNOW IF THEY MOVED IN BEFOREHAND. THEY WERE [OUR] NEIGHBORS. MOM WAS RAISED ON A FARM IN SASKATCHEWAN, AND [MY PARENTS] KNEW HOW TO REACH OUT TO THE NEIGHBORS, AND MAKE FRIENDS, AND TAKE FOOD OVER AND VISIT…THEY WERE ALWAYS OUT VISITING.” “I KNOW [MY PARENTS] WOULD GO OUT, AND DO THE ART ELSEWHERE, OR SOME AT HOME. IT JUST SEEMED NATURAL THAT THEY WOULD DEAL WITH THEIR ARTIST FRIENDS…THAT WOULD HAVE BEEN WHEN I WAS VERY YOUNG.” FLAIG ELABORATED ON HIS PARENTS’ AVID INTEREST IN LOCAL ART, NOTING, “MOM AND DAD ALWAYS HAD ART IN THE HOUSE. THEY WERE ALWAYS DOING ART. I REMEMBER DAD DOING LARGE PLASTER SCULPTURES, IN THE BASEMENT, IN THE CITY, AND MOM WAS ALWAYS PAINTING AND THROWING POTS, AND DOING SOMETHING FUNNY OUT IN THE BACK YARD, ART-WISE. GROWING UP, I ASSUMED EVERYBODY HAD ART IN THE HOUSE, BUT I’VE REALIZED THAT’S NOT THE CASE. NOT EVERYBODY LIKES HAVING ART AROUND, ALTHOUGH [THERE IS EFFORT IN] FINDING ART THAT YOU LIKE, AND ACQUIRING IT, OR CREATING IT, AND KEEPING IT. THERE WAS ALWAYS SOMETHING DIFFERENT HANGING ON THE WALLS IN THE HOUSE. [MOM AND DAD] WERE ALWAYS MOVING IT AROUND. THESE THREE PAINTINGS [BY MIKE PISKO AND ERNEST RIETHMAN], I’M AWARE THAT THESE PEOPLE WERE FRIENDS OF MOM AND DAD. THEY WERE …ARTISTS. I DON’T KNOW MUCH ABOUT THEM OTHER THAN THAT THEY WOULD OFTEN GO OUT TO SKETCH, AND PAINT, AND THEIR NAMES ARE FAMILIAR TO ME. [THE ARTWORKS] MEANT SOMETHING TO [MY PARENTS], WHETHER THEY BOUGHT THEM OR THEY WERE JUST GIFTS FROM OTHER ARTISTS, I’LL NEVER KNOW, BUT THERE HAS OBVIOUSLY BEEN A LOT OF CARE AND EFFORT PUT INTO THE WORKS BY THE ARTISTS. I HAVE A LARGE NUMBER OF MY MOTHER’S PAINTINGS, BUT THERE ARE LOTS OF THOSE AROUND THE CITY, AND HER WORK IS WELL PRESERVED. THESE ONES…I KNOW THEY ARE LOCAL ARTISTS SOMEWHERE NOW.” FLAIG RECALLED HIS PARENTS AND THEIR HOME IN LETHBRIDGE, “I GREW UP IN TOWN, ON HENDERSON LAKE BOULEVARD. [MY PARENTS] MOVED OUT IN THE EARLY 1970S TO BROXBURN ROAD. SOME OF [THE PAINTINGS] I’D HAVE SEEN THERE AT HENDERSON LAKE BOULEVARD, AND THE REST WOULD HAVE BEEN ON THE FARM. THEY WOULD HAVE BEEN UP ON THE WALLS, OR DOWN IN THE BASEMENT. THINGS WERE ALWAYS MOVING AROUND, BUT THESE ARE PAINTINGS THAT ARE FAMILIAR TO ME. NOT THAT I PAID THAT MUCH ATTENTION TO THEM, BECAUSE THERE WERE ALWAYS PAINTINGS AROUND, AND I NEVER THOUGHT TO ASK.” “MIKE PISKO IS THE NAME THAT COMES [TO MIND ON ARTISTS MY MOM SPENT MORE TIME