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867 records – page 1 of 44.

Other Name
"GLOBAL NEWS"
Date Range From
2006
Date Range To
2014
Material Type
Artifact
Materials
PLEXIGLASS, WOOD, METAL
Catalogue Number
P20190022001
  2 images  
Material Type
Artifact
Other Name
"GLOBAL NEWS"
Date Range From
2006
Date Range To
2014
Materials
PLEXIGLASS, WOOD, METAL
No. Pieces
1
Height
4
Length
76.2
Width
30.6
Description
CLEAR PLEXIGLASS SIGN; FRONT HAS RAISED WHITE WOOD LETTERS LEFT OF RAISED RED WOOD ARROW, “GLOBAL LETHBRIDGE”, FORMING THE “GLOBAL NEWS” LOGO. BACK OF SIGN HAS SILVER METAL BOLTS WITH WHITE PLASTIC NUTS FIXING LETTERS AND ARROW TO THE SIGN. SIGN HAS GRIME AND RESIDUE ON PLEXIGLASS; TOPS OF LETTERS HAVE MINOR STAINING AND SCUFFING; ARROW HAS SCUFFING ON TOP AND SIDES, AND MINOR STAINING ON TOP; OVERALL VERY GOOD CONDITION.
Subjects
ADVERTISING MEDIUM
Historical Association
INDUSTRY
History
ON AUGUST 21, 2019, COLLECTION TECHNICIAN KEVIN MACLEAN INTERVIWED WAYNE DWORNIK REGARDING HIS DONATION OF GLOBAL NEWS STATION ITEMS. DWORNIK WORKED FOR LETHBRIDGE TELEVISION BROADCAST NEWS FROM 1976-2013. ON THE GLOBAL NEWS SIGN, DWORNIK RECALLED, “I NEVER WORKED WITH THAT [GLOBAL] SIGN, BUT IT WAS JUST SITTING IN THE ENGINEERING OFFICE…THERE WERE FIVE ENGINEERS, WHEN I LEFT THE FIRST TIME [IN 1996]…WHEN I LEFT IN 2015, ACTUALLY WE DID NOT HAVE EVEN ONE ENGINEER.” “[THE SIGN WOULD HAVE BEEN SHOWN ON-AIR] THERE WOULD BE SOME SCALE, BUT, BASICALLY, THIS WAS OVER THE SHOULDER OF THE PERSON WHO WAS READING THE NEWS, AND THEY WOULD USE A LONGER LENS THAT WOULD COMPRESS IT, AND THROW THINGS OFF. IT ALSO HAS A CURVED SURFACE ON IT TO CUT DOWN ON REFLECTION, SO THAT YOU DON’T GET REFLECTIONS THERE…[THERE WOULD ONLY BE ONE IN THE STUDIO] I SUSPECT.” “[THE GLOBAL NEWS LOGO IS] AN OLD LOGO, AND THE WAY COMPANIES ARE, THEY KEEP CHANGING THEIR LOGOS…THIS CHECK-MARK THERE WAS CHANGED QUITE A BIT, THREE TIMES AT LEAST. WHEN IT WAS WITH CANWEST, WHICH IS ANOTHER REMARKABLE STORY, OF WINNIPEG, AND IZZY ASPER FAMILY, THAT WAS ACTUALLY A CRESCENT MOON…I DON’T KNOW AT WHAT POINT, THEY MADE IT A CHECK-MARK, AND THEN THEY MADE IT AN EMBOSSED, GLOSSY CHECK-MARK…I’D SAY AROUND THE TURN OF THE CENTURY…2000 OR SO.” “[I GRABBED THE SIGN BECAUSE] I KNOW THAT I HAD SEEN IT ON AIR. IT WAS USED IN THE NEWS UPDATES THAT THEY WERE DOING…IT’S QUITE NEAT BECAUSE IT LOOKS HUGE, OF COURSE, ON SET, BUT, JUST THE WAY THEY POSITION IT…THAT’S SOME OF THE FUN STUFF OF TELEVISION. AND, I’M…[A] PACK-RAT…I SEE…SOME HISTORICAL SIGNIFICANCE THAT I DON’T WANT TO LET THE STORY OF LETHBRIDGE TELEVISION KIND OF JUST SLIDE BY, AND NOWADAYS, IT SEEMS TO BE THE THING. THERE’S SO MUCH TRANSIENCY, AND IT’S A 24 HOUR NEWS CYCLE, AND THEY DON’T CARE ABOUT STUFF THAT’S HAPPENING NOW. WHEN I WAS IN SCHOOL, I DIDN’T ENJOY HISTORY AT ALL REALLY, BUT NOW, AS THEY SAY, AS I AM A PART OF HISTORY, IT’S BECOME MORE NOTEWORTHY TO ME, AND PEOPLE DON’T REALIZE, I THINK, THAT WHAT IS HAPPENING TODAY AS JUST TODAY’S NEWS, AT SOME POINT, IS GOING TO BE PART OF HISTORY, AND I DON’T WANT TO SEE US LOSE STUFF LIKE THIS THAT I WAS INVOLVED WITH.” DWORNIK ELABORATED ON THE ROLE OF ENGINEERS AT THE STATION, NOTING, “[THE ENGINEER’S ROLE IS] BASICALLY TO KEEP US ON THE AIR. THERE’S SO MUCH ELECTRONIC AND TECHNICAL EQUIPMENT THEY HAD TO KNOW ABOUT TRANSMITTERS, MICROWAVE, VIDEOTAPE, ALL THE ELECTRONICS, AND THEY ALSO DID MAINTENANCE ON THE BUILDING.” “THE LAST ENGINEER WAS LET GO IN AN UNFORTUNATE SITUATION, IN THE SUMMER OF [2014]…WE DID NOT HAVE A STATION MANAGER. AT ONE TIME WE HAD A STATION MANAGER [PETER DEYES] WHO WAS ALSO THE NEWS DIRECTOR, WHEN I CAME BACK. THAT FELLOW LEFT…THEY BROUGHT IN AN ASSIGNMENT EDITOR FROM TORONTO, AND SHE WAS…NOT EVEN THE NEWS DIRECTOR, WHICH WAS TERRIBLE; THEY CALLED HER THE NEWS MANAGER. MANAGEMENT OF THE STATION WAS TAKEN OVER BY THE CALGARY TELEVISION, AND THE ENGINEERING RESPONSIBILITIES WERE TAKEN OVER BY CALGARY TELEVISION.” “WE’D HAVE TO CALL [ENGINEERS WHEN THERE WAS EQUIPMENT ISSUES]. AT THAT TIME, WE HAD MORE CAMERAS THAN VIDEOGRAPHERS, SO THEY KIND OF HAD A SPARE ON HAND. IF ONE WENT DOWN, THEY’D BE OKAY. AND, AT THAT TIME, EVERYTHING ELSE WAS SHIFTED AWAY FROM THE STATION, AND WAS AUTOMATED. IT WAS JUST MIND-BOGGLING THE AUTOMATION THAT THEY HAD AVAILABLE. CALGARY TELEVISION WAS…KIND OF THE MASTER CONTROL CENTER FOR ALL OF THE GLOBAL TELEVISION STATIONS IN CANADA. SO, IT WAS JUST AMAZING, ALL THE MONITORS IN THEIR MASTER CONTROL…ONE OF THE CENTERS WAS, I THINK, SWITCHED OUT OF EDMONTON…ALL THE COMMERCIALS THAT PLAYED ALL ACROSS CANADA, ORIGINATED OUT OF CALGARY TELEVISION. AND THEY WEREN’T VIDEO TAPE MACHINES, AT THAT TIME, THEY WERE BASICALLY COMPUTERS.” DWORNIK RECALLED HIS TIME WORKING IN LETHBRIDGE FOR BROADCAST NEWS, NOTING, “I WORKED FOR LETHBRIDGE TELEVISION FOR [25] YEARS…I JOINED THE STATION AS A PHOTOGRAPHER IN 1976. I HELD THAT POSITION FOR SEVEN YEARS AS CHIEF PHOTOGRAPHER, AND THEN I MOVED INTO MANAGEMENT, AND BECAME PRODUCTION MANAGER FOR TEN YEARS I GUESS, AND THEN I GOT INTO SALES AND MARKETING AND RESEARCH. I LEFT THE STATION IN 1996, AND I WAS ONE THE FIRST, IF NOT THE FIRST OF THE DOWNSIZING IN THAT ERA. AT THE TIME WHEN I LEFT IN ’96 THERE WERE AT LEAST SEVENTY-SIX PEOPLE ON STAFF. [TODAY] I BELIEVE THERE IS MAYBE A DOZEN…I RETURNED TO THE STATION IN THE CAPACITY OF…ACCOUNT REPRESENTATIVE IN 2008 AND I RETIRED AT…THE END OF DECEMBER 2014…WHEN I CAME TO LETHBRIDGE, I THOUGHT I WOULD ONLY STAY A COUPLE OF YEARS AND MOVE ONTO A BIGGER STATION, YOU KNOW BIG CITY, BRIGHT LIGHTS…BUT I LOVED THE CITY AND THERE WAS SO MUCH TO OFFER HERE. I HAD SO MUCH FUN, THERE WERE SO MANY REMARKABLE, INCREDIBLY REMARKABLE EXPERIENCES I HAD AS A PHOTOGRAPHER, AND PRODUCTION MANAGER, ESPECIALLY. SOME OF THESE ITEMS HERE GO BACK TO BEFORE MY TIME, BUT AGAIN LETHBRIDGE—LITTLE DIMPLE ON THE PRAIRIE HERE THAT WE ARE, WE ACTUALLY MADE A PRETTY GOOD NAME FOR THE CITY AND FOR THE STATION IN WHAT WE WERE PRODUCING IN NEWS, AND PARTICULARLY IN LOCAL PROGRAMMING. THAT WAS KIND OF ONE OF MY PASSIONS, WAS THE LOCAL PROGRAMMING, DOCUMENTARIES AND THEN OF COURSE, NEWS AS WELL.” “[THERE] WAS A FRIENDLY RIVALRY BETWEEN ALL THE MEDIA ACTUALLY, AND CTV WOULD PRODUCE THE ODD DOCUMENTARY, WHEREAS WE DID A LOT MORE…AT THE MOST THEY HAD I THINK MAYBE TWENTY PEOPLE ON STAFF, SO THEY WERE LIMITED. THEY WERE ACTUALLY A SATELLITE, OR A RE-BROADCASTER, THEY DIDN’T HAVE THEIR OWN LICENSE SO THEY WERE HANDLED DIFFERENTLY BY THEIR OWNERS THAN OUR STATION WAS. THEN AGAIN MANAGEMENT HERE WAS QUITE FORWARD THINKING IN MOST THINGS. I REMEMBER OUR PRESIDENT AND GENERAL MANAGER, BOB JOHNSON, DECADES AGO TOUTING THE FACT THAT THE ONLY THING THAT WILL MAKE US SUSTAINABLE AND RELEVANT IS LOCAL NEWS. HE KNEW, BACK THEN, THROUGH BROADCASTER ASSOCIATIONS ALL THE THINGS THAT WERE COMING AHEAD OF US…WE COULD GET NEWS FROM AROUND THE WORLD…WE CARRIED A LOT OF AMERICAN PROGRAMS…THE ONLY THING THAT IS GOING TO MAKE US DISTINCT IS WHAT WE CAN DO WITH OUR LOCAL NEWS AND AS AN EXTENSION OF THAT, OUR LOCAL PROGRAMMING, OUR DOCUMENTARIES. IT WAS QUITE GOOD FOR THE STAFF AND THE MORALE WAS TERRIFIC…WE HAD A SLOW PITCH BASEBALL TEAM, WE’D PARTICIPATE IN COMMUNITY THINGS, WITH THE PARADES, WHOOP-UP DAYS AND THE STAFF PARTIES WERE TERRIFIC.” “I WAS A PHOTOGRAPHER, AND I WAS OUT ON LOCATION INTERVIEWING ALL THESE INTERESTING PEOPLE, EDITING THESE PROGRAMS, NEWS STORIES, COMMERCIALS. I WAS IN MY ELEMENT…[I WORKED WITH] THE VISUAL CONTENT…BACK IN THE DAY, THERE WAS A NEWS REPORTER THAT WAS HIS JOB WAS TO BE ON CAMERA, TO RESEARCH THE STORY, SET UP THE CONTEXT, DO THE INTERVIEWS, WE WOULD RECORD THE VISUALS, RECORD THE INTERVIEWS, AND NOW AS YOU REFER TO IT, IT IS ALL DONE BY ONE…THEY CALL HIM A, AT DIFFERENT TIMES, EITHER A VIDEO JOURNALIST OR A VIDEOGRAPHER. MY TRAINING ACTUALLY WAS IN STILL PHOTOGRAPHY BACK IN WINNIPEG, BUT MY FIRST JOB WAS IN TELEVISION, SO I LEARNED ON THE JOB. SHOOTING BLACK AND WHITE FILM, COLOUR—AGAIN, SIXTEEN MILLIMETER FILM FOR COMMERCIALS. WE WERE STILL DOING A LOT OF SLIDE COMMERCIALS AT THAT TIME, AND WE PROCESSED OUR OWN SLIDE FILM IN THE BASEMENT AT THE STATION THERE, WITHOUT USING RUBBER GLOVES.” “AT THAT TIME WE HAD FIVE PHOTOGRAPHERS, WE ONLY HAD TWO VEHICLES TO GO OUT IN BUT, SO THE REPORTERS WOULD SOMETIMES USE THEIR OWN VEHICLES. I KNOW FOR THE FIRST YEAR OR TWO I USED MY OWN VEHICLE TO CARRY THE GEAR BECAUSE AT THAT TIME WE DIDN’T HAVE ANY STATION VEHICLES. OUR FIRST ONES WERE TWO…HONDA CIVIC STATION WAGONS, THEN WE GOT TWO NISSAN STATION WAGONS AND THEN WE WENT TO A FORD BRONCO I THINK IT WAS.” “I WOULD GO WHERE THERE WAS A GOOD OPPORTUNITY FOR WORK AND—ACTUALLY, ON OUR HONEY MOON, WE PACKED UP FROM SWIFT CURRENT…(I HAD THREE WEEKS HOLIDAY), AND WE MADE OUR WAY OUT TO THE WEST COAST, STOPPING AT EVERY TELEVISION STATION, ALONG THE WAY, HAVING A TOUR, AND LEAVING A RESUME. SO WE STOPPED AT MEDICINE HAT, LETHBRIDGE (WHICH I WAS REALLY IMPRESSED WITH), AND WE WENT THROUGH KELOWNA, (WHICH I WAS AGAIN VERY IMPRESSED WITH), AND SO I THOUGHT IT WOULD BE EITHER LETHBRIDGE, OR KELOWNA, I WOULD LIKE TO MOVE TO, AND THEN FROM THERE MAYBE CALGARY, VANCOUVER. AS I SAID, LETHBRIDGE WON OUT, THEY HAD A JOB OPENING…BECAUSE OF A STRIKE…AT THAT TIME…NABET…NATIONAL ASSOCIATION OF BROADCAST ENGINEERS AND TECHNOLOGISTS…THEY WERE WANTING TO FORM A LOCAL, AND GET UNION REPRESENTATION AND NEGOTIATIONS CAME TO A STAND-STILL, AND THEY WENT ON STRIKE I THINK, IN APRIL, OR MAY OF ’75 , ’76. SO I HAD JUST FAIRLY RECENTLY PUT MY RESUME IN THERE, AND THEY CALLED ME UP AND [IT WAS] A TOUGH SITUATION, AND I HELD OFF, AND I SAID, ‘WELL I’VE GOT TO WORK WITH THESE PEOPLE, IF I COME IN AS A STRIKE BREAKER, A SCAB—‘ AND SO I WASN’T TOO ANXIOUS TO DO THAT, BUT, AFTER A FEW MORE PHONE CALLS OVER I GUESS IT WAS A COUPLE OR THREE MONTH’S PERIOD, I SAID ‘WELL, YEAH, LET’S DO IT,’ AND I MOVED BACK.” DWORNIK SHARED THE HISTORY OF THE GLOBAL NEWS STATION IN LETHBRIDGE, RECALLING, “[BEFORE THE STATION WAS 2&7, IT WAS] CFAC. IT HAS GONE THROUGH A LOT OF CHANGES, IT STARTED OFF AS CJLH WHICH IS A COMBINATION OF CJOC RADIO AND THE LETHBRIDGE HERALD THAT CO-OWNED THE STATION WHICH OPENED IN [NOVEMBER] 1955…THEN THE HERALD GOT OUT OF IT AND WE WERE BOUGHT BY SELKIRK COMMUNICATIONS AND WE BECAME CJOC TELEVISION…THE STATION OPENED IN ’55, I THINK IT BECAME CJOC AROUND 1960, BUT DON’T QUOTE ME ON THAT. THEN WHEN I CAME IN [FALL] ’76…UP UNTIL THEN WE WERE A CBC AFFILIATE, AND THEN IN ’76 WE BECAME AN INDEPENDENT STATION AND CHANGED OUR CALL LETTERS, AGAIN, TO CFAC TELEVISION. OUR LOGO WAS MODELED AFTER THE RONDELL OF CHC HAMILTON TELEVISION, WHICH WAS AN INDEPENDENT STATION OWNED BY SELKIRK. WE ARE THE SISTER STATION BUT WITH OUR OWN INDEPENDENT LICENSE, WE BECAME PART OF THE INDEPENDENT NETWORK…ABOUT THE TIME OF THE OLYMPICS…WE CHANGED TO TWO AND SEVEN…IT WAS AROUND 1992 MAYBE THAT WE CHANGED OUR CALL LETTERS ONCE AGAIN TO CISA, INDICATIVE OF, ALL STATIONS STARTED WITH ‘C’ RADIO OR TELEVISION IN CANADA, AND THE ‘ISA’ WAS FOR INDEPENDENT SOUTHERN ALBERTA…WITH MY BACKGROUND IN ART AND DESIGN WORKING WITH THAT, WE DID SOME STILL-FRAME ANIMATION. WE DID SOME FUN STUFF WITH THE LOGOS…WHILE I WAS STILL [WITH CISA] WE WENT THROUGH…ANOTHER TWO CHANGES IN OWNERSHIP. SELKIRK SOLD US TO, APPARENTLY TO MACLEAN’S MAGAZINE, AND THAT LASTED FOR ABOUT AN HOUR OR TWO AND THEN I THINK WITH WICK…WESTERN BOUGHT US, THEY BASICALLY BOUGHT ALL OF SELKIRK COMMUNICATIONS AND ADDED US TO THEIR FLOCK OF ITV EDMONTON, BRITISH COLUMBIA TV IN VANCOUVER, AND CHECK TV IN VICTORIA AND I THINK THEY ALSO HAD OKANAGAN TV AS WELL.” “[LETHBRIDGE IS AN ANOMALY] FOR SURE BECAUSE WHEN I CAME HERE WE WERE AROUND FORTY THOUSAND [IN POPULATION], AND THERE WERE TWO OPERATING TELEVISION STATIONS. AS FAR AS I KNOW, WE ARE THE ONLY CITY OF THIS SIZE THAT HAD TWO TELEVISION STATIONS. IN MANY OTHER CITIES THEY WOULD HAVE WHAT THEY CALL A ‘TWINSTICK.’ SO WE WERE CBC, CFCN WAS A CTV AFFILIATE. IN MEDICINE HAT, CBC AND CTV WERE OPERATED OUT OF THE SAME BUILDING BY THE SAME STAFF. THEY WOULD LIKELY HAVE A DIFFERENT ANCHOR OR NEWS DEPARTMENT, BUT THE OTHER COMPONENTS OF OPERATIONS WERE ALL CONTAINED IN THE SAME [BUILDING]—AND THAT’S THE SAME IN, ALL ACROSS WESTERN CANADA…IN A CITY OF OUR POPULATION TO HAVE TWO STATIONS WAS QUITE REMARKABLE, AND VERY COMPETITIVE, AND ALONG WITH THAT, THE RADIO SIDE OF IT…RIGHT NOW WE’VE GOT REALLY SIX RADIO STATIONS, BACK THEN, THERE WERE NEARLY FOUR. AGAIN, QUITE UNUSUAL IN THE FACT THAT YOU’VE GOT TWO AM AND THEN TWO FM. ONE FM STATION ACTUALLY STARTED OFF PLAYING CLASSICAL MUSIC. WHAT THAT LENDS TO THE CITY IS A LOT MORE VARIETY IN PROGRAMMING THAN THEY WOULD OTHERWISE GET. WE HAVE GOT THE BROADCAST PROGRAMMING AT THE LETHBRIDGE COLLEGE HERE, AND THAT FED INTO OUR NEEDS QUITE WELL, IN RADIO AND IN TELEVISION. WE BROUGHT A LOT OF PEOPLE OUT ACTUALLY FROM DOWN EAST BECAUSE THEY HAD SOME REALLY GOOD PROGRAMS FROM FANSHAWE COLLEGE, OTTAWA AND WE WOULD BRING AS WELL, PEOPLE FROM SAIT AND NAIT, AS WELL AS MOUNT ROYAL COLLEGE. THOSE PEOPLE COME STRAIGHT OUT OF COLLEGE, GETTING AN OPPORTUNITY IN A MID-SIZED MARKET…THEY HAD THEIR HANDS INVOLVED IN PROGRAMS, NEWS, COMMERCIAL PRODUCTION AND THEN BEING PART OF THE COMMUNITY.” “I BELIEVE THAT WE WERE STILL A PRETTY GOOD REVENUE-GENERATOR FOR [WICK TO BE SUPPORTIVE OF]. BECAUSE EVEN WITH THAT SIZE OF STAFF, WE WEREN’T PAID AS MUCH AS THEY WERE IN CALGARY, WHICH IS LIKELY WHY EVERYBODY WANTED THE UNION…THEY WEREN’T LOSING MONEY THERE. WE WEREN’T MAKING A WHOLE LOT OF MONEY, BUT…CRTC I THINK CAME INTO PLAY IN THAT, A LOT, TOO, BECAUSE CRTC WAS TO GOVERN THE RULES AND REGULATIONS FOR BROADCASTING. IT WOULD BE DIFFICULT, I THINK, IN ANY PURCHASE OF A STATION, FOR THEM TO GO, AND SHUT THAT STATION DOWN, AT THAT TIME. BUT, WHAT HAS HAPPENED IS THAT RADIO STATIONS HAVE SHUT DOWN, (LIKE RED DEER LOST THEIR STATION; IT WAS A TWINSTICK), AND I LOST TOUCH WITH THE INDUSTRY WHEN THAT SORT OF THING WAS HAPPENING.” “THE GLOBAL PERIOD, WHEN IT WAS OWNED BY CANWEST…ANOTHER REMARKABLE COMPANY (FAMILY-OWNED BUSINESS), AND THEY WERE BUYING UP TELEVISION STATIONS ACROSS CANADA, AND THEN THEY EXPANDED. THEY BOUGHT SOME NEWSPAPERS; THEY BOUGHT A TELEVISION STATION IN ENGLAND, AND I THINK THEIR DOWNFALL ACTUALLY WAS OVER-EXTENDING THEMSELVES, AND GETTING INTO THE AUSTRALIAN MARKET. I JOINED THE STATION IN 2008, WHEN THEY WERE STARTING TO SLIDE. OF COURSE, THE WHOLE ECONOMY WAS STARTING TO SLIDE, AND I CAME ON AS A FRESH, NEW SALESPERSON TO SELL ADVERTISING.” “THAT’S WHEN ALL THE DOWNSIZING OCCURRED [AROUND 2008], JUST IN THAT TRANSITION…WICK STARTED THE DOWNSIZING, AND THEN CANWEST CARRIED ON WITH IT. IT WAS JUST WELL, THE ONSLAUGHT OF GLOBALIZATION, AND THE BIG GET BIGGER, AND SMALL EITHER GET BOUGHT UP, OR SHUT DOWN…WHEN I STARTED AT THE STATION IN 2008, BACK IN SALES, THAT WAS WHEN THINGS REALLY CHANGED, BECAUSE WE STILL HAD A DIRECTOR, AND ONE VIDEOTAPE OPERATOR, AND THEY HAD ROBOT CAMERAS SET UP, BUT WE WERE STILL SWITCHING OUR OWN NEWS, AND ORIGINATING NEWS OUT OF OUR PRODUCTION CONTROL ROOM. THEN, TOWARDS THE END OF 2008, IS WHEN THOSE TWO PEOPLE WERE LET GO, AND WE STARTED WITH CALGARY TELEVISION DIRECTING THE NEWS. AS IT TURNED OUT, THERE WAS NO WAY THAT WE COULD PUT SOMETHING ON THE AIR, BECAUSE THEY DISCONNECTED THE SWITCHING EQUIPMENT…IF THERE WAS LIKE A WEATHER EMERGENCY, OR SOMETHING LIKE THAT, WE COULD NOT PUT A CRAWL ACROSS THE SCREEN. IT WAS QUITE UNNERVING, ACTUALLY, THAT WE WERE LOSING THAT KIND OF LOCAL CAPABILITY.” “[I THINK] IT WAS IN 2013…WHERE EVERYONE BUT ME WAS LET GO, AND THEY COULD RE-APPLY FOR THEIR JOB. BASICALLY, IT WAS A WAY OF GETTING AROUND THE UNION. EVERYONE WAS CANNED; THEY GOT A SEVERANCE PACKAGE. IT WAS A PRETTY UNNERVING TIME, AND MORALE REALLY, REALLY HIT A LOW THERE. THEY ASSIGNED AN EDITOR FROM TORONTO, AND ANOTHER FELLOW WHO HAD BEEN BROADCASTING NEWS, THEY WENT…AND THEY WERE GOING TO RE-IMAGINE THE NEWS, AND THEY HAD BIG PLANS TO MAKE THE STATION WHOLLY-NEW, AND A WHOLE NEW WAY OF DOING THINGS, WITH A MINIMUM NUMBER OF PEOPLE…RESPONSIBILITIES WERE CHANGED; MORE LOAD WAS TAKEN ON, BUT, AS WELL, LESS THINGS WERE GOING TO BE DONE. WE DIDN’T HAVE THE ENGINEER, AND SO THEY HIRED A FELLOW TO BE A VIDEOGRAPHER. HE WOULD SHOOT SOME OF THE NEWS STORIES, BUT HE WAS ALSO RESPONSIBLE FOR TWEAKING UP THE CAMERAS, AND IF THERE WAS A PROBLEM, SENDING IT UP TO CALGARY…I THINK WHAT THEY DID WAS THEY MEASURED OUT THE NUMBER OF HOURS, THE NUMBER OF PEOPLE, WHAT THEY WANTED TO COVER, WHAT THEY WANTED TO DO, AND THEY WENT WITH THAT NUMBER—TWELVE OR FOURTEEN PEOPLE, AND SO, CHANGING THE ROLES, WHOLE NEW JOB DESCRIPTIONS. BUT, AS I SAID TO [MANAGEMENT], ‘YOU KNOW, I THINK YOU OVERLOOKED THE FACT THAT ALL THE PEOPLE HERE, ON THE UNION CONTRACT, GET AT LEAST THREE WEEKS’ VACATION. MEANS YOU’VE GOT TWELVE PEOPLE—THAT’S THIRTY-SIX WEEKS—THAT YOU’VE GOT SOMEBODY AWAY. SO, YOU’RE RUNNING SHORT-STAFFED OVER HALF A YEAR.’ THAT’S PRETTY TOUGH ON PEOPLE, BECAUSE THIS GENERATION THAT’S IN THERE NOW, I DON’T THINK THEY HAVE THE SAME KIND OF ATTITUDE, OR WORK ETHIC. WE WOULD WORK. WELL, MY WIFE COULD ATTEST TO THE HOURS THAT I WOULD PUT IN AT THE STATION. AND, I DIDN’T GET PAID OVERTIME. I GOT A…FEE. THIS STUFF, BETWEEN THE CHANGE OF ATTITUDE, AND THE NEWS CYCLE, AND CUTTING BACK HOW THEY COULD, IT WAS REALLY TOUGH ON PEOPLE. BUT, I WAS THE FIRST ONE TO BE LET GO IN 1996, AND I WAS THE MARKETING RESEARCH AND SALES (WE WERE DOING VIDEO PRODUCTIONS), AND THE FELLOW WHO WAS THE PRODUCTION COORDINATOR, JIM MCNALLY, I BROUGHT ON. HE WAS AN EXCELLENT PHOTOGRAPHER OUT OF OTTAWA, AND HE HAD, I THINK, ONE OF THE TOUGHEST TIMES BACK IN ’96 (ACTUALLY, MORE SO IN ’98). THEY MADE HIM GENERAL MANAGER OF THE STATION. HIS ENTIRE RESPONSIBILITY OVER, I DON’T KNOW HOW MANY WEEKS AND MONTHS WAS TO CUT THE STAFF DOWN TO, I DON’T KNOW, SIXTEEN PEOPLE. AND, WHEN THAT WAS ACCOMPLISHED, HE WAS LET GO.” WHEN ASKED ABOUT THE “GOLDEN AGE” OF LETHBRIDGE BROADCAST OR TELEVISION NEWS, DWORNIK SHARED, “TELEVISION HAS ALWAYS BEEN FOR THE VAST MAJORITY OF PEOPLE, A VERY EXCITING INDUSTRY BECAUSE THERE’S ALWAYS DEVELOPMENTS, TECHNOLOGY. WHEN YOU THINK THAT BACK IN THE DAY IT WAS IN BLACK AND WHITE, BUT THEY DID LIVE COMMERCIALS AND THAT’S QUITE REMARKABLE TOO, HOW THEY WERE DOING THOSE THINGS. THEY DID A LOT OF PRANKS AND FUN STUFF ON AIR…THE TECHNOLOGY KEPT DEVELOPING. IT LOOKED AS GOOD AS IT COULD GET BACK IN THE DAY, BUT NOW THAT WE ARE UP TO 4K VIDEO…IN MY DAY WE HAD BEEN COLOUR FOR QUITE SOME TINE, BUT WHEN I CAME IN IN ‘76 IT WAS KIND OF THE LAUNCH OF ENG, ELECTRONIC NEWS GATHERING OR EFP, FIELD PRODUCTION. THE EQUIPMENT WAS THREE QUARTER INCH AT THAT TIME, THE CAMERAS WERE BIG AND HEAVY, AND THE TAPE DECK, IT WAS A TWO PIECE UNIT, IT NEEDED A LOT OF LIGHT SO WE CARRIED AROUND ABOUT A THIRTY POUND BOX FULL OF LIGHTING GEAR. TRUCKING THAT FROM ONE END OF THE UNIVERSITY HALL DOWN TO THE OTHER END WHERE THE PRESIDENT WAS.” “FROM MY PERSPECTIVE, I THINK I WAS IN THE “GOLDEN AGE” OF TELEVISION IN LETHBRIDGE HERE, BECAUSE WE DID A LOT OF LOCAL PROGRAMS. WE ACTUALLY HAD A SYNDICATED SPORTS PROGRAM CALLED SKI WEST, AND THAT RAN ON HALF A DOZEN MARKETS—INDEPENDENT MARKETS—TELEVISION STATIONS WITH SELKIRK, AND, ACTUALLY THAT WAS WITH WICK AS WELL TOO. WE DID A LOT OF COMMERCIALS, PROGRAM PRODUCTION AND…I THINK IT WAS AROUND ’88 OR ’90, WE WERE ALREADY TALKING AND WE SAW ADVANTAGES IN WHAT WAS CALLED THEN HIGH-DEFINITION TELEVISION WHICH WAS TEN EIGHTY, BUT IT WAS A LONG WAY BEFORE IT CAME. WE DIDN’T ACTUALLY CONVERT TO DIGITAL TELEVISION IN CANADA UNTIL I THINK IT WAS 2009-2010, AND AS ONE OF OUR ENGINEERS MENTIONED, THAT WAS MOST REMARKABLE TECHNOLOGY-WISE. BECAUSE, WHEN WE STARTED IN BLACK AND WHITE, IT WAS A FOUR BY THREE FORMAT AND THEN THEY ADDED COLOUR, IMAGINATIVE COLOUR IN THE ‘60S. THAT WAS PRETTY SMOOTH BECAUSE YOU COULD, YOU KNOW, YOU ARE BROADCASTING THIS ONE SIGNAL OUT IN COLOUR, BUT IF YOU ONLY HAD A BLACK AND WHITE TV, YOU COULD STILL WATCH IT IN BLACK AND WHITE, AND IF YOU HAD COLOUR ALL THE BETTER. THAT WAS IN THE ERA WHEN CABLE WAS ON ITS UP RISE AND SO IT WENT THROUGH A PRETTY SMOOTH TRANSITION, BUT WHEN WE WENT DIGITAL IT WAS HARD LINE IN THE SAND. YOUR OLD TV SET WOULD NOT BE GETTING NOTHING ON IT. THERE WOULD BE NO SIGNAL COMING IN AT ALL, AND WE HAD TO SWITCH OVER TO EITHER CABLE, WHICH WOULD CONVERT THE DIGITAL SIGNAL INTO THE NTSC SIGNAL FOR YOU, OR ELSE YOU HAD TO GET A BRAND NEW TV THAT’S DIGITAL. IT REALLY DID SPUR THE INDUSTRY, AND IT WAS A HUGE FINANCIAL INVESTMENT. CBC WITH ALL THEIR BROADCAST SATELLITES TO COVER ALL OF CANADA, WAS GIVEN AN EXTRA YEAR TO SWITCH OVER TO DIGITAL. IN THE END THEY SAID, ‘NO WE CAN’T DO IT,’ SO THEY HAD TO ACTUALLY SHUT DOWN THEIR TELEVISION TOWER IN LETHBRIDGE [IN JUNE 2012].” “IN A MARKET LIKE OURS WHERE WE HAVE GOT CABLE THAT WAS OKAY, BUT IN THE RURAL AREAS…SOME [PEOPLE] WERE ALREADY ON SATELLITE, BUT THEN AGAIN, WHEN I WAS IN THE INDUSTRY, THE SATELLITE DISHES WERE HUGE AND WE WERE STILL USING A HUGE ONE…IT WAS MORE THAN 12 FEET, IT WAS HUGE, 20 SOME FEET ACROSS. AGAIN, BACK IN THE ‘80S I REMEMBER OUR PRESIDENT COMING BACK AND TELLING US THAT, ‘YOU KNOW, THEY’RE TALKING ABOUT SATELLITES GOING UP THERE AND THEY’RE GOING TO BE SO POWERFUL YOU COULD USE A SATELLITE DISH NO BIGGER THAN A PIZZA BOX.’…THAT’S WHAT WE’VE GOT NOW REALLY…I THINK IT’S A LOT OF ‘GOLDEN ERAS’ AS YOU WOULD SAY REALLY, BECAUSE NOW WITH DIGITAL IT’S JUST PHENOMENAL, AND IT WENT FROM 1080 UP TO 4K. 8K IS OUT THERE TODAY, BUT I THINK IT WILL BE A LONG TIME BECAUSE IT IS A LOT OF BAND WIDTH FOR PEOPLE…” ON HIS MOTIVATIONS FOR DONATING THE ITEMS TO THE GALT MUSEUM, DWORNIK SHARED, “MY WIFE WHO IS WITH US, SANDRA, SUGGESTED THAT I MIGHT CLEAN UP OUR GARAGE AND OTHER PLACES IN THE HOUSE, BECAUSE I COLLECT A LOT OF STUFF. THE OTHER REASON [I’M DONATING THE ITEMS TO THE GALT MUSEUM] ACTUALLY IS IT MIGHT BE TIME—FROM A HISTORICAL VIEW POINT THAT WHAT IS NOW GLOBAL TELEVISION IS MOVING LOCATION. WHERE THEY HAVE BEEN IN THEIR ORIGINAL SITE…[IN] WHAT IS NOW THE INDUSTRIAL PARK, THEY ARE MOVING OUT OF THERE MID-SEPTEMBER OR SO TO A LOCATION DOWNTOWN AND THEY ARE MOVING INTO WHAT IS NOW THE NEW ROYAL BANK, WHICH USED TO BE THE MARQUIS HOTEL. THEY ARE JUST BUILDING THE STUDIO THERE NOW AND THEY WILL BE JOINING THE RADIO FROM THE PATERSON GROUP IN THAT SAME BUILDING, BUT THEY ARE TOTALLY SEPARATED. ANYWAY, I THOUGHT IT PERHAPS TIMELY AND SOME CONNECTIONS THERE.” “WHEN I RETIRED IT WAS KIND OF A HOLLOW BUILDING AND THERE WAS A LOT OF VIDEO TAPE AROUND, WHICH I CONVINCED THE CURRENT OWNERS OF THE STATION, SHAW MEDIA AT THE TIME…BETWEEN MYSELF AND AN ENGINEER, LARRY LAWDINEY, WE DID CONVINCE THEM THAT THERE WAS A LOT OF HISTORY IN THOSE VIDEO TAPES, WHICH THEY WERE PREPARED TO THROW OUT IN THE DUMPSTER, AND END UP IN OUR LANDFILL. SO, WORKING WITH ANDREW [AT THE GALT ARCHIVES], AND HE HAS GOT—I DON’T KNOW HOW MANY TRUCKLOADS OF THE TAPES NOW.” “SOME OF THESE ARTIFACTS, WHICH I HAVE DISCUSSED WITH YOU BEFORE, I FELT WERE SIGNIFICANT…REPRESENTATIVE OF SOME OF THE HISTORY OF THE STATION. THE STATION PRODUCED SOME VERY REMARKABLE INDIVIDUALS THAT HAVE GONE ON TO WIDE ACCLAIM ACTUALLY, RIGHT THROUGH THE HISTORY OF THE STATION. INCLUDING PEOPLE LIKE DON SLADE…HE WAS A DISC JOCKEY WHEN I WAS LIVING IN WINNIPEG GROWING UP, AND THEN HE ENDED UP BEING IN EITHER CALGARY OR EDMONTON. THE FAMOUS WEATHER MAN…BILL MATHESON, OF COURSE FROM LETHBRIDGE, WENT TO NEW YORK, AND ENDED UP IN EDMONTON. I HAVE HAD A NUMBER OF PEOPLE WHO HAVE WORKED IN MY DEPARTMENT THAT HAVE GONE ON TO SOME SIGNIFICANT ACCOMPLISHMENTS AS WELL. ONE IN PARTICULAR, DOUG GOAT, WAS A VIDEO JOURNALIST FOR NBC AND HE WENT OVER TO THESE WAR TORN COUNTRIES—HE WAS A LETHBRIDGE BOY, HIS DAD ACTUALLY MADE SOME EQUIPMENT FOR US FOR OUR TRIPODS…RICK LUCHUCK, WHO WAS IN OUR PRODUCTION DEPARTMENT LEFT, WENT TO REGINA, AND THEN I THINK TORONTO…HE CAME BACK JUST THIS PAST YEAR FOR A REUNION AT LETHBRIDGE COLLEGE, FROM WHERE HE GRADUATED IN BROADCASTING. HE IS VICE PRESIDENT OF PROMOTIONS FOR CNN…WE HAVE HAD PEOPLE GO TO SPORTS NETWORK…A LOT OF PEOPLE WENT THROUGH THE STATION, IT WAS A REVOLVING DOOR, BUT I WAS OKAY WITH THAT BECAUSE WE HELPED BUILD THEIR CAPABILITIES, AND THEY WERE VERY APPRECIATIVE OF THE OPPORTUNITIES AND THE TRAINING THAT WE DID PROVIDE…THE STUFF WE DID WE HAD…A VERY SMALL MOBILE PRODUCTION FACILITY, BUT IT WAS INVOLVED WITH THE OLYMPICS IN ’88, THE TORCH RUN. WE PICKED UP THE TORCH RUN WHEN IT ENTERED ALBERTA IN THE CROWSNEST PASS, BROADCAST THAT LIVE THROUGHOUT ALBERTA. I HAD THE OPPORTUNITY TO MEET PRINCE CHARLES AND PRINCE ANDREW AND FERGIE…THEY WERE DOWN FOR…THE OFFICIAL OPENING OF HEAD SMASHED IN BUFFALO JUMP.” “THE STATION WON A [NATIONAL] AWARD…[THE] FOUNDERS AWARD OF EXCELLENCE FOR A DOCUMENTARY WE PRODUCED [CALLED ‘WE WON’T LET HIM DIE’], AND I WAS THE PHOTOGRAPHER ON THAT AND SHOT…IT WAS ACTUALLY THIRTY YEARS AGO THAT THIS YOUNG FELLOW, TOMMY JONES, WAS WORKING AT A CHURCH CAMP IN WATERTON AND WENT HIKING WITH SOME FRIENDS IN A MOUNTAIN AND FELL AND HAD A SERIOUS BRAIN INJURY. TWO YEARS LATER—THEY DIDN’T EXPECT HIM TO LIVE…WE DOCUMENTED THAT WHOLE STORY AND RECREATED THE SCENES IN THE DOCUDRAMA…THESE THINGS REMIND ME OF ANOTHER ARTIST CORNY MARTENS, BRONZE ARTIST, WAS OUR STUDIO DIRECTOR, AND SOME OF THE STUFF THEY USED TO DO, BACK IN THE DAYS OF BLACK AND WHITE, THEY DID COMMERCIALS—THEY PAINTED THE FLOOR OF THE STUDIO TO MAKE IT LOOK LIKE A SWIMMING POOL, AND THEY HAD A FASHION SHOW WITH SWIMSUITS…THAT’S KIND OF WHAT PROMPTED ME [TO DONATE THE ITEMS], AND THAT’S THE CONNECTION TO THESE ITEMS.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND ARTICLES ON THE GLOBAL NEWS STATION BEING DISMANTLED, PLEASE SEE THE PERMANENT FILE P20190022001-GA.
Catalogue Number
P20190022001
Acquisition Date
2019-08
Collection
Museum
Images
Less detail
Other Name
SLATE
Date Range From
1955
Date Range To
1976
Material Type
Artifact
Materials
WOOD, PAINT
Catalogue Number
P20190022002
  2 images  
Material Type
Artifact
Other Name
SLATE
Date Range From
1955
Date Range To
1976
Materials
WOOD, PAINT
No. Pieces
1
Length
37.9
Width
53
Description
SLATE SIGN ON PRESSED WOOD BOARD WITH ROUNDED EDGES; SIGN FRONT IS BLACK WITH YELLOW AND BLACK STRIPED BORDER ALONG EDGES; FRONT HAS WORN WHITE TEXT REMAINING, “TITLE, RECORDED, PLAYBACK” WITH WORN, ILLEGIBLE TEXT. TOP OF SIGN HAS TWO DRILLED HOLES WITH METAL GUARDS FOR HANGING. BACK IS UNPAINTED, TEXTURED PRESSED BOARD. BACK HAS SEVERE STAINING AND PAPER RESIDUE; BACK HAS WATER STAINING AT TOP EDGE AND RIGHT EDGE; FRONT IS SCUFFED AT EDGES AND HAS LOSS AT UPPER AND LOWER RIGHT CORNERS, AND LOWER LEFT CORNER; FRONT HAS BORDER PAINT PEELING AND LOST; FRONT SLATE IS WORN AND TEXT FADED, WITH RESIDUE REMAINING; OVERALL GOOD CONDITION.
Subjects
VISUAL COMMUNICATION T&E
Historical Association
INDUSTRY
History
ON AUGUST 21, 2019, COLLECTION TECHNICIAN KEVIN MACLEAN INTERVIWED WAYNE DWORNIK REGARDING HIS DONATION OF GLOBAL NEWS STATION ITEMS. DWORNIK WORKED FOR LETHBRIDGE TELEVISION BROADCAST NEWS FROM 1976-2013. ON THE PRODUCTION SLATE, DWORNIK RECALLED, “THE SLATE HERE, THIS WAS USED…I THINK LIKELY FROM DAY ONE…IT’S A CHALK BOARD THAT [STAFF] WOULD WRITE ON THEM FOR PRIMARILY STUDIO PRODUCTIONS WHICH IS MOSTLY WHAT THEY DID FOR PROGRAMS BACK THEN. BECAUSE THE ONLY LOCATION STUFF WOULD HAVE BEEN DONE ON 16 MM BLACK AND WHITE FILM. SO, OFF THE TOP OF EVERY TAPE, THEY’D PUT THE TITLE ON TO IDENTIFY WHAT PROGRAM IT WAS, THE TAKE, THEY’D RECORD DATE, AND THEN THERE’S OTHER STUFF AS TO WHEN IT’S SCHEDULED TO PLAY BACK.” “THIS WOULD HAVE BEEN USED BY PEOPLE LIKE CORNY MARTINS WHO WAS IN STUDIO, JIM TUSTIAN…JIM WAS QUITE AN INTERESTING FELLOW BECAUSE HE WAS ORIGINALLY FROM FOREMOST, BORN AND BRED OUT AT FOREMOST THERE. HIS DAD WAS, I THINK HE WAS WITH THE RAILWAY. COMING OUT OF HIGH SCHOOL, JIM WORKED AT THE STATION FOR ONE SUMMER, FELL IN LOVE WITH TELEVISION, AND HE MOVED ON, AGAIN, ANOTHER FELLOW THAT MOVED ON, HE WAS…STUDIO CAM AND HE WENT UP TO EDMONTON AND WORKED WITH CFRN. BUT THOSE PEOPLE WOULD HAVE WORKED WITH THIS…A LOT OF SHOWS WOULD HAVE BEEN RECORDED WITH TITLES ON THERE…I THINK, OFTEN TIMES THEY’D PUT THE DIRECTOR’S NAME ON THERE, AND WHO WAS RUNNING VIDEO TAPE THEN.” “[I GRABBED THIS IN] 2014…IN THAT ENGINEERING ROOM…[I DON’T HAVE MEMORIES OF IT IN USE IN 1976] NOT FOR VERY LONG REALLY. BECAUSE AT THAT TIME, SHORTLY AFTER I GOT THERE…I THINK IT WAS IN THE FALL THAT WE GOT A CHARACTER GENERATOR. BASICALLY, IT’S A COMPUTER THAT, ITS SOLE PURPOSE IS TO TYPE OUT THE SLATE INFORMATION AND THEN YOU CAN SUPERIMPOSE THAT ON THE FRONT END OF THE TAPE. THAT ONE WAS VERY RUDIMENTARY AND SO THIS WAS IMMEDIATELY OBSOLETE.” “[I THINK IT SURVIVED FOR DECADES IN THE ENGINEERING ROOM BECAUSE] PERHAPS A LOT OF US PEOPLE IN TELEVISION ARE NOSTALGIC IN THINKING LIKE, WHEN THAT WAS DONE, LIKE SOME REMARKABLE PROGRAMS WERE DONE, AND SO I THINK SOME HANG ONTO THAT FOR MEMORABILIA. ENGINEERS ARE DEFINITELY PACK RATS. THEY DISMANTLE SOMETHING THAT’S OBSOLETE, THEY’RE GOING TO HAVE EVERY NUT AND BOLT AND WASHER SAVED SOMEWHERE TO USE TO PATCH UP SOMETHING ELSE DOWN THE ROAD.” DWORNIK ELABORATED ON THE ROLE OF ENGINEERS AT THE STATION, NOTING, “[THE ENGINEER’S ROLE IS] BASICALLY TO KEEP US ON THE AIR. THERE’S SO MUCH ELECTRONIC AND TECHNICAL EQUIPMENT THEY HAD TO KNOW ABOUT TRANSMITTERS, MICROWAVE, VIDEOTAPE, ALL THE ELECTRONICS, AND THEY ALSO DID MAINTENANCE ON THE BUILDING.” “THE LAST ENGINEER WAS LET GO IN AN UNFORTUNATE SITUATION, IN THE SUMMER OF [2014]…WE DID NOT HAVE A STATION MANAGER. AT ONE TIME WE HAD A STATION MANAGER [PETER DEYES] WHO WAS ALSO THE NEWS DIRECTOR, WHEN I CAME BACK. THAT FELLOW LEFT…THEY BROUGHT IN AN ASSIGNMENT EDITOR FROM TORONTO, AND SHE WAS…NOT EVEN THE NEWS DIRECTOR, WHICH WAS TERRIBLE; THEY CALLED HER THE NEWS MANAGER. MANAGEMENT OF THE STATION WAS TAKEN OVER BY THE CALGARY TELEVISION, AND THE ENGINEERING RESPONSIBILITIES WERE TAKEN OVER BY CALGARY TELEVISION.” “WE’D HAVE TO CALL [ENGINEERS WHEN THERE WAS EQUIPMENT ISSUES]. AT THAT TIME, WE HAD MORE CAMERAS THAN VIDEOGRAPHERS, SO THEY KIND OF HAD A SPARE ON HAND. IF ONE WENT DOWN, THEY’D BE OKAY. AND, AT THAT TIME, EVERYTHING ELSE WAS SHIFTED AWAY FROM THE STATION, AND WAS AUTOMATED. IT WAS JUST MIND-BOGGLING THE AUTOMATION THAT THEY HAD AVAILABLE. CALGARY TELEVISION WAS…KIND OF THE MASTER CONTROL CENTER FOR ALL OF THE GLOBAL TELEVISION STATIONS IN CANADA. SO, IT WAS JUST AMAZING, ALL THE MONITORS IN THEIR MASTER CONTROL…ONE OF THE CENTERS WAS, I THINK, SWITCHED OUT OF EDMONTON…ALL THE COMMERCIALS THAT PLAYED ALL ACROSS CANADA, ORIGINATED OUT OF CALGARY TELEVISION. AND THEY WEREN’T VIDEO TAPE MACHINES, AT THAT TIME, THEY WERE BASICALLY COMPUTERS.” DWORNIK RECALLED HIS TIME WORKING IN LETHBRIDGE FOR BROADCAST NEWS, NOTING, “I WORKED FOR LETHBRIDGE TELEVISION FOR [25] YEARS…I JOINED THE STATION AS A PHOTOGRAPHER IN 1976. I HELD THAT POSITION FOR SEVEN YEARS AS CHIEF PHOTOGRAPHER, AND THEN I MOVED INTO MANAGEMENT, AND BECAME PRODUCTION MANAGER FOR TEN YEARS I GUESS, AND THEN I GOT INTO SALES AND MARKETING AND RESEARCH. I LEFT THE STATION IN 1996, AND I WAS ONE THE FIRST, IF NOT THE FIRST OF THE DOWNSIZING IN THAT ERA. AT THE TIME WHEN I LEFT IN ’96 THERE WERE AT LEAST SEVENTY-SIX PEOPLE ON STAFF. [TODAY] I BELIEVE THERE IS MAYBE A DOZEN…I RETURNED TO THE STATION IN THE CAPACITY OF…ACCOUNT REPRESENTATIVE IN 2008 AND I RETIRED AT…THE END OF DECEMBER 2014…WHEN I CAME TO LETHBRIDGE, I THOUGHT I WOULD ONLY STAY A COUPLE OF YEARS AND MOVE ONTO A BIGGER STATION, YOU KNOW BIG CITY, BRIGHT LIGHTS…BUT I LOVED THE CITY AND THERE WAS SO MUCH TO OFFER HERE. I HAD SO MUCH FUN, THERE WERE SO MANY REMARKABLE, INCREDIBLY REMARKABLE EXPERIENCES I HAD AS A PHOTOGRAPHER, AND PRODUCTION MANAGER, ESPECIALLY. SOME OF THESE ITEMS HERE GO BACK TO BEFORE MY TIME, BUT AGAIN LETHBRIDGE—LITTLE DIMPLE ON THE PRAIRIE HERE THAT WE ARE, WE ACTUALLY MADE A PRETTY GOOD NAME FOR THE CITY AND FOR THE STATION IN WHAT WE WERE PRODUCING IN NEWS, AND PARTICULARLY IN LOCAL PROGRAMMING. THAT WAS KIND OF ONE OF MY PASSIONS, WAS THE LOCAL PROGRAMMING, DOCUMENTARIES AND THEN OF COURSE, NEWS AS WELL.” “[THERE] WAS A FRIENDLY RIVALRY BETWEEN ALL THE MEDIA ACTUALLY, AND CTV WOULD PRODUCE THE ODD DOCUMENTARY, WHEREAS WE DID A LOT MORE…AT THE MOST THEY HAD I THINK MAYBE TWENTY PEOPLE ON STAFF, SO THEY WERE LIMITED. THEY WERE ACTUALLY A SATELLITE, OR A RE-BROADCASTER, THEY DIDN’T HAVE THEIR OWN LICENSE SO THEY WERE HANDLED DIFFERENTLY BY THEIR OWNERS THAN OUR STATION WAS. THEN AGAIN MANAGEMENT HERE WAS QUITE FORWARD THINKING IN MOST THINGS. I REMEMBER OUR PRESIDENT AND GENERAL MANAGER, BOB JOHNSON, DECADES AGO TOUTING THE FACT THAT THE ONLY THING THAT WILL MAKE US SUSTAINABLE AND RELEVANT IS LOCAL NEWS. HE KNEW, BACK THEN, THROUGH BROADCASTER ASSOCIATIONS ALL THE THINGS THAT WERE COMING AHEAD OF US…WE COULD GET NEWS FROM AROUND THE WORLD…WE CARRIED A LOT OF AMERICAN PROGRAMS…THE ONLY THING THAT IS GOING TO MAKE US DISTINCT IS WHAT WE CAN DO WITH OUR LOCAL NEWS AND AS AN EXTENSION OF THAT, OUR LOCAL PROGRAMMING, OUR DOCUMENTARIES. IT WAS QUITE GOOD FOR THE STAFF AND THE MORALE WAS TERRIFIC…WE HAD A SLOW PITCH BASEBALL TEAM, WE’D PARTICIPATE IN COMMUNITY THINGS, WITH THE PARADES, WHOOP-UP DAYS AND THE STAFF PARTIES WERE TERRIFIC.” “I WAS A PHOTOGRAPHER, AND I WAS OUT ON LOCATION INTERVIEWING ALL THESE INTERESTING PEOPLE, EDITING THESE PROGRAMS, NEWS STORIES, COMMERCIALS. I WAS IN MY ELEMENT…[I WORKED WITH] THE VISUAL CONTENT…BACK IN THE DAY, THERE WAS A NEWS REPORTER THAT WAS HIS JOB WAS TO BE ON CAMERA, TO RESEARCH THE STORY, SET UP THE CONTEXT, DO THE INTERVIEWS, WE WOULD RECORD THE VISUALS, RECORD THE INTERVIEWS, AND NOW AS YOU REFER TO IT, IT IS ALL DONE BY ONE…THEY CALL HIM A, AT DIFFERENT TIMES, EITHER A VIDEO JOURNALIST OR A VIDEOGRAPHER. MY TRAINING ACTUALLY WAS IN STILL PHOTOGRAPHY BACK IN WINNIPEG, BUT MY FIRST JOB WAS IN TELEVISION, SO I LEARNED ON THE JOB. SHOOTING BLACK AND WHITE FILM, COLOUR—AGAIN, SIXTEEN MILLIMETER FILM FOR COMMERCIALS. WE WERE STILL DOING A LOT OF SLIDE COMMERCIALS AT THAT TIME, AND WE PROCESSED OUR OWN SLIDE FILM IN THE BASEMENT AT THE STATION THERE, WITHOUT USING RUBBER GLOVES.” “AT THAT TIME WE HAD FIVE PHOTOGRAPHERS, WE ONLY HAD TWO VEHICLES TO GO OUT IN BUT, SO THE REPORTERS WOULD SOMETIMES USE THEIR OWN VEHICLES. I KNOW FOR THE FIRST YEAR OR TWO I USED MY OWN VEHICLE TO CARRY THE GEAR BECAUSE AT THAT TIME WE DIDN’T HAVE ANY STATION VEHICLES. OUR FIRST ONES WERE TWO…HONDA CIVIC STATION WAGONS, THEN WE GOT TWO NISSAN STATION WAGONS AND THEN WE WENT TO A FORD BRONCO I THINK IT WAS.” “I WOULD GO WHERE THERE WAS A GOOD OPPORTUNITY FOR WORK AND—ACTUALLY, ON OUR HONEY MOON, WE PACKED UP FROM SWIFT CURRENT…(I HAD THREE WEEKS HOLIDAY), AND WE MADE OUR WAY OUT TO THE WEST COAST, STOPPING AT EVERY TELEVISION STATION, ALONG THE WAY, HAVING A TOUR, AND LEAVING A RESUME. SO WE STOPPED AT MEDICINE HAT, LETHBRIDGE (WHICH I WAS REALLY IMPRESSED WITH), AND WE WENT THROUGH KELOWNA, (WHICH I WAS AGAIN VERY IMPRESSED WITH), AND SO I THOUGHT IT WOULD BE EITHER LETHBRIDGE, OR KELOWNA, I WOULD LIKE TO MOVE TO, AND THEN FROM THERE MAYBE CALGARY, VANCOUVER. AS I SAID, LETHBRIDGE WON OUT, THEY HAD A JOB OPENING…BECAUSE OF A STRIKE…AT THAT TIME…NABET…NATIONAL ASSOCIATION OF BROADCAST ENGINEERS AND TECHNOLOGISTS…THEY WERE WANTING TO FORM A LOCAL, AND GET UNION REPRESENTATION AND NEGOTIATIONS CAME TO A STAND-STILL, AND THEY WENT ON STRIKE I THINK, IN APRIL, OR MAY OF ’75 , ’76. SO I HAD JUST FAIRLY RECENTLY PUT MY RESUME IN THERE, AND THEY CALLED ME UP AND [IT WAS] A TOUGH SITUATION, AND I HELD OFF, AND I SAID, ‘WELL I’VE GOT TO WORK WITH THESE PEOPLE, IF I COME IN AS A STRIKE BREAKER, A SCAB—‘ AND SO I WASN’T TOO ANXIOUS TO DO THAT, BUT, AFTER A FEW MORE PHONE CALLS OVER I GUESS IT WAS A COUPLE OR THREE MONTH’S PERIOD, I SAID ‘WELL, YEAH, LET’S DO IT,’ AND I MOVED BACK.” DWORNIK SHARED THE HISTORY OF THE GLOBAL NEWS STATION IN LETHBRIDGE, RECALLING, “[BEFORE THE STATION WAS 2&7, IT WAS] CFAC. IT HAS GONE THROUGH A LOT OF CHANGES, IT STARTED OFF AS CJLH WHICH IS A COMBINATION OF CJOC RADIO AND THE LETHBRIDGE HERALD THAT CO-OWNED THE STATION WHICH OPENED IN [NOVEMBER] 1955…THEN THE HERALD GOT OUT OF IT AND WE WERE BOUGHT BY SELKIRK COMMUNICATIONS AND WE BECAME CJOC TELEVISION…THE STATION OPENED IN ’55, I THINK IT BECAME CJOC AROUND 1960, BUT DON’T QUOTE ME ON THAT. THEN WHEN I CAME IN [FALL] ’76…UP UNTIL THEN WE WERE A CBC AFFILIATE, AND THEN IN ’76 WE BECAME AN INDEPENDENT STATION AND CHANGED OUR CALL LETTERS, AGAIN, TO CFAC TELEVISION. OUR LOGO WAS MODELED AFTER THE RONDELL OF CHC HAMILTON TELEVISION, WHICH WAS AN INDEPENDENT STATION OWNED BY SELKIRK. WE ARE THE SISTER STATION BUT WITH OUR OWN INDEPENDENT LICENSE, WE BECAME PART OF THE INDEPENDENT NETWORK…ABOUT THE TIME OF THE OLYMPICS…WE CHANGED TO TWO AND SEVEN…IT WAS AROUND 1992 MAYBE THAT WE CHANGED OUR CALL LETTERS ONCE AGAIN TO CISA, INDICATIVE OF, ALL STATIONS STARTED WITH ‘C’ RADIO OR TELEVISION IN CANADA, AND THE ‘ISA’ WAS FOR INDEPENDENT SOUTHERN ALBERTA…WITH MY BACKGROUND IN ART AND DESIGN WORKING WITH THAT, WE DID SOME STILL-FRAME ANIMATION. WE DID SOME FUN STUFF WITH THE LOGOS…WHILE I WAS STILL [WITH CISA] WE WENT THROUGH…ANOTHER TWO CHANGES IN OWNERSHIP. SELKIRK SOLD US TO, APPARENTLY TO MACLEAN’S MAGAZINE, AND THAT LASTED FOR ABOUT AN HOUR OR TWO AND THEN I THINK WITH WICK…WESTERN BOUGHT US, THEY BASICALLY BOUGHT ALL OF SELKIRK COMMUNICATIONS AND ADDED US TO THEIR FLOCK OF ITV EDMONTON, BRITISH COLUMBIA TV IN VANCOUVER, AND CHECK TV IN VICTORIA AND I THINK THEY ALSO HAD OKANAGAN TV AS WELL.” “[LETHBRIDGE IS AN ANOMALY] FOR SURE BECAUSE WHEN I CAME HERE WE WERE AROUND FORTY THOUSAND [IN POPULATION], AND THERE WERE TWO OPERATING TELEVISION STATIONS. AS FAR AS I KNOW, WE ARE THE ONLY CITY OF THIS SIZE THAT HAD TWO TELEVISION STATIONS. IN MANY OTHER CITIES THEY WOULD HAVE WHAT THEY CALL A ‘TWINSTICK.’ SO WE WERE CBC, CFCN WAS A CTV AFFILIATE. IN MEDICINE HAT, CBC AND CTV WERE OPERATED OUT OF THE SAME BUILDING BY THE SAME STAFF. THEY WOULD LIKELY HAVE A DIFFERENT ANCHOR OR NEWS DEPARTMENT, BUT THE OTHER COMPONENTS OF OPERATIONS WERE ALL CONTAINED IN THE SAME [BUILDING]—AND THAT’S THE SAME IN, ALL ACROSS WESTERN CANADA…IN A CITY OF OUR POPULATION TO HAVE TWO STATIONS WAS QUITE REMARKABLE, AND VERY COMPETITIVE, AND ALONG WITH THAT, THE RADIO SIDE OF IT…RIGHT NOW WE’VE GOT REALLY SIX RADIO STATIONS, BACK THEN, THERE WERE NEARLY FOUR. AGAIN, QUITE UNUSUAL IN THE FACT THAT YOU’VE GOT TWO AM AND THEN TWO FM. ONE FM STATION ACTUALLY STARTED OFF PLAYING CLASSICAL MUSIC. WHAT THAT LENDS TO THE CITY IS A LOT MORE VARIETY IN PROGRAMMING THAN THEY WOULD OTHERWISE GET. WE HAVE GOT THE BROADCAST PROGRAMMING AT THE LETHBRIDGE COLLEGE HERE, AND THAT FED INTO OUR NEEDS QUITE WELL, IN RADIO AND IN TELEVISION. WE BROUGHT A LOT OF PEOPLE OUT ACTUALLY FROM DOWN EAST BECAUSE THEY HAD SOME REALLY GOOD PROGRAMS FROM FANSHAWE COLLEGE, OTTAWA AND WE WOULD BRING AS WELL, PEOPLE FROM SAIT AND NAIT, AS WELL AS MOUNT ROYAL COLLEGE. THOSE PEOPLE COME STRAIGHT OUT OF COLLEGE, GETTING AN OPPORTUNITY IN A MID-SIZED MARKET…THEY HAD THEIR HANDS INVOLVED IN PROGRAMS, NEWS, COMMERCIAL PRODUCTION AND THEN BEING PART OF THE COMMUNITY.” “I BELIEVE THAT WE WERE STILL A PRETTY GOOD REVENUE-GENERATOR FOR [WICK TO BE SUPPORTIVE OF]. BECAUSE EVEN WITH THAT SIZE OF STAFF, WE WEREN’T PAID AS MUCH AS THEY WERE IN CALGARY, WHICH IS LIKELY WHY EVERYBODY WANTED THE UNION…THEY WEREN’T LOSING MONEY THERE. WE WEREN’T MAKING A WHOLE LOT OF MONEY, BUT…CRTC I THINK CAME INTO PLAY IN THAT, A LOT, TOO, BECAUSE CRTC WAS TO GOVERN THE RULES AND REGULATIONS FOR BROADCASTING. IT WOULD BE DIFFICULT, I THINK, IN ANY PURCHASE OF A STATION, FOR THEM TO GO, AND SHUT THAT STATION DOWN, AT THAT TIME. BUT, WHAT HAS HAPPENED IS THAT RADIO STATIONS HAVE SHUT DOWN, (LIKE RED DEER LOST THEIR STATION; IT WAS A TWINSTICK), AND I LOST TOUCH WITH THE INDUSTRY WHEN THAT SORT OF THING WAS HAPPENING.” “THE GLOBAL PERIOD, WHEN IT WAS OWNED BY CANWEST…ANOTHER REMARKABLE COMPANY (FAMILY-OWNED BUSINESS), AND THEY WERE BUYING UP TELEVISION STATIONS ACROSS CANADA, AND THEN THEY EXPANDED. THEY BOUGHT SOME NEWSPAPERS; THEY BOUGHT A TELEVISION STATION IN ENGLAND, AND I THINK THEIR DOWNFALL ACTUALLY WAS OVER-EXTENDING THEMSELVES, AND GETTING INTO THE AUSTRALIAN MARKET. I JOINED THE STATION IN 2008, WHEN THEY WERE STARTING TO SLIDE. OF COURSE, THE WHOLE ECONOMY WAS STARTING TO SLIDE, AND I CAME ON AS A FRESH, NEW SALESPERSON TO SELL ADVERTISING.” “THAT’S WHEN ALL THE DOWNSIZING OCCURRED [AROUND 2008], JUST IN THAT TRANSITION…WICK STARTED THE DOWNSIZING, AND THEN CANWEST CARRIED ON WITH IT. IT WAS JUST WELL, THE ONSLAUGHT OF GLOBALIZATION, AND THE BIG GET BIGGER, AND SMALL EITHER GET BOUGHT UP, OR SHUT DOWN…WHEN I STARTED AT THE STATION IN 2008, BACK IN SALES, THAT WAS WHEN THINGS REALLY CHANGED, BECAUSE WE STILL HAD A DIRECTOR, AND ONE VIDEOTAPE OPERATOR, AND THEY HAD ROBOT CAMERAS SET UP, BUT WE WERE STILL SWITCHING OUR OWN NEWS, AND ORIGINATING NEWS OUT OF OUR PRODUCTION CONTROL ROOM. THEN, TOWARDS THE END OF 2008, IS WHEN THOSE TWO PEOPLE WERE LET GO, AND WE STARTED WITH CALGARY TELEVISION DIRECTING THE NEWS. AS IT TURNED OUT, THERE WAS NO WAY THAT WE COULD PUT SOMETHING ON THE AIR, BECAUSE THEY DISCONNECTED THE SWITCHING EQUIPMENT…IF THERE WAS LIKE A WEATHER EMERGENCY, OR SOMETHING LIKE THAT, WE COULD NOT PUT A CRAWL ACROSS THE SCREEN. IT WAS QUITE UNNERVING, ACTUALLY, THAT WE WERE LOSING THAT KIND OF LOCAL CAPABILITY.” “[I THINK] IT WAS IN 2013…WHERE EVERYONE BUT ME WAS LET GO, AND THEY COULD RE-APPLY FOR THEIR JOB. BASICALLY, IT WAS A WAY OF GETTING AROUND THE UNION. EVERYONE WAS CANNED; THEY GOT A SEVERANCE PACKAGE. IT WAS A PRETTY UNNERVING TIME, AND MORALE REALLY, REALLY HIT A LOW THERE. THEY ASSIGNED AN EDITOR FROM TORONTO, AND ANOTHER FELLOW WHO HAD BEEN BROADCASTING NEWS, THEY WENT…AND THEY WERE GOING TO RE-IMAGINE THE NEWS, AND THEY HAD BIG PLANS TO MAKE THE STATION WHOLLY-NEW, AND A WHOLE NEW WAY OF DOING THINGS, WITH A MINIMUM NUMBER OF PEOPLE…RESPONSIBILITIES WERE CHANGED; MORE LOAD WAS TAKEN ON, BUT, AS WELL, LESS THINGS WERE GOING TO BE DONE. WE DIDN’T HAVE THE ENGINEER, AND SO THEY HIRED A FELLOW TO BE A VIDEOGRAPHER. HE WOULD SHOOT SOME OF THE NEWS STORIES, BUT HE WAS ALSO RESPONSIBLE FOR TWEAKING UP THE CAMERAS, AND IF THERE WAS A PROBLEM, SENDING IT UP TO CALGARY…I THINK WHAT THEY DID WAS THEY MEASURED OUT THE NUMBER OF HOURS, THE NUMBER OF PEOPLE, WHAT THEY WANTED TO COVER, WHAT THEY WANTED TO DO, AND THEY WENT WITH THAT NUMBER—TWELVE OR FOURTEEN PEOPLE, AND SO, CHANGING THE ROLES, WHOLE NEW JOB DESCRIPTIONS. BUT, AS I SAID TO [MANAGEMENT], ‘YOU KNOW, I THINK YOU OVERLOOKED THE FACT THAT ALL THE PEOPLE HERE, ON THE UNION CONTRACT, GET AT LEAST THREE WEEKS’ VACATION. MEANS YOU’VE GOT TWELVE PEOPLE—THAT’S THIRTY-SIX WEEKS—THAT YOU’VE GOT SOMEBODY AWAY. SO, YOU’RE RUNNING SHORT-STAFFED OVER HALF A YEAR.’ THAT’S PRETTY TOUGH ON PEOPLE, BECAUSE THIS GENERATION THAT’S IN THERE NOW, I DON’T THINK THEY HAVE THE SAME KIND OF ATTITUDE, OR WORK ETHIC. WE WOULD WORK. WELL, MY WIFE COULD ATTEST TO THE HOURS THAT I WOULD PUT IN AT THE STATION. AND, I DIDN’T GET PAID OVERTIME. I GOT A…FEE. THIS STUFF, BETWEEN THE CHANGE OF ATTITUDE, AND THE NEWS CYCLE, AND CUTTING BACK HOW THEY COULD, IT WAS REALLY TOUGH ON PEOPLE. BUT, I WAS THE FIRST ONE TO BE LET GO IN 1996, AND I WAS THE MARKETING RESEARCH AND SALES (WE WERE DOING VIDEO PRODUCTIONS), AND THE FELLOW WHO WAS THE PRODUCTION COORDINATOR, JIM MCNALLY, I BROUGHT ON. HE WAS AN EXCELLENT PHOTOGRAPHER OUT OF OTTAWA, AND HE HAD, I THINK, ONE OF THE TOUGHEST TIMES BACK IN ’96 (ACTUALLY, MORE SO IN ’98). THEY MADE HIM GENERAL MANAGER OF THE STATION. HIS ENTIRE RESPONSIBILITY OVER, I DON’T KNOW HOW MANY WEEKS AND MONTHS WAS TO CUT THE STAFF DOWN TO, I DON’T KNOW, SIXTEEN PEOPLE. AND, WHEN THAT WAS ACCOMPLISHED, HE WAS LET GO.” WHEN ASKED ABOUT THE “GOLDEN AGE” OF LETHBRIDGE BROADCAST OR TELEVISION NEWS, DWORNIK SHARED, “TELEVISION HAS ALWAYS BEEN FOR THE VAST MAJORITY OF PEOPLE, A VERY EXCITING INDUSTRY BECAUSE THERE’S ALWAYS DEVELOPMENTS, TECHNOLOGY. WHEN YOU THINK THAT BACK IN THE DAY IT WAS IN BLACK AND WHITE, BUT THEY DID LIVE COMMERCIALS AND THAT’S QUITE REMARKABLE TOO, HOW THEY WERE DOING THOSE THINGS. THEY DID A LOT OF PRANKS AND FUN STUFF ON AIR…THE TECHNOLOGY KEPT DEVELOPING. IT LOOKED AS GOOD AS IT COULD GET BACK IN THE DAY, BUT NOW THAT WE ARE UP TO 4K VIDEO…IN MY DAY WE HAD BEEN COLOUR FOR QUITE SOME TINE, BUT WHEN I CAME IN IN ‘76 IT WAS KIND OF THE LAUNCH OF ENG, ELECTRONIC NEWS GATHERING OR EFP, FIELD PRODUCTION. THE EQUIPMENT WAS THREE QUARTER INCH AT THAT TIME, THE CAMERAS WERE BIG AND HEAVY, AND THE TAPE DECK, IT WAS A TWO PIECE UNIT, IT NEEDED A LOT OF LIGHT SO WE CARRIED AROUND ABOUT A THIRTY POUND BOX FULL OF LIGHTING GEAR. TRUCKING THAT FROM ONE END OF THE UNIVERSITY HALL DOWN TO THE OTHER END WHERE THE PRESIDENT WAS.” “FROM MY PERSPECTIVE, I THINK I WAS IN THE “GOLDEN AGE” OF TELEVISION IN LETHBRIDGE HERE, BECAUSE WE DID A LOT OF LOCAL PROGRAMS. WE ACTUALLY HAD A SYNDICATED SPORTS PROGRAM CALLED SKI WEST, AND THAT RAN ON HALF A DOZEN MARKETS—INDEPENDENT MARKETS—TELEVISION STATIONS WITH SELKIRK, AND, ACTUALLY THAT WAS WITH WICK AS WELL TOO. WE DID A LOT OF COMMERCIALS, PROGRAM PRODUCTION AND…I THINK IT WAS AROUND ’88 OR ’90, WE WERE ALREADY TALKING AND WE SAW ADVANTAGES IN WHAT WAS CALLED THEN HIGH-DEFINITION TELEVISION WHICH WAS TEN EIGHTY, BUT IT WAS A LONG WAY BEFORE IT CAME. WE DIDN’T ACTUALLY CONVERT TO DIGITAL TELEVISION IN CANADA UNTIL I THINK IT WAS 2009-2010, AND AS ONE OF OUR ENGINEERS MENTIONED, THAT WAS MOST REMARKABLE TECHNOLOGY-WISE. BECAUSE, WHEN WE STARTED IN BLACK AND WHITE, IT WAS A FOUR BY THREE FORMAT AND THEN THEY ADDED COLOUR, IMAGINATIVE COLOUR IN THE ‘60S. THAT WAS PRETTY SMOOTH BECAUSE YOU COULD, YOU KNOW, YOU ARE BROADCASTING THIS ONE SIGNAL OUT IN COLOUR, BUT IF YOU ONLY HAD A BLACK AND WHITE TV, YOU COULD STILL WATCH IT IN BLACK AND WHITE, AND IF YOU HAD COLOUR ALL THE BETTER. THAT WAS IN THE ERA WHEN CABLE WAS ON ITS UP RISE AND SO IT WENT THROUGH A PRETTY SMOOTH TRANSITION, BUT WHEN WE WENT DIGITAL IT WAS HARD LINE IN THE SAND. YOUR OLD TV SET WOULD NOT BE GETTING NOTHING ON IT. THERE WOULD BE NO SIGNAL COMING IN AT ALL, AND WE HAD TO SWITCH OVER TO EITHER CABLE, WHICH WOULD CONVERT THE DIGITAL SIGNAL INTO THE NTSC SIGNAL FOR YOU, OR ELSE YOU HAD TO GET A BRAND NEW TV THAT’S DIGITAL. IT REALLY DID SPUR THE INDUSTRY, AND IT WAS A HUGE FINANCIAL INVESTMENT. CBC WITH ALL THEIR BROADCAST SATELLITES TO COVER ALL OF CANADA, WAS GIVEN AN EXTRA YEAR TO SWITCH OVER TO DIGITAL. IN THE END THEY SAID, ‘NO WE CAN’T DO IT,’ SO THEY HAD TO ACTUALLY SHUT DOWN THEIR TELEVISION TOWER IN LETHBRIDGE [IN JUNE 2012].” “IN A MARKET LIKE OURS WHERE WE HAVE GOT CABLE THAT WAS OKAY, BUT IN THE RURAL AREAS…SOME [PEOPLE] WERE ALREADY ON SATELLITE, BUT THEN AGAIN, WHEN I WAS IN THE INDUSTRY, THE SATELLITE DISHES WERE HUGE AND WE WERE STILL USING A HUGE ONE…IT WAS MORE THAN 12 FEET, IT WAS HUGE, 20 SOME FEET ACROSS. AGAIN, BACK IN THE ‘80S I REMEMBER OUR PRESIDENT COMING BACK AND TELLING US THAT, ‘YOU KNOW, THEY’RE TALKING ABOUT SATELLITES GOING UP THERE AND THEY’RE GOING TO BE SO POWERFUL YOU COULD USE A SATELLITE DISH NO BIGGER THAN A PIZZA BOX.’…THAT’S WHAT WE’VE GOT NOW REALLY…I THINK IT’S A LOT OF ‘GOLDEN ERAS’ AS YOU WOULD SAY REALLY, BECAUSE NOW WITH DIGITAL IT’S JUST PHENOMENAL, AND IT WENT FROM 1080 UP TO 4K. 8K IS OUT THERE TODAY, BUT I THINK IT WILL BE A LONG TIME BECAUSE IT IS A LOT OF BAND WIDTH FOR PEOPLE…” ON HIS MOTIVATIONS FOR DONATING THE ITEMS TO THE GALT MUSEUM, DWORNIK SHARED, “MY WIFE WHO IS WITH US, SANDRA, SUGGESTED THAT I MIGHT CLEAN UP OUR GARAGE AND OTHER PLACES IN THE HOUSE, BECAUSE I COLLECT A LOT OF STUFF. THE OTHER REASON [I’M DONATING THE ITEMS TO THE GALT MUSEUM] ACTUALLY IS IT MIGHT BE TIME—FROM A HISTORICAL VIEW POINT THAT WHAT IS NOW GLOBAL TELEVISION IS MOVING LOCATION. WHERE THEY HAVE BEEN IN THEIR ORIGINAL SITE…[IN] WHAT IS NOW THE INDUSTRIAL PARK, THEY ARE MOVING OUT OF THERE MID-SEPTEMBER OR SO TO A LOCATION DOWNTOWN AND THEY ARE MOVING INTO WHAT IS NOW THE NEW ROYAL BANK, WHICH USED TO BE THE MARQUIS HOTEL. THEY ARE JUST BUILDING THE STUDIO THERE NOW AND THEY WILL BE JOINING THE RADIO FROM THE PATERSON GROUP IN THAT SAME BUILDING, BUT THEY ARE TOTALLY SEPARATED. ANYWAY, I THOUGHT IT PERHAPS TIMELY AND SOME CONNECTIONS THERE.” “WHEN I RETIRED IT WAS KIND OF A HOLLOW BUILDING AND THERE WAS A LOT OF VIDEO TAPE AROUND, WHICH I CONVINCED THE CURRENT OWNERS OF THE STATION, SHAW MEDIA AT THE TIME…BETWEEN MYSELF AND AN ENGINEER, LARRY LAWDINEY, WE DID CONVINCE THEM THAT THERE WAS A LOT OF HISTORY IN THOSE VIDEO TAPES, WHICH THEY WERE PREPARED TO THROW OUT IN THE DUMPSTER, AND END UP IN OUR LANDFILL. SO, WORKING WITH ANDREW [AT THE GALT ARCHIVES], AND HE HAS GOT—I DON’T KNOW HOW MANY TRUCKLOADS OF THE TAPES NOW.” “SOME OF THESE ARTIFACTS, WHICH I HAVE DISCUSSED WITH YOU BEFORE, I FELT WERE SIGNIFICANT…REPRESENTATIVE OF SOME OF THE HISTORY OF THE STATION. THE STATION PRODUCED SOME VERY REMARKABLE INDIVIDUALS THAT HAVE GONE ON TO WIDE ACCLAIM ACTUALLY, RIGHT THROUGH THE HISTORY OF THE STATION. INCLUDING PEOPLE LIKE DON SLADE…HE WAS A DISC JOCKEY WHEN I WAS LIVING IN WINNIPEG GROWING UP, AND THEN HE ENDED UP BEING IN EITHER CALGARY OR EDMONTON. THE FAMOUS WEATHER MAN…BILL MATHESON, OF COURSE FROM LETHBRIDGE, WENT TO NEW YORK, AND ENDED UP IN EDMONTON. I HAVE HAD A NUMBER OF PEOPLE WHO HAVE WORKED IN MY DEPARTMENT THAT HAVE GONE ON TO SOME SIGNIFICANT ACCOMPLISHMENTS AS WELL. ONE IN PARTICULAR, DOUG GOAT, WAS A VIDEO JOURNALIST FOR NBC AND HE WENT OVER TO THESE WAR TORN COUNTRIES—HE WAS A LETHBRIDGE BOY, HIS DAD ACTUALLY MADE SOME EQUIPMENT FOR US FOR OUR TRIPODS…RICK LUCHUCK, WHO WAS IN OUR PRODUCTION DEPARTMENT LEFT, WENT TO REGINA, AND THEN I THINK TORONTO…HE CAME BACK JUST THIS PAST YEAR FOR A REUNION AT LETHBRIDGE COLLEGE, FROM WHERE HE GRADUATED IN BROADCASTING. HE IS VICE PRESIDENT OF PROMOTIONS FOR CNN…WE HAVE HAD PEOPLE GO TO SPORTS NETWORK…A LOT OF PEOPLE WENT THROUGH THE STATION, IT WAS A REVOLVING DOOR, BUT I WAS OKAY WITH THAT BECAUSE WE HELPED BUILD THEIR CAPABILITIES, AND THEY WERE VERY APPRECIATIVE OF THE OPPORTUNITIES AND THE TRAINING THAT WE DID PROVIDE…THE STUFF WE DID WE HAD…A VERY SMALL MOBILE PRODUCTION FACILITY, BUT IT WAS INVOLVED WITH THE OLYMPICS IN ’88, THE TORCH RUN. WE PICKED UP THE TORCH RUN WHEN IT ENTERED ALBERTA IN THE CROWSNEST PASS, BROADCAST THAT LIVE THROUGHOUT ALBERTA. I HAD THE OPPORTUNITY TO MEET PRINCE CHARLES AND PRINCE ANDREW AND FERGIE…THEY WERE DOWN FOR…THE OFFICIAL OPENING OF HEAD SMASHED IN BUFFALO JUMP.” “THE STATION WON A [NATIONAL] AWARD…[THE] FOUNDERS AWARD OF EXCELLENCE FOR A DOCUMENTARY WE PRODUCED [CALLED ‘WE WON’T LET HIM DIE’], AND I WAS THE PHOTOGRAPHER ON THAT AND SHOT…IT WAS ACTUALLY THIRTY YEARS AGO THAT THIS YOUNG FELLOW, TOMMY JONES, WAS WORKING AT A CHURCH CAMP IN WATERTON AND WENT HIKING WITH SOME FRIENDS IN A MOUNTAIN AND FELL AND HAD A SERIOUS BRAIN INJURY. TWO YEARS LATER—THEY DIDN’T EXPECT HIM TO LIVE…WE DOCUMENTED THAT WHOLE STORY AND RECREATED THE SCENES IN THE DOCUDRAMA…THESE THINGS REMIND ME OF ANOTHER ARTIST CORNY MARTENS, BRONZE ARTIST, WAS OUR STUDIO DIRECTOR, AND SOME OF THE STUFF THEY USED TO DO, BACK IN THE DAYS OF BLACK AND WHITE, THEY DID COMMERCIALS—THEY PAINTED THE FLOOR OF THE STUDIO TO MAKE IT LOOK LIKE A SWIMMING POOL, AND THEY HAD A FASHION SHOW WITH SWIMSUITS…THAT’S KIND OF WHAT PROMPTED ME [TO DONATE THE ITEMS], AND THAT’S THE CONNECTION TO THESE ITEMS.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND ARTICLES ON THE GLOBAL NEWS STATION BEING DISMANTLED, PLEASE SEE THE PERMANENT FILE P20190022001-GA.