WITH]; HAS MORE PAINTINGS, MEMORY-WISE, FOR SURE. OUT ON BROXBURN ROAD, THAT’S WHEN THEY MET THE MALKAS’. MOM SPOKE FREQUENTLY OF MELISSA, AND I PROBABLY MET THEM IN PASSING, BECAUSE I WAS ON TO OTHER STUFF. BUT I THINK THAT, WHEREVER THEY WERE, THEY WOULD HAVE REACHED OUT AND GOT IN TOUCH WITH OTHER ARTISTS. PLUS, WHERE THEY WERE ON BROXBURN ROAD, IT WAS A PLACE WHERE WE COULD DO JUST ABOUT ANYTHING—BUILDING THINGS, TEARING THINGS DOWN, MAKING ART, BLOWING STUFF UP, AS KIDS DO. THERE WERE ALWAYS ANIMALS, SOME HORSES, AND ONE DISASTROUS ATTEMPT AT RAISING SHEEP BY MY FATHER. THEY WERE ALWAYS INTO SOMETHING.” ON HIS MOTIVATIONS FOR DONATING, FLAIG ELABORATED, “AS TIME GOES BY, WE FIND THE NEED TO TIDY UP AND GET READY FOR THE NEXT STAGE OF LIFE. PART OF IT IS FINDING ROOM FOR SOME OF THESE WORKS OF ART THAT HAVE BEEN IN MY HOUSE AND HAVE SURVIVED, SOMEWHAT MIRACULOUSLY, SINCE MOM AND DAD LEFT A LITTLE FAR AND I TOOK THEM OVER, AS WE WERE EMPTYING OUT THE PLACE. THEY’VE BEEN IN MY BASEMENT, UNAPPRECIATED, AND I SUPPOSE AT SOME RISK OF BEING FORGOTTEN, OR LOST, OR THROWN OUT. THEY DO HAVE SOME SENTIMENTAL VALUE FOR ME, AND I CAN APPRECIATE THE ARTWORK THAT IS IN THE PIECES, MYSELF, TO A LIMITED DEGREE.” “MOM AND DAD HAD REACHED THE END OF THE ROAD...AS BEING ABLE TO TAKE CARE OF THEIR FIVE ACRES…OUT ON BROXBURN ROAD. THESE WORKS WERE IN THEIR PLACE, AND, AS WE CLEANED THE PLACE OUT, I TOOK THEM AND PROTECTED THEM, AND SAVED THEM FROM THE BINS…I’M PUTTING THAT AT 2011.” ACCORDING TO LETHBRIDGE HERALD ARTICLES, MELISSA MALKAS WAS A SECOND GENERATION LETHBRIDGE ARTIST, THE DAUGHTER OF IRMA MALKAS (RODOWITZ) AND EGON MALKAS. MELISSA MALKAS GRADUATED FROM THE UNIVERSITY OF CALGARY IN 1986 WITH A DEGREE IN FINE ARTS, AND ALSO ATTENDED THE UNIVERSITY OF LETHBRIDGE. DURING HER CAREER, MALKAS EXHIBITED AT THE BOWMAN ARTS CENTRE WITH THE ALLIED ARTS COUNCIL OF LETHBRIDGE. MELISSA MALKAS EXHIBITED AS A SOLO ARTIST, AND WITH HER MOTHER IN 1996 AND 2003 AT THE BOWMAN ARTS CENTRE. MALKAS WAS AN INSTRUCTOR AT THE BOWMAN ARTS CENTRE FOR THE LETHBRIDGE ARTISTS CLUB IN 2005 AND 2010, TEACHING COURSES IN MIXED MEDIA WATERCOLOUR AND OILS. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND LETHBRIDGE HERALD ARTICLES, PLEASE SEE THE PERMANENT FILE P20190006001-GA.
Catalogue Number
P20190006004
Acquisition Date
2019-03
Collection
Museum
Images
Less detail

213 records – page 1 of 11.