Catalogue Number
P20190022002
Acquisition Date
2019-08
Collection
Museum
Images
Less detail
Other Name
"ON AIR"
Date Range From
1955
Date Range To
1976
Material Type
Artifact
Materials
WOOD, PLASTIC, METAL
Catalogue Number
P20190022003
  2 images  
Material Type
Artifact
Other Name
"ON AIR"
Date Range From
1955
Date Range To
1976
Materials
WOOD, PLASTIC, METAL
No. Pieces
1
Height
56
Length
11
Width
15.6
Description
HANGING WOOD BOX PAINTED LIGHT BLUE; FRONT HAS PLASTIC SIGN PAINTED RED INSIDE WITH UNPAINTED, CLEAR TEXT “ON AIR”. BACK IS UNPAINTED WOOD WITH HOLE CUT-OUT IN UPPER LEFT CORNER. WOOD IS SCUFFED AND STAINED; FRONT HAS RED PAINT STAINING WOOD AROUND PLASTIC; PLASTIC SIGN HAS CRACK RUNNING HORIZONTALLY AT TOP; PLASTIC HAS HEAVY GRIME AND DUST ACCUMULATED; PAINT IS PEELING AT CORNERS OF WOOD; OVERALL GOOD CONDITION. NOTE: INSIDE HAS LOOSE COMPONENTS, HANDLE WITH CARE.
Subjects
VISUAL COMMUNICATION T&E
Historical Association
INDUSTRY
History
ON AUGUST 21, 2019, COLLECTION TECHNICIAN KEVIN MACLEAN INTERVIWED WAYNE DWORNIK REGARDING HIS DONATION OF GLOBAL NEWS STATION ITEMS. DWORNIK WORKED FOR LETHBRIDGE TELEVISION BROADCAST NEWS FROM 1976-2013. ON THE “ON AIR” LIGHT FIXTURE, DWORNIK RECALLED, “THE ON AIR…WAS USED IN, WELL BASICALLY ON THE OUTSIDE OF THE STUDIO DOOR…[IT WAS] NEVER USED IN THE MAIN STUDIO BUT THEY’D USE IT FOR AUDIO RECORDINGS, AND THAT [DESK] MICROPHONE AS WELL. THEY KIND OF GO HAND IN HAND…IN RADIO, ‘ON AIR’ [IS USED] SO YOU’RE NOT GOING TO WALK INTO THE STUDIO WHILE THE OTHER GUY’S TALKING. THAT WOULD SWITCH ON AUTOMATICALLY WHEN THE FELLOW SWITCHED THE KEY FOR THE MICROPHONE TO PUT THAT ON. I BELIEVE THIS ONE WAS USED FOR THE RADIO NEWS BECAUSE WHEN I FIRST STARTED THERE, IT WAS CGOC TIED IN WITH RADIO, AND THE NEWS WAS RUN OUT OF THE TELEVISION STATION, SO THE NEWS PEOPLE WOULD DO THE LEAD FOR THE RADIO NEWSCAST, AND THEN THEY’D PUT TOGETHER PRETTY MUCH THE SAME, AND THEN GO INTO THE STUDIO AT 6:00 AND DO THE NEWS THERE. I BELIEVE THIS ONE WAS USED ON THAT STUDIO, AND THEN THERE WAS ANOTHER GOING BACK TO THE BEGINNING OF LETHBRIDGE TELEVISION. THEY DID A COMMERCIAL ‘LIVE’, AND I JUST GOT THIS INFORMATION THIS MORNING, FROM OUR CHIEF ENGINEER AT THE TIME, RON JOEVENNAZO. THEY USED TO HAVE AN ANNOUNCEMENT RIGHT BESIDE THE PRODUCTION CONTROL ROOM, AND AN ANNOUNCEMENT SITTING THERE ALL THE TIME EITHER WATCHING TV, READING A BOOK, OR WHATEVER, AND WHEN YOU CAME TO A COMMERCIAL BREAK THEY WOULD COUNT HIM INTO IT, AND HE’D HAVE A SCRIPT THERE, AND HE WOULD READ THE COMMERCIAL AUDIO, AND MOST OF THE COMMERCIALS WERE EITHER LIVE FROM THE STUDIO, OR THEY WOULD HAVE BALANCE, WHICH THEY BECAME. I MISSED THE ERA OF BALANCE, BUT WE WERE USING SLIDES, SO BASICALLY A SLIDE-PROJECTOR, PROJECTING INTO THE LENS OF A VIDEO CAMERA. HE WOULD RANGE THE COMMERCIAL, AND GO BACK, AND DO SOMETHING UNTIL THE NEXT COMMERCIAL BREAK CAME UP.” “IT WAS JUST THE TECHNOLOGY AT THE TIME, AND THE NEXT STEP ON THAT WAS…THEY WENT DOWN TO SEPARATE AUDIO BOOTHS, AND WOULD RECORD THEM ON A REEL-TO-REEL TAPE, AND THEN YOU PLAY THAT BACK, IN SYNC, WITH THE COMMERCIALS, AND WE USED TO GET THAT TIMING TOO. THEN THEY WENT INTO COMMERCIALS WITH REPEAT. THEY WOULD START RECORDING THEM ONTO WHAT LOOKED LIKE AN 8TRACK CARTRIDGE, BUT IT WAS JUST A FILM TRACK ON A LOOP, AND IT HELD 30 SECONDS WORTH OF TAPE. THEY HAD HUNDREDS OF THOSE, AND THEY’D BE NUMBERED, AND SO VERY BIG ADVERTISERS, SOME OF THEM LIKE…SCHWARTZ REAL ESTATE…THEY HAD ALL THESE HOUSES FOR REAL ESTATE. I’D GO OUT AND CHOOSE SLIDES FOR THEM, AND THEY’D PUT THE AUDIO ONTO A CART, AND THEY WOULD BASICALLY DO THE DAY TAPE, AND THEY HAD, FROM THE TRAFFIC DEPARTMENT, IT WAS THE ORDER THE COMMERCIALS GO IN. THEY’D TAKE THE SCHWARTZ, PLAY THAT, RECORD THAT ONTO THE REEL-TO-REEL, THEN PUT IN THE NEXT ONE, THE STATION ID. THEY’D TAKE THAT UPSTAIRS, AND MASTER CONTROL WOULD RUN THAT, WITH THE SLIDES. BUT, THEN WE GOT INTO DOING MORE MOTION PICTURE AND VIDEO COMMERCIALS. THEY WOULD DO THAT ‘DAY TAPE’ SAME PROCESS, BUT DO IT ON VIDEO TAPE, SO THERE’D BE A 1” VIDEO TAPE TO RUN—CUE IT UP, AND THEN WE MOVED; WE TRANSITIONED FROM THAT INTO A BETA-CART. AGAIN, WE WERE THE ONLY STATION OF OUR SIZE THAT HAD A BETA-CART MACHINE, WHICH WAS BASICALLY LIKE THE 8TRACK CARTRIDGE, BUT IN A VIDEO FORMAT, AND IT WAS ON A ROBOT THAT WE’D HAVE A COUPLE OF HUNDRED OF THESE BETA CAM CARDS IN IT, AND WE’D LOAD IT, AND GO ON TO THE NEXT ONE.” “IT WAS STILL BEING USED IN (WHEN I WAS THERE)…INTO THE ‘80S, BECAUSE I THINK IT WAS AROUND ’90 THAT WE GOT THE BETA-CART. IN FACT IT WAS STILL BEING USED BECAUSE THEY STILL REQUIRE AN ANNOUNCER…WHEN THEY BUILT THE NEW PART OF THE BUILDING (AROUND 1990, I THINK, ACTUALLY)…THIS WOULD HAVE BEEN USED UP UNTIL ABOUT ’89…THEY MOVED THE SOUND BOOTH UPSTAIRS, AND USING DIFFERENT TECHNOLOGY THEN.” DWORNIK RECALLED HIS TIME WORKING IN LETHBRIDGE FOR BROADCAST NEWS, NOTING, “I WORKED FOR LETHBRIDGE TELEVISION FOR [25] YEARS…I JOINED THE STATION AS A PHOTOGRAPHER IN 1976. I HELD THAT POSITION FOR SEVEN YEARS AS CHIEF PHOTOGRAPHER, AND THEN I MOVED INTO MANAGEMENT, AND BECAME PRODUCTION MANAGER FOR TEN YEARS I GUESS, AND THEN I GOT INTO SALES AND MARKETING AND RESEARCH. I LEFT THE STATION IN 1996, AND I WAS ONE THE FIRST, IF NOT THE FIRST OF THE DOWNSIZING IN THAT ERA. AT THE TIME WHEN I LEFT IN ’96 THERE WERE AT LEAST SEVENTY-SIX PEOPLE ON STAFF. [TODAY] I BELIEVE THERE IS MAYBE A DOZEN…I RETURNED TO THE STATION IN THE CAPACITY OF…ACCOUNT REPRESENTATIVE IN 2008 AND I RETIRED AT…THE END OF DECEMBER 2014…WHEN I CAME TO LETHBRIDGE, I THOUGHT I WOULD ONLY STAY A COUPLE OF YEARS AND MOVE ONTO A BIGGER STATION, YOU KNOW BIG CITY, BRIGHT LIGHTS…BUT I LOVED THE CITY AND THERE WAS SO MUCH TO OFFER HERE. I HAD SO MUCH FUN, THERE WERE SO MANY REMARKABLE, INCREDIBLY REMARKABLE EXPERIENCES I HAD AS A PHOTOGRAPHER, AND PRODUCTION MANAGER, ESPECIALLY. SOME OF THESE ITEMS HERE GO BACK TO BEFORE MY TIME, BUT AGAIN LETHBRIDGE—LITTLE DIMPLE ON THE PRAIRIE HERE THAT WE ARE, WE ACTUALLY MADE A PRETTY GOOD NAME FOR THE CITY AND FOR THE STATION IN WHAT WE WERE PRODUCING IN NEWS, AND PARTICULARLY IN LOCAL PROGRAMMING. THAT WAS KIND OF ONE OF MY PASSIONS, WAS THE LOCAL PROGRAMMING, DOCUMENTARIES AND THEN OF COURSE, NEWS AS WELL.” “[THERE] WAS A FRIENDLY RIVALRY BETWEEN ALL THE MEDIA ACTUALLY, AND CTV WOULD PRODUCE THE ODD DOCUMENTARY, WHEREAS WE DID A LOT MORE…AT THE MOST THEY HAD I THINK MAYBE TWENTY PEOPLE ON STAFF, SO THEY WERE LIMITED. THEY WERE ACTUALLY A SATELLITE, OR A RE-BROADCASTER, THEY DIDN’T HAVE THEIR OWN LICENSE SO THEY WERE HANDLED DIFFERENTLY BY THEIR OWNERS THAN OUR STATION WAS. THEN AGAIN MANAGEMENT HERE WAS QUITE FORWARD THINKING IN MOST THINGS. I REMEMBER OUR PRESIDENT AND GENERAL MANAGER, BOB JOHNSON, DECADES AGO TOUTING THE FACT THAT THE ONLY THING THAT WILL MAKE US SUSTAINABLE AND RELEVANT IS LOCAL NEWS. HE KNEW, BACK THEN, THROUGH BROADCASTER ASSOCIATIONS ALL THE THINGS THAT WERE COMING AHEAD OF US…WE COULD GET NEWS FROM AROUND THE WORLD…WE CARRIED A LOT OF AMERICAN PROGRAMS…THE ONLY THING THAT IS GOING TO MAKE US DISTINCT IS WHAT WE CAN DO WITH OUR LOCAL NEWS AND AS AN EXTENSION OF THAT, OUR LOCAL PROGRAMMING, OUR DOCUMENTARIES. IT WAS QUITE GOOD FOR THE STAFF AND THE MORALE WAS TERRIFIC…WE HAD A SLOW PITCH BASEBALL TEAM, WE’D PARTICIPATE IN COMMUNITY THINGS, WITH THE PARADES, WHOOP-UP DAYS AND THE STAFF PARTIES WERE TERRIFIC.” “I WAS A PHOTOGRAPHER, AND I WAS OUT ON LOCATION INTERVIEWING ALL THESE INTERESTING PEOPLE, EDITING THESE PROGRAMS, NEWS STORIES, COMMERCIALS. I WAS IN MY ELEMENT…[I WORKED WITH] THE VISUAL CONTENT…BACK IN THE DAY, THERE WAS A NEWS REPORTER THAT WAS HIS JOB WAS TO BE ON CAMERA, TO RESEARCH THE STORY, SET UP THE CONTEXT, DO THE INTERVIEWS, WE WOULD RECORD THE VISUALS, RECORD THE INTERVIEWS, AND NOW AS YOU REFER TO IT, IT IS ALL DONE BY ONE…THEY CALL HIM A, AT DIFFERENT TIMES, EITHER A VIDEO JOURNALIST OR A VIDEOGRAPHER. MY TRAINING ACTUALLY WAS IN STILL PHOTOGRAPHY BACK IN WINNIPEG, BUT MY FIRST JOB WAS IN TELEVISION, SO I LEARNED ON THE JOB. SHOOTING BLACK AND WHITE FILM, COLOUR—AGAIN, SIXTEEN MILLIMETER FILM FOR COMMERCIALS. WE WERE STILL DOING A LOT OF SLIDE COMMERCIALS AT THAT TIME, AND WE PROCESSED OUR OWN SLIDE FILM IN THE BASEMENT AT THE STATION THERE, WITHOUT USING RUBBER GLOVES.” “AT THAT TIME WE HAD FIVE PHOTOGRAPHERS, WE ONLY HAD TWO VEHICLES TO GO OUT IN BUT, SO THE REPORTERS WOULD SOMETIMES USE THEIR OWN VEHICLES. I KNOW FOR THE FIRST YEAR OR TWO I USED MY OWN VEHICLE TO CARRY THE GEAR BECAUSE AT THAT TIME WE DIDN’T HAVE ANY STATION VEHICLES. OUR FIRST ONES WERE TWO…HONDA CIVIC STATION WAGONS, THEN WE GOT TWO NISSAN STATION WAGONS AND THEN WE WENT TO A FORD BRONCO I THINK IT WAS.” “I WOULD GO WHERE THERE WAS A GOOD OPPORTUNITY FOR WORK AND—ACTUALLY, ON OUR HONEY MOON, WE PACKED UP FROM SWIFT CURRENT…(I HAD THREE WEEKS HOLIDAY), AND WE MADE OUR WAY OUT TO THE WEST COAST, STOPPING AT EVERY TELEVISION STATION, ALONG THE WAY, HAVING A TOUR, AND LEAVING A RESUME. SO WE STOPPED AT MEDICINE HAT, LETHBRIDGE (WHICH I WAS REALLY IMPRESSED WITH), AND WE WENT THROUGH KELOWNA, (WHICH I WAS AGAIN VERY IMPRESSED WITH), AND SO I THOUGHT IT WOULD BE EITHER LETHBRIDGE, OR KELOWNA, I WOULD LIKE TO MOVE TO, AND THEN FROM THERE MAYBE CALGARY, VANCOUVER. AS I SAID, LETHBRIDGE WON OUT, THEY HAD A JOB OPENING…BECAUSE OF A STRIKE…AT THAT TIME…NABET…NATIONAL ASSOCIATION OF BROADCAST ENGINEERS AND TECHNOLOGISTS…THEY WERE WANTING TO FORM A LOCAL, AND GET UNION REPRESENTATION AND NEGOTIATIONS CAME TO A STAND-STILL, AND THEY WENT ON STRIKE I THINK, IN APRIL, OR MAY OF ’75 , ’76. SO I HAD JUST FAIRLY RECENTLY PUT MY RESUME IN THERE, AND THEY CALLED ME UP AND [IT WAS] A TOUGH SITUATION, AND I HELD OFF, AND I SAID, ‘WELL I’VE GOT TO WORK WITH THESE PEOPLE, IF I COME IN AS A STRIKE BREAKER, A SCAB—‘ AND SO I WASN’T TOO ANXIOUS TO DO THAT, BUT, AFTER A FEW MORE PHONE CALLS OVER I GUESS IT WAS A COUPLE OR THREE MONTH’S PERIOD, I SAID ‘WELL, YEAH, LET’S DO IT,’ AND I MOVED BACK.” DWORNIK SHARED THE HISTORY OF THE GLOBAL NEWS STATION IN LETHBRIDGE, RECALLING, “[BEFORE THE STATION WAS 2&7, IT WAS] CFAC. IT HAS GONE THROUGH A LOT OF CHANGES, IT STARTED OFF AS CJLH WHICH IS A COMBINATION OF CJOC RADIO AND THE LETHBRIDGE HERALD THAT CO-OWNED THE STATION WHICH OPENED IN [NOVEMBER] 1955…THEN THE HERALD GOT OUT OF IT AND WE WERE BOUGHT BY SELKIRK COMMUNICATIONS AND WE BECAME CJOC TELEVISION…THE STATION OPENED IN ’55, I THINK IT BECAME CJOC AROUND 1960, BUT DON’T QUOTE ME ON THAT. THEN WHEN I CAME IN [FALL] ’76…UP UNTIL THEN WE WERE A CBC AFFILIATE, AND THEN IN ’76 WE BECAME AN INDEPENDENT STATION AND CHANGED OUR CALL LETTERS, AGAIN, TO CFAC TELEVISION. OUR LOGO WAS MODELED AFTER THE RONDELL OF CHC HAMILTON TELEVISION, WHICH WAS AN INDEPENDENT STATION OWNED BY SELKIRK. WE ARE THE SISTER STATION BUT WITH OUR OWN INDEPENDENT LICENSE, WE BECAME PART OF THE INDEPENDENT NETWORK…ABOUT THE TIME OF THE OLYMPICS…WE CHANGED TO TWO AND SEVEN…IT WAS AROUND 1992 MAYBE THAT WE CHANGED OUR CALL LETTERS ONCE AGAIN TO CISA, INDICATIVE OF, ALL STATIONS STARTED WITH ‘C’ RADIO OR TELEVISION IN CANADA, AND THE ‘ISA’ WAS FOR INDEPENDENT SOUTHERN ALBERTA…WITH MY BACKGROUND IN ART AND DESIGN WORKING WITH THAT, WE DID SOME STILL-FRAME ANIMATION. WE DID SOME FUN STUFF WITH THE LOGOS…WHILE I WAS STILL [WITH CISA] WE WENT THROUGH…ANOTHER TWO CHANGES IN OWNERSHIP. SELKIRK SOLD US TO, APPARENTLY TO MACLEAN’S MAGAZINE, AND THAT LASTED FOR ABOUT AN HOUR OR TWO AND THEN I THINK WITH WICK…WESTERN BOUGHT US, THEY BASICALLY BOUGHT ALL OF SELKIRK COMMUNICATIONS AND ADDED US TO THEIR FLOCK OF ITV EDMONTON, BRITISH COLUMBIA TV IN VANCOUVER, AND CHECK TV IN VICTORIA AND I THINK THEY ALSO HAD OKANAGAN TV AS WELL.” “[LETHBRIDGE IS AN ANOMALY] FOR SURE BECAUSE WHEN I CAME HERE WE WERE AROUND FORTY THOUSAND [IN POPULATION], AND THERE WERE TWO OPERATING TELEVISION STATIONS. AS FAR AS I KNOW, WE ARE THE ONLY CITY OF THIS SIZE THAT HAD TWO TELEVISION STATIONS. IN MANY OTHER CITIES THEY WOULD HAVE WHAT THEY CALL A ‘TWINSTICK.’ SO WE WERE CBC, CFCN WAS A CTV AFFILIATE. IN MEDICINE HAT, CBC AND CTV WERE OPERATED OUT OF THE SAME BUILDING BY THE SAME STAFF. THEY WOULD LIKELY HAVE A DIFFERENT ANCHOR OR NEWS DEPARTMENT, BUT THE OTHER COMPONENTS OF OPERATIONS WERE ALL CONTAINED IN THE SAME [BUILDING]—AND THAT’S THE SAME IN, ALL ACROSS WESTERN CANADA…IN A CITY OF OUR POPULATION TO HAVE TWO STATIONS WAS QUITE REMARKABLE, AND VERY COMPETITIVE, AND ALONG WITH THAT, THE RADIO SIDE OF IT…RIGHT NOW WE’VE GOT REALLY SIX RADIO STATIONS, BACK THEN, THERE WERE NEARLY FOUR. AGAIN, QUITE UNUSUAL IN THE FACT THAT YOU’VE GOT TWO AM AND THEN TWO FM. ONE FM STATION ACTUALLY STARTED OFF PLAYING CLASSICAL MUSIC. WHAT THAT LENDS TO THE CITY IS A LOT MORE VARIETY IN PROGRAMMING THAN THEY WOULD OTHERWISE GET. WE HAVE GOT THE BROADCAST PROGRAMMING AT THE LETHBRIDGE COLLEGE HERE, AND THAT FED INTO OUR NEEDS QUITE WELL, IN RADIO AND IN TELEVISION. WE BROUGHT A LOT OF PEOPLE OUT ACTUALLY FROM DOWN EAST BECAUSE THEY HAD SOME REALLY GOOD PROGRAMS FROM FANSHAWE COLLEGE, OTTAWA AND WE WOULD BRING AS WELL, PEOPLE FROM SAIT AND NAIT, AS WELL AS MOUNT ROYAL COLLEGE. THOSE PEOPLE COME STRAIGHT OUT OF COLLEGE, GETTING AN OPPORTUNITY IN A MID-SIZED MARKET…THEY HAD THEIR HANDS INVOLVED IN PROGRAMS, NEWS, COMMERCIAL PRODUCTION AND THEN BEING PART OF THE COMMUNITY.” “I BELIEVE THAT WE WERE STILL A PRETTY GOOD REVENUE-GENERATOR FOR [WICK TO BE SUPPORTIVE OF]. BECAUSE EVEN WITH THAT SIZE OF STAFF, WE WEREN’T PAID AS MUCH AS THEY WERE IN CALGARY, WHICH IS LIKELY WHY EVERYBODY WANTED THE UNION…THEY WEREN’T LOSING MONEY THERE. WE WEREN’T MAKING A WHOLE LOT OF MONEY, BUT…CRTC I THINK CAME INTO PLAY IN THAT, A LOT, TOO, BECAUSE CRTC WAS TO GOVERN THE RULES AND REGULATIONS FOR BROADCASTING. IT WOULD BE DIFFICULT, I THINK, IN ANY PURCHASE OF A STATION, FOR THEM TO GO, AND SHUT THAT STATION DOWN, AT THAT TIME. BUT, WHAT HAS HAPPENED IS THAT RADIO STATIONS HAVE SHUT DOWN, (LIKE RED DEER LOST THEIR STATION; IT WAS A TWINSTICK), AND I LOST TOUCH WITH THE INDUSTRY WHEN THAT SORT OF THING WAS HAPPENING.” “THE GLOBAL PERIOD, WHEN IT WAS OWNED BY CANWEST…ANOTHER REMARKABLE COMPANY (FAMILY-OWNED BUSINESS), AND THEY WERE BUYING UP TELEVISION STATIONS ACROSS CANADA, AND THEN THEY EXPANDED. THEY BOUGHT SOME NEWSPAPERS; THEY BOUGHT A TELEVISION STATION IN ENGLAND, AND I THINK THEIR DOWNFALL ACTUALLY WAS OVER-EXTENDING THEMSELVES, AND GETTING INTO THE AUSTRALIAN MARKET. I JOINED THE STATION IN 2008, WHEN THEY WERE STARTING TO SLIDE. OF COURSE, THE WHOLE ECONOMY WAS STARTING TO SLIDE, AND I CAME ON AS A FRESH, NEW SALESPERSON TO SELL ADVERTISING.” “THAT’S WHEN ALL THE DOWNSIZING OCCURRED [AROUND 2008], JUST IN THAT TRANSITION…WICK STARTED THE DOWNSIZING, AND THEN CANWEST CARRIED ON WITH IT. IT WAS JUST WELL, THE ONSLAUGHT OF GLOBALIZATION, AND THE BIG GET BIGGER, AND SMALL EITHER GET BOUGHT UP, OR SHUT DOWN…WHEN I STARTED AT THE STATION IN 2008, BACK IN SALES, THAT WAS WHEN THINGS REALLY CHANGED, BECAUSE WE STILL HAD A DIRECTOR, AND ONE VIDEOTAPE OPERATOR, AND THEY HAD ROBOT CAMERAS SET UP, BUT WE WERE STILL SWITCHING OUR OWN NEWS, AND ORIGINATING NEWS OUT OF OUR PRODUCTION CONTROL ROOM. THEN, TOWARDS THE END OF 2008, IS WHEN THOSE TWO PEOPLE WERE LET GO, AND WE STARTED WITH CALGARY TELEVISION DIRECTING THE NEWS. AS IT TURNED OUT, THERE WAS NO WAY THAT WE COULD PUT SOMETHING ON THE AIR, BECAUSE THEY DISCONNECTED THE SWITCHING EQUIPMENT…IF THERE WAS LIKE A WEATHER EMERGENCY, OR SOMETHING LIKE THAT, WE COULD NOT PUT A CRAWL ACROSS THE SCREEN. IT WAS QUITE UNNERVING, ACTUALLY, THAT WE WERE LOSING THAT KIND OF LOCAL CAPABILITY.” “[I THINK] IT WAS IN 2013…WHERE EVERYONE BUT ME WAS LET GO, AND THEY COULD RE-APPLY FOR THEIR JOB. BASICALLY, IT WAS A WAY OF GETTING AROUND THE UNION. EVERYONE WAS CANNED; THEY GOT A SEVERANCE PACKAGE. IT WAS A PRETTY UNNERVING TIME, AND MORALE REALLY, REALLY HIT A LOW THERE. THEY ASSIGNED AN EDITOR FROM TORONTO, AND ANOTHER FELLOW WHO HAD BEEN BROADCASTING NEWS, THEY WENT…AND THEY WERE GOING TO RE-IMAGINE THE NEWS, AND THEY HAD BIG PLANS TO MAKE THE STATION WHOLLY-NEW, AND A WHOLE NEW WAY OF DOING THINGS, WITH A MINIMUM NUMBER OF PEOPLE…RESPONSIBILITIES WERE CHANGED; MORE LOAD WAS TAKEN ON, BUT, AS WELL, LESS THINGS WERE GOING TO BE DONE. WE DIDN’T HAVE THE ENGINEER, AND SO THEY HIRED A FELLOW TO BE A VIDEOGRAPHER. HE WOULD SHOOT SOME OF THE NEWS STORIES, BUT HE WAS ALSO RESPONSIBLE FOR TWEAKING UP THE CAMERAS, AND IF THERE WAS A PROBLEM, SENDING IT UP TO CALGARY…I THINK WHAT THEY DID WAS THEY MEASURED OUT THE NUMBER OF HOURS, THE NUMBER OF PEOPLE, WHAT THEY WANTED TO COVER, WHAT THEY WANTED TO DO, AND THEY WENT WITH THAT NUMBER—TWELVE OR FOURTEEN PEOPLE, AND SO, CHANGING THE ROLES, WHOLE NEW JOB DESCRIPTIONS. BUT, AS I SAID TO [MANAGEMENT], ‘YOU KNOW, I THINK YOU OVERLOOKED THE FACT THAT ALL THE PEOPLE HERE, ON THE UNION CONTRACT, GET AT LEAST THREE WEEKS’ VACATION. MEANS YOU’VE GOT TWELVE PEOPLE—THAT’S THIRTY-SIX WEEKS—THAT YOU’VE GOT SOMEBODY AWAY. SO, YOU’RE RUNNING SHORT-STAFFED OVER HALF A YEAR.’ THAT’S PRETTY TOUGH ON PEOPLE, BECAUSE THIS GENERATION THAT’S IN THERE NOW, I DON’T THINK THEY HAVE THE SAME KIND OF ATTITUDE, OR WORK ETHIC. WE WOULD WORK. WELL, MY WIFE COULD ATTEST TO THE HOURS THAT I WOULD PUT IN AT THE STATION. AND, I DIDN’T GET PAID OVERTIME. I GOT A…FEE. THIS STUFF, BETWEEN THE CHANGE OF ATTITUDE, AND THE NEWS CYCLE, AND CUTTING BACK HOW THEY COULD, IT WAS REALLY TOUGH ON PEOPLE. BUT, I WAS THE FIRST ONE TO BE LET GO IN 1996, AND I WAS THE MARKETING RESEARCH AND SALES (WE WERE DOING VIDEO PRODUCTIONS), AND THE FELLOW WHO WAS THE PRODUCTION COORDINATOR, JIM MCNALLY, I BROUGHT ON. HE WAS AN EXCELLENT PHOTOGRAPHER OUT OF OTTAWA, AND HE HAD, I THINK, ONE OF THE TOUGHEST TIMES BACK IN ’96 (ACTUALLY, MORE SO IN ’98). THEY MADE HIM GENERAL MANAGER OF THE STATION. HIS ENTIRE RESPONSIBILITY OVER, I DON’T KNOW HOW MANY WEEKS AND MONTHS WAS TO CUT THE STAFF DOWN TO, I DON’T KNOW, SIXTEEN PEOPLE. AND, WHEN THAT WAS ACCOMPLISHED, HE WAS LET GO.” WHEN ASKED ABOUT THE “GOLDEN AGE” OF LETHBRIDGE BROADCAST OR TELEVISION NEWS, DWORNIK SHARED, “TELEVISION HAS ALWAYS BEEN FOR THE VAST MAJORITY OF PEOPLE, A VERY EXCITING INDUSTRY BECAUSE THERE’S ALWAYS DEVELOPMENTS, TECHNOLOGY. WHEN YOU THINK THAT BACK IN THE DAY IT WAS IN BLACK AND WHITE, BUT THEY DID LIVE COMMERCIALS AND THAT’S QUITE REMARKABLE TOO, HOW THEY WERE DOING THOSE THINGS. THEY DID A LOT OF PRANKS AND FUN STUFF ON AIR…THE TECHNOLOGY KEPT DEVELOPING. IT LOOKED AS GOOD AS IT COULD GET BACK IN THE DAY, BUT NOW THAT WE ARE UP TO 4K VIDEO…IN MY DAY WE HAD BEEN COLOUR FOR QUITE SOME TINE, BUT WHEN I CAME IN IN ‘76 IT WAS KIND OF THE LAUNCH OF ENG, ELECTRONIC NEWS GATHERING OR EFP, FIELD PRODUCTION. THE EQUIPMENT WAS THREE QUARTER INCH AT THAT TIME, THE CAMERAS WERE BIG AND HEAVY, AND THE TAPE DECK, IT WAS A TWO PIECE UNIT, IT NEEDED A LOT OF LIGHT SO WE CARRIED AROUND ABOUT A THIRTY POUND BOX FULL OF LIGHTING GEAR. TRUCKING THAT FROM ONE END OF THE UNIVERSITY HALL DOWN TO THE OTHER END WHERE THE PRESIDENT WAS.” “FROM MY PERSPECTIVE, I THINK I WAS IN THE “GOLDEN AGE” OF TELEVISION IN LETHBRIDGE HERE, BECAUSE WE DID A LOT OF LOCAL PROGRAMS. WE ACTUALLY HAD A SYNDICATED SPORTS PROGRAM CALLED SKI WEST, AND THAT RAN ON HALF A DOZEN MARKETS—INDEPENDENT MARKETS—TELEVISION STATIONS WITH SELKIRK, AND, ACTUALLY THAT WAS WITH WICK AS WELL TOO. WE DID A LOT OF COMMERCIALS, PROGRAM PRODUCTION AND…I THINK IT WAS AROUND ’88 OR ’90, WE WERE ALREADY TALKING AND WE SAW ADVANTAGES IN WHAT WAS CALLED THEN HIGH-DEFINITION TELEVISION WHICH WAS TEN EIGHTY, BUT IT WAS A LONG WAY BEFORE IT CAME. WE DIDN’T ACTUALLY CONVERT TO DIGITAL TELEVISION IN CANADA UNTIL I THINK IT WAS 2009-2010, AND AS ONE OF OUR ENGINEERS MENTIONED, THAT WAS MOST REMARKABLE TECHNOLOGY-WISE. BECAUSE, WHEN WE STARTED IN BLACK AND WHITE, IT WAS A FOUR BY THREE FORMAT AND THEN THEY ADDED COLOUR, IMAGINATIVE COLOUR IN THE ‘60S. THAT WAS PRETTY SMOOTH BECAUSE YOU COULD, YOU KNOW, YOU ARE BROADCASTING THIS ONE SIGNAL OUT IN COLOUR, BUT IF YOU ONLY HAD A BLACK AND WHITE TV, YOU COULD STILL WATCH IT IN BLACK AND WHITE, AND IF YOU HAD COLOUR ALL THE BETTER. THAT WAS IN THE ERA WHEN CABLE WAS ON ITS UP RISE AND SO IT WENT THROUGH A PRETTY SMOOTH TRANSITION, BUT WHEN WE WENT DIGITAL IT WAS HARD LINE IN THE SAND. YOUR OLD TV SET WOULD NOT BE GETTING NOTHING ON IT. THERE WOULD BE NO SIGNAL COMING IN AT ALL, AND WE HAD TO SWITCH OVER TO EITHER CABLE, WHICH WOULD CONVERT THE DIGITAL SIGNAL INTO THE NTSC SIGNAL FOR YOU, OR ELSE YOU HAD TO GET A BRAND NEW TV THAT’S DIGITAL. IT REALLY DID SPUR THE INDUSTRY, AND IT WAS A HUGE FINANCIAL INVESTMENT. CBC WITH ALL THEIR BROADCAST SATELLITES TO COVER ALL OF CANADA, WAS GIVEN AN EXTRA YEAR TO SWITCH OVER TO DIGITAL. IN THE END THEY SAID, ‘NO WE CAN’T DO IT,’ SO THEY HAD TO ACTUALLY SHUT DOWN THEIR TELEVISION TOWER IN LETHBRIDGE [IN JUNE 2012].” “IN A MARKET LIKE OURS WHERE WE HAVE GOT CABLE THAT WAS OKAY, BUT IN THE RURAL AREAS…SOME [PEOPLE] WERE ALREADY ON SATELLITE, BUT THEN AGAIN, WHEN I WAS IN THE INDUSTRY, THE SATELLITE DISHES WERE HUGE AND WE WERE STILL USING A HUGE ONE…IT WAS MORE THAN 12 FEET, IT WAS HUGE, 20 SOME FEET ACROSS. AGAIN, BACK IN THE ‘80S I REMEMBER OUR PRESIDENT COMING BACK AND TELLING US THAT, ‘YOU KNOW, THEY’RE TALKING ABOUT SATELLITES GOING UP THERE AND THEY’RE GOING TO BE SO POWERFUL YOU COULD USE A SATELLITE DISH NO BIGGER THAN A PIZZA BOX.’…THAT’S WHAT WE’VE GOT NOW REALLY…I THINK IT’S A LOT OF ‘GOLDEN ERAS’ AS YOU WOULD SAY REALLY, BECAUSE NOW WITH DIGITAL IT’S JUST PHENOMENAL, AND IT WENT FROM 1080 UP TO 4K. 8K IS OUT THERE TODAY, BUT I THINK IT WILL BE A LONG TIME BECAUSE IT IS A LOT OF BAND WIDTH FOR PEOPLE…” ON HIS MOTIVATIONS FOR DONATING THE ITEMS TO THE GALT MUSEUM, DWORNIK SHARED, “MY WIFE WHO IS WITH US, SANDRA, SUGGESTED THAT I MIGHT CLEAN UP OUR GARAGE AND OTHER PLACES IN THE HOUSE, BECAUSE I COLLECT A LOT OF STUFF. THE OTHER REASON [I’M DONATING THE ITEMS TO THE GALT MUSEUM] ACTUALLY IS IT MIGHT BE TIME—FROM A HISTORICAL VIEW POINT THAT WHAT IS NOW GLOBAL TELEVISION IS MOVING LOCATION. WHERE THEY HAVE BEEN IN THEIR ORIGINAL SITE…[IN] WHAT IS NOW THE INDUSTRIAL PARK, THEY ARE MOVING OUT OF THERE MID-SEPTEMBER OR SO TO A LOCATION DOWNTOWN AND THEY ARE MOVING INTO WHAT IS NOW THE NEW ROYAL BANK, WHICH USED TO BE THE MARQUIS HOTEL. THEY ARE JUST BUILDING THE STUDIO THERE NOW AND THEY WILL BE JOINING THE RADIO FROM THE PATERSON GROUP IN THAT SAME BUILDING, BUT THEY ARE TOTALLY SEPARATED. ANYWAY, I THOUGHT IT PERHAPS TIMELY AND SOME CONNECTIONS THERE.” “WHEN I RETIRED IT WAS KIND OF A HOLLOW BUILDING AND THERE WAS A LOT OF VIDEO TAPE AROUND, WHICH I CONVINCED THE CURRENT OWNERS OF THE STATION, SHAW MEDIA AT THE TIME…BETWEEN MYSELF AND AN ENGINEER, LARRY LAWDINEY, WE DID CONVINCE THEM THAT THERE WAS A LOT OF HISTORY IN THOSE VIDEO TAPES, WHICH THEY WERE PREPARED TO THROW OUT IN THE DUMPSTER, AND END UP IN OUR LANDFILL. SO, WORKING WITH ANDREW [AT THE GALT ARCHIVES], AND HE HAS GOT—I DON’T KNOW HOW MANY TRUCKLOADS OF THE TAPES NOW.” “SOME OF THESE ARTIFACTS, WHICH I HAVE DISCUSSED WITH YOU BEFORE, I FELT WERE SIGNIFICANT…REPRESENTATIVE OF SOME OF THE HISTORY OF THE STATION. THE STATION PRODUCED SOME VERY REMARKABLE INDIVIDUALS THAT HAVE GONE ON TO WIDE ACCLAIM ACTUALLY, RIGHT THROUGH THE HISTORY OF THE STATION. INCLUDING PEOPLE LIKE DON SLADE…HE WAS A DISC JOCKEY WHEN I WAS LIVING IN WINNIPEG GROWING UP, AND THEN HE ENDED UP BEING IN EITHER CALGARY OR EDMONTON. THE FAMOUS WEATHER MAN…BILL MATHESON, OF COURSE FROM LETHBRIDGE, WENT TO NEW YORK, AND ENDED UP IN EDMONTON. I HAVE HAD A NUMBER OF PEOPLE WHO HAVE WORKED IN MY DEPARTMENT THAT HAVE GONE ON TO SOME SIGNIFICANT ACCOMPLISHMENTS AS WELL. ONE IN PARTICULAR, DOUG GOAT, WAS A VIDEO JOURNALIST FOR NBC AND HE WENT OVER TO THESE WAR TORN COUNTRIES—HE WAS A LETHBRIDGE BOY, HIS DAD ACTUALLY MADE SOME EQUIPMENT FOR US FOR OUR TRIPODS…RICK LUCHUCK, WHO WAS IN OUR PRODUCTION DEPARTMENT LEFT, WENT TO REGINA, AND THEN I THINK TORONTO…HE CAME BACK JUST THIS PAST YEAR FOR A REUNION AT LETHBRIDGE COLLEGE, FROM WHERE HE GRADUATED IN BROADCASTING. HE IS VICE PRESIDENT OF PROMOTIONS FOR CNN…WE HAVE HAD PEOPLE GO TO SPORTS NETWORK…A LOT OF PEOPLE WENT THROUGH THE STATION, IT WAS A REVOLVING DOOR, BUT I WAS OKAY WITH THAT BECAUSE WE HELPED BUILD THEIR CAPABILITIES, AND THEY WERE VERY APPRECIATIVE OF THE OPPORTUNITIES AND THE TRAINING THAT WE DID PROVIDE…THE STUFF WE DID WE HAD…A VERY SMALL MOBILE PRODUCTION FACILITY, BUT IT WAS INVOLVED WITH THE OLYMPICS IN ’88, THE TORCH RUN. WE PICKED UP THE TORCH RUN WHEN IT ENTERED ALBERTA IN THE CROWSNEST PASS, BROADCAST THAT LIVE THROUGHOUT ALBERTA. I HAD THE OPPORTUNITY TO MEET PRINCE CHARLES AND PRINCE ANDREW AND FERGIE…THEY WERE DOWN FOR…THE OFFICIAL OPENING OF HEAD SMASHED IN BUFFALO JUMP.” “THE STATION WON A [NATIONAL] AWARD…[THE] FOUNDERS AWARD OF EXCELLENCE FOR A DOCUMENTARY WE PRODUCED [CALLED ‘WE WON’T LET HIM DIE’], AND I WAS THE PHOTOGRAPHER ON THAT AND SHOT…IT WAS ACTUALLY THIRTY YEARS AGO THAT THIS YOUNG FELLOW, TOMMY JONES, WAS WORKING AT A CHURCH CAMP IN WATERTON AND WENT HIKING WITH SOME FRIENDS IN A MOUNTAIN AND FELL AND HAD A SERIOUS BRAIN INJURY. TWO YEARS LATER—THEY DIDN’T EXPECT HIM TO LIVE…WE DOCUMENTED THAT WHOLE STORY AND RECREATED THE SCENES IN THE DOCUDRAMA…THESE THINGS REMIND ME OF ANOTHER ARTIST CORNY MARTENS, BRONZE ARTIST, WAS OUR STUDIO DIRECTOR, AND SOME OF THE STUFF THEY USED TO DO, BACK IN THE DAYS OF BLACK AND WHITE, THEY DID COMMERCIALS—THEY PAINTED THE FLOOR OF THE STUDIO TO MAKE IT LOOK LIKE A SWIMMING POOL, AND THEY HAD A FASHION SHOW WITH SWIMSUITS…THAT’S KIND OF WHAT PROMPTED ME [TO DONATE THE ITEMS], AND THAT’S THE CONNECTION TO THESE ITEMS.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND ARTICLES ON THE GLOBAL NEWS STATION BEING DISMANTLED, PLEASE SEE THE PERMANENT FILE P20190022001-GA.
Catalogue Number
P20190022003
Acquisition Date
2019-08
Collection
Museum
Images
Less detail
Other Name
RCA-BK5A
Date Range From
1950
Date Range To
1955
Material Type
Artifact
Materials
STEEL, IRON, FOAM
Catalogue Number
P20190022004
  2 images  
Material Type
Artifact
Other Name
RCA-BK5A
Date Range From
1950
Date Range To
1955
Materials
STEEL, IRON, FOAM
No. Pieces
1
Height
16.1
Length
17.8
Width
13.8
Description
GREY DESK MICROPHONE MOUNTED ON STAND; MICROPHONE IS CYLINDRICAL WITH TWO ADJUSTABLE DIALS ON SIDES FOR ATTACHING TO STAND. MICROPHONE HAS GREY METAL WINDSCREEN WITH METAL GUARDS; MICROPHONE HAS BLACK CORD EXTENDING FROM BACK WITH SILVER CONNECTOR AND ENGRAVED TEXT ON CONNECTOR, “SWITCHCRAFT, U.S. PAT. 3219961, CAN. PAT. 761114, A3M”. MICROPHONE HAS EMBOSSED TEXT ON BACK, “M V1 V2” WITH LINES POINTING TO SCREW IN CENTER; UNDERSIDE OF MICROPHONE HAS EMBOSSED TEXT, “TYPE BK-5A, M1-11010” AND ENGRAVED TEXT “1365”. MICROPHONE IS ATTACHED BY TWO ADJUSTABLE DIALS TO TWO METAL PRONGS ON THE STAND; STAND HAS BRASS ADJUSTABLE DIALS; STAND IS FIXED TO IRON BASE BY BRASS BOLT. BASE IS “V” SHAPED WITH STAND ATTACHED AT MERGE OF PRONGS; BASE HAS GREY FOAM LINING UNDERSIDE. CORD IS FRAYED AT CONNECTION TO MICROPHONE; DIALS ON MICROPHONE AND STAND ARE TARNISHED; BASE OF STAND IS SCUFFED AND CHIPPED; FOAM IS DISINTEGRATING; MICROPHONE CASING IS SCRATCHED AND CHIPPED, WITH WHITE AND BLUE-GREY RESIDUE ON TOP; OVERALL VERY GOOD CONDITION.
Subjects
SOUND COMMUNICATION T&E
TELECOMMUNICATION T&E
Historical Association
INDUSTRY
History
ON AUGUST 21, 2019, COLLECTION TECHNICIAN KEVIN MACLEAN INTERVIWED WAYNE DWORNIK REGARDING HIS DONATION OF GLOBAL NEWS STATION ITEMS. DWORNIK WORKED FOR LETHBRIDGE TELEVISION BROADCAST NEWS FROM 1976-2013. ON THE DESK MICROPHONE, DWORNIK RECALLED, “I ORIGINALLY THOUGHT THAT THIS MIC, (AND IT’S A WONDERFUL MICROPHONE FOR ITS TIME)…WAS USED WHEN RADIO WAS DOING THE NEWS AND THE NEWSROOM, BUT RON JOEVENNAZO, ENGINEER, TOLD ME THAT ‘NO, THIS WAS USED BY THE LIVE ANNOUNCER,’ AND HE COULD NOT RECALL ANY OF THE NAMES OF ANNOUNCERS AT THAT TIME…THIS GOES BACK A LONG WAY, BACK TO ’55…IT WAS NO LONGER IN USE WHEN I WAS THERE [BUT IT WAS STILL IN THE BUILDING].” “I KNOW [THE STATION] DID HAVE A DESK MIC IN THE NEWS BOOTH, AND ON THE NEWS SET, FOR A WHILE, THEY HAD A DESK MIC…RON JOEVENNAZO WAS THERE ALMOST FROM THE OUTSET OF THE OPERATION…HE WAS THERE BEFORE I WENT. ANOTHER ONE IS BOB JOHNSON. HE WAS THE STATION PRESIDENT, AND GENERAL MANAGER, AND BOTH OF THEM ARE STILL IN TOWN.” DWORNIK RECALLED HIS TIME WORKING IN LETHBRIDGE FOR BROADCAST NEWS, NOTING, “I WORKED FOR LETHBRIDGE TELEVISION FOR [25] YEARS…I JOINED THE STATION AS A PHOTOGRAPHER IN 1976. I HELD THAT POSITION FOR SEVEN YEARS AS CHIEF PHOTOGRAPHER, AND THEN I MOVED INTO MANAGEMENT, AND BECAME PRODUCTION MANAGER FOR TEN YEARS I GUESS, AND THEN I GOT INTO SALES AND MARKETING AND RESEARCH. I LEFT THE STATION IN 1996, AND I WAS ONE THE FIRST, IF NOT THE FIRST OF THE DOWNSIZING IN THAT ERA. AT THE TIME WHEN I LEFT IN ’96 THERE WERE AT LEAST SEVENTY-SIX PEOPLE ON STAFF. [TODAY] I BELIEVE THERE IS MAYBE A DOZEN…I RETURNED TO THE STATION IN THE CAPACITY OF…ACCOUNT REPRESENTATIVE IN 2008 AND I RETIRED AT…THE END OF DECEMBER 2014…WHEN I CAME TO LETHBRIDGE, I THOUGHT I WOULD ONLY STAY A COUPLE OF YEARS AND MOVE ONTO A BIGGER STATION, YOU KNOW BIG CITY, BRIGHT LIGHTS…BUT I LOVED THE CITY AND THERE WAS SO MUCH TO OFFER HERE. I HAD SO MUCH FUN, THERE WERE SO MANY REMARKABLE, INCREDIBLY REMARKABLE EXPERIENCES I HAD AS A PHOTOGRAPHER, AND PRODUCTION MANAGER, ESPECIALLY. SOME OF THESE ITEMS HERE GO BACK TO BEFORE MY TIME, BUT AGAIN LETHBRIDGE—LITTLE DIMPLE ON THE PRAIRIE HERE THAT WE ARE, WE ACTUALLY MADE A PRETTY GOOD NAME FOR THE CITY AND FOR THE STATION IN WHAT WE WERE PRODUCING IN NEWS, AND PARTICULARLY IN LOCAL PROGRAMMING. THAT WAS KIND OF ONE OF MY PASSIONS, WAS THE LOCAL PROGRAMMING, DOCUMENTARIES AND THEN OF COURSE, NEWS AS WELL.” “[THERE] WAS A FRIENDLY RIVALRY BETWEEN ALL THE MEDIA ACTUALLY, AND CTV WOULD PRODUCE THE ODD DOCUMENTARY, WHEREAS WE DID A LOT MORE…AT THE MOST THEY HAD I THINK MAYBE TWENTY PEOPLE ON STAFF, SO THEY WERE LIMITED. THEY WERE ACTUALLY A SATELLITE, OR A RE-BROADCASTER, THEY DIDN’T HAVE THEIR OWN LICENSE SO THEY WERE HANDLED DIFFERENTLY BY THEIR OWNERS THAN OUR STATION WAS. THEN AGAIN MANAGEMENT HERE WAS QUITE FORWARD THINKING IN MOST THINGS. I REMEMBER OUR PRESIDENT AND GENERAL MANAGER, BOB JOHNSON, DECADES AGO TOUTING THE FACT THAT THE ONLY THING THAT WILL MAKE US SUSTAINABLE AND RELEVANT IS LOCAL NEWS. HE KNEW, BACK THEN, THROUGH BROADCASTER ASSOCIATIONS ALL THE THINGS THAT WERE COMING AHEAD OF US…WE COULD GET NEWS FROM AROUND THE WORLD…WE CARRIED A LOT OF AMERICAN PROGRAMS…THE ONLY THING THAT IS GOING TO MAKE US DISTINCT IS WHAT WE CAN DO WITH OUR LOCAL NEWS AND AS AN EXTENSION OF THAT, OUR LOCAL PROGRAMMING, OUR DOCUMENTARIES. IT WAS QUITE GOOD FOR THE STAFF AND THE MORALE WAS TERRIFIC…WE HAD A SLOW PITCH BASEBALL TEAM, WE’D PARTICIPATE IN COMMUNITY THINGS, WITH THE PARADES, WHOOP-UP DAYS AND THE STAFF PARTIES WERE TERRIFIC.” “I WAS A PHOTOGRAPHER, AND I WAS OUT ON LOCATION INTERVIEWING ALL THESE INTERESTING PEOPLE, EDITING THESE PROGRAMS, NEWS STORIES, COMMERCIALS. I WAS IN MY ELEMENT…[I WORKED WITH] THE VISUAL CONTENT…BACK IN THE DAY, THERE WAS A NEWS REPORTER THAT WAS HIS JOB WAS TO BE ON CAMERA, TO RESEARCH THE STORY, SET UP THE CONTEXT, DO THE INTERVIEWS, WE WOULD RECORD THE VISUALS, RECORD THE INTERVIEWS, AND NOW AS YOU REFER TO IT, IT IS ALL DONE BY ONE…THEY CALL HIM A, AT DIFFERENT TIMES, EITHER A VIDEO JOURNALIST OR A VIDEOGRAPHER. MY TRAINING ACTUALLY WAS IN STILL PHOTOGRAPHY BACK IN WINNIPEG, BUT MY FIRST JOB WAS IN TELEVISION, SO I LEARNED ON THE JOB. SHOOTING BLACK AND WHITE FILM, COLOUR—AGAIN, SIXTEEN MILLIMETER FILM FOR COMMERCIALS. WE WERE STILL DOING A LOT OF SLIDE COMMERCIALS AT THAT TIME, AND WE PROCESSED OUR OWN SLIDE FILM IN THE BASEMENT AT THE STATION THERE, WITHOUT USING RUBBER GLOVES.” “AT THAT TIME WE HAD FIVE PHOTOGRAPHERS, WE ONLY HAD TWO VEHICLES TO GO OUT IN BUT, SO THE REPORTERS WOULD SOMETIMES USE THEIR OWN VEHICLES. I KNOW FOR THE FIRST YEAR OR TWO I USED MY OWN VEHICLE TO CARRY THE GEAR BECAUSE AT THAT TIME WE DIDN’T HAVE ANY STATION VEHICLES. OUR FIRST ONES WERE TWO…HONDA CIVIC STATION WAGONS, THEN WE GOT TWO NISSAN STATION WAGONS AND THEN WE WENT TO A FORD BRONCO I THINK IT WAS.” “I WOULD GO WHERE THERE WAS A GOOD OPPORTUNITY FOR WORK AND—ACTUALLY, ON OUR HONEY MOON, WE PACKED UP FROM SWIFT CURRENT…(I HAD THREE WEEKS HOLIDAY), AND WE MADE OUR WAY OUT TO THE WEST COAST, STOPPING AT EVERY TELEVISION STATION, ALONG THE WAY, HAVING A TOUR, AND LEAVING A RESUME. SO WE STOPPED AT MEDICINE HAT, LETHBRIDGE (WHICH I WAS REALLY IMPRESSED WITH), AND WE WENT THROUGH KELOWNA, (WHICH I WAS AGAIN VERY IMPRESSED WITH), AND SO I THOUGHT IT WOULD BE EITHER LETHBRIDGE, OR KELOWNA, I WOULD LIKE TO MOVE TO, AND THEN FROM THERE MAYBE CALGARY, VANCOUVER. AS I SAID, LETHBRIDGE WON OUT, THEY HAD A JOB OPENING…BECAUSE OF A STRIKE…AT THAT TIME…NABET…NATIONAL ASSOCIATION OF BROADCAST ENGINEERS AND TECHNOLOGISTS…THEY WERE WANTING TO FORM A LOCAL, AND GET UNION REPRESENTATION AND NEGOTIATIONS CAME TO A STAND-STILL, AND THEY WENT ON STRIKE I THINK, IN APRIL, OR MAY OF ’75 , ’76. SO I HAD JUST FAIRLY RECENTLY PUT MY RESUME IN THERE, AND THEY CALLED ME UP AND [IT WAS] A TOUGH SITUATION, AND I HELD OFF, AND I SAID, ‘WELL I’VE GOT TO WORK WITH THESE PEOPLE, IF I COME IN AS A STRIKE BREAKER, A SCAB—‘ AND SO I WASN’T TOO ANXIOUS TO DO THAT, BUT, AFTER A FEW MORE PHONE CALLS OVER I GUESS IT WAS A COUPLE OR THREE MONTH’S PERIOD, I SAID ‘WELL, YEAH, LET’S DO IT,’ AND I MOVED BACK.” DWORNIK SHARED THE HISTORY OF THE GLOBAL NEWS STATION IN LETHBRIDGE, RECALLING, “[BEFORE THE STATION WAS 2&7, IT WAS] CFAC. IT HAS GONE THROUGH A LOT OF CHANGES, IT STARTED OFF AS CJLH WHICH IS A COMBINATION OF CJOC RADIO AND THE LETHBRIDGE HERALD THAT CO-OWNED THE STATION WHICH OPENED IN [NOVEMBER] 1955…THEN THE HERALD GOT OUT OF IT AND WE WERE BOUGHT BY SELKIRK COMMUNICATIONS AND WE BECAME CJOC TELEVISION…THE STATION OPENED IN ’55, I THINK IT BECAME CJOC AROUND 1960, BUT DON’T QUOTE ME ON THAT. THEN WHEN I CAME IN [FALL] ’76…UP UNTIL THEN WE WERE A CBC AFFILIATE, AND THEN IN ’76 WE BECAME AN INDEPENDENT STATION AND CHANGED OUR CALL LETTERS, AGAIN, TO CFAC TELEVISION. OUR LOGO WAS MODELED AFTER THE RONDELL OF CHC HAMILTON TELEVISION, WHICH WAS AN INDEPENDENT STATION OWNED BY SELKIRK. WE ARE THE SISTER STATION BUT WITH OUR OWN INDEPENDENT LICENSE, WE BECAME PART OF THE INDEPENDENT NETWORK…ABOUT THE TIME OF THE OLYMPICS…WE CHANGED TO TWO AND SEVEN…IT WAS AROUND 1992 MAYBE THAT WE CHANGED OUR CALL LETTERS ONCE AGAIN TO CISA, INDICATIVE OF, ALL STATIONS STARTED WITH ‘C’ RADIO OR TELEVISION IN CANADA, AND THE ‘ISA’ WAS FOR INDEPENDENT SOUTHERN ALBERTA…WITH MY BACKGROUND IN ART AND DESIGN WORKING WITH THAT, WE DID SOME STILL-FRAME ANIMATION. WE DID SOME FUN STUFF WITH THE LOGOS…WHILE I WAS STILL [WITH CISA] WE WENT THROUGH…ANOTHER TWO CHANGES IN OWNERSHIP. SELKIRK SOLD US TO, APPARENTLY TO MACLEAN’S MAGAZINE, AND THAT LASTED FOR ABOUT AN HOUR OR TWO AND THEN I THINK WITH WICK…WESTERN BOUGHT US, THEY BASICALLY BOUGHT ALL OF SELKIRK COMMUNICATIONS AND ADDED US TO THEIR FLOCK OF ITV EDMONTON, BRITISH COLUMBIA TV IN VANCOUVER, AND CHECK TV IN VICTORIA AND I THINK THEY ALSO HAD OKANAGAN TV AS WELL.” “[LETHBRIDGE IS AN ANOMALY] FOR SURE BECAUSE WHEN I CAME HERE WE WERE AROUND FORTY THOUSAND [IN POPULATION], AND THERE WERE TWO OPERATING TELEVISION STATIONS. AS FAR AS I KNOW, WE ARE THE ONLY CITY OF THIS SIZE THAT HAD TWO TELEVISION STATIONS. IN MANY OTHER CITIES THEY WOULD HAVE WHAT THEY CALL A ‘TWINSTICK.’ SO WE WERE CBC, CFCN WAS A CTV AFFILIATE. IN MEDICINE HAT, CBC AND CTV WERE OPERATED OUT OF THE SAME BUILDING BY THE SAME STAFF. THEY WOULD LIKELY HAVE A DIFFERENT ANCHOR OR NEWS DEPARTMENT, BUT THE OTHER COMPONENTS OF OPERATIONS WERE ALL CONTAINED IN THE SAME [BUILDING]—AND THAT’S THE SAME IN, ALL ACROSS WESTERN CANADA…IN A CITY OF OUR POPULATION TO HAVE TWO STATIONS WAS QUITE REMARKABLE, AND VERY COMPETITIVE, AND ALONG WITH THAT, THE RADIO SIDE OF IT…RIGHT NOW WE’VE GOT REALLY SIX RADIO STATIONS, BACK THEN, THERE WERE NEARLY FOUR. AGAIN, QUITE UNUSUAL IN THE FACT THAT YOU’VE GOT TWO AM AND THEN TWO FM. ONE FM STATION ACTUALLY STARTED OFF PLAYING CLASSICAL MUSIC. WHAT THAT LENDS TO THE CITY IS A LOT MORE VARIETY IN PROGRAMMING THAN THEY WOULD OTHERWISE GET. WE HAVE GOT THE BROADCAST PROGRAMMING AT THE LETHBRIDGE COLLEGE HERE, AND THAT FED INTO OUR NEEDS QUITE WELL, IN RADIO AND IN TELEVISION. WE BROUGHT A LOT OF PEOPLE OUT ACTUALLY FROM DOWN EAST BECAUSE THEY HAD SOME REALLY GOOD PROGRAMS FROM FANSHAWE COLLEGE, OTTAWA AND WE WOULD BRING AS WELL, PEOPLE FROM SAIT AND NAIT, AS WELL AS MOUNT ROYAL COLLEGE. THOSE PEOPLE COME STRAIGHT OUT OF COLLEGE, GETTING AN OPPORTUNITY IN A MID-SIZED MARKET…THEY HAD THEIR HANDS INVOLVED IN PROGRAMS, NEWS, COMMERCIAL PRODUCTION AND THEN BEING PART OF THE COMMUNITY.” “I BELIEVE THAT WE WERE STILL A PRETTY GOOD REVENUE-GENERATOR FOR [WICK TO BE SUPPORTIVE OF]. BECAUSE EVEN WITH THAT SIZE OF STAFF, WE WEREN’T PAID AS MUCH AS THEY WERE IN CALGARY, WHICH IS LIKELY WHY EVERYBODY WANTED THE UNION…THEY WEREN’T LOSING MONEY THERE. WE WEREN’T MAKING A WHOLE LOT OF MONEY, BUT…CRTC I THINK CAME INTO PLAY IN THAT, A LOT, TOO, BECAUSE CRTC WAS TO GOVERN THE RULES AND REGULATIONS FOR BROADCASTING. IT WOULD BE DIFFICULT, I THINK, IN ANY PURCHASE OF A STATION, FOR THEM TO GO, AND SHUT THAT STATION DOWN, AT THAT TIME. BUT, WHAT HAS HAPPENED IS THAT RADIO STATIONS HAVE SHUT DOWN, (LIKE RED DEER LOST THEIR STATION; IT WAS A TWINSTICK), AND I LOST TOUCH WITH THE INDUSTRY WHEN THAT SORT OF THING WAS HAPPENING.” “THE GLOBAL PERIOD, WHEN IT WAS OWNED BY CANWEST…ANOTHER REMARKABLE COMPANY (FAMILY-OWNED BUSINESS), AND THEY WERE BUYING UP TELEVISION STATIONS ACROSS CANADA, AND THEN THEY EXPANDED. THEY BOUGHT SOME NEWSPAPERS; THEY BOUGHT A TELEVISION STATION IN ENGLAND, AND I THINK THEIR DOWNFALL ACTUALLY WAS OVER-EXTENDING THEMSELVES, AND GETTING INTO THE AUSTRALIAN MARKET. I JOINED THE STATION IN 2008, WHEN THEY WERE STARTING TO SLIDE. OF COURSE, THE WHOLE ECONOMY WAS STARTING TO SLIDE, AND I CAME ON AS A FRESH, NEW SALESPERSON TO SELL ADVERTISING.” “THAT’S WHEN ALL THE DOWNSIZING OCCURRED [AROUND 2008], JUST IN THAT TRANSITION…WICK STARTED THE DOWNSIZING, AND THEN CANWEST CARRIED ON WITH IT. IT WAS JUST WELL, THE ONSLAUGHT OF GLOBALIZATION, AND THE BIG GET BIGGER, AND SMALL EITHER GET BOUGHT UP, OR SHUT DOWN…WHEN I STARTED AT THE STATION IN 2008, BACK IN SALES, THAT WAS WHEN THINGS REALLY CHANGED, BECAUSE WE STILL HAD A DIRECTOR, AND ONE VIDEOTAPE OPERATOR, AND THEY HAD ROBOT CAMERAS SET UP, BUT WE WERE STILL SWITCHING OUR OWN NEWS, AND ORIGINATING NEWS OUT OF OUR PRODUCTION CONTROL ROOM. THEN, TOWARDS THE END OF 2008, IS WHEN THOSE TWO PEOPLE WERE LET GO, AND WE STARTED WITH CALGARY TELEVISION DIRECTING THE NEWS. AS IT TURNED OUT, THERE WAS NO WAY THAT WE COULD PUT SOMETHING ON THE AIR, BECAUSE THEY DISCONNECTED THE SWITCHING EQUIPMENT…IF THERE WAS LIKE A WEATHER EMERGENCY, OR SOMETHING LIKE THAT, WE COULD NOT PUT A CRAWL ACROSS THE SCREEN. IT WAS QUITE UNNERVING, ACTUALLY, THAT WE WERE LOSING THAT KIND OF LOCAL CAPABILITY.” “[I THINK] IT WAS IN 2013…WHERE EVERYONE BUT ME WAS LET GO, AND THEY COULD RE-APPLY FOR THEIR JOB. BASICALLY, IT WAS A WAY OF GETTING AROUND THE UNION. EVERYONE WAS CANNED; THEY GOT A SEVERANCE PACKAGE. IT WAS A PRETTY UNNERVING TIME, AND MORALE REALLY, REALLY HIT A LOW THERE. THEY ASSIGNED AN EDITOR FROM TORONTO, AND ANOTHER FELLOW WHO HAD BEEN BROADCASTING NEWS, THEY WENT…AND THEY WERE GOING TO RE-IMAGINE THE NEWS, AND THEY HAD BIG PLANS TO MAKE THE STATION WHOLLY-NEW, AND A WHOLE NEW WAY OF DOING THINGS, WITH A MINIMUM NUMBER OF PEOPLE…RESPONSIBILITIES WERE CHANGED; MORE LOAD WAS TAKEN ON, BUT, AS WELL, LESS THINGS WERE GOING TO BE DONE. WE DIDN’T HAVE THE ENGINEER, AND SO THEY HIRED A FELLOW TO BE A VIDEOGRAPHER. HE WOULD SHOOT SOME OF THE NEWS STORIES, BUT HE WAS ALSO RESPONSIBLE FOR TWEAKING UP THE CAMERAS, AND IF THERE WAS A PROBLEM, SENDING IT UP TO CALGARY…I THINK WHAT THEY DID WAS THEY MEASURED OUT THE NUMBER OF HOURS, THE NUMBER OF PEOPLE, WHAT THEY WANTED TO COVER, WHAT THEY WANTED TO DO, AND THEY WENT WITH THAT NUMBER—TWELVE OR FOURTEEN PEOPLE, AND SO, CHANGING THE ROLES, WHOLE NEW JOB DESCRIPTIONS. BUT, AS I SAID TO [MANAGEMENT], ‘YOU KNOW, I THINK YOU OVERLOOKED THE FACT THAT ALL THE PEOPLE HERE, ON THE UNION CONTRACT, GET AT LEAST THREE WEEKS’ VACATION. MEANS YOU’VE GOT TWELVE PEOPLE—THAT’S THIRTY-SIX WEEKS—THAT YOU’VE GOT SOMEBODY AWAY. SO, YOU’RE RUNNING SHORT-STAFFED OVER HALF A YEAR.’ THAT’S PRETTY TOUGH ON PEOPLE, BECAUSE THIS GENERATION THAT’S IN THERE NOW, I DON’T THINK THEY HAVE THE SAME KIND OF ATTITUDE, OR WORK ETHIC. WE WOULD WORK. WELL, MY WIFE COULD ATTEST TO THE HOURS THAT I WOULD PUT IN AT THE STATION. AND, I DIDN’T GET PAID OVERTIME. I GOT A…FEE. THIS STUFF, BETWEEN THE CHANGE OF ATTITUDE, AND THE NEWS CYCLE, AND CUTTING BACK HOW THEY COULD, IT WAS REALLY TOUGH ON PEOPLE. BUT, I WAS THE FIRST ONE TO BE LET GO IN 1996, AND I WAS THE MARKETING RESEARCH AND SALES (WE WERE DOING VIDEO PRODUCTIONS), AND THE FELLOW WHO WAS THE PRODUCTION COORDINATOR, JIM MCNALLY, I BROUGHT ON. HE WAS AN EXCELLENT PHOTOGRAPHER OUT OF OTTAWA, AND HE HAD, I THINK, ONE OF THE TOUGHEST TIMES BACK IN ’96 (ACTUALLY, MORE SO IN ’98). THEY MADE HIM GENERAL MANAGER OF THE STATION. HIS ENTIRE RESPONSIBILITY OVER, I DON’T KNOW HOW MANY WEEKS AND MONTHS WAS TO CUT THE STAFF DOWN TO, I DON’T KNOW, SIXTEEN PEOPLE. AND, WHEN THAT WAS ACCOMPLISHED, HE WAS LET GO.” WHEN ASKED ABOUT THE “GOLDEN AGE” OF LETHBRIDGE BROADCAST OR TELEVISION NEWS, DWORNIK SHARED, “TELEVISION HAS ALWAYS BEEN FOR THE VAST MAJORITY OF PEOPLE, A VERY EXCITING INDUSTRY BECAUSE THERE’S ALWAYS DEVELOPMENTS, TECHNOLOGY. WHEN YOU THINK THAT BACK IN THE DAY IT WAS IN BLACK AND WHITE, BUT THEY DID LIVE COMMERCIALS AND THAT’S QUITE REMARKABLE TOO, HOW THEY WERE DOING THOSE THINGS. THEY DID A LOT OF PRANKS AND FUN STUFF ON AIR…THE TECHNOLOGY KEPT DEVELOPING. IT LOOKED AS GOOD AS IT COULD GET BACK IN THE DAY, BUT NOW THAT WE ARE UP TO 4K VIDEO…IN MY DAY WE HAD BEEN COLOUR FOR QUITE SOME TINE, BUT WHEN I CAME IN IN ‘76 IT WAS KIND OF THE LAUNCH OF ENG, ELECTRONIC NEWS GATHERING OR EFP, FIELD PRODUCTION. THE EQUIPMENT WAS THREE QUARTER INCH AT THAT TIME, THE CAMERAS WERE BIG AND HEAVY, AND THE TAPE DECK, IT WAS A TWO PIECE UNIT, IT NEEDED A LOT OF LIGHT SO WE CARRIED AROUND ABOUT A THIRTY POUND BOX FULL OF LIGHTING GEAR. TRUCKING THAT FROM ONE END OF THE UNIVERSITY HALL DOWN TO THE OTHER END WHERE THE PRESIDENT WAS.” “FROM MY PERSPECTIVE, I THINK I WAS IN THE “GOLDEN AGE” OF TELEVISION IN LETHBRIDGE HERE, BECAUSE WE DID A LOT OF LOCAL PROGRAMS. WE ACTUALLY HAD A SYNDICATED SPORTS PROGRAM CALLED SKI WEST, AND THAT RAN ON HALF A DOZEN MARKETS—INDEPENDENT MARKETS—TELEVISION STATIONS WITH SELKIRK, AND, ACTUALLY THAT WAS WITH WICK AS WELL TOO. WE DID A LOT OF COMMERCIALS, PROGRAM PRODUCTION AND…I THINK IT WAS AROUND ’88 OR ’90, WE WERE ALREADY TALKING AND WE SAW ADVANTAGES IN WHAT WAS CALLED THEN HIGH-DEFINITION TELEVISION WHICH WAS TEN EIGHTY, BUT IT WAS A LONG WAY BEFORE IT CAME. WE DIDN’T ACTUALLY CONVERT TO DIGITAL TELEVISION IN CANADA UNTIL I THINK IT WAS 2009-2010, AND AS ONE OF OUR ENGINEERS MENTIONED, THAT WAS MOST REMARKABLE TECHNOLOGY-WISE. BECAUSE, WHEN WE STARTED IN BLACK AND WHITE, IT WAS A FOUR BY THREE FORMAT AND THEN THEY ADDED COLOUR, IMAGINATIVE COLOUR IN THE ‘60S. THAT WAS PRETTY SMOOTH BECAUSE YOU COULD, YOU KNOW, YOU ARE BROADCASTING THIS ONE SIGNAL OUT IN COLOUR, BUT IF YOU ONLY HAD A BLACK AND WHITE TV, YOU COULD STILL WATCH IT IN BLACK AND WHITE, AND IF YOU HAD COLOUR ALL THE BETTER. THAT WAS IN THE ERA WHEN CABLE WAS ON ITS UP RISE AND SO IT WENT THROUGH A PRETTY SMOOTH TRANSITION, BUT WHEN WE WENT DIGITAL IT WAS HARD LINE IN THE SAND. YOUR OLD TV SET WOULD NOT BE GETTING NOTHING ON IT. THERE WOULD BE NO SIGNAL COMING IN AT ALL, AND WE HAD TO SWITCH OVER TO EITHER CABLE, WHICH WOULD CONVERT THE DIGITAL SIGNAL INTO THE NTSC SIGNAL FOR YOU, OR ELSE YOU HAD TO GET A BRAND NEW TV THAT’S DIGITAL. IT REALLY DID SPUR THE INDUSTRY, AND IT WAS A HUGE FINANCIAL INVESTMENT. CBC WITH ALL THEIR BROADCAST SATELLITES TO COVER ALL OF CANADA, WAS GIVEN AN EXTRA YEAR TO SWITCH OVER TO DIGITAL. IN THE END THEY SAID, ‘NO WE CAN’T DO IT,’ SO THEY HAD TO ACTUALLY SHUT DOWN THEIR TELEVISION TOWER IN LETHBRIDGE [IN JUNE 2012].” “IN A MARKET LIKE OURS WHERE WE HAVE GOT CABLE THAT WAS OKAY, BUT IN THE RURAL AREAS…SOME [PEOPLE] WERE ALREADY ON SATELLITE, BUT THEN AGAIN, WHEN I WAS IN THE INDUSTRY, THE SATELLITE DISHES WERE HUGE AND WE WERE STILL USING A HUGE ONE…IT WAS MORE THAN 12 FEET, IT WAS HUGE, 20 SOME FEET ACROSS. AGAIN, BACK IN THE ‘80S I REMEMBER OUR PRESIDENT COMING BACK AND TELLING US THAT, ‘YOU KNOW, THEY’RE TALKING ABOUT SATELLITES GOING UP THERE AND THEY’RE GOING TO BE SO POWERFUL YOU COULD USE A SATELLITE DISH NO BIGGER THAN A PIZZA BOX.’…THAT’S WHAT WE’VE GOT NOW REALLY…I THINK IT’S A LOT OF ‘GOLDEN ERAS’ AS YOU WOULD SAY REALLY, BECAUSE NOW WITH DIGITAL IT’S JUST PHENOMENAL, AND IT WENT FROM 1080 UP TO 4K. 8K IS OUT THERE TODAY, BUT I THINK IT WILL BE A LONG TIME BECAUSE IT IS A LOT OF BAND WIDTH FOR PEOPLE…” ON HIS MOTIVATIONS FOR DONATING THE ITEMS TO THE GALT MUSEUM, DWORNIK SHARED, “MY WIFE WHO IS WITH US, SANDRA, SUGGESTED THAT I MIGHT CLEAN UP OUR GARAGE AND OTHER PLACES IN THE HOUSE, BECAUSE I COLLECT A LOT OF STUFF. THE OTHER REASON [I’M DONATING THE ITEMS TO THE GALT MUSEUM] ACTUALLY IS IT MIGHT BE TIME—FROM A HISTORICAL VIEW POINT THAT WHAT IS NOW GLOBAL TELEVISION IS MOVING LOCATION. WHERE THEY HAVE BEEN IN THEIR ORIGINAL SITE…[IN] WHAT IS NOW THE INDUSTRIAL PARK, THEY ARE MOVING OUT OF THERE MID-SEPTEMBER OR SO TO A LOCATION DOWNTOWN AND THEY ARE MOVING INTO WHAT IS NOW THE NEW ROYAL BANK, WHICH USED TO BE THE MARQUIS HOTEL. THEY ARE JUST BUILDING THE STUDIO THERE NOW AND THEY WILL BE JOINING THE RADIO FROM THE PATERSON GROUP IN THAT SAME BUILDING, BUT THEY ARE TOTALLY SEPARATED. ANYWAY, I THOUGHT IT PERHAPS TIMELY AND SOME CONNECTIONS THERE.” “WHEN I RETIRED IT WAS KIND OF A HOLLOW BUILDING AND THERE WAS A LOT OF VIDEO TAPE AROUND, WHICH I CONVINCED THE CURRENT OWNERS OF THE STATION, SHAW MEDIA AT THE TIME…BETWEEN MYSELF AND AN ENGINEER, LARRY LAWDINEY, WE DID CONVINCE THEM THAT THERE WAS A LOT OF HISTORY IN THOSE VIDEO TAPES, WHICH THEY WERE PREPARED TO THROW OUT IN THE DUMPSTER, AND END UP IN OUR LANDFILL. SO, WORKING WITH ANDREW [AT THE GALT ARCHIVES], AND HE HAS GOT—I DON’T KNOW HOW MANY TRUCKLOADS OF THE TAPES NOW.” “SOME OF THESE ARTIFACTS, WHICH I HAVE DISCUSSED WITH YOU BEFORE, I FELT WERE SIGNIFICANT…REPRESENTATIVE OF SOME OF THE HISTORY OF THE STATION. THE STATION PRODUCED SOME VERY REMARKABLE INDIVIDUALS THAT HAVE GONE ON TO WIDE ACCLAIM ACTUALLY, RIGHT THROUGH THE HISTORY OF THE STATION. INCLUDING PEOPLE LIKE DON SLADE…HE WAS A DISC JOCKEY WHEN I WAS LIVING IN WINNIPEG GROWING UP, AND THEN HE ENDED UP BEING IN EITHER CALGARY OR EDMONTON. THE FAMOUS WEATHER MAN…BILL MATHESON, OF COURSE FROM LETHBRIDGE, WENT TO NEW YORK, AND ENDED UP IN EDMONTON. I HAVE HAD A NUMBER OF PEOPLE WHO HAVE WORKED IN MY DEPARTMENT THAT HAVE GONE ON TO SOME SIGNIFICANT ACCOMPLISHMENTS AS WELL. ONE IN PARTICULAR, DOUG GOAT, WAS A VIDEO JOURNALIST FOR NBC AND HE WENT OVER TO THESE WAR TORN COUNTRIES—HE WAS A LETHBRIDGE BOY, HIS DAD ACTUALLY MADE SOME EQUIPMENT FOR US FOR OUR TRIPODS…RICK LUCHUCK, WHO WAS IN OUR PRODUCTION DEPARTMENT LEFT, WENT TO REGINA, AND THEN I THINK TORONTO…HE CAME BACK JUST THIS PAST YEAR FOR A REUNION AT LETHBRIDGE COLLEGE, FROM WHERE HE GRADUATED IN BROADCASTING. HE IS VICE PRESIDENT OF PROMOTIONS FOR CNN…WE HAVE HAD PEOPLE GO TO SPORTS NETWORK…A LOT OF PEOPLE WENT THROUGH THE STATION, IT WAS A REVOLVING DOOR, BUT I WAS OKAY WITH THAT BECAUSE WE HELPED BUILD THEIR CAPABILITIES, AND THEY WERE VERY APPRECIATIVE OF THE OPPORTUNITIES AND THE TRAINING THAT WE DID PROVIDE…THE STUFF WE DID WE HAD…A VERY SMALL MOBILE PRODUCTION FACILITY, BUT IT WAS INVOLVED WITH THE OLYMPICS IN ’88, THE TORCH RUN. WE PICKED UP THE TORCH RUN WHEN IT ENTERED ALBERTA IN THE CROWSNEST PASS, BROADCAST THAT LIVE THROUGHOUT ALBERTA. I HAD THE OPPORTUNITY TO MEET PRINCE CHARLES AND PRINCE ANDREW AND FERGIE…THEY WERE DOWN FOR…THE OFFICIAL OPENING OF HEAD SMASHED IN BUFFALO JUMP.” “THE STATION WON A [NATIONAL] AWARD…[THE] FOUNDERS AWARD OF EXCELLENCE FOR A DOCUMENTARY WE PRODUCED [CALLED ‘WE WON’T LET HIM DIE’], AND I WAS THE PHOTOGRAPHER ON THAT AND SHOT…IT WAS ACTUALLY THIRTY YEARS AGO THAT THIS YOUNG FELLOW, TOMMY JONES, WAS WORKING AT A CHURCH CAMP IN WATERTON AND WENT HIKING WITH SOME FRIENDS IN A MOUNTAIN AND FELL AND HAD A SERIOUS BRAIN INJURY. TWO YEARS LATER—THEY DIDN’T EXPECT HIM TO LIVE…WE DOCUMENTED THAT WHOLE STORY AND RECREATED THE SCENES IN THE DOCUDRAMA…THESE THINGS REMIND ME OF ANOTHER ARTIST CORNY MARTENS, BRONZE ARTIST, WAS OUR STUDIO DIRECTOR, AND SOME OF THE STUFF THEY USED TO DO, BACK IN THE DAYS OF BLACK AND WHITE, THEY DID COMMERCIALS—THEY PAINTED THE FLOOR OF THE STUDIO TO MAKE IT LOOK LIKE A SWIMMING POOL, AND THEY HAD A FASHION SHOW WITH SWIMSUITS…THAT’S KIND OF WHAT PROMPTED ME [TO DONATE THE ITEMS], AND THAT’S THE CONNECTION TO THESE ITEMS.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND ARTICLES ON THE GLOBAL NEWS STATION BEING DISMANTLED, PLEASE SEE THE PERMANENT FILE P20190022001-GA.
Catalogue Number
P20190022004
Acquisition Date
2019-08
Collection
Museum
Images
Less detail
Other Name
"GLOBAL NEWS" FLASH
Date Range From
2007
Date Range To
2014
Material Type
Artifact
Materials
PLASTIC, FOAM, INK
Catalogue Number
P20190022005
  2 images  
Material Type
Artifact
Other Name
"GLOBAL NEWS" FLASH
Date Range From
2007
Date Range To
2014
Materials
PLASTIC, FOAM, INK
No. Pieces
1
Height
5.7
Width
7
Description
BLACK PLASTIC MICROPHONE FLASH, SQUARE/CUBE WITH GREY FOAM INSIDE. TOP HAS HOLE CUT IN PLASTIC SHOWING FOAM INSIDE; FOAM HAS CIRCLE CUT IN CENTER FOR HOLDING A MICROPHONE. SIDES OF FLASH HAVE LOGO WITH WHITE TEXT “GLOBAL” AND RED TEXT “NEWS” BESIDE RED ARROW. TEXT ON SIDES OF FLASH IS FADED AND PEELING; TOP AND SIDES OF FLASH ARE SCRATCHED AND SCUFFED; OVERALL VERY GOOD CONDITION.
Subjects
SOUND COMMUNICATION T&E
TELECOMMUNICATION T&E
Historical Association
INDUSTRY
History
ON AUGUST 21, 2019, COLLECTION TECHNICIAN KEVIN MACLEAN INTERVIWED WAYNE DWORNIK REGARDING HIS DONATION OF GLOBAL NEWS STATION ITEMS. DWORNIK WORKED FOR LETHBRIDGE TELEVISION BROADCAST NEWS FROM 1976-2013. ON THE MICROPHONE FLASH, DWORNIK RECALLED, “[A HANDHELD MICROPHONE WITH A FLASH] WAS USED MORE SO FOR SOME PROMOTION IN PROGRAMMING STUFF. I THINK [THE MICROPHONE AND FLASH] MAY HAVE BEEN USED FOR THE JUNE 7TH BATTLE GROUND…IT WAS A REALLY HUGE UNDERTAKING. WE HAD OUR MOBILE CONSTRUCTED, AND ONE OF THE THINGS, AGAIN, TO DO COMMUNITY PROGRAMMING, WE WOULD DO A GAME SHOW THAT WE WOULD RECORD DURING WHOOP-UP DAYS. WE DID IT DOWNTOWN [BY THE IGA STORE, NOW CASA] AND I DID SOME VIDEOTAPING FROM THAT. IT WAS A THREE CAMERA OPERATION. MOST OF THE STAFF WOULD GO OUT TO IT, AND WE WOULD GET TEAMS OF PEOPLE FROM BUSINESSES COMPETING IN A THREE LEGGED RACE, A SKI RACE. THERE WERE FOUR PEOPLE ON A TWO BY TEN TREATED AS SKIS. THERE WAS A BOBBING-TANK THERE, WHERE THEY WOULD HAVE TO GET THEIR HEAD IN TO GET A DOZEN DUCKS OUT. THERE WAS A WOBBLY WHEEL CART AND ANOTHER ONE WITH SPRAYING WATER GUNS. IT WAS JUST A BLAST. PEOPLE WOULD COME OUT AND SET UP BLEACHERS ON THE STREET…WE ALSO DID IT ON ANOTHER STREET, I THINK IT WAS ON SIXTH STREET AT ONE TIME AND THEN WE DID IT OUT AT WHOOP-UP GROUNDS. WE ALSO TOOK IT OUT ON THE ROAD. WE DID IT IN TABER, PINCHER CREEK…IT WAS A BLAST, A REALLY GREAT TIME.” “I’M THINKING [WE RAN IT] ABOUT FIVE YEARS…I’M GOING TO SAY, 1990-95…I REMEMBER ONE BUDGET YEAR, JUST AFTER WICK BOUGHT THE STATION, THE WHOLE MANAGEMENT TEAM (AND AT THAT TIME I WAS THE PRODUCTION MANAGER) WE WERE FLOWN OUT TO VANCOUVER TO MEET THE EXECUTIVES OF WICK, AND WE WEREN’T SURE IF WE WERE GOING TO RECEIVE WALKING PAPERS OR WHAT. ACTUALLY, IT WAS QUITE AMIABLE REALLY, BUT WE HAD TO DO WHAT THEY CALLED, A ZERO-BUDGET PROCESS WHERE YOU TAKE EVERYTHING AWAY, START FROM ZERO AND SEE WHAT YOU NEED. THEN OF COURSE WE HAD BUDGET FIGURES TO MEET…WHAT CAN YOU DO WITHOUT AND WHAT IS GOING TO GET CUT BACK. A LOT OF IT WAS THE LOCAL PROGRAMMING WE WERE DOING…[THIS HAPPENED] I THINK ABOUT ’92.” “I KNOW [THE INCLUDED HANDHELD MICROPHONE] DOESN’T FIT ON [THE] NEWS FLASHER…[THE MICROPHONE] WAS WIRED. IT HAS GOT AN XLR CONNECTION ON IT…IT WAS [STORED IN THE ENGINEER’S ROOM WHEN I GOT IT IN 2014].” “WE STARTED GOING WITH WHAT THEY CALL LAVALIER MICS…SOMETIMES THEY’LL STILL USE A HAND HELD MIC…ONE OF THE REASONS THEY USE A HAND HELD MIC IS THAT THEY CAN PUT THE FLASH ON RIGHT THERE, AND IF YOU’RE GOING TO USE FILM, THEY’VE GOT YOUR NAME IN FRONT…THEY HAD QUITE A FEW [GLOBAL NEWS] FLASHERS THERE FOR THAT VERY PURPOSE, WHEN YOU NEED…YOU COULD USE [THE HANDHELD MICROPHONE] AS A HAND RIGHT, IT WAS AN OLD WARHORSE CAMERA OR MICROPHONE, AND YOU WOULD JUST SLIDE THAT ON, BUT THEN THEY’D THROW IT IN THE BACK OF THE CAR, OR THE TRUCK AND IT GETS SCUFFED UP.” “WE HAD THOSE WHEN I WAS STILL A SHOOTER, AND YOU KNOW, THEY’D BEEN USED FOR DECADES REALLY…WHILE I DIDN’T USE THAT PARTICULAR ONE, WE HAD ONES THAT WERE LIKE THAT.” “[I STARTED UNDER] CJOC…THEN TWO MONTHS AFTER I STARTED THERE, WE CHANGED TO CFAC [AND THEY HAD FLASHES TOO].” DWORNIK RECALLED HIS TIME WORKING IN LETHBRIDGE FOR BROADCAST NEWS, NOTING, “I WORKED FOR LETHBRIDGE TELEVISION FOR [25] YEARS…I JOINED THE STATION AS A PHOTOGRAPHER IN 1976. I HELD THAT POSITION FOR SEVEN YEARS AS CHIEF PHOTOGRAPHER, AND THEN I MOVED INTO MANAGEMENT, AND BECAME PRODUCTION MANAGER FOR TEN YEARS I GUESS, AND THEN I GOT INTO SALES AND MARKETING AND RESEARCH. I LEFT THE STATION IN 1996, AND I WAS ONE THE FIRST, IF NOT THE FIRST OF THE DOWNSIZING IN THAT ERA. AT THE TIME WHEN I LEFT IN ’96 THERE WERE AT LEAST SEVENTY-SIX PEOPLE ON STAFF. [TODAY] I BELIEVE THERE IS MAYBE A DOZEN…I RETURNED TO THE STATION IN THE CAPACITY OF…ACCOUNT REPRESENTATIVE IN 2008 AND I RETIRED AT…THE END OF DECEMBER 2014…WHEN I CAME TO LETHBRIDGE, I THOUGHT I WOULD ONLY STAY A COUPLE OF YEARS AND MOVE ONTO A BIGGER STATION, YOU KNOW BIG CITY, BRIGHT LIGHTS…BUT I LOVED THE CITY AND THERE WAS SO MUCH TO OFFER HERE. I HAD SO MUCH FUN, THERE WERE SO MANY REMARKABLE, INCREDIBLY REMARKABLE EXPERIENCES I HAD AS A PHOTOGRAPHER, AND PRODUCTION MANAGER, ESPECIALLY. SOME OF THESE ITEMS HERE GO BACK TO BEFORE MY TIME, BUT AGAIN LETHBRIDGE—LITTLE DIMPLE ON THE PRAIRIE HERE THAT WE ARE, WE ACTUALLY MADE A PRETTY GOOD NAME FOR THE CITY AND FOR THE STATION IN WHAT WE WERE PRODUCING IN NEWS, AND PARTICULARLY IN LOCAL PROGRAMMING. THAT WAS KIND OF ONE OF MY PASSIONS, WAS THE LOCAL PROGRAMMING, DOCUMENTARIES AND THEN OF COURSE, NEWS AS WELL.” “[THERE] WAS A FRIENDLY RIVALRY BETWEEN ALL THE MEDIA ACTUALLY, AND CTV WOULD PRODUCE THE ODD DOCUMENTARY, WHEREAS WE DID A LOT MORE…AT THE MOST THEY HAD I THINK MAYBE TWENTY PEOPLE ON STAFF, SO THEY WERE LIMITED. THEY WERE ACTUALLY A SATELLITE, OR A RE-BROADCASTER, THEY DIDN’T HAVE THEIR OWN LICENSE SO THEY WERE HANDLED DIFFERENTLY BY THEIR OWNERS THAN OUR STATION WAS. THEN AGAIN MANAGEMENT HERE WAS QUITE FORWARD THINKING IN MOST THINGS. I REMEMBER OUR PRESIDENT AND GENERAL MANAGER, BOB JOHNSON, DECADES AGO TOUTING THE FACT THAT THE ONLY THING THAT WILL MAKE US SUSTAINABLE AND RELEVANT IS LOCAL NEWS. HE KNEW, BACK THEN, THROUGH BROADCASTER ASSOCIATIONS ALL THE THINGS THAT WERE COMING AHEAD OF US…WE COULD GET NEWS FROM AROUND THE WORLD…WE CARRIED A LOT OF AMERICAN PROGRAMS…THE ONLY THING THAT IS GOING TO MAKE US DISTINCT IS WHAT WE CAN DO WITH OUR LOCAL NEWS AND AS AN EXTENSION OF THAT, OUR LOCAL PROGRAMMING, OUR DOCUMENTARIES. IT WAS QUITE GOOD FOR THE STAFF AND THE MORALE WAS TERRIFIC…WE HAD A SLOW PITCH BASEBALL TEAM, WE’D PARTICIPATE IN COMMUNITY THINGS, WITH THE PARADES, WHOOP-UP DAYS AND THE STAFF PARTIES WERE TERRIFIC.” “I WAS A PHOTOGRAPHER, AND I WAS OUT ON LOCATION INTERVIEWING ALL THESE INTERESTING PEOPLE, EDITING THESE PROGRAMS, NEWS STORIES, COMMERCIALS. I WAS IN MY ELEMENT…[I WORKED WITH] THE VISUAL CONTENT…BACK IN THE DAY, THERE WAS A NEWS REPORTER THAT WAS HIS JOB WAS TO BE ON CAMERA, TO RESEARCH THE STORY, SET UP THE CONTEXT, DO THE INTERVIEWS, WE WOULD RECORD THE VISUALS, RECORD THE INTERVIEWS, AND NOW AS YOU REFER TO IT, IT IS ALL DONE BY ONE…THEY CALL HIM A, AT DIFFERENT TIMES, EITHER A VIDEO JOURNALIST OR A VIDEOGRAPHER. MY TRAINING ACTUALLY WAS IN STILL PHOTOGRAPHY BACK IN WINNIPEG, BUT MY FIRST JOB WAS IN TELEVISION, SO I LEARNED ON THE JOB. SHOOTING BLACK AND WHITE FILM, COLOUR—AGAIN, SIXTEEN MILLIMETER FILM FOR COMMERCIALS. WE WERE STILL DOING A LOT OF SLIDE COMMERCIALS AT THAT TIME, AND WE PROCESSED OUR OWN SLIDE FILM IN THE BASEMENT AT THE STATION THERE, WITHOUT USING RUBBER GLOVES.” “AT THAT TIME WE HAD FIVE PHOTOGRAPHERS, WE ONLY HAD TWO VEHICLES TO GO OUT IN BUT, SO THE REPORTERS WOULD SOMETIMES USE THEIR OWN VEHICLES. I KNOW FOR THE FIRST YEAR OR TWO I USED MY OWN VEHICLE TO CARRY THE GEAR BECAUSE AT THAT TIME WE DIDN’T HAVE ANY STATION VEHICLES. OUR FIRST ONES WERE TWO…HONDA CIVIC STATION WAGONS, THEN WE GOT TWO NISSAN STATION WAGONS AND THEN WE WENT TO A FORD BRONCO I THINK IT WAS.” “I WOULD GO WHERE THERE WAS A GOOD OPPORTUNITY FOR WORK AND—ACTUALLY, ON OUR HONEY MOON, WE PACKED UP FROM SWIFT CURRENT…(I HAD THREE WEEKS HOLIDAY), AND WE MADE OUR WAY OUT TO THE WEST COAST, STOPPING AT EVERY TELEVISION STATION, ALONG THE WAY, HAVING A TOUR, AND LEAVING A RESUME. SO WE STOPPED AT MEDICINE HAT, LETHBRIDGE (WHICH I WAS REALLY IMPRESSED WITH), AND WE WENT THROUGH KELOWNA, (WHICH I WAS AGAIN VERY IMPRESSED WITH), AND SO I THOUGHT IT WOULD BE EITHER LETHBRIDGE, OR KELOWNA, I WOULD LIKE TO MOVE TO, AND THEN FROM THERE MAYBE CALGARY, VANCOUVER. AS I SAID, LETHBRIDGE WON OUT, THEY HAD A JOB OPENING…BECAUSE OF A STRIKE…AT THAT TIME…NABET…NATIONAL ASSOCIATION OF BROADCAST ENGINEERS AND TECHNOLOGISTS…THEY WERE WANTING TO FORM A LOCAL, AND GET UNION REPRESENTATION AND NEGOTIATIONS CAME TO A STAND-STILL, AND THEY WENT ON STRIKE I THINK, IN APRIL, OR MAY OF ’75 , ’76. SO I HAD JUST FAIRLY RECENTLY PUT MY RESUME IN THERE, AND THEY CALLED ME UP AND [IT WAS] A TOUGH SITUATION, AND I HELD OFF, AND I SAID, ‘WELL I’VE GOT TO WORK WITH THESE PEOPLE, IF I COME IN AS A STRIKE BREAKER, A SCAB—‘ AND SO I WASN’T TOO ANXIOUS TO DO THAT, BUT, AFTER A FEW MORE PHONE CALLS OVER I GUESS IT WAS A COUPLE OR THREE MONTH’S PERIOD, I SAID ‘WELL, YEAH, LET’S DO IT,’ AND I MOVED BACK.” DWORNIK SHARED THE HISTORY OF THE GLOBAL NEWS STATION IN LETHBRIDGE, RECALLING, “[BEFORE THE STATION WAS 2&7, IT WAS] CFAC. IT HAS GONE THROUGH A LOT OF CHANGES, IT STARTED OFF AS CJLH WHICH IS A COMBINATION OF CJOC RADIO AND THE LETHBRIDGE HERALD THAT CO-OWNED THE STATION WHICH OPENED IN [NOVEMBER] 1955…THEN THE HERALD GOT OUT OF IT AND WE WERE BOUGHT BY SELKIRK COMMUNICATIONS AND WE BECAME CJOC TELEVISION…THE STATION OPENED IN ’55, I THINK IT BECAME CJOC AROUND 1960, BUT DON’T QUOTE ME ON THAT. THEN WHEN I CAME IN [FALL] ’76…UP UNTIL THEN WE WERE A CBC AFFILIATE, AND THEN IN ’76 WE BECAME AN INDEPENDENT STATION AND CHANGED OUR CALL LETTERS, AGAIN, TO CFAC TELEVISION. OUR LOGO WAS MODELED AFTER THE RONDELL OF CHC HAMILTON TELEVISION, WHICH WAS AN INDEPENDENT STATION OWNED BY SELKIRK. WE ARE THE SISTER STATION BUT WITH OUR OWN INDEPENDENT LICENSE, WE BECAME PART OF THE INDEPENDENT NETWORK…ABOUT THE TIME OF THE OLYMPICS…WE CHANGED TO TWO AND SEVEN…IT WAS AROUND 1992 MAYBE THAT WE CHANGED OUR CALL LETTERS ONCE AGAIN TO CISA, INDICATIVE OF, ALL STATIONS STARTED WITH ‘C’ RADIO OR TELEVISION IN CANADA, AND THE ‘ISA’ WAS FOR INDEPENDENT SOUTHERN ALBERTA…WITH MY BACKGROUND IN ART AND DESIGN WORKING WITH THAT, WE DID SOME STILL-FRAME ANIMATION. WE DID SOME FUN STUFF WITH THE LOGOS…WHILE I WAS STILL [WITH CISA] WE WENT THROUGH…ANOTHER TWO CHANGES IN OWNERSHIP. SELKIRK SOLD US TO, APPARENTLY TO MACLEAN’S MAGAZINE, AND THAT LASTED FOR ABOUT AN HOUR OR TWO AND THEN I THINK WITH WICK…WESTERN BOUGHT US, THEY BASICALLY BOUGHT ALL OF SELKIRK COMMUNICATIONS AND ADDED US TO THEIR FLOCK OF ITV EDMONTON, BRITISH COLUMBIA TV IN VANCOUVER, AND CHECK TV IN VICTORIA AND I THINK THEY ALSO HAD OKANAGAN TV AS WELL.” “[LETHBRIDGE IS AN ANOMALY] FOR SURE BECAUSE WHEN I CAME HERE WE WERE AROUND FORTY THOUSAND [IN POPULATION], AND THERE WERE TWO OPERATING TELEVISION STATIONS. AS FAR AS I KNOW, WE ARE THE ONLY CITY OF THIS SIZE THAT HAD TWO TELEVISION STATIONS. IN MANY OTHER CITIES THEY WOULD HAVE WHAT THEY CALL A ‘TWINSTICK.’ SO WE WERE CBC, CFCN WAS A CTV AFFILIATE. IN MEDICINE HAT, CBC AND CTV WERE OPERATED OUT OF THE SAME BUILDING BY THE SAME STAFF. THEY WOULD LIKELY HAVE A DIFFERENT ANCHOR OR NEWS DEPARTMENT, BUT THE OTHER COMPONENTS OF OPERATIONS WERE ALL CONTAINED IN THE SAME [BUILDING]—AND THAT’S THE SAME IN, ALL ACROSS WESTERN CANADA…IN A CITY OF OUR POPULATION TO HAVE TWO STATIONS WAS QUITE REMARKABLE, AND VERY COMPETITIVE, AND ALONG WITH THAT, THE RADIO SIDE OF IT…RIGHT NOW WE’VE GOT REALLY SIX RADIO STATIONS, BACK THEN, THERE WERE NEARLY FOUR. AGAIN, QUITE UNUSUAL IN THE FACT THAT YOU’VE GOT TWO AM AND THEN TWO FM. ONE FM STATION ACTUALLY STARTED OFF PLAYING CLASSICAL MUSIC. WHAT THAT LENDS TO THE CITY IS A LOT MORE VARIETY IN PROGRAMMING THAN THEY WOULD OTHERWISE GET. WE HAVE GOT THE BROADCAST PROGRAMMING AT THE LETHBRIDGE COLLEGE HERE, AND THAT FED INTO OUR NEEDS QUITE WELL, IN RADIO AND IN TELEVISION. WE BROUGHT A LOT OF PEOPLE OUT ACTUALLY FROM DOWN EAST BECAUSE THEY HAD SOME REALLY GOOD PROGRAMS FROM FANSHAWE COLLEGE, OTTAWA AND WE WOULD BRING AS WELL, PEOPLE FROM SAIT AND NAIT, AS WELL AS MOUNT ROYAL COLLEGE. THOSE PEOPLE COME STRAIGHT OUT OF COLLEGE, GETTING AN OPPORTUNITY IN A MID-SIZED MARKET…THEY HAD THEIR HANDS INVOLVED IN PROGRAMS, NEWS, COMMERCIAL PRODUCTION AND THEN BEING PART OF THE COMMUNITY.” “I BELIEVE THAT WE WERE STILL A PRETTY GOOD REVENUE-GENERATOR FOR [WICK TO BE SUPPORTIVE OF]. BECAUSE EVEN WITH THAT SIZE OF STAFF, WE WEREN’T PAID AS MUCH AS THEY WERE IN CALGARY, WHICH IS LIKELY WHY EVERYBODY WANTED THE UNION…THEY WEREN’T LOSING MONEY THERE. WE WEREN’T MAKING A WHOLE LOT OF MONEY, BUT…CRTC I THINK CAME INTO PLAY IN THAT, A LOT, TOO, BECAUSE CRTC WAS TO GOVERN THE RULES AND REGULATIONS FOR BROADCASTING. IT WOULD BE DIFFICULT, I THINK, IN ANY PURCHASE OF A STATION, FOR THEM TO GO, AND SHUT THAT STATION DOWN, AT THAT TIME. BUT, WHAT HAS HAPPENED IS THAT RADIO STATIONS HAVE SHUT DOWN, (LIKE RED DEER LOST THEIR STATION; IT WAS A TWINSTICK), AND I LOST TOUCH WITH THE INDUSTRY WHEN THAT SORT OF THING WAS HAPPENING.” “THE GLOBAL PERIOD, WHEN IT WAS OWNED BY CANWEST…ANOTHER REMARKABLE COMPANY (FAMILY-OWNED BUSINESS), AND THEY WERE BUYING UP TELEVISION STATIONS ACROSS CANADA, AND THEN THEY EXPANDED. THEY BOUGHT SOME NEWSPAPERS; THEY BOUGHT A TELEVISION STATION IN ENGLAND, AND I THINK THEIR DOWNFALL ACTUALLY WAS OVER-EXTENDING THEMSELVES, AND GETTING INTO THE AUSTRALIAN MARKET. I JOINED THE STATION IN 2008, WHEN THEY WERE STARTING TO SLIDE. OF COURSE, THE WHOLE ECONOMY WAS STARTING TO SLIDE, AND I CAME ON AS A FRESH, NEW SALESPERSON TO SELL ADVERTISING.” “THAT’S WHEN ALL THE DOWNSIZING OCCURRED [AROUND 2008], JUST IN THAT TRANSITION…WICK STARTED THE DOWNSIZING, AND THEN CANWEST CARRIED ON WITH IT. IT WAS JUST WELL, THE ONSLAUGHT OF GLOBALIZATION, AND THE BIG GET BIGGER, AND SMALL EITHER GET BOUGHT UP, OR SHUT DOWN…WHEN I STARTED AT THE STATION IN 2008, BACK IN SALES, THAT WAS WHEN THINGS REALLY CHANGED, BECAUSE WE STILL HAD A DIRECTOR, AND ONE VIDEOTAPE OPERATOR, AND THEY HAD ROBOT CAMERAS SET UP, BUT WE WERE STILL SWITCHING OUR OWN NEWS, AND ORIGINATING NEWS OUT OF OUR PRODUCTION CONTROL ROOM. THEN, TOWARDS THE END OF 2008, IS WHEN THOSE TWO PEOPLE WERE LET GO, AND WE STARTED WITH CALGARY TELEVISION DIRECTING THE NEWS. AS IT TURNED OUT, THERE WAS NO WAY THAT WE COULD PUT SOMETHING ON THE AIR, BECAUSE THEY DISCONNECTED THE SWITCHING EQUIPMENT…IF THERE WAS LIKE A WEATHER EMERGENCY, OR SOMETHING LIKE THAT, WE COULD NOT PUT A CRAWL ACROSS THE SCREEN. IT WAS QUITE UNNERVING, ACTUALLY, THAT WE WERE LOSING THAT KIND OF LOCAL CAPABILITY.” “[I THINK] IT WAS IN 2013…WHERE EVERYONE BUT ME WAS LET GO, AND THEY COULD RE-APPLY FOR THEIR JOB. BASICALLY, IT WAS A WAY OF GETTING AROUND THE UNION. EVERYONE WAS CANNED; THEY GOT A SEVERANCE PACKAGE. IT WAS A PRETTY UNNERVING TIME, AND MORALE REALLY, REALLY HIT A LOW THERE. THEY ASSIGNED AN EDITOR FROM TORONTO, AND ANOTHER FELLOW WHO HAD BEEN BROADCASTING NEWS, THEY WENT…AND THEY WERE GOING TO RE-IMAGINE THE NEWS, AND THEY HAD BIG PLANS TO MAKE THE STATION WHOLLY-NEW, AND A WHOLE NEW WAY OF DOING THINGS, WITH A MINIMUM NUMBER OF PEOPLE…RESPONSIBILITIES WERE CHANGED; MORE LOAD WAS TAKEN ON, BUT, AS WELL, LESS THINGS WERE GOING TO BE DONE. WE DIDN’T HAVE THE ENGINEER, AND SO THEY HIRED A FELLOW TO BE A VIDEOGRAPHER. HE WOULD SHOOT SOME OF THE NEWS STORIES, BUT HE WAS ALSO RESPONSIBLE FOR TWEAKING UP THE CAMERAS, AND IF THERE WAS A PROBLEM, SENDING IT UP TO CALGARY…I THINK WHAT THEY DID WAS THEY MEASURED OUT THE NUMBER OF HOURS, THE NUMBER OF PEOPLE, WHAT THEY WANTED TO COVER, WHAT THEY WANTED TO DO, AND THEY WENT WITH THAT NUMBER—TWELVE OR FOURTEEN PEOPLE, AND SO, CHANGING THE ROLES, WHOLE NEW JOB DESCRIPTIONS. BUT, AS I SAID TO [MANAGEMENT], ‘YOU KNOW, I THINK YOU OVERLOOKED THE FACT THAT ALL THE PEOPLE HERE, ON THE UNION CONTRACT, GET AT LEAST THREE WEEKS’ VACATION. MEANS YOU’VE GOT TWELVE PEOPLE—THAT’S THIRTY-SIX WEEKS—THAT YOU’VE GOT SOMEBODY AWAY. SO, YOU’RE RUNNING SHORT-STAFFED OVER HALF A YEAR.’ THAT’S PRETTY TOUGH ON PEOPLE, BECAUSE THIS GENERATION THAT’S IN THERE NOW, I DON’T THINK THEY HAVE THE SAME KIND OF ATTITUDE, OR WORK ETHIC. WE WOULD WORK. WELL, MY WIFE COULD ATTEST TO THE HOURS THAT I WOULD PUT IN AT THE STATION. AND, I DIDN’T GET PAID OVERTIME. I GOT A…FEE. THIS STUFF, BETWEEN THE CHANGE OF ATTITUDE, AND THE NEWS CYCLE, AND CUTTING BACK HOW THEY COULD, IT WAS REALLY TOUGH ON PEOPLE. BUT, I WAS THE FIRST ONE TO BE LET GO IN 1996, AND I WAS THE MARKETING RESEARCH AND SALES (WE WERE DOING VIDEO PRODUCTIONS), AND THE FELLOW WHO WAS THE PRODUCTION COORDINATOR, JIM MCNALLY, I BROUGHT ON. HE WAS AN EXCELLENT PHOTOGRAPHER OUT OF OTTAWA, AND HE HAD, I THINK, ONE OF THE TOUGHEST TIMES BACK IN ’96 (ACTUALLY, MORE SO IN ’98). THEY MADE HIM GENERAL MANAGER OF THE STATION. HIS ENTIRE RESPONSIBILITY OVER, I DON’T KNOW HOW MANY WEEKS AND MONTHS WAS TO CUT THE STAFF DOWN TO, I DON’T KNOW, SIXTEEN PEOPLE. AND, WHEN THAT WAS ACCOMPLISHED, HE WAS LET GO.” WHEN ASKED ABOUT THE “GOLDEN AGE” OF LETHBRIDGE BROADCAST OR TELEVISION NEWS, DWORNIK SHARED, “TELEVISION HAS ALWAYS BEEN FOR THE VAST MAJORITY OF PEOPLE, A VERY EXCITING INDUSTRY BECAUSE THERE’S ALWAYS DEVELOPMENTS, TECHNOLOGY. WHEN YOU THINK THAT BACK IN THE DAY IT WAS IN BLACK AND WHITE, BUT THEY DID LIVE COMMERCIALS AND THAT’S QUITE REMARKABLE TOO, HOW THEY WERE DOING THOSE THINGS. THEY DID A LOT OF PRANKS AND FUN STUFF ON AIR…THE TECHNOLOGY KEPT DEVELOPING. IT LOOKED AS GOOD AS IT COULD GET BACK IN THE DAY, BUT NOW THAT WE ARE UP TO 4K VIDEO…IN MY DAY WE HAD BEEN COLOUR FOR QUITE SOME TINE, BUT WHEN I CAME IN IN ‘76 IT WAS KIND OF THE LAUNCH OF ENG, ELECTRONIC NEWS GATHERING OR EFP, FIELD PRODUCTION. THE EQUIPMENT WAS THREE QUARTER INCH AT THAT TIME, THE CAMERAS WERE BIG AND HEAVY, AND THE TAPE DECK, IT WAS A TWO PIECE UNIT, IT NEEDED A LOT OF LIGHT SO WE CARRIED AROUND ABOUT A THIRTY POUND BOX FULL OF LIGHTING GEAR. TRUCKING THAT FROM ONE END OF THE UNIVERSITY HALL DOWN TO THE OTHER END WHERE THE PRESIDENT WAS.” “FROM MY PERSPECTIVE, I THINK I WAS IN THE “GOLDEN AGE” OF TELEVISION IN LETHBRIDGE HERE, BECAUSE WE DID A LOT OF LOCAL PROGRAMS. WE ACTUALLY HAD A SYNDICATED SPORTS PROGRAM CALLED SKI WEST, AND THAT RAN ON HALF A DOZEN MARKETS—INDEPENDENT MARKETS—TELEVISION STATIONS WITH SELKIRK, AND, ACTUALLY THAT WAS WITH WICK AS WELL TOO. WE DID A LOT OF COMMERCIALS, PROGRAM PRODUCTION AND…I THINK IT WAS AROUND ’88 OR ’90, WE WERE ALREADY TALKING AND WE SAW ADVANTAGES IN WHAT WAS CALLED THEN HIGH-DEFINITION TELEVISION WHICH WAS TEN EIGHTY, BUT IT WAS A LONG WAY BEFORE IT CAME. WE DIDN’T ACTUALLY CONVERT TO DIGITAL TELEVISION IN CANADA UNTIL I THINK IT WAS 2009-2010, AND AS ONE OF OUR ENGINEERS MENTIONED, THAT WAS MOST REMARKABLE TECHNOLOGY-WISE. BECAUSE, WHEN WE STARTED IN BLACK AND WHITE, IT WAS A FOUR BY THREE FORMAT AND THEN THEY ADDED COLOUR, IMAGINATIVE COLOUR IN THE ‘60S. THAT WAS PRETTY SMOOTH BECAUSE YOU COULD, YOU KNOW, YOU ARE BROADCASTING THIS ONE SIGNAL OUT IN COLOUR, BUT IF YOU ONLY HAD A BLACK AND WHITE TV, YOU COULD STILL WATCH IT IN BLACK AND WHITE, AND IF YOU HAD COLOUR ALL THE BETTER. THAT WAS IN THE ERA WHEN CABLE WAS ON ITS UP RISE AND SO IT WENT THROUGH A PRETTY SMOOTH TRANSITION, BUT WHEN WE WENT DIGITAL IT WAS HARD LINE IN THE SAND. YOUR OLD TV SET WOULD NOT BE GETTING NOTHING ON IT. THERE WOULD BE NO SIGNAL COMING IN AT ALL, AND WE HAD TO SWITCH OVER TO EITHER CABLE, WHICH WOULD CONVERT THE DIGITAL SIGNAL INTO THE NTSC SIGNAL FOR YOU, OR ELSE YOU HAD TO GET A BRAND NEW TV THAT’S DIGITAL. IT REALLY DID SPUR THE INDUSTRY, AND IT WAS A HUGE FINANCIAL INVESTMENT. CBC WITH ALL THEIR BROADCAST SATELLITES TO COVER ALL OF CANADA, WAS GIVEN AN EXTRA YEAR TO SWITCH OVER TO DIGITAL. IN THE END THEY SAID, ‘NO WE CAN’T DO IT,’ SO THEY HAD TO ACTUALLY SHUT DOWN THEIR TELEVISION TOWER IN LETHBRIDGE [IN JUNE 2012].” “IN A MARKET LIKE OURS WHERE WE HAVE GOT CABLE THAT WAS OKAY, BUT IN THE RURAL AREAS…SOME [PEOPLE] WERE ALREADY ON SATELLITE, BUT THEN AGAIN, WHEN I WAS IN THE INDUSTRY, THE SATELLITE DISHES WERE HUGE AND WE WERE STILL USING A HUGE ONE…IT WAS MORE THAN 12 FEET, IT WAS HUGE, 20 SOME FEET ACROSS. AGAIN, BACK IN THE ‘80S I REMEMBER OUR PRESIDENT COMING BACK AND TELLING US THAT, ‘YOU KNOW, THEY’RE TALKING ABOUT SATELLITES GOING UP THERE AND THEY’RE GOING TO BE SO POWERFUL YOU COULD USE A SATELLITE DISH NO BIGGER THAN A PIZZA BOX.’…THAT’S WHAT WE’VE GOT NOW REALLY…I THINK IT’S A LOT OF ‘GOLDEN ERAS’ AS YOU WOULD SAY REALLY, BECAUSE NOW WITH DIGITAL IT’S JUST PHENOMENAL, AND IT WENT FROM 1080 UP TO 4K. 8K IS OUT THERE TODAY, BUT I THINK IT WILL BE A LONG TIME BECAUSE IT IS A LOT OF BAND WIDTH FOR PEOPLE…” ON HIS MOTIVATIONS FOR DONATING THE ITEMS TO THE GALT MUSEUM, DWORNIK SHARED, “MY WIFE WHO IS WITH US, SANDRA, SUGGESTED THAT I MIGHT CLEAN UP OUR GARAGE AND OTHER PLACES IN THE HOUSE, BECAUSE I COLLECT A LOT OF STUFF. THE OTHER REASON [I’M DONATING THE ITEMS TO THE GALT MUSEUM] ACTUALLY IS IT MIGHT BE TIME—FROM A HISTORICAL VIEW POINT THAT WHAT IS NOW GLOBAL TELEVISION IS MOVING LOCATION. WHERE THEY HAVE BEEN IN THEIR ORIGINAL SITE…[IN] WHAT IS NOW THE INDUSTRIAL PARK, THEY ARE MOVING OUT OF THERE MID-SEPTEMBER OR SO TO A LOCATION DOWNTOWN AND THEY ARE MOVING INTO WHAT IS NOW THE NEW ROYAL BANK, WHICH USED TO BE THE MARQUIS HOTEL. THEY ARE JUST BUILDING THE STUDIO THERE NOW AND THEY WILL BE JOINING THE RADIO FROM THE PATERSON GROUP IN THAT SAME BUILDING, BUT THEY ARE TOTALLY SEPARATED. ANYWAY, I THOUGHT IT PERHAPS TIMELY AND SOME CONNECTIONS THERE.” “WHEN I RETIRED IT WAS KIND OF A HOLLOW BUILDING AND THERE WAS A LOT OF VIDEO TAPE AROUND, WHICH I CONVINCED THE CURRENT OWNERS OF THE STATION, SHAW MEDIA AT THE TIME…BETWEEN MYSELF AND AN ENGINEER, LARRY LAWDINEY, WE DID CONVINCE THEM THAT THERE WAS A LOT OF HISTORY IN THOSE VIDEO TAPES, WHICH THEY WERE PREPARED TO THROW OUT IN THE DUMPSTER, AND END UP IN OUR LANDFILL. SO, WORKING WITH ANDREW [AT THE GALT ARCHIVES], AND HE HAS GOT—I DON’T KNOW HOW MANY TRUCKLOADS OF THE TAPES NOW.” “SOME OF THESE ARTIFACTS, WHICH I HAVE DISCUSSED WITH YOU BEFORE, I FELT WERE SIGNIFICANT…REPRESENTATIVE OF SOME OF THE HISTORY OF THE STATION. THE STATION PRODUCED SOME VERY REMARKABLE INDIVIDUALS THAT HAVE GONE ON TO WIDE ACCLAIM ACTUALLY, RIGHT THROUGH THE HISTORY OF THE STATION. INCLUDING PEOPLE LIKE DON SLADE…HE WAS A DISC JOCKEY WHEN I WAS LIVING IN WINNIPEG GROWING UP, AND THEN HE ENDED UP BEING IN EITHER CALGARY OR EDMONTON. THE FAMOUS WEATHER MAN…BILL MATHESON, OF COURSE FROM LETHBRIDGE, WENT TO NEW YORK, AND ENDED UP IN EDMONTON. I HAVE HAD A NUMBER OF PEOPLE WHO HAVE WORKED IN MY DEPARTMENT THAT HAVE GONE ON TO SOME SIGNIFICANT ACCOMPLISHMENTS AS WELL. ONE IN PARTICULAR, DOUG GOAT, WAS A VIDEO JOURNALIST FOR NBC AND HE WENT OVER TO THESE WAR TORN COUNTRIES—HE WAS A LETHBRIDGE BOY, HIS DAD ACTUALLY MADE SOME EQUIPMENT FOR US FOR OUR TRIPODS…RICK LUCHUCK, WHO WAS IN OUR PRODUCTION DEPARTMENT LEFT, WENT TO REGINA, AND THEN I THINK TORONTO…HE CAME BACK JUST THIS PAST YEAR FOR A REUNION AT LETHBRIDGE COLLEGE, FROM WHERE HE GRADUATED IN BROADCASTING. HE IS VICE PRESIDENT OF PROMOTIONS FOR CNN…WE HAVE HAD PEOPLE GO TO SPORTS NETWORK…A LOT OF PEOPLE WENT THROUGH THE STATION, IT WAS A REVOLVING DOOR, BUT I WAS OKAY WITH THAT BECAUSE WE HELPED BUILD THEIR CAPABILITIES, AND THEY WERE VERY APPRECIATIVE OF THE OPPORTUNITIES AND THE TRAINING THAT WE DID PROVIDE…THE STUFF WE DID WE HAD…A VERY SMALL MOBILE PRODUCTION FACILITY, BUT IT WAS INVOLVED WITH THE OLYMPICS IN ’88, THE TORCH RUN. WE PICKED UP THE TORCH RUN WHEN IT ENTERED ALBERTA IN THE CROWSNEST PASS, BROADCAST THAT LIVE THROUGHOUT ALBERTA. I HAD THE OPPORTUNITY TO MEET PRINCE CHARLES AND PRINCE ANDREW AND FERGIE…THEY WERE DOWN FOR…THE OFFICIAL OPENING OF HEAD SMASHED IN BUFFALO JUMP.” “THE STATION WON A [NATIONAL] AWARD…[THE] FOUNDERS AWARD OF EXCELLENCE FOR A DOCUMENTARY WE PRODUCED [CALLED ‘WE WON’T LET HIM DIE’], AND I WAS THE PHOTOGRAPHER ON THAT AND SHOT…IT WAS ACTUALLY THIRTY YEARS AGO THAT THIS YOUNG FELLOW, TOMMY JONES, WAS WORKING AT A CHURCH CAMP IN WATERTON AND WENT HIKING WITH SOME FRIENDS IN A MOUNTAIN AND FELL AND HAD A SERIOUS BRAIN INJURY. TWO YEARS LATER—THEY DIDN’T EXPECT HIM TO LIVE…WE DOCUMENTED THAT WHOLE STORY AND RECREATED THE SCENES IN THE DOCUDRAMA…THESE THINGS REMIND ME OF ANOTHER ARTIST CORNY MARTENS, BRONZE ARTIST, WAS OUR STUDIO DIRECTOR, AND SOME OF THE STUFF THEY USED TO DO, BACK IN THE DAYS OF BLACK AND WHITE, THEY DID COMMERCIALS—THEY PAINTED THE FLOOR OF THE STUDIO TO MAKE IT LOOK LIKE A SWIMMING POOL, AND THEY HAD A FASHION SHOW WITH SWIMSUITS…THAT’S KIND OF WHAT PROMPTED ME [TO DONATE THE ITEMS], AND THAT’S THE CONNECTION TO THESE ITEMS.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND ARTICLES ON THE GLOBAL NEWS STATION BEING DISMANTLED, PLEASE SEE THE PERMANENT FILE P20190022001-GA.
Catalogue Number
P20190022005
Acquisition Date
2019-08
Collection
Museum
Images
Less detail
Other Name
ELECTRO VOICE RE5ON/D-B
Date Range From
1988
Date Range To
2000
Material Type
Artifact
Materials
METAL, RUBBER, PLASTIC
Catalogue Number
P20190022006
  2 images  
Material Type
Artifact
Other Name
ELECTRO VOICE RE5ON/D-B
Date Range From
1988
Date Range To
2000
Materials
METAL, RUBBER, PLASTIC
No. Pieces
1
Length
27.5
Diameter
5
Description
BLACK METAL MICROPHONE WITH SILVER CONNECTOR AND BLACK RUBBER END. MICROPHONE HAS BLACK WINDSCREEN; MICROPHONE HAS BLACK LABEL WRAPPED AROUND BODY UNDER HEAD AND WINDSCREEN, WITH WHITE TEXT “EV, RE5ON/D-B, 150 OHMS DYNAMIC OMNIDIRECTIONAL”. BASE CONNECTOR HAS SILVER PUSH-SWITCH FOR REMOVAL. BODY IS HEAVILY SCRATCHED AND SCUFFED; HEAD BELOW WINDSCREEN IS SCUFFED; LABEL BELOW HEAD IS PEELED AT CORNERS; BASE CONNECTOR HAS GREEN-BLUE RESIDUE; OVERALL VERY GOOD CONDITION.
Subjects
SOUND COMMUNICATION T&E
TELECOMMUNICATION T&E
Historical Association
INDUSTRY
History
ON AUGUST 21, 2019, COLLECTION TECHNICIAN KEVIN MACLEAN INTERVIWED WAYNE DWORNIK REGARDING HIS DONATION OF GLOBAL NEWS STATION ITEMS. DWORNIK WORKED FOR LETHBRIDGE TELEVISION BROADCAST NEWS FROM 1976-2013. ON THE HANDHELD ELECTRO VOICE MICROPHONE, DWORNIK RECALLED, “THIS [MICROPHONE] WAS USED MORE SO FOR SOME PROMOTION IN PROGRAMMING STUFF. I THINK THIS ONE MAY HAVE BEEN USED FOR THE JUNE 7TH BATTLE GROUND…IT WAS A REALLY HUGE UNDERTAKING. WE HAD OUR MOBILE CONSTRUCTED, AND ONE OF THE THINGS, AGAIN, TO DO COMMUNITY PROGRAMMING, WE WOULD DO A GAME SHOW THAT WE WOULD RECORD DURING WHOOP-UP DAYS. WE DID IT DOWNTOWN [BY THE IGA STORE, NOW CASA] AND I DID SOME VIDEOTAPING FROM THAT. IT WAS A THREE CAMERA OPERATION. MOST OF THE STAFF WOULD GO OUT TO IT, AND WE WOULD GET TEAMS OF PEOPLE FROM BUSINESSES COMPETING IN A THREE LEGGED RACE, A SKI RACE. THERE WERE FOUR PEOPLE ON A TWO BY TEN TREATED AS SKIS. THERE WAS A BOBBING-TANK THERE, WHERE THEY WOULD HAVE TO GET THEIR HEAD IN TO GET A DOZEN DUCKS OUT. THERE WAS A WOBBLY WHEEL CART AND ANOTHER ONE WITH SPRAYING WATER GUNS. IT WAS JUST A BLAST. PEOPLE WOULD COME OUT AND SET UP BLEACHERS ON THE STREET…WE ALSO DID IT ON ANOTHER STREET, I THINK IT WAS ON SIXTH STREET AT ONE TIME AND THEN WE DID IT OUT AT WHOOP-UP GROUNDS. WE ALSO TOOK IT OUT ON THE ROAD. WE DID IT IN TABER, PINCHER CREEK…IT WAS A BLAST, A REALLY GREAT TIME.” “I’M THINKING [WE RAN IT] ABOUT FIVE YEARS…I’M GOING TO SAY, 1990-95…I REMEMBER ONE BUDGET YEAR, JUST AFTER WICK BOUGHT THE STATION, THE WHOLE MANAGEMENT TEAM (AND AT THAT TIME I WAS THE PRODUCTION MANAGER) WE WERE FLOWN OUT TO VANCOUVER TO MEET THE EXECUTIVES OF WICK, AND WE WEREN’T SURE IF WE WERE GOING TO RECEIVE WALKING PAPERS OR WHAT. ACTUALLY, IT WAS QUITE AMIABLE REALLY, BUT WE HAD TO DO WHAT THEY CALLED, A ZERO-BUDGET PROCESS WHERE YOU TAKE EVERYTHING AWAY, START FROM ZERO AND SEE WHAT YOU NEED. THEN OF COURSE WE HAD BUDGET FIGURES TO MEET…WHAT CAN YOU DO WITHOUT AND WHAT IS GOING TO GET CUT BACK. A LOT OF IT WAS THE LOCAL PROGRAMMING WE WERE DOING…[THIS HAPPENED] I THINK ABOUT ’92.” “I KNOW [THE INCLUDED HANDHELD MICROPHONE] DOESN’T FIT ON [THE] NEWS FLASHER…[THE MICROPHONE] WAS WIRED. IT HAS GOT AN XLR CONNECTION ON IT…IT WAS [STORED IN THE ENGINEER’S ROOM WHEN I GOT IT IN 2014].” “WE STARTED GOING WITH WHAT THEY CALL LAVALIER MICS…SOMETIMES THEY’LL STILL USE A HAND HELD MIC…ONE OF THE REASONS THEY USE A HAND HELD MIC IS THAT THEY CAN PUT THE FLASH ON RIGHT THERE, AND IF YOU’RE GOING TO USE FILM, THEY’VE GOT YOUR NAME IN FRONT…THEY HAD QUITE A FEW [GLOBAL NEWS] FLASHERS THERE FOR THAT VERY PURPOSE, WHEN YOU NEED…YOU COULD USE [THE MICROPHONE] AS A HAND RIGHT, IT WAS AN OLD WARHORSE CAMERA OR MICROPHONE, AND YOU WOULD JUST SLIDE THAT ON, BUT THEN THEY’D THROW IT IN THE BACK OF THE CAR, OR THE TRUCK AND IT GETS SCUFFED UP.” “WE HAD THOSE WHEN I WAS STILL A SHOOTER, AND YOU KNOW, THEY’D BEEN USED FOR DECADES REALLY…WHILE I DIDN’T USE THAT PARTICULAR ONE, WE HAD ONES THAT WERE LIKE THAT.” DWORNIK RECALLED HIS TIME WORKING IN LETHBRIDGE FOR BROADCAST NEWS, NOTING, “I WORKED FOR LETHBRIDGE TELEVISION FOR [25] YEARS…I JOINED THE STATION AS A PHOTOGRAPHER IN 1976. I HELD THAT POSITION FOR SEVEN YEARS AS CHIEF PHOTOGRAPHER, AND THEN I MOVED INTO MANAGEMENT, AND BECAME PRODUCTION MANAGER FOR TEN YEARS I GUESS, AND THEN I GOT INTO SALES AND MARKETING AND RESEARCH. I LEFT THE STATION IN 1996, AND I WAS ONE THE FIRST, IF NOT THE FIRST OF THE DOWNSIZING IN THAT ERA. AT THE TIME WHEN I LEFT IN ’96 THERE WERE AT LEAST SEVENTY-SIX PEOPLE ON STAFF. [TODAY] I BELIEVE THERE IS MAYBE A DOZEN…I RETURNED TO THE STATION IN THE CAPACITY OF…ACCOUNT REPRESENTATIVE IN 2008 AND I RETIRED AT…THE END OF DECEMBER 2014…WHEN I CAME TO LETHBRIDGE, I THOUGHT I WOULD ONLY STAY A COUPLE OF YEARS AND MOVE ONTO A BIGGER STATION, YOU KNOW BIG CITY, BRIGHT LIGHTS…BUT I LOVED THE CITY AND THERE WAS SO MUCH TO OFFER HERE. I HAD SO MUCH FUN, THERE WERE SO MANY REMARKABLE, INCREDIBLY REMARKABLE EXPERIENCES I HAD AS A PHOTOGRAPHER, AND PRODUCTION MANAGER, ESPECIALLY. SOME OF THESE ITEMS HERE GO BACK TO BEFORE MY TIME, BUT AGAIN LETHBRIDGE—LITTLE DIMPLE ON THE PRAIRIE HERE THAT WE ARE, WE ACTUALLY MADE A PRETTY GOOD NAME FOR THE CITY AND FOR THE STATION IN WHAT WE WERE PRODUCING IN NEWS, AND PARTICULARLY IN LOCAL PROGRAMMING. THAT WAS KIND OF ONE OF MY PASSIONS, WAS THE LOCAL PROGRAMMING, DOCUMENTARIES AND THEN OF COURSE, NEWS AS WELL.” “[THERE] WAS A FRIENDLY RIVALRY BETWEEN ALL THE MEDIA ACTUALLY, AND CTV WOULD PRODUCE THE ODD DOCUMENTARY, WHEREAS WE DID A LOT MORE…AT THE MOST THEY HAD I THINK MAYBE TWENTY PEOPLE ON STAFF, SO THEY WERE LIMITED. THEY WERE ACTUALLY A SATELLITE, OR A RE-BROADCASTER, THEY DIDN’T HAVE THEIR OWN LICENSE SO THEY WERE HANDLED DIFFERENTLY BY THEIR OWNERS THAN OUR STATION WAS. THEN AGAIN MANAGEMENT HERE WAS QUITE FORWARD THINKING IN MOST THINGS. I REMEMBER OUR PRESIDENT AND GENERAL MANAGER, BOB JOHNSON, DECADES AGO TOUTING THE FACT THAT THE ONLY THING THAT WILL MAKE US SUSTAINABLE AND RELEVANT IS LOCAL NEWS. HE KNEW, BACK THEN, THROUGH BROADCASTER ASSOCIATIONS ALL THE THINGS THAT WERE COMING AHEAD OF US…WE COULD GET NEWS FROM AROUND THE WORLD…WE CARRIED A LOT OF AMERICAN PROGRAMS…THE ONLY THING THAT IS GOING TO MAKE US DISTINCT IS WHAT WE CAN DO WITH OUR LOCAL NEWS AND AS AN EXTENSION OF THAT, OUR LOCAL PROGRAMMING, OUR DOCUMENTARIES. IT WAS QUITE GOOD FOR THE STAFF AND THE MORALE WAS TERRIFIC…WE HAD A SLOW PITCH BASEBALL TEAM, WE’D PARTICIPATE IN COMMUNITY THINGS, WITH THE PARADES, WHOOP-UP DAYS AND THE STAFF PARTIES WERE TERRIFIC.” “I WAS A PHOTOGRAPHER, AND I WAS OUT ON LOCATION INTERVIEWING ALL THESE INTERESTING PEOPLE, EDITING THESE PROGRAMS, NEWS STORIES, COMMERCIALS. I WAS IN MY ELEMENT…[I WORKED WITH] THE VISUAL CONTENT…BACK IN THE DAY, THERE WAS A NEWS REPORTER THAT WAS HIS JOB WAS TO BE ON CAMERA, TO RESEARCH THE STORY, SET UP THE CONTEXT, DO THE INTERVIEWS, WE WOULD RECORD THE VISUALS, RECORD THE INTERVIEWS, AND NOW AS YOU REFER TO IT, IT IS ALL DONE BY ONE…THEY CALL HIM A, AT DIFFERENT TIMES, EITHER A VIDEO JOURNALIST OR A VIDEOGRAPHER. MY TRAINING ACTUALLY WAS IN STILL PHOTOGRAPHY BACK IN WINNIPEG, BUT MY FIRST JOB WAS IN TELEVISION, SO I LEARNED ON THE JOB. SHOOTING BLACK AND WHITE FILM, COLOUR—AGAIN, SIXTEEN MILLIMETER FILM FOR COMMERCIALS. WE WERE STILL DOING A LOT OF SLIDE COMMERCIALS AT THAT TIME, AND WE PROCESSED OUR OWN SLIDE FILM IN THE BASEMENT AT THE STATION THERE, WITHOUT USING RUBBER GLOVES.” “AT THAT TIME WE HAD FIVE PHOTOGRAPHERS, WE ONLY HAD TWO VEHICLES TO GO OUT IN BUT, SO THE REPORTERS WOULD SOMETIMES USE THEIR OWN VEHICLES. I KNOW FOR THE FIRST YEAR OR TWO I USED MY OWN VEHICLE TO CARRY THE GEAR BECAUSE AT THAT TIME WE DIDN’T HAVE ANY STATION VEHICLES. OUR FIRST ONES WERE TWO…HONDA CIVIC STATION WAGONS, THEN WE GOT TWO NISSAN STATION WAGONS AND THEN WE WENT TO A FORD BRONCO I THINK IT WAS.” “I WOULD GO WHERE THERE WAS A GOOD OPPORTUNITY FOR WORK AND—ACTUALLY, ON OUR HONEY MOON, WE PACKED UP FROM SWIFT CURRENT…(I HAD THREE WEEKS HOLIDAY), AND WE MADE OUR WAY OUT TO THE WEST COAST, STOPPING AT EVERY TELEVISION STATION, ALONG THE WAY, HAVING A TOUR, AND LEAVING A RESUME. SO WE STOPPED AT MEDICINE HAT, LETHBRIDGE (WHICH I WAS REALLY IMPRESSED WITH), AND WE WENT THROUGH KELOWNA, (WHICH I WAS AGAIN VERY IMPRESSED WITH), AND SO I THOUGHT IT WOULD BE EITHER LETHBRIDGE, OR KELOWNA, I WOULD LIKE TO MOVE TO, AND THEN FROM THERE MAYBE CALGARY, VANCOUVER. AS I SAID, LETHBRIDGE WON OUT, THEY HAD A JOB OPENING…BECAUSE OF A STRIKE…AT THAT TIME…NABET…NATIONAL ASSOCIATION OF BROADCAST ENGINEERS AND TECHNOLOGISTS…THEY WERE WANTING TO FORM A LOCAL, AND GET UNION REPRESENTATION AND NEGOTIATIONS CAME TO A STAND-STILL, AND THEY WENT ON STRIKE I THINK, IN APRIL, OR MAY OF ’75 , ’76. SO I HAD JUST FAIRLY RECENTLY PUT MY RESUME IN THERE, AND THEY CALLED ME UP AND [IT WAS] A TOUGH SITUATION, AND I HELD OFF, AND I SAID, ‘WELL I’VE GOT TO WORK WITH THESE PEOPLE, IF I COME IN AS A STRIKE BREAKER, A SCAB—‘ AND SO I WASN’T TOO ANXIOUS TO DO THAT, BUT, AFTER A FEW MORE PHONE CALLS OVER I GUESS IT WAS A COUPLE OR THREE MONTH’S PERIOD, I SAID ‘WELL, YEAH, LET’S DO IT,’ AND I MOVED BACK.” DWORNIK SHARED THE HISTORY OF THE GLOBAL NEWS STATION IN LETHBRIDGE, RECALLING, “[BEFORE THE STATION WAS 2&7, IT WAS] CFAC. IT HAS GONE THROUGH A LOT OF CHANGES, IT STARTED OFF AS CJLH WHICH IS A COMBINATION OF CJOC RADIO AND THE LETHBRIDGE HERALD THAT CO-OWNED THE STATION WHICH OPENED IN [NOVEMBER] 1955…THEN THE HERALD GOT OUT OF IT AND WE WERE BOUGHT BY SELKIRK COMMUNICATIONS AND WE BECAME CJOC TELEVISION…THE STATION OPENED IN ’55, I THINK IT BECAME CJOC AROUND 1960, BUT DON’T QUOTE ME ON THAT. THEN WHEN I CAME IN [FALL] ’76…UP UNTIL THEN WE WERE A CBC AFFILIATE, AND THEN IN ’76 WE BECAME AN INDEPENDENT STATION AND CHANGED OUR CALL LETTERS, AGAIN, TO CFAC TELEVISION. OUR LOGO WAS MODELED AFTER THE RONDELL OF CHC HAMILTON TELEVISION, WHICH WAS AN INDEPENDENT STATION OWNED BY SELKIRK. WE ARE THE SISTER STATION BUT WITH OUR OWN INDEPENDENT LICENSE, WE BECAME PART OF THE INDEPENDENT NETWORK…ABOUT THE TIME OF THE OLYMPICS…WE CHANGED TO TWO AND SEVEN…IT WAS AROUND 1992 MAYBE THAT WE CHANGED OUR CALL LETTERS ONCE AGAIN TO CISA, INDICATIVE OF, ALL STATIONS STARTED WITH ‘C’ RADIO OR TELEVISION IN CANADA, AND THE ‘ISA’ WAS FOR INDEPENDENT SOUTHERN ALBERTA…WITH MY BACKGROUND IN ART AND DESIGN WORKING WITH THAT, WE DID SOME STILL-FRAME ANIMATION. WE DID SOME FUN STUFF WITH THE LOGOS…WHILE I WAS STILL [WITH CISA] WE WENT THROUGH…ANOTHER TWO CHANGES IN OWNERSHIP. SELKIRK SOLD US TO, APPARENTLY TO MACLEAN’S MAGAZINE, AND THAT LASTED FOR ABOUT AN HOUR OR TWO AND THEN I THINK WITH WICK…WESTERN BOUGHT US, THEY BASICALLY BOUGHT ALL OF SELKIRK COMMUNICATIONS AND ADDED US TO THEIR FLOCK OF ITV EDMONTON, BRITISH COLUMBIA TV IN VANCOUVER, AND CHECK TV IN VICTORIA AND I THINK THEY ALSO HAD OKANAGAN TV AS WELL.” “[LETHBRIDGE IS AN ANOMALY] FOR SURE BECAUSE WHEN I CAME HERE WE WERE AROUND FORTY THOUSAND [IN POPULATION], AND THERE WERE TWO OPERATING TELEVISION STATIONS. AS FAR AS I KNOW, WE ARE THE ONLY CITY OF THIS SIZE THAT HAD TWO TELEVISION STATIONS. IN MANY OTHER CITIES THEY WOULD HAVE WHAT THEY CALL A ‘TWINSTICK.’ SO WE WERE CBC, CFCN WAS A CTV AFFILIATE. IN MEDICINE HAT, CBC AND CTV WERE OPERATED OUT OF THE SAME BUILDING BY THE SAME STAFF. THEY WOULD LIKELY HAVE A DIFFERENT ANCHOR OR NEWS DEPARTMENT, BUT THE OTHER COMPONENTS OF OPERATIONS WERE ALL CONTAINED IN THE SAME [BUILDING]—AND THAT’S THE SAME IN, ALL ACROSS WESTERN CANADA…IN A CITY OF OUR POPULATION TO HAVE TWO STATIONS WAS QUITE REMARKABLE, AND VERY COMPETITIVE, AND ALONG WITH THAT, THE RADIO SIDE OF IT…RIGHT NOW WE’VE GOT REALLY SIX RADIO STATIONS, BACK THEN, THERE WERE NEARLY FOUR. AGAIN, QUITE UNUSUAL IN THE FACT THAT YOU’VE GOT TWO AM AND THEN TWO FM. ONE FM STATION ACTUALLY STARTED OFF PLAYING CLASSICAL MUSIC. WHAT THAT LENDS TO THE CITY IS A LOT MORE VARIETY IN PROGRAMMING THAN THEY WOULD OTHERWISE GET. WE HAVE GOT THE BROADCAST PROGRAMMING AT THE LETHBRIDGE COLLEGE HERE, AND THAT FED INTO OUR NEEDS QUITE WELL, IN RADIO AND IN TELEVISION. WE BROUGHT A LOT OF PEOPLE OUT ACTUALLY FROM DOWN EAST BECAUSE THEY HAD SOME REALLY GOOD PROGRAMS FROM FANSHAWE COLLEGE, OTTAWA AND WE WOULD BRING AS WELL, PEOPLE FROM SAIT AND NAIT, AS WELL AS MOUNT ROYAL COLLEGE. THOSE PEOPLE COME STRAIGHT OUT OF COLLEGE, GETTING AN OPPORTUNITY IN A MID-SIZED MARKET…THEY HAD THEIR HANDS INVOLVED IN PROGRAMS, NEWS, COMMERCIAL PRODUCTION AND THEN BEING PART OF THE COMMUNITY.” “I BELIEVE THAT WE WERE STILL A PRETTY GOOD REVENUE-GENERATOR FOR [WICK TO BE SUPPORTIVE OF]. BECAUSE EVEN WITH THAT SIZE OF STAFF, WE WEREN’T PAID AS MUCH AS THEY WERE IN CALGARY, WHICH IS LIKELY WHY EVERYBODY WANTED THE UNION…THEY WEREN’T LOSING MONEY THERE. WE WEREN’T MAKING A WHOLE LOT OF MONEY, BUT…CRTC I THINK CAME INTO PLAY IN THAT, A LOT, TOO, BECAUSE CRTC WAS TO GOVERN THE RULES AND REGULATIONS FOR BROADCASTING. IT WOULD BE DIFFICULT, I THINK, IN ANY PURCHASE OF A STATION, FOR THEM TO GO, AND SHUT THAT STATION DOWN, AT THAT TIME. BUT, WHAT HAS HAPPENED IS THAT RADIO STATIONS HAVE SHUT DOWN, (LIKE RED DEER LOST THEIR STATION; IT WAS A TWINSTICK), AND I LOST TOUCH WITH THE INDUSTRY WHEN THAT SORT OF THING WAS HAPPENING.” “THE GLOBAL PERIOD, WHEN IT WAS OWNED BY CANWEST…ANOTHER REMARKABLE COMPANY (FAMILY-OWNED BUSINESS), AND THEY WERE BUYING UP TELEVISION STATIONS ACROSS CANADA, AND THEN THEY EXPANDED. THEY BOUGHT SOME NEWSPAPERS; THEY BOUGHT A TELEVISION STATION IN ENGLAND, AND I THINK THEIR DOWNFALL ACTUALLY WAS OVER-EXTENDING THEMSELVES, AND GETTING INTO THE AUSTRALIAN MARKET. I JOINED THE STATION IN 2008, WHEN THEY WERE STARTING TO SLIDE. OF COURSE, THE WHOLE ECONOMY WAS STARTING TO SLIDE, AND I CAME ON AS A FRESH, NEW SALESPERSON TO SELL ADVERTISING.” “THAT’S WHEN ALL THE DOWNSIZING OCCURRED [AROUND 2008], JUST IN THAT TRANSITION…WICK STARTED THE DOWNSIZING, AND THEN CANWEST CARRIED ON WITH IT. IT WAS JUST WELL, THE ONSLAUGHT OF GLOBALIZATION, AND THE BIG GET BIGGER, AND SMALL EITHER GET BOUGHT UP, OR SHUT DOWN…WHEN I STARTED AT THE STATION IN 2008, BACK IN SALES, THAT WAS WHEN THINGS REALLY CHANGED, BECAUSE WE STILL HAD A DIRECTOR, AND ONE VIDEOTAPE OPERATOR, AND THEY HAD ROBOT CAMERAS SET UP, BUT WE WERE STILL SWITCHING OUR OWN NEWS, AND ORIGINATING NEWS OUT OF OUR PRODUCTION CONTROL ROOM. THEN, TOWARDS THE END OF 2008, IS WHEN THOSE TWO PEOPLE WERE LET GO, AND WE STARTED WITH CALGARY TELEVISION DIRECTING THE NEWS. AS IT TURNED OUT, THERE WAS NO WAY THAT WE COULD PUT SOMETHING ON THE AIR, BECAUSE THEY DISCONNECTED THE SWITCHING EQUIPMENT…IF THERE WAS LIKE A WEATHER EMERGENCY, OR SOMETHING LIKE THAT, WE COULD NOT PUT A CRAWL ACROSS THE SCREEN. IT WAS QUITE UNNERVING, ACTUALLY, THAT WE WERE LOSING THAT KIND OF LOCAL CAPABILITY.” “[I THINK] IT WAS IN 2013…WHERE EVERYONE BUT ME WAS LET GO, AND THEY COULD RE-APPLY FOR THEIR JOB. BASICALLY, IT WAS A WAY OF GETTING AROUND THE UNION. EVERYONE WAS CANNED; THEY GOT A SEVERANCE PACKAGE. IT WAS A PRETTY UNNERVING TIME, AND MORALE REALLY, REALLY HIT A LOW THERE. THEY ASSIGNED AN EDITOR FROM TORONTO, AND ANOTHER FELLOW WHO HAD BEEN BROADCASTING NEWS, THEY WENT…AND THEY WERE GOING TO RE-IMAGINE THE NEWS, AND THEY HAD BIG PLANS TO MAKE THE STATION WHOLLY-NEW, AND A WHOLE NEW WAY OF DOING THINGS, WITH A MINIMUM NUMBER OF PEOPLE…RESPONSIBILITIES WERE CHANGED; MORE LOAD WAS TAKEN ON, BUT, AS WELL, LESS THINGS WERE GOING TO BE DONE. WE DIDN’T HAVE THE ENGINEER, AND SO THEY HIRED A FELLOW TO BE A VIDEOGRAPHER. HE WOULD SHOOT SOME OF THE NEWS STORIES, BUT HE WAS ALSO RESPONSIBLE FOR TWEAKING UP THE CAMERAS, AND IF THERE WAS A PROBLEM, SENDING IT UP TO CALGARY…I THINK WHAT THEY DID WAS THEY MEASURED OUT THE NUMBER OF HOURS, THE NUMBER OF PEOPLE, WHAT THEY WANTED TO COVER, WHAT THEY WANTED TO DO, AND THEY WENT WITH THAT NUMBER—TWELVE OR FOURTEEN PEOPLE, AND SO, CHANGING THE ROLES, WHOLE NEW JOB DESCRIPTIONS. BUT, AS I SAID TO [MANAGEMENT], ‘YOU KNOW, I THINK YOU OVERLOOKED THE FACT THAT ALL THE PEOPLE HERE, ON THE UNION CONTRACT, GET AT LEAST THREE WEEKS’ VACATION. MEANS YOU’VE GOT TWELVE PEOPLE—THAT’S THIRTY-SIX WEEKS—THAT YOU’VE GOT SOMEBODY AWAY. SO, YOU’RE RUNNING SHORT-STAFFED OVER HALF A YEAR.’ THAT’S PRETTY TOUGH ON PEOPLE, BECAUSE THIS GENERATION THAT’S IN THERE NOW, I DON’T THINK THEY HAVE THE SAME KIND OF ATTITUDE, OR WORK ETHIC. WE WOULD WORK. WELL, MY WIFE COULD ATTEST TO THE HOURS THAT I WOULD PUT IN AT THE STATION. AND, I DIDN’T GET PAID OVERTIME. I GOT A…FEE. THIS STUFF, BETWEEN THE CHANGE OF ATTITUDE, AND THE NEWS CYCLE, AND CUTTING BACK HOW THEY COULD, IT WAS REALLY TOUGH ON PEOPLE. BUT, I WAS THE FIRST ONE TO BE LET GO IN 1996, AND I WAS THE MARKETING RESEARCH AND SALES (WE WERE DOING VIDEO PRODUCTIONS), AND THE FELLOW WHO WAS THE PRODUCTION COORDINATOR, JIM MCNALLY, I BROUGHT ON. HE WAS AN EXCELLENT PHOTOGRAPHER OUT OF OTTAWA, AND HE HAD, I THINK, ONE OF THE TOUGHEST TIMES BACK IN ’96 (ACTUALLY, MORE SO IN ’98). THEY MADE HIM GENERAL MANAGER OF THE STATION. HIS ENTIRE RESPONSIBILITY OVER, I DON’T KNOW HOW MANY WEEKS AND MONTHS WAS TO CUT THE STAFF DOWN TO, I DON’T KNOW, SIXTEEN PEOPLE. AND, WHEN THAT WAS ACCOMPLISHED, HE WAS LET GO.” WHEN ASKED ABOUT THE “GOLDEN AGE” OF LETHBRIDGE BROADCAST OR TELEVISION NEWS, DWORNIK SHARED, “TELEVISION HAS ALWAYS BEEN FOR THE VAST MAJORITY OF PEOPLE, A VERY EXCITING INDUSTRY BECAUSE THERE’S ALWAYS DEVELOPMENTS, TECHNOLOGY. WHEN YOU THINK THAT BACK IN THE DAY IT WAS IN BLACK AND WHITE, BUT THEY DID LIVE COMMERCIALS AND THAT’S QUITE REMARKABLE TOO, HOW THEY WERE DOING THOSE THINGS. THEY DID A LOT OF PRANKS AND FUN STUFF ON AIR…THE TECHNOLOGY KEPT DEVELOPING. IT LOOKED AS GOOD AS IT COULD GET BACK IN THE DAY, BUT NOW THAT WE ARE UP TO 4K VIDEO…IN MY DAY WE HAD BEEN COLOUR FOR QUITE SOME TINE, BUT WHEN I CAME IN IN ‘76 IT WAS KIND OF THE LAUNCH OF ENG, ELECTRONIC NEWS GATHERING OR EFP, FIELD PRODUCTION. THE EQUIPMENT WAS THREE QUARTER INCH AT THAT TIME, THE CAMERAS WERE BIG AND HEAVY, AND THE TAPE DECK, IT WAS A TWO PIECE UNIT, IT NEEDED A LOT OF LIGHT SO WE CARRIED AROUND ABOUT A THIRTY POUND BOX FULL OF LIGHTING GEAR. TRUCKING THAT FROM ONE END OF THE UNIVERSITY HALL DOWN TO THE OTHER END WHERE THE PRESIDENT WAS.” “FROM MY PERSPECTIVE, I THINK I WAS IN THE “GOLDEN AGE” OF TELEVISION IN LETHBRIDGE HERE, BECAUSE WE DID A LOT OF LOCAL PROGRAMS. WE ACTUALLY HAD A SYNDICATED SPORTS PROGRAM CALLED SKI WEST, AND THAT RAN ON HALF A DOZEN MARKETS—INDEPENDENT MARKETS—TELEVISION STATIONS WITH SELKIRK, AND, ACTUALLY THAT WAS WITH WICK AS WELL TOO. WE DID A LOT OF COMMERCIALS, PROGRAM PRODUCTION AND…I THINK IT WAS AROUND ’88 OR ’90, WE WERE ALREADY TALKING AND WE SAW ADVANTAGES IN WHAT WAS CALLED THEN HIGH-DEFINITION TELEVISION WHICH WAS TEN EIGHTY, BUT IT WAS A LONG WAY BEFORE IT CAME. WE DIDN’T ACTUALLY CONVERT TO DIGITAL TELEVISION IN CANADA UNTIL I THINK IT WAS 2009-2010, AND AS ONE OF OUR ENGINEERS MENTIONED, THAT WAS MOST REMARKABLE TECHNOLOGY-WISE. BECAUSE, WHEN WE STARTED IN BLACK AND WHITE, IT WAS A FOUR BY THREE FORMAT AND THEN THEY ADDED COLOUR, IMAGINATIVE COLOUR IN THE ‘60S. THAT WAS PRETTY SMOOTH BECAUSE YOU COULD, YOU KNOW, YOU ARE BROADCASTING THIS ONE SIGNAL OUT IN COLOUR, BUT IF YOU ONLY HAD A BLACK AND WHITE TV, YOU COULD STILL WATCH IT IN BLACK AND WHITE, AND IF YOU HAD COLOUR ALL THE BETTER. THAT WAS IN THE ERA WHEN CABLE WAS ON ITS UP RISE AND SO IT WENT THROUGH A PRETTY SMOOTH TRANSITION, BUT WHEN WE WENT DIGITAL IT WAS HARD LINE IN THE SAND. YOUR OLD TV SET WOULD NOT BE GETTING NOTHING ON IT. THERE WOULD BE NO SIGNAL COMING IN AT ALL, AND WE HAD TO SWITCH OVER TO EITHER CABLE, WHICH WOULD CONVERT THE DIGITAL SIGNAL INTO THE NTSC SIGNAL FOR YOU, OR ELSE YOU HAD TO GET A BRAND NEW TV THAT’S DIGITAL. IT REALLY DID SPUR THE INDUSTRY, AND IT WAS A HUGE FINANCIAL INVESTMENT. CBC WITH ALL THEIR BROADCAST SATELLITES TO COVER ALL OF CANADA, WAS GIVEN AN EXTRA YEAR TO SWITCH OVER TO DIGITAL. IN THE END THEY SAID, ‘NO WE CAN’T DO IT,’ SO THEY HAD TO ACTUALLY SHUT DOWN THEIR TELEVISION TOWER IN LETHBRIDGE [IN JUNE 2012].” “IN A MARKET LIKE OURS WHERE WE HAVE GOT CABLE THAT WAS OKAY, BUT IN THE RURAL AREAS…SOME [PEOPLE] WERE ALREADY ON SATELLITE, BUT THEN AGAIN, WHEN I WAS IN THE INDUSTRY, THE SATELLITE DISHES WERE HUGE AND WE WERE STILL USING A HUGE ONE…IT WAS MORE THAN 12 FEET, IT WAS HUGE, 20 SOME FEET ACROSS. AGAIN, BACK IN THE ‘80S I REMEMBER OUR PRESIDENT COMING BACK AND TELLING US THAT, ‘YOU KNOW, THEY’RE TALKING ABOUT SATELLITES GOING UP THERE AND THEY’RE GOING TO BE SO POWERFUL YOU COULD USE A SATELLITE DISH NO BIGGER THAN A PIZZA BOX.’…THAT’S WHAT WE’VE GOT NOW REALLY…I THINK IT’S A LOT OF ‘GOLDEN ERAS’ AS YOU WOULD SAY REALLY, BECAUSE NOW WITH DIGITAL IT’S JUST PHENOMENAL, AND IT WENT FROM 1080 UP TO 4K. 8K IS OUT THERE TODAY, BUT I THINK IT WILL BE A LONG TIME BECAUSE IT IS A LOT OF BAND WIDTH FOR PEOPLE…” ON HIS MOTIVATIONS FOR DONATING THE ITEMS TO THE GALT MUSEUM, DWORNIK SHARED, “MY WIFE WHO IS WITH US, SANDRA, SUGGESTED THAT I MIGHT CLEAN UP OUR GARAGE AND OTHER PLACES IN THE HOUSE, BECAUSE I COLLECT A LOT OF STUFF. THE OTHER REASON [I’M DONATING THE ITEMS TO THE GALT MUSEUM] ACTUALLY IS IT MIGHT BE TIME—FROM A HISTORICAL VIEW POINT THAT WHAT IS NOW GLOBAL TELEVISION IS MOVING LOCATION. WHERE THEY HAVE BEEN IN THEIR ORIGINAL SITE…[IN] WHAT IS NOW THE INDUSTRIAL PARK, THEY ARE MOVING OUT OF THERE MID-SEPTEMBER OR SO TO A LOCATION DOWNTOWN AND THEY ARE MOVING INTO WHAT IS NOW THE NEW ROYAL BANK, WHICH USED TO BE THE MARQUIS HOTEL. THEY ARE JUST BUILDING THE STUDIO THERE NOW AND THEY WILL BE JOINING THE RADIO FROM THE PATERSON GROUP IN THAT SAME BUILDING, BUT THEY ARE TOTALLY SEPARATED. ANYWAY, I THOUGHT IT PERHAPS TIMELY AND SOME CONNECTIONS THERE.” “WHEN I RETIRED IT WAS KIND OF A HOLLOW BUILDING AND THERE WAS A LOT OF VIDEO TAPE AROUND, WHICH I CONVINCED THE CURRENT OWNERS OF THE STATION, SHAW MEDIA AT THE TIME…BETWEEN MYSELF AND AN ENGINEER, LARRY LAWDINEY, WE DID CONVINCE THEM THAT THERE WAS A LOT OF HISTORY IN THOSE VIDEO TAPES, WHICH THEY WERE PREPARED TO THROW OUT IN THE DUMPSTER, AND END UP IN OUR LANDFILL. SO, WORKING WITH ANDREW [AT THE GALT ARCHIVES], AND HE HAS GOT—I DON’T KNOW HOW MANY TRUCKLOADS OF THE TAPES NOW.” “SOME OF THESE ARTIFACTS, WHICH I HAVE DISCUSSED WITH YOU BEFORE, I FELT WERE SIGNIFICANT…REPRESENTATIVE OF SOME OF THE HISTORY OF THE STATION. THE STATION PRODUCED SOME VERY REMARKABLE INDIVIDUALS THAT HAVE GONE ON TO WIDE ACCLAIM ACTUALLY, RIGHT THROUGH THE HISTORY OF THE STATION. INCLUDING PEOPLE LIKE DON SLADE…HE WAS A DISC JOCKEY WHEN I WAS LIVING IN WINNIPEG GROWING UP, AND THEN HE ENDED UP BEING IN EITHER CALGARY OR EDMONTON. THE FAMOUS WEATHER MAN…BILL MATHESON, OF COURSE FROM LETHBRIDGE, WENT TO NEW YORK, AND ENDED UP IN EDMONTON. I HAVE HAD A NUMBER OF PEOPLE WHO HAVE WORKED IN MY DEPARTMENT THAT HAVE GONE ON TO SOME SIGNIFICANT ACCOMPLISHMENTS AS WELL. ONE IN PARTICULAR, DOUG GOAT, WAS A VIDEO JOURNALIST FOR NBC AND HE WENT OVER TO THESE WAR TORN COUNTRIES—HE WAS A LETHBRIDGE BOY, HIS DAD ACTUALLY MADE SOME EQUIPMENT FOR US FOR OUR TRIPODS…RICK LUCHUCK, WHO WAS IN OUR PRODUCTION DEPARTMENT LEFT, WENT TO REGINA, AND THEN I THINK TORONTO…HE CAME BACK JUST THIS PAST YEAR FOR A REUNION AT LETHBRIDGE COLLEGE, FROM WHERE HE GRADUATED IN BROADCASTING. HE IS VICE PRESIDENT OF PROMOTIONS FOR CNN…WE HAVE HAD PEOPLE GO TO SPORTS NETWORK…A LOT OF PEOPLE WENT THROUGH THE STATION, IT WAS A REVOLVING DOOR, BUT I WAS OKAY WITH THAT BECAUSE WE HELPED BUILD THEIR CAPABILITIES, AND THEY WERE VERY APPRECIATIVE OF THE OPPORTUNITIES AND THE TRAINING THAT WE DID PROVIDE…THE STUFF WE DID WE HAD…A VERY SMALL MOBILE PRODUCTION FACILITY, BUT IT WAS INVOLVED WITH THE OLYMPICS IN ’88, THE TORCH RUN. WE PICKED UP THE TORCH RUN WHEN IT ENTERED ALBERTA IN THE CROWSNEST PASS, BROADCAST THAT LIVE THROUGHOUT ALBERTA. I HAD THE OPPORTUNITY TO MEET PRINCE CHARLES AND PRINCE ANDREW AND FERGIE…THEY WERE DOWN FOR…THE OFFICIAL OPENING OF HEAD SMASHED IN BUFFALO JUMP.” “THE STATION WON A [NATIONAL] AWARD…[THE] FOUNDERS AWARD OF EXCELLENCE FOR A DOCUMENTARY WE PRODUCED [CALLED ‘WE WON’T LET HIM DIE’], AND I WAS THE PHOTOGRAPHER ON THAT AND SHOT…IT WAS ACTUALLY THIRTY YEARS AGO THAT THIS YOUNG FELLOW, TOMMY JONES, WAS WORKING AT A CHURCH CAMP IN WATERTON AND WENT HIKING WITH SOME FRIENDS IN A MOUNTAIN AND FELL AND HAD A SERIOUS BRAIN INJURY. TWO YEARS LATER—THEY DIDN’T EXPECT HIM TO LIVE…WE DOCUMENTED THAT WHOLE STORY AND RECREATED THE SCENES IN THE DOCUDRAMA…THESE THINGS REMIND ME OF ANOTHER ARTIST CORNY MARTENS, BRONZE ARTIST, WAS OUR STUDIO DIRECTOR, AND SOME OF THE STUFF THEY USED TO DO, BACK IN THE DAYS OF BLACK AND WHITE, THEY DID COMMERCIALS—THEY PAINTED THE FLOOR OF THE STUDIO TO MAKE IT LOOK LIKE A SWIMMING POOL, AND THEY HAD A FASHION SHOW WITH SWIMSUITS…THAT’S KIND OF WHAT PROMPTED ME [TO DONATE THE ITEMS], AND THAT’S THE CONNECTION TO THESE ITEMS.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND ARTICLES ON THE GLOBAL NEWS STATION BEING DISMANTLED, PLEASE SEE THE PERMANENT FILE P20190022001-GA.
Catalogue Number
P20190022006
Acquisition Date
2019-08
Collection
Museum
Images
Less detail
Other Name
"2&7"
Date Range From
1987
Date Range To
1992
Material Type
Artifact
Materials
WOOD, PAINT
Catalogue Number
P20190022007
  2 images  
Material Type
Artifact
Other Name
"2&7"
Date Range From
1987
Date Range To
1992
Materials
WOOD, PAINT
No. Pieces
1
Height
1.2
Length
49
Width
46
Description
WOOD SIGN SHAPED LIKE THE NUMBERS 2 AND 7 CONNECTED. FRONT OF SIGN HAS ORANGE “2” AND RED “7” PAINTED WITH BLACK AMPERSAND “&” IN CENTER; NUMBERS ARE PAINTED ON WHITE BACKFROUND, WITH RED DROP-SHADOWS. SIDES OF SIGN ARE PAINTED WHITE. BACK IS UNPAINTED PRESSED WOOD BOARD; BACK HAS TWO DRILLED HOLES FOR HANGING IN CENTER. FRONT HAS LOSS ALONG LOWER EDGE OF “7”; FRONT IS STAINED AT TOP ARCH OF “2” AND ALONG EDGES; BACK IS STAINED RED AT EDGES AND STAINED IN THE CENTER; OVERALL VERY GOOD CONDITION.
Subjects
ADVERTISING MEDIUM
Historical Association
INDUSTRY
History
ON AUGUST 21, 2019, COLLECTION TECHNICIAN KEVIN MACLEAN INTERVIWED WAYNE DWORNIK REGARDING HIS DONATION OF GLOBAL NEWS STATION ITEMS. DWORNIK WORKED FOR LETHBRIDGE TELEVISION BROADCAST NEWS FROM 1976-2013. ON THE “2&7” STATION SIGN, DWORNIK RECALLED, “[THE SIGN LOOKS HANDMADE, HAND-PAINTED] THAT’S AGAIN, JUST A STUDIO PROP FOR THE…NEWS READERS [AND STORED IN THE ENGINEER’S ROOM].” “[THE YEARS 2&7 RAN WERE A] VERY HIGH PROFILE, EXCITING TIME FOR THE STATION AS WELL. THE REASON THEY WENT WITH THE 2 AND 7, WE DIDN’T CHANGE, AT THAT TIME, TO OFFICIALLY CHANGE OUR CALL LETTERS, WE WERE STILL CFAC, SO WE MADE THAT TRANSITION INTO 2 AND 7. WHAT MANAGEMENT HAD DONE OUT OF CALGARY WAS ARRANGE WITH ALL THE CABLE COMPANIES TO PUT US ONTO EITHER CHANNEL 2 OR CHANNEL 7…[CALGARY’S] TRANSMITTER WAS BROADCASTING ON CHANNEL 2 OFF AIR. WE WERE BROADCASTING ON CHANNEL 7 OFF AIR. WE WERE CHANNEL 2 ON CABLE, AND THEY WERE 7 UP IN CALGARY, AND THEY WERE ABLE TO COMFORTABLY NEGOTIATE WITH ALL THE CABLE OPERATORS TO PUT US ON EITHER 2 AND 7…FROM CROWSNEST PASS INTO CRANBROOK AND CRESTON. THAT’S ALSO THE TIME WHEN THE OLYMPICS WAS HAPPENING AND THE PROMOTIONAL DIRECTOR IN CALGARY WAS JUST AMAZING. THE PROMOTIONAL MANAGER AND THEY HAD A SALES MANAGER. BOYD ASH WAS PROMOTIONS MANAGER THERE AND HE GOT ON THIS IDEA OF THE 2 AND 7, AND HE ALSO GOT ON TO [MAKING] LAPEL PINS. THEY MUST HAVE DESIGNED AND DISTRIBUTED…HUNDREDS OF THOUSANDS OF [LAPEL] PINS…PEOPLE LOVED THEM…I THINK THAT’S WHAT PROMPTED IT, BECAUSE WELL, IT WAS KNOWN THAT TRADING PINS WAS A BIG DEAL…IT WAS VERY HIGH PROFILE AND LOTS OF GREAT PROMOTIONAL THINGS HAPPENING WITH, AGAIN, EXCITING TIMES AND SOME FUN STUFF.” “[THE ERA OF 2&7] I WOULD SAY ABOUT ’87 TO ABOUT ’92 AGAIN I THINK…[IT WAS VERY SHORT] AND I THINK PART OF THAT MIGHT BE TIED INTO THE FACT THAT THE SATELLITE STUFF IS COMING ON…THAT WAS THE REASON TO DO THE 2 AND 7 IS THAT IT’S EASY, LIKE IF YOU SAY, ‘WELL I’M LOOKING FOR CJOC, WHERE DO I FIND CJOC ON MY CABLE LINE UP?’ BUT IF YOU’RE JUST LOOKING FOR A NUMBER THAT WAS EASIER. BUT THEN I DON’T THINK THEY WERE GOING TO CONTINUE NEGOTIATING THAT, FOR WHATEVER REASON.” “[BEFORE 2&7 THE STATION WAS] CFAC…SAME COLOURS. THE RED AND YELLOW THERE.” DWORNIK ELABORATED ON THE ROLE OF ENGINEERS AT THE STATION, NOTING, “[THE ENGINEER’S ROLE IS] BASICALLY TO KEEP US ON THE AIR. THERE’S SO MUCH ELECTRONIC AND TECHNICAL EQUIPMENT THEY HAD TO KNOW ABOUT TRANSMITTERS, MICROWAVE, VIDEOTAPE, ALL THE ELECTRONICS, AND THEY ALSO DID MAINTENANCE ON THE BUILDING.” “THE LAST ENGINEER WAS LET GO IN AN UNFORTUNATE SITUATION, IN THE SUMMER OF [2014]…WE DID NOT HAVE A STATION MANAGER. AT ONE TIME WE HAD A STATION MANAGER [PETER DEYES] WHO WAS ALSO THE NEWS DIRECTOR, WHEN I CAME BACK. THAT FELLOW LEFT…THEY BROUGHT IN AN ASSIGNMENT EDITOR FROM TORONTO, AND SHE WAS…NOT EVEN THE NEWS DIRECTOR, WHICH WAS TERRIBLE; THEY CALLED HER THE NEWS MANAGER. MANAGEMENT OF THE STATION WAS TAKEN OVER BY THE CALGARY TELEVISION, AND THE ENGINEERING RESPONSIBILITIES WERE TAKEN OVER BY CALGARY TELEVISION.” “WE’D HAVE TO CALL [ENGINEERS WHEN THERE WAS EQUIPMENT ISSUES]. AT THAT TIME, WE HAD MORE CAMERAS THAN VIDEOGRAPHERS, SO THEY KIND OF HAD A SPARE ON HAND. IF ONE WENT DOWN, THEY’D BE OKAY. AND, AT THAT TIME, EVERYTHING ELSE WAS SHIFTED AWAY FROM THE STATION, AND WAS AUTOMATED. IT WAS JUST MIND-BOGGLING THE AUTOMATION THAT THEY HAD AVAILABLE. CALGARY TELEVISION WAS…KIND OF THE MASTER CONTROL CENTER FOR ALL OF THE GLOBAL TELEVISION STATIONS IN CANADA. SO, IT WAS JUST AMAZING, ALL THE MONITORS IN THEIR MASTER CONTROL…ONE OF THE CENTERS WAS, I THINK, SWITCHED OUT OF EDMONTON…ALL THE COMMERCIALS THAT PLAYED ALL ACROSS CANADA, ORIGINATED OUT OF CALGARY TELEVISION. AND THEY WEREN’T VIDEO TAPE MACHINES, AT THAT TIME, THEY WERE BASICALLY COMPUTERS.” DWORNIK RECALLED HIS TIME WORKING IN LETHBRIDGE FOR BROADCAST NEWS, NOTING, “I WORKED FOR LETHBRIDGE TELEVISION FOR [25] YEARS…I JOINED THE STATION AS A PHOTOGRAPHER IN 1976. I HELD THAT POSITION FOR SEVEN YEARS AS CHIEF PHOTOGRAPHER, AND THEN I MOVED INTO MANAGEMENT, AND BECAME PRODUCTION MANAGER FOR TEN YEARS I GUESS, AND THEN I GOT INTO SALES AND MARKETING AND RESEARCH. I LEFT THE STATION IN 1996, AND I WAS ONE THE FIRST, IF NOT THE FIRST OF THE DOWNSIZING IN THAT ERA. AT THE TIME WHEN I LEFT IN ’96 THERE WERE AT LEAST SEVENTY-SIX PEOPLE ON STAFF. [TODAY] I BELIEVE THERE IS MAYBE A DOZEN…I RETURNED TO THE STATION IN THE CAPACITY OF…ACCOUNT REPRESENTATIVE IN 2008 AND I RETIRED AT…THE END OF DECEMBER 2014…WHEN I CAME TO LETHBRIDGE, I THOUGHT I WOULD ONLY STAY A COUPLE OF YEARS AND MOVE ONTO A BIGGER STATION, YOU KNOW BIG CITY, BRIGHT LIGHTS…BUT I LOVED THE CITY AND THERE WAS SO MUCH TO OFFER HERE. I HAD SO MUCH FUN, THERE WERE SO MANY REMARKABLE, INCREDIBLY REMARKABLE EXPERIENCES I HAD AS A PHOTOGRAPHER, AND PRODUCTION MANAGER, ESPECIALLY. SOME OF THESE ITEMS HERE GO BACK TO BEFORE MY TIME, BUT AGAIN LETHBRIDGE—LITTLE DIMPLE ON THE PRAIRIE HERE THAT WE ARE, WE ACTUALLY MADE A PRETTY GOOD NAME FOR THE CITY AND FOR THE STATION IN WHAT WE WERE PRODUCING IN NEWS, AND PARTICULARLY IN LOCAL PROGRAMMING. THAT WAS KIND OF ONE OF MY PASSIONS, WAS THE LOCAL PROGRAMMING, DOCUMENTARIES AND THEN OF COURSE, NEWS AS WELL.” “[THERE] WAS A FRIENDLY RIVALRY BETWEEN ALL THE MEDIA ACTUALLY, AND CTV WOULD PRODUCE THE ODD DOCUMENTARY, WHEREAS WE DID A LOT MORE…AT THE MOST THEY HAD I THINK MAYBE TWENTY PEOPLE ON STAFF, SO THEY WERE LIMITED. THEY WERE ACTUALLY A SATELLITE, OR A RE-BROADCASTER, THEY DIDN’T HAVE THEIR OWN LICENSE SO THEY WERE HANDLED DIFFERENTLY BY THEIR OWNERS THAN OUR STATION WAS. THEN AGAIN MANAGEMENT HERE WAS QUITE FORWARD THINKING IN MOST THINGS. I REMEMBER OUR PRESIDENT AND GENERAL MANAGER, BOB JOHNSON, DECADES AGO TOUTING THE FACT THAT THE ONLY THING THAT WILL MAKE US SUSTAINABLE AND RELEVANT IS LOCAL NEWS. HE KNEW, BACK THEN, THROUGH BROADCASTER ASSOCIATIONS ALL THE THINGS THAT WERE COMING AHEAD OF US…WE COULD GET NEWS FROM AROUND THE WORLD…WE CARRIED A LOT OF AMERICAN PROGRAMS…THE ONLY THING THAT IS GOING TO MAKE US DISTINCT IS WHAT WE CAN DO WITH OUR LOCAL NEWS AND AS AN EXTENSION OF THAT, OUR LOCAL PROGRAMMING, OUR DOCUMENTARIES. IT WAS QUITE GOOD FOR THE STAFF AND THE MORALE WAS TERRIFIC…WE HAD A SLOW PITCH BASEBALL TEAM, WE’D PARTICIPATE IN COMMUNITY THINGS, WITH THE PARADES, WHOOP-UP DAYS AND THE STAFF PARTIES WERE TERRIFIC.” “I WAS A PHOTOGRAPHER, AND I WAS OUT ON LOCATION INTERVIEWING ALL THESE INTERESTING PEOPLE, EDITING THESE PROGRAMS, NEWS STORIES, COMMERCIALS. I WAS IN MY ELEMENT…[I WORKED WITH] THE VISUAL CONTENT…BACK IN THE DAY, THERE WAS A NEWS REPORTER THAT WAS HIS JOB WAS TO BE ON CAMERA, TO RESEARCH THE STORY, SET UP THE CONTEXT, DO THE INTERVIEWS, WE WOULD RECORD THE VISUALS, RECORD THE INTERVIEWS, AND NOW AS YOU REFER TO IT, IT IS ALL DONE BY ONE…THEY CALL HIM A, AT DIFFERENT TIMES, EITHER A VIDEO JOURNALIST OR A VIDEOGRAPHER. MY TRAINING ACTUALLY WAS IN STILL PHOTOGRAPHY BACK IN WINNIPEG, BUT MY FIRST JOB WAS IN TELEVISION, SO I LEARNED ON THE JOB. SHOOTING BLACK AND WHITE FILM, COLOUR—AGAIN, SIXTEEN MILLIMETER FILM FOR COMMERCIALS. WE WERE STILL DOING A LOT OF SLIDE COMMERCIALS AT THAT TIME, AND WE PROCESSED OUR OWN SLIDE FILM IN THE BASEMENT AT THE STATION THERE, WITHOUT USING RUBBER GLOVES.” “AT THAT TIME WE HAD FIVE PHOTOGRAPHERS, WE ONLY HAD TWO VEHICLES TO GO OUT IN BUT, SO THE REPORTERS WOULD SOMETIMES USE THEIR OWN VEHICLES. I KNOW FOR THE FIRST YEAR OR TWO I USED MY OWN VEHICLE TO CARRY THE GEAR BECAUSE AT THAT TIME WE DIDN’T HAVE ANY STATION VEHICLES. OUR FIRST ONES WERE TWO…HONDA CIVIC STATION WAGONS, THEN WE GOT TWO NISSAN STATION WAGONS AND THEN WE WENT TO A FORD BRONCO I THINK IT WAS.” “I WOULD GO WHERE THERE WAS A GOOD OPPORTUNITY FOR WORK AND—ACTUALLY, ON OUR HONEY MOON, WE PACKED UP FROM SWIFT CURRENT…(I HAD THREE WEEKS HOLIDAY), AND WE MADE OUR WAY OUT TO THE WEST COAST, STOPPING AT EVERY TELEVISION STATION, ALONG THE WAY, HAVING A TOUR, AND LEAVING A RESUME. SO WE STOPPED AT MEDICINE HAT, LETHBRIDGE (WHICH I WAS REALLY IMPRESSED WITH), AND WE WENT THROUGH KELOWNA, (WHICH I WAS AGAIN VERY IMPRESSED WITH), AND SO I THOUGHT IT WOULD BE EITHER LETHBRIDGE, OR KELOWNA, I WOULD LIKE TO MOVE TO, AND THEN FROM THERE MAYBE CALGARY, VANCOUVER. AS I SAID, LETHBRIDGE WON OUT, THEY HAD A JOB OPENING…BECAUSE OF A STRIKE…AT THAT TIME…NABET…NATIONAL ASSOCIATION OF BROADCAST ENGINEERS AND TECHNOLOGISTS…THEY WERE WANTING TO FORM A LOCAL, AND GET UNION REPRESENTATION AND NEGOTIATIONS CAME TO A STAND-STILL, AND THEY WENT ON STRIKE I THINK, IN APRIL, OR MAY OF ’75 , ’76. SO I HAD JUST FAIRLY RECENTLY PUT MY RESUME IN THERE, AND THEY CALLED ME UP AND [IT WAS] A TOUGH SITUATION, AND I HELD OFF, AND I SAID, ‘WELL I’VE GOT TO WORK WITH THESE PEOPLE, IF I COME IN AS A STRIKE BREAKER, A SCAB—‘ AND SO I WASN’T TOO ANXIOUS TO DO THAT, BUT, AFTER A FEW MORE PHONE CALLS OVER I GUESS IT WAS A COUPLE OR THREE MONTH’S PERIOD, I SAID ‘WELL, YEAH, LET’S DO IT,’ AND I MOVED BACK.” DWORNIK SHARED THE HISTORY OF THE GLOBAL NEWS STATION IN LETHBRIDGE, RECALLING, “[BEFORE THE STATION WAS 2&7, IT WAS] CFAC. IT HAS GONE THROUGH A LOT OF CHANGES, IT STARTED OFF AS CJLH WHICH IS A COMBINATION OF CJOC RADIO AND THE LETHBRIDGE HERALD THAT CO-OWNED THE STATION WHICH OPENED IN [NOVEMBER] 1955…THEN THE HERALD GOT OUT OF IT AND WE WERE BOUGHT BY SELKIRK COMMUNICATIONS AND WE BECAME CJOC TELEVISION…THE STATION OPENED IN ’55, I THINK IT BECAME CJOC AROUND 1960, BUT DON’T QUOTE ME ON THAT. THEN WHEN I CAME IN [FALL] ’76…UP UNTIL THEN WE WERE A CBC AFFILIATE, AND THEN IN ’76 WE BECAME AN INDEPENDENT STATION AND CHANGED OUR CALL LETTERS, AGAIN, TO CFAC TELEVISION. OUR LOGO WAS MODELED AFTER THE RONDELL OF CHC HAMILTON TELEVISION, WHICH WAS AN INDEPENDENT STATION OWNED BY SELKIRK. WE ARE THE SISTER STATION BUT WITH OUR OWN INDEPENDENT LICENSE, WE BECAME PART OF THE INDEPENDENT NETWORK…ABOUT THE TIME OF THE OLYMPICS…WE CHANGED TO TWO AND SEVEN…IT WAS AROUND 1992 MAYBE THAT WE CHANGED OUR CALL LETTERS ONCE AGAIN TO CISA, INDICATIVE OF, ALL STATIONS STARTED WITH ‘C’ RADIO OR TELEVISION IN CANADA, AND THE ‘ISA’ WAS FOR INDEPENDENT SOUTHERN ALBERTA…WITH MY BACKGROUND IN ART AND DESIGN WORKING WITH THAT, WE DID SOME STILL-FRAME ANIMATION. WE DID SOME FUN STUFF WITH THE LOGOS…WHILE I WAS STILL [WITH CISA] WE WENT THROUGH…ANOTHER TWO CHANGES IN OWNERSHIP. SELKIRK SOLD US TO, APPARENTLY TO MACLEAN’S MAGAZINE, AND THAT LASTED FOR ABOUT AN HOUR OR TWO AND THEN I THINK WITH WICK…WESTERN BOUGHT US, THEY BASICALLY BOUGHT ALL OF SELKIRK COMMUNICATIONS AND ADDED US TO THEIR FLOCK OF ITV EDMONTON, BRITISH COLUMBIA TV IN VANCOUVER, AND CHECK TV IN VICTORIA AND I THINK THEY ALSO HAD OKANAGAN TV AS WELL.” “[LETHBRIDGE IS AN ANOMALY] FOR SURE BECAUSE WHEN I CAME HERE WE WERE AROUND FORTY THOUSAND [IN POPULATION], AND THERE WERE TWO OPERATING TELEVISION STATIONS. AS FAR AS I KNOW, WE ARE THE ONLY CITY OF THIS SIZE THAT HAD TWO TELEVISION STATIONS. IN MANY OTHER CITIES THEY WOULD HAVE WHAT THEY CALL A ‘TWINSTICK.’ SO WE WERE CBC, CFCN WAS A CTV AFFILIATE. IN MEDICINE HAT, CBC AND CTV WERE OPERATED OUT OF THE SAME BUILDING BY THE SAME STAFF. THEY WOULD LIKELY HAVE A DIFFERENT ANCHOR OR NEWS DEPARTMENT, BUT THE OTHER COMPONENTS OF OPERATIONS WERE ALL CONTAINED IN THE SAME [BUILDING]—AND THAT’S THE SAME IN, ALL ACROSS WESTERN CANADA…IN A CITY OF OUR POPULATION TO HAVE TWO STATIONS WAS QUITE REMARKABLE, AND VERY COMPETITIVE, AND ALONG WITH THAT, THE RADIO SIDE OF IT…RIGHT NOW WE’VE GOT REALLY SIX RADIO STATIONS, BACK THEN, THERE WERE NEARLY FOUR. AGAIN, QUITE UNUSUAL IN THE FACT THAT YOU’VE GOT TWO AM AND THEN TWO FM. ONE FM STATION ACTUALLY STARTED OFF PLAYING CLASSICAL MUSIC. WHAT THAT LENDS TO THE CITY IS A LOT MORE VARIETY IN PROGRAMMING THAN THEY WOULD OTHERWISE GET. WE HAVE GOT THE BROADCAST PROGRAMMING AT THE LETHBRIDGE COLLEGE HERE, AND THAT FED INTO OUR NEEDS QUITE WELL, IN RADIO AND IN TELEVISION. WE BROUGHT A LOT OF PEOPLE OUT ACTUALLY FROM DOWN EAST BECAUSE THEY HAD SOME REALLY GOOD PROGRAMS FROM FANSHAWE COLLEGE, OTTAWA AND WE WOULD BRING AS WELL, PEOPLE FROM SAIT AND NAIT, AS WELL AS MOUNT ROYAL COLLEGE. THOSE PEOPLE COME STRAIGHT OUT OF COLLEGE, GETTING AN OPPORTUNITY IN A MID-SIZED MARKET…THEY HAD THEIR HANDS INVOLVED IN PROGRAMS, NEWS, COMMERCIAL PRODUCTION AND THEN BEING PART OF THE COMMUNITY.” “I BELIEVE THAT WE WERE STILL A PRETTY GOOD REVENUE-GENERATOR FOR [WICK TO BE SUPPORTIVE OF]. BECAUSE EVEN WITH THAT SIZE OF STAFF, WE WEREN’T PAID AS MUCH AS THEY WERE IN CALGARY, WHICH IS LIKELY WHY EVERYBODY WANTED THE UNION…THEY WEREN’T LOSING MONEY THERE. WE WEREN’T MAKING A WHOLE LOT OF MONEY, BUT…CRTC I THINK CAME INTO PLAY IN THAT, A LOT, TOO, BECAUSE CRTC WAS TO GOVERN THE RULES AND REGULATIONS FOR BROADCASTING. IT WOULD BE DIFFICULT, I THINK, IN ANY PURCHASE OF A STATION, FOR THEM TO GO, AND SHUT THAT STATION DOWN, AT THAT TIME. BUT, WHAT HAS HAPPENED IS THAT RADIO STATIONS HAVE SHUT DOWN, (LIKE RED DEER LOST THEIR STATION; IT WAS A TWINSTICK), AND I LOST TOUCH WITH THE INDUSTRY WHEN THAT SORT OF THING WAS HAPPENING.” “THE GLOBAL PERIOD, WHEN IT WAS OWNED BY CANWEST…ANOTHER REMARKABLE COMPANY (FAMILY-OWNED BUSINESS), AND THEY WERE BUYING UP TELEVISION STATIONS ACROSS CANADA, AND THEN THEY EXPANDED. THEY BOUGHT SOME NEWSPAPERS; THEY BOUGHT A TELEVISION STATION IN ENGLAND, AND I THINK THEIR DOWNFALL ACTUALLY WAS OVER-EXTENDING THEMSELVES, AND GETTING INTO THE AUSTRALIAN MARKET. I JOINED THE STATION IN 2008, WHEN THEY WERE STARTING TO SLIDE. OF COURSE, THE WHOLE ECONOMY WAS STARTING TO SLIDE, AND I CAME ON AS A FRESH, NEW SALESPERSON TO SELL ADVERTISING.” “THAT’S WHEN ALL THE DOWNSIZING OCCURRED [AROUND 2008], JUST IN THAT TRANSITION…WICK STARTED THE DOWNSIZING, AND THEN CANWEST CARRIED ON WITH IT. IT WAS JUST WELL, THE ONSLAUGHT OF GLOBALIZATION, AND THE BIG GET BIGGER, AND SMALL EITHER GET BOUGHT UP, OR SHUT DOWN…WHEN I STARTED AT THE STATION IN 2008, BACK IN SALES, THAT WAS WHEN THINGS REALLY CHANGED, BECAUSE WE STILL HAD A DIRECTOR, AND ONE VIDEOTAPE OPERATOR, AND THEY HAD ROBOT CAMERAS SET UP, BUT WE WERE STILL SWITCHING OUR OWN NEWS, AND ORIGINATING NEWS OUT OF OUR PRODUCTION CONTROL ROOM. THEN, TOWARDS THE END OF 2008, IS WHEN THOSE TWO PEOPLE WERE LET GO, AND WE STARTED WITH CALGARY TELEVISION DIRECTING THE NEWS. AS IT TURNED OUT, THERE WAS NO WAY THAT WE COULD PUT SOMETHING ON THE AIR, BECAUSE THEY DISCONNECTED THE SWITCHING EQUIPMENT…IF THERE WAS LIKE A WEATHER EMERGENCY, OR SOMETHING LIKE THAT, WE COULD NOT PUT A CRAWL ACROSS THE SCREEN. IT WAS QUITE UNNERVING, ACTUALLY, THAT WE WERE LOSING THAT KIND OF LOCAL CAPABILITY.” “[I THINK] IT WAS IN 2013…WHERE EVERYONE BUT ME WAS LET GO, AND THEY COULD RE-APPLY FOR THEIR JOB. BASICALLY, IT WAS A WAY OF GETTING AROUND THE UNION. EVERYONE WAS CANNED; THEY GOT A SEVERANCE PACKAGE. IT WAS A PRETTY UNNERVING TIME, AND MORALE REALLY, REALLY HIT A LOW THERE. THEY ASSIGNED AN EDITOR FROM TORONTO, AND ANOTHER FELLOW WHO HAD BEEN BROADCASTING NEWS, THEY WENT…AND THEY WERE GOING TO RE-IMAGINE THE NEWS, AND THEY HAD BIG PLANS TO MAKE THE STATION WHOLLY-NEW, AND A WHOLE NEW WAY OF DOING THINGS, WITH A MINIMUM NUMBER OF PEOPLE…RESPONSIBILITIES WERE CHANGED; MORE LOAD WAS TAKEN ON, BUT, AS WELL, LESS THINGS WERE GOING TO BE DONE. WE DIDN’T HAVE THE ENGINEER, AND SO THEY HIRED A FELLOW TO BE A VIDEOGRAPHER. HE WOULD SHOOT SOME OF THE NEWS STORIES, BUT HE WAS ALSO RESPONSIBLE FOR TWEAKING UP THE CAMERAS, AND IF THERE WAS A PROBLEM, SENDING IT UP TO CALGARY…I THINK WHAT THEY DID WAS THEY MEASURED OUT THE NUMBER OF HOURS, THE NUMBER OF PEOPLE, WHAT THEY WANTED TO COVER, WHAT THEY WANTED TO DO, AND THEY WENT WITH THAT NUMBER—TWELVE OR FOURTEEN PEOPLE, AND SO, CHANGING THE ROLES, WHOLE NEW JOB DESCRIPTIONS. BUT, AS I SAID TO [MANAGEMENT], ‘YOU KNOW, I THINK YOU OVERLOOKED THE FACT THAT ALL THE PEOPLE HERE, ON THE UNION CONTRACT, GET AT LEAST THREE WEEKS’ VACATION. MEANS YOU’VE GOT TWELVE PEOPLE—THAT’S THIRTY-SIX WEEKS—THAT YOU’VE GOT SOMEBODY AWAY. SO, YOU’RE RUNNING SHORT-STAFFED OVER HALF A YEAR.’ THAT’S PRETTY TOUGH ON PEOPLE, BECAUSE THIS GENERATION THAT’S IN THERE NOW, I DON’T THINK THEY HAVE THE SAME KIND OF ATTITUDE, OR WORK ETHIC. WE WOULD WORK. WELL, MY WIFE COULD ATTEST TO THE HOURS THAT I WOULD PUT IN AT THE STATION. AND, I DIDN’T GET PAID OVERTIME. I GOT A…FEE. THIS STUFF, BETWEEN THE CHANGE OF ATTITUDE, AND THE NEWS CYCLE, AND CUTTING BACK HOW THEY COULD, IT WAS REALLY TOUGH ON PEOPLE. BUT, I WAS THE FIRST ONE TO BE LET GO IN 1996, AND I WAS THE MARKETING RESEARCH AND SALES (WE WERE DOING VIDEO PRODUCTIONS), AND THE FELLOW WHO WAS THE PRODUCTION COORDINATOR, JIM MCNALLY, I BROUGHT ON. HE WAS AN EXCELLENT PHOTOGRAPHER OUT OF OTTAWA, AND HE HAD, I THINK, ONE OF THE TOUGHEST TIMES BACK IN ’96 (ACTUALLY, MORE SO IN ’98). THEY MADE HIM GENERAL MANAGER OF THE STATION. HIS ENTIRE RESPONSIBILITY OVER, I DON’T KNOW HOW MANY WEEKS AND MONTHS WAS TO CUT THE STAFF DOWN TO, I DON’T KNOW, SIXTEEN PEOPLE. AND, WHEN THAT WAS ACCOMPLISHED, HE WAS LET GO.” WHEN ASKED ABOUT THE “GOLDEN AGE” OF LETHBRIDGE BROADCAST OR TELEVISION NEWS, DWORNIK SHARED, “TELEVISION HAS ALWAYS BEEN FOR THE VAST MAJORITY OF PEOPLE, A VERY EXCITING INDUSTRY BECAUSE THERE’S ALWAYS DEVELOPMENTS, TECHNOLOGY. WHEN YOU THINK THAT BACK IN THE DAY IT WAS IN BLACK AND WHITE, BUT THEY DID LIVE COMMERCIALS AND THAT’S QUITE REMARKABLE TOO, HOW THEY WERE DOING THOSE THINGS. THEY DID A LOT OF PRANKS AND FUN STUFF ON AIR…THE TECHNOLOGY KEPT DEVELOPING. IT LOOKED AS GOOD AS IT COULD GET BACK IN THE DAY, BUT NOW THAT WE ARE UP TO 4K VIDEO…IN MY DAY WE HAD BEEN COLOUR FOR QUITE SOME TINE, BUT WHEN I CAME IN IN ‘76 IT WAS KIND OF THE LAUNCH OF ENG, ELECTRONIC NEWS GATHERING OR EFP, FIELD PRODUCTION. THE EQUIPMENT WAS THREE QUARTER INCH AT THAT TIME, THE CAMERAS WERE BIG AND HEAVY, AND THE TAPE DECK, IT WAS A TWO PIECE UNIT, IT NEEDED A LOT OF LIGHT SO WE CARRIED AROUND ABOUT A THIRTY POUND BOX FULL OF LIGHTING GEAR. TRUCKING THAT FROM ONE END OF THE UNIVERSITY HALL DOWN TO THE OTHER END WHERE THE PRESIDENT WAS.” “FROM MY PERSPECTIVE, I THINK I WAS IN THE “GOLDEN AGE” OF TELEVISION IN LETHBRIDGE HERE, BECAUSE WE DID A LOT OF LOCAL PROGRAMS. WE ACTUALLY HAD A SYNDICATED SPORTS PROGRAM CALLED SKI WEST, AND THAT RAN ON HALF A DOZEN MARKETS—INDEPENDENT MARKETS—TELEVISION STATIONS WITH SELKIRK, AND, ACTUALLY THAT WAS WITH WICK AS WELL TOO. WE DID A LOT OF COMMERCIALS, PROGRAM PRODUCTION AND…I THINK IT WAS AROUND ’88 OR ’90, WE WERE ALREADY TALKING AND WE SAW ADVANTAGES IN WHAT WAS CALLED THEN HIGH-DEFINITION TELEVISION WHICH WAS TEN EIGHTY, BUT IT WAS A LONG WAY BEFORE IT CAME. WE DIDN’T ACTUALLY CONVERT TO DIGITAL TELEVISION IN CANADA UNTIL I THINK IT WAS 2009-2010, AND AS ONE OF OUR ENGINEERS MENTIONED, THAT WAS MOST REMARKABLE TECHNOLOGY-WISE. BECAUSE, WHEN WE STARTED IN BLACK AND WHITE, IT WAS A FOUR BY THREE FORMAT AND THEN THEY ADDED COLOUR, IMAGINATIVE COLOUR IN THE ‘60S. THAT WAS PRETTY SMOOTH BECAUSE YOU COULD, YOU KNOW, YOU ARE BROADCASTING THIS ONE SIGNAL OUT IN COLOUR, BUT IF YOU ONLY HAD A BLACK AND WHITE TV, YOU COULD STILL WATCH IT IN BLACK AND WHITE, AND IF YOU HAD COLOUR ALL THE BETTER. THAT WAS IN THE ERA WHEN CABLE WAS ON ITS UP RISE AND SO IT WENT THROUGH A PRETTY SMOOTH TRANSITION, BUT WHEN WE WENT DIGITAL IT WAS HARD LINE IN THE SAND. YOUR OLD TV SET WOULD NOT BE GETTING NOTHING ON IT. THERE WOULD BE NO SIGNAL COMING IN AT ALL, AND WE HAD TO SWITCH OVER TO EITHER CABLE, WHICH WOULD CONVERT THE DIGITAL SIGNAL INTO THE NTSC SIGNAL FOR YOU, OR ELSE YOU HAD TO GET A BRAND NEW TV THAT’S DIGITAL. IT REALLY DID SPUR THE INDUSTRY, AND IT WAS A HUGE FINANCIAL INVESTMENT. CBC WITH ALL THEIR BROADCAST SATELLITES TO COVER ALL OF CANADA, WAS GIVEN AN EXTRA YEAR TO SWITCH OVER TO DIGITAL. IN THE END THEY SAID, ‘NO WE CAN’T DO IT,’ SO THEY HAD TO ACTUALLY SHUT DOWN THEIR TELEVISION TOWER IN LETHBRIDGE [IN JUNE 2012].” “IN A MARKET LIKE OURS WHERE WE HAVE GOT CABLE THAT WAS OKAY, BUT IN THE RURAL AREAS…SOME [PEOPLE] WERE ALREADY ON SATELLITE, BUT THEN AGAIN, WHEN I WAS IN THE INDUSTRY, THE SATELLITE DISHES WERE HUGE AND WE WERE STILL USING A HUGE ONE…IT WAS MORE THAN 12 FEET, IT WAS HUGE, 20 SOME FEET ACROSS. AGAIN, BACK IN THE ‘80S I REMEMBER OUR PRESIDENT COMING BACK AND TELLING US THAT, ‘YOU KNOW, THEY’RE TALKING ABOUT SATELLITES GOING UP THERE AND THEY’RE GOING TO BE SO POWERFUL YOU COULD USE A SATELLITE DISH NO BIGGER THAN A PIZZA BOX.’…THAT’S WHAT WE’VE GOT NOW REALLY…I THINK IT’S A LOT OF ‘GOLDEN ERAS’ AS YOU WOULD SAY REALLY, BECAUSE NOW WITH DIGITAL IT’S JUST PHENOMENAL, AND IT WENT FROM 1080 UP TO 4K. 8K IS OUT THERE TODAY, BUT I THINK IT WILL BE A LONG TIME BECAUSE IT IS A LOT OF BAND WIDTH FOR PEOPLE…” ON HIS MOTIVATIONS FOR DONATING THE ITEMS TO THE GALT MUSEUM, DWORNIK SHARED, “MY WIFE WHO IS WITH US, SANDRA, SUGGESTED THAT I MIGHT CLEAN UP OUR GARAGE AND OTHER PLACES IN THE HOUSE, BECAUSE I COLLECT A LOT OF STUFF. THE OTHER REASON [I’M DONATING THE ITEMS TO THE GALT MUSEUM] ACTUALLY IS IT MIGHT BE TIME—FROM A HISTORICAL VIEW POINT THAT WHAT IS NOW GLOBAL TELEVISION IS MOVING LOCATION. WHERE THEY HAVE BEEN IN THEIR ORIGINAL SITE…[IN] WHAT IS NOW THE INDUSTRIAL PARK, THEY ARE MOVING OUT OF THERE MID-SEPTEMBER OR SO TO A LOCATION DOWNTOWN AND THEY ARE MOVING INTO WHAT IS NOW THE NEW ROYAL BANK, WHICH USED TO BE THE MARQUIS HOTEL. THEY ARE JUST BUILDING THE STUDIO THERE NOW AND THEY WILL BE JOINING THE RADIO FROM THE PATERSON GROUP IN THAT SAME BUILDING, BUT THEY ARE TOTALLY SEPARATED. ANYWAY, I THOUGHT IT PERHAPS TIMELY AND SOME CONNECTIONS THERE.” “WHEN I RETIRED IT WAS KIND OF A HOLLOW BUILDING AND THERE WAS A LOT OF VIDEO TAPE AROUND, WHICH I CONVINCED THE CURRENT OWNERS OF THE STATION, SHAW MEDIA AT THE TIME…BETWEEN MYSELF AND AN ENGINEER, LARRY LAWDINEY, WE DID CONVINCE THEM THAT THERE WAS A LOT OF HISTORY IN THOSE VIDEO TAPES, WHICH THEY WERE PREPARED TO THROW OUT IN THE DUMPSTER, AND END UP IN OUR LANDFILL. SO, WORKING WITH ANDREW [AT THE GALT ARCHIVES], AND HE HAS GOT—I DON’T KNOW HOW MANY TRUCKLOADS OF THE TAPES NOW.” “SOME OF THESE ARTIFACTS, WHICH I HAVE DISCUSSED WITH YOU BEFORE, I FELT WERE SIGNIFICANT…REPRESENTATIVE OF SOME OF THE HISTORY OF THE STATION. THE STATION PRODUCED SOME VERY REMARKABLE INDIVIDUALS THAT HAVE GONE ON TO WIDE ACCLAIM ACTUALLY, RIGHT THROUGH THE HISTORY OF THE STATION. INCLUDING PEOPLE LIKE DON SLADE…HE WAS A DISC JOCKEY WHEN I WAS LIVING IN WINNIPEG GROWING UP, AND THEN HE ENDED UP BEING IN EITHER CALGARY OR EDMONTON. THE FAMOUS WEATHER MAN…BILL MATHESON, OF COURSE FROM LETHBRIDGE, WENT TO NEW YORK, AND ENDED UP IN EDMONTON. I HAVE HAD A NUMBER OF PEOPLE WHO HAVE WORKED IN MY DEPARTMENT THAT HAVE GONE ON TO SOME SIGNIFICANT ACCOMPLISHMENTS AS WELL. ONE IN PARTICULAR, DOUG GOAT, WAS A VIDEO JOURNALIST FOR NBC AND HE WENT OVER TO THESE WAR TORN COUNTRIES—HE WAS A LETHBRIDGE BOY, HIS DAD ACTUALLY MADE SOME EQUIPMENT FOR US FOR OUR TRIPODS…RICK LUCHUCK, WHO WAS IN OUR PRODUCTION DEPARTMENT LEFT, WENT TO REGINA, AND THEN I THINK TORONTO…HE CAME BACK JUST THIS PAST YEAR FOR A REUNION AT LETHBRIDGE COLLEGE, FROM WHERE HE GRADUATED IN BROADCASTING. HE IS VICE PRESIDENT OF PROMOTIONS FOR CNN…WE HAVE HAD PEOPLE GO TO SPORTS NETWORK…A LOT OF PEOPLE WENT THROUGH THE STATION, IT WAS A REVOLVING DOOR, BUT I WAS OKAY WITH THAT BECAUSE WE HELPED BUILD THEIR CAPABILITIES, AND THEY WERE VERY APPRECIATIVE OF THE OPPORTUNITIES AND THE TRAINING THAT WE DID PROVIDE…THE STUFF WE DID WE HAD…A VERY SMALL MOBILE PRODUCTION FACILITY, BUT IT WAS INVOLVED WITH THE OLYMPICS IN ’88, THE TORCH RUN. WE PICKED UP THE TORCH RUN WHEN IT ENTERED ALBERTA IN THE CROWSNEST PASS, BROADCAST THAT LIVE THROUGHOUT ALBERTA. I HAD THE OPPORTUNITY TO MEET PRINCE CHARLES AND PRINCE ANDREW AND FERGIE…THEY WERE DOWN FOR…THE OFFICIAL OPENING OF HEAD SMASHED IN BUFFALO JUMP.” “THE STATION WON A [NATIONAL] AWARD…[THE] FOUNDERS AWARD OF EXCELLENCE FOR A DOCUMENTARY WE PRODUCED [CALLED ‘WE WON’T LET HIM DIE’], AND I WAS THE PHOTOGRAPHER ON THAT AND SHOT…IT WAS ACTUALLY THIRTY YEARS AGO THAT THIS YOUNG FELLOW, TOMMY JONES, WAS WORKING AT A CHURCH CAMP IN WATERTON AND WENT HIKING WITH SOME FRIENDS IN A MOUNTAIN AND FELL AND HAD A SERIOUS BRAIN INJURY. TWO YEARS LATER—THEY DIDN’T EXPECT HIM TO LIVE…WE DOCUMENTED THAT WHOLE STORY AND RECREATED THE SCENES IN THE DOCUDRAMA…THESE THINGS REMIND ME OF ANOTHER ARTIST CORNY MARTENS, BRONZE ARTIST, WAS OUR STUDIO DIRECTOR, AND SOME OF THE STUFF THEY USED TO DO, BACK IN THE DAYS OF BLACK AND WHITE, THEY DID COMMERCIALS—THEY PAINTED THE FLOOR OF THE STUDIO TO MAKE IT LOOK LIKE A SWIMMING POOL, AND THEY HAD A FASHION SHOW WITH SWIMSUITS…THAT’S KIND OF WHAT PROMPTED ME [TO DONATE THE ITEMS], AND THAT’S THE CONNECTION TO THESE ITEMS.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND ARTICLES ON THE GLOBAL NEWS STATION BEING DISMANTLED, PLEASE SEE THE PERMANENT FILE P20190022001-GA.
Catalogue Number
P20190022007
Acquisition Date
2019-08
Collection
Museum
Images
Less detail
Other Name
THEATRE LAMP
Date Range From
1960
Date Range To
1970
Material Type
Artifact
Materials
METAL, GLASS, CLOTH
Catalogue Number
P20170029002
  2 images  
Material Type
Artifact
Other Name
THEATRE LAMP
Date Range From
1960
Date Range To
1970
Materials
METAL, GLASS, CLOTH
No. Pieces
1
Length
131
Width
28
Description
SILVER THEATER LAMP WITH BLUE METAL C-CLAMP AND BOLT FIXED TO METAL HANDLE; C-CLAMP HAS EMBOSSED TEXT “STRAND ELECTRIC”. LAMP IS ROUNDED WITH GLASS COVER OVER INSIDE LIGHT AND THREE SILVER SLIDES AROUND FRONT FOR HOLDING SCREENS AND COVERS. BOTTOM OF LAMP HAS EMBOSSED TEXT “MADE IN ENGLAND” ABOVE BLACK AND SILVER PLATE NAILED ON “THE STRAND ELECTRIC & ENG CO LTD, LONDON, PATT. NO. 23/LS, VOLTS 120, MAX. WATTS 500”. BOTTOM HAS METAL COVER OVER BOLT AND BLACK CHIPPED HANDLE FOR TURNING BOLT; BOTTOM HAS WHITE CLOTH POWER CORD EMERGING; CORD HAS SILVER PLUG END WITH NGRAVED TEXT “HUBBEL, TWIST LOCK, TURN & PULL, COVER GROUNDED, 20A_250V., 10A. 00V. A.C., 2920304, PAT. 2815495”. BACK OF LAMP HAS CUT-OUTS IN METAL TO SHOW INSIDE; CENTER OF BACK HAS ENGRAVED TEXT “STRAND ELECTRIC”. TOP OF LAMP HAS SILVER BUTTON PRESSED INTO METAL TO OPEN COVER; INSIDE OF LAMP HAS SILVER ROUND REFLECTOR AND GLASS BULB SET IN WHITE PLASTIC FITTING. TOP HAS BROWN AND SILVER PLATE NAILED ON “SUPPLIED BY STRAND ELECTRIC, TORONTO”. LAMP HAS PINK PAINT SPOTS ON TOP AND SIDES; CORD IS DISCOLOURED AND STAINED WITH BLACK; BLUE C-CLAMP ON HANDLE IS RUSTED AND IS CHIPPED; RIGHT SIDE OF LAMP HAS BROWN ADHESIVE RESIDUE. OVERALL VERY GOOD CONDITION.
Subjects
LIGHTING DEVICE
Historical Association
FURNISHINGS
INDUSTRY
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 “STRAND” THEATRE LAMP, ED BAYLY ELABORATED, “THOSE WERE THE LAMPS THAT WE USED TO FILL IN THE AREAS WHERE THE PROFILE LIGHTS DIDN’T LIGHT UP. BECAUSE THEY WERE 500 WATTS WE COULD UTILIZE MORE OF THEM. YOU COULD ONLY GET SO MANY LIGHTS ON ONE CIRCUIT AND THESE WERE VERY HANDY LIGHTS. PUSH THAT BUTTON THERE AND THE FRONT OPENS UP AND YOU CAN CHANGE THE BULB. THEY DIDN’T GET OVERLY HOT WHICH MEANT THEY’D LAST LONGER.” “I BOUGHT THE LIGHTS [FOR THE THEATRE]. IT WAS THE FIRST COUPLE OF YEARS THAT WE WERE BUYING THE LIGHTS. IT WAS AN INTEGRAL PART, [THE THEATRE] NEEDED TO HAVE THEM IN ORDER TO UTILIZE THE STAGE PROPERLY. WE STARTED USING THEM FROM DAY ONE…PART OF THE NEW EQUIPMENT OF THE YATES.” “IT WAS GREAT [HAVING THE LIGHTS]. WE FOUND THAT AFTER A WHILE WE BOUGHT SO MANY HIGHER POWERED LIGHTS INITIALLY FOR THE FRONT OF THE HOUSE, WHICH MEANS THE OLD BALCONY AREA IN FRONT OF THE STAGE THERE, TO LIGHT UP THE FRONT PART OF THE STAGE [USED] THE MAIN LIGHTING…THESE WERE USED AS AUXILIARY LIGHTING. THESE CAME A LITTLE BIT LATER BECAUSE WE FOUND OUT WHERE WE NEEDED THEM. IT WAS A CONVENIENT WAY OF LIGHTING SYSTEM.” “[THESE WOULD BE SUSPENDED UP IN THE AIR] ABOVE THE STAGE AND ALSO IN FRONT OF THE STAGE OR ON STANDS. [THEY WERE A GOOD LIGHT] THEY WERE EASY TO WORK WITH.” “IT WAS A BIG PART OF WHAT I DID SO IT WAS ENJOYABLE TO ME. YOU CAN MAKE QUITE AN EFFECT WITH LIGHTS, ONE WAY OR ANOTHER YOU COULD SEE THESE…MAKE IT EFFECTIVE. [YOU COULD] CREATE MOODS WITH DIFFERENT COLOURS. THE SLOTS ON THE FRONT [OF THE LAMP] ACCOMMODATED A FRAME. IT HAD GELS WHICH ARE DIFFERENT COLORED CELLOPHANE TRANSPARENCIES. YOU’D LIGHT THE STAGE WITH DIFFERENT COLOURS IF YOU WANTED, TO CREATE THE MOOD THAT YOU WERE ENDEAVORING TO CREATE.” “[THE CITY IN PROVIDING FUNDING FOR EXPENSES WAS] NOT BAD. WE TRIED TO KEEP THE EXPENSE DOWN. THAT WAS PART OF MY JOB TOO, TO TRY TO BE AS ECONOMICAL AS POSSIBLE. IT WORKED OUT PRETTY WELL. [IT WAS] SOMETIMES HARD TO CONVINCE THEM THAT THERE WAS A NEED FOR SOME OF THIS STUFF IF THEY WEREN’T FAMILIAR WITH WHAT IT WAS USED FOR.” LINDA BAYLY ADDED, “I REMEMBER [ED] STANDING ON, IT SEEMED LIKE A HUNDRED FOOT LADDER BEFORE [HE] GOT THE SCAFFOLDING IN THERE, HOOKING LIGHTS AND MOVING THEM AND SHIFTING THEM ALONG THE LIGHTING RAILS…[IT] SCARED ME TO DEATH. SO, I STAYED OUT OF THERE.” 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 THEATRE LAMP, “I COULD TAKE IT APART, CLEAN IT, PUT A GEL IN IT, AND GET [IT] UP AND RUNNING. FOCUS IT. I’M GOING TO GUESS THAT IT WAS PROBABLY STILL ONE OF THE MAIN LAMPS IN USE UNTIL THE MID-EIGHTIES OR LATER IN THE YATES. WHEN THEY ADDED ON THE STERNDALE BENNETT THEATRE, JUST ON THE EAST SIDE, A LOT OF THE LAMPS FROM THE YATES TRAVELED OVER TO THAT THEATRE AND WE REPLACED THEM WITH THE TECHNOLOGY OF THE DAY WHICH ARE NOW THIRTY YEARS OLD. I RECALL THOSE AS WELL. BACK IN THE EARLY DAYS OF NEW WEST, WE DID EVERYTHING. WE WROTE THE SHOWS, CHOREOGRAPHED THE SHOWS, MADE OUR OWN COSTUMES, HUNG OUR OWN LIGHTS, DID ALL OUR OWN TECH WORK SO I’VE PROBABLY HAD MY FINGERS IN THAT LAMP AT SOME POINT IN ITS CAREER.” 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
P20170029002
Acquisition Date
2017-08
Collection
Museum
Images
Less detail
Other Name
"A7 RANCHE 100 ANNIVERSARY"
Material Type
Artifact
Materials
WOOD, PAINT
Catalogue Number
P20140032002
  2 images  
Material Type
Artifact
Other Name
"A7 RANCHE 100 ANNIVERSARY"
Date
1986
Materials
WOOD, PAINT
No. Pieces
1
Height
19.5
Diameter
5.7
Description
BROWN GLASS BEER BOTTLE WITH A LIP FOR A TWIST-OFF CAP (NO CAP). "85" IS IN RAISED LETTERS OF GLASS AT THE BASE OF THE BOTTLE. THERE IS A SEAM VISIBLE DOWN THE CENTER HALVES OF THE BOTTLE WHERE IT HAS BEEN FUSED TOGETHER. CREAM-COLOURED RECTANGULAR LABEL WITH GOLD TRIM PASTED TO ONE SIDE OF THE BOTTLE. LABEL READS "a7" WITHIN A RED DIAGONAL STRIPE RUNNING UP THE WIDTH OF THE LABEL WITH "BEER" PRINTED BELOW. THE BOTTOM OF THE LABEL READS: "BREWED AND BOTTLED IN CARLING O'KEEFE BREWERIES CALGARY, ALBERTA" IN ALTERNATING BLACK AND RED FONT. THERE IS A STAMP THAT STATES "100 YEAR ANNIVERSARY 1886-1986" IN THE UPPER LEFT SECTION OF THE LABEL. CONDITION: SLIGHT WRINKLE VERTICALLY DOWN THE RIGHT SIDE OF THE LABEL. SLIGHT SCUFFING ON THE GLASS OF BOTTLE.
Subjects
FOOD SERVICE T&E
MERCHANDISING T&E
Historical Association
COMMEMORATIVE
INDUSTRY
History
A NOTE ABOUT THIS BOTTLE WAS WRITTEN BY THE DONOR, FRANK LIGHTBOUND, AND PROVIDED TO THE MUSEUM AT THE TIME OF DONATION STATES: “THE SPECIAL LABEL ON THIS BOTTLE IS ONE OF A FEW HUNDRED PRINTED TO HELP CELEBRATE THE 100TH ANNIVERSARY (1886-1986) OF THE A7 RANCHE (OLD SPELLING), THE SOUTHERN PORTION OF WHICH BORDERS THE OLDMAN RIVER NORTH OF LUNDBRECK IN THE MAYCROFT AREA. THE RANCH WAS ESTABLISHED BY A. E. CROSS OF BIG 4 STAMPEDE FAME AND THE FORMER CALGARY BREWING/MALTING CO. (HORSESHOE AND BUFFALO LABEL). THE RANCH IS STILL OWNED BY THE CROSS FAMILY. THE BEER WAS SERVED DURING THE CELEBRATION BAR-B-Q AND THIS BOTTLE WAS GIVEN TO ME BY VAL DENNIS, SOUTH RANCH FOREMAN AT THE TIME.” ON 22 MARCH 2017, GALT COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED LIGHTBOUND ABOUT HIS DONATION OF THE 100TH ANNIVERSARY COMMEMORATIVE BOTTLE FROM A7 RANCHE BREWERY. THIS BOTTLE COMMEMORATES THE 100TH ANNIVERSARY OF THE A7 RANCHE. OF THAT, LIGHTBOUND STATES, “WELL, I MUST HAVE ACQUIRED IT SOON AFTER THAT THEN – IN 1986. IT WASN’T GIVEN TO ME DIRECTLY. I KNEW THE FOREMAN OF THE SOUTHERN BRANCH OF THE A7 RANCHE [VAL DENNIS], AND HE HAD SEVERAL OF THEM, AND HE GAVE ME ONE...THE DENNIS FAMILY HAVE A RANCH ON THE OLD MAN RIVER JUST OUTSIDE THE FOREST RESERVE, WHICH IS ACROSS THE ROAD FROM THE A7 RANCHE.” THE BOTTLE WAS GIVEN TO LIGHTBOUND EMPTY. WHEN ASKED WHY HE WAS COMPELLED TO SAVE IT, LIGHTBOUND REPLIED, “WELL, [IT REPRESENTS] AN INTERESTING PART OF THE COUNTRY. I WAS AT THE GAP RANGER STATION FOR FIVE YEARS AND THE DENNIS FAMILY HAD THE FIRST RANCH EAST OF THE FOREST RESERVE, ON THE NORTH SIDE OF THE ROAD, BETWEEN THE ROAD AND THE RIVER. I GOT TO KNOW THE FAMILY BACK AROUND 1965 AND THIS WAS [FROM] 1985. I STILL VISIT WITH THEM AND I HELPED THEM WITH THEIR RANCHING OPERATION...I SAW ALL THE FAMILY GROW UP, ALL THE KIDS GROW UP. VAL WAS ONE. WHEN I FIRST MET HIM, HE WAS A KID IN GRADE SCHOOL, AND NOW I THINK HE’S ABOUT 60 YEARS OLD, AND HE’S NEARING RETIREMENT AS AN RCMP OFFICER. SO A LOT OF YEARS HAVE PASSED. SO, OUT OF THE GOODNESS OF HIS HEART, HE THOUGHT I’D LIKE TO HAVE THAT BOTTLE AND I TOOK IT, AND I HAD IT DISPLAYED—IT WASN’T IN THE LIVING ROOM—BUT IT WAS IN THE CUPBOARD AREA IN THE DINING AREA.” ACCORDING TO THE A7 RANCHE HISTORY PROVIDED ON THEIR WEBSITE (ACCESSED ON 4 MAY 2018), THE RANCH’S FOUNDER – ALFRED ERNEST CROSS – “PICKED THE ‘A7’ BRAND TO SYMBOLIZE HIMSELF AND HIS SIX SIBLINGS. IT IS SAID TO BE THE OLDEST RANCH IN CANADA STILL IN THE HANDS OF THE ORIGINAL OWNERS, RIGHT THROUGH TO PRESENT-DAY OWNER JOHN CROSS.” THE WEBSITE CONTINUES, “A. E. CROSS IS BEST KNOWN FOR BEING ONE OF THE “BIG FOUR” CATTLEMEN WHO FOUNDED THE CALGARY STAMPEDE IN 1912. HOWEVER, HE HAD MANY OTHER BUSINESS, PUBLIC, AND CHARITABLE INTERESTS, LIKE THE CALGARY BREWING AND MALTING COMPANY, OIL AND GAS, AND THE BUDDING MOTION PICTURE INDUSTRY. CROSS ALSO SERVED AS THE MLA FOR EAST CALGARY IN THE LEGISLATIVE ASSEMBLY OF THE NORTH-WEST TERRITORIES...” PLEASE SEE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION, A7 HISTORY AND DONOR’S NOTE.
Catalogue Number
P20140032002
Acquisition Date
2014-08
Collection
Museum
Images
Less detail
Other Name
"ALBERTA MEAT MARKET"
Material Type
Artifact
Materials
STEEL, WOOD, IRON
Catalogue Number
P20180025000
  2 images  
Material Type
Artifact
Other Name
"ALBERTA MEAT MARKET"
Date
1955
Materials
STEEL, WOOD, IRON
No. Pieces
3
Height
115
Length
427
Width
24
Description
A. COMMERCIAL ADVERTISING SIGN, NEON. BODY STEEL PAINTED WITH TWO-TONE BLUE ON FRONT; FRONT HAS RED WOODEN LETTERS MOUNTED TO METAL FRAME AT BACK, SPELLING “ALBERTA" WITH WHITE NEON LETTERS OVERLAID. FRONT HAS WHITE LETTERS PAINTED ON BLUE BODY WITH OVERLAID WHITE NEON LETTERS READING “MEAT MARKET”. NEON LETTERS COMPRISED OF CONNECTED CLEAR, GLASS TUBES WITH BACKS PAINTED WHITE, AND UNPAINTED FRONTS; LETTERS ARE CONNECTED AND PAINTED BLACK BETWEEN INDIVIDUAL LETTERS; NEON LETTERS CONNECT INTO SIGN . LETTERS FASTENED TO FRONT OF SIGN BODY WITH BRACKETED GLASS EXTENSIONS, AND WITH SILVER WIRES TIED TO LETTERS. SIGN BODY IS RECTANGULAR WITH CUT-OUT SPACE IN CENTER WITH “ALBERTA" WOOD LETTERS IN FRONT OF CUT-OUT SPACE. SIGN BODY SLOPES DOWN FROM UPPER RIGHT CORNER; LOWER EDGE OF BODY SLOPES UP FROM RIGHT CORNER. SIGN FRONT HAS NEON TUBING ALONG UPPER EDGE ON BLUE FRAME, WITH SHORTER NEON TUBE RUNNING ACROSS FRAMING NEON TUBING ON THE LEFT SIDE. FRONT OF SIGN HAS LOGO BETWEEN “MEAT” AND “MARKET” NEON TEXT; LOGO COMPRISED OF RED BANNER EXTENDING FROM SIDES OF WHITE SHIELD IN CENTER; SHIELD HAS BLUE BORDER WITH BLUE “N” IN CENTER; RED BANNERS HAVE WHITE BORDERS AND WHITE TEXT ACROSS LOGO “NATIONAL NEON”.RED WOODEN LETTER “L” WARPED AND SPLITTING AT FRONT. TOP OF SIGN BODY STAINED WITH WHITE PAINT AND BLACK SOILING. BACK OF SIGN HAS FIXED BRACKETS ALONG EDGES WITH HOLES PUNCHED AT TOP AND BOLTED AT BOTTOMS TO SIGN BACK. BACK HAS BLACK POWER CORD EXTENDING WITH YELLOW POWER PLUG AT END; BACK HAS PAINT PEELING, IS STAINED AND RUSTED. BACK OF RED WOODEN LETTER “R” IS CRACKED; BACKS OF RED WOODEN LETTERS STAINED WITH YELLOW AND BLUE PAINT. OVERALL VERY GOOD CONDITION. B. NEON TUBING REMNANT, LETTERS “TA”, 41 CM LONG X 54 CM WIDE. GLASS TUBING FILLED WITH WHITE, PAINTED BLACK ON BACKS AND AT ENDS. ENDS BENT AND FITTED WITH METAL CAPS WITH WIRES EXTENDING TO FIT INTO FRONT OF SIGN. LETTERS “TA” FASHION IN CURSIVE FONT AND CONNECTED; TUBE LOOPS OVER AT JUNCTION IN “A” AND GOING UP THE “T”. LOWER END OF “A” HAS BLUE PAINT STAINING; PAINT CHIPPED AROUND ENDS; OVERALL VERY GOOD CONDITION. C. NEON TUBING REMNANT, LETTERS “AT”, 28 CM LONG X 50 CM WIDE. CLEAR GLASS TUBING, EMPTY, GLASS IS YELLOWED. TUBING PAINTED BLACK ON BACK, AT LOWER BASE, AND AT ENDS. ENDS BENT AND FITTED WITH METAL CAPS WITH WIRES EXTENDING TO FIT INTO FRONT OF SIGN. TUBES LOOP OVER AT JUNCTION IN “A” AND AT THE TOP LINE IN “T”. PAINT CHIPPED ON BACK AND FRONT; END CAPS RUSTED; OVERALL VERY GOOD CONDITION.
Subjects
ADVERTISING MEDIUM
Historical Association
BUSINESS
INDUSTRY
History
IN 2018, THE GALT MUSEUM RECEIVED A COMMERCIAL NEON SIGN FROM THE ALBERTA MEAT MARKET, OWNED AND OPERATED BY THE CRIGHTON FAMILY. IN THE 1920S, GEORGE CRIGHTON OPENED CRIGHTON MEAT MARKET ON 3RD AVENUE BETWEEN 7TH AND 8TH STREET IN DOWNTOWN LETHBRIDGE, AND OPENED THE ALBERTA MEAT MARKET AS A SECOND SHOP AT 510—6TH AVENUE SOUTH. THE ALBERTA MEAT MARKET REMAINED OPERATED BY THE CRIGHTON FAMILY UNTIL ITS CLOSURE IN 2012. THE ORIGINAL NEON SIGN FROM THE ALBERTA MEAT MARKET WAS REMOVED AND DONATED ON NOVEMBER 22, 2018. IN APRIL 2019, THE SIGN UNDERWENT RESTORATIONS TO REPAIR THE NEON LETTERING AT L.A. NEON, LETHBRIDGE, PRIOR TO ITS INSTALLATION IN THE GALT MUSEUM PERMANENT DISPLAYS ON JULY 9, 2019. ON DECEMBER 19, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ELAINE BROWN, WHOSE FATHER-IN-LAW, DAVE BROWN, OWNED NATIONAL NEAN DISPLAYS LTD., AND WHOSE HUSBAND, ALLAN BROWN, WORKED FOR NATIONAL NEON. ON THE “ALBERTA MEAT MARKET” SIGN, BROWN RECALLED, “THAT WAS ONE OF THE FIRST SIGNS THAT THEY MADE…THE WOOD ON IT, IS WHY I KNEW THAT IT WAS ONE OF THE FIRST ONES.” “[ALLAN] USED TO GO AROUND EVERY EVENING, ONCE A WEEK, AND CHECK AND MAKE SURE [THE SIGNS] WERE ALL KEPT UP. IF ANY OF THE NEON WAS BROKEN, THEN THEY WOULD IMMEDIATELY GO AND REPAIR IT SO THAT EVERYTHING WAS ‘AS IS’. HE WORKED [AT NATIONAL NEON] ALL DAY.” “[ALLAN] WAS PROUD OF THEM ALL. HE KNEW EXACTLY WHERE EVERY SIGN WAS. ANY ONE THAT HE WOULD PUT UP, HE COULD GO IN AND REPAIR QUICKLY, BECAUSE HE KNEW EXACTLY WHERE EVERYTHING WAS.” “ALLAN USED TO PAINT AND HANG SIGNS, [HIS BROTHER] JIM USED TO BLOW THE NEON AND [HIS BROTHER] BUSTER WOULD ALSO HANG SIGNS.” BROWN FURTHER ELABORATED ON THE HISTORY OF NATIONAL NEON DISPLAYS, STATING, “BEFORE [WE MARRIED IN 1957] ALLAN’S DAD, DAVE, BOUGHT THE BUSINESS WITH HIS THREE SONS…[IT WAS] NATIONAL NEON DISPLAYS LTD.” “IT WAS [AN EXISTING] BUSINESS OWNED BY ANOTHER BROWN…[DAVE] WAS INTERESTED IN IT, SO HE WENT IN AND DID ALL THE LEGWORK TO SEE IF HE COULD MAKE A GO OF IT. OBVIOUSLY, HE DECIDED HE COULD BECAUSE HE [AND THE SONS] BOUGHT IT.” “[ALLAN’S FAMILY] HADN’T BEEN [MAKING SIGNS] BEFORE BUT I PRESUME THEY KNEW THAT THEY COULD MAKE IT GO AND THEY COULD MAKE SIGNS. GRANDPA BROWN SAID THAT HE THOUGHT THEY COULD MAKE IT GO AND THEY DID.” “[ALLAN] DIDN’T THINK THE PLASTIC [SIGNS], WITH JUST THE FACE, WERE AS EYE-CATCHING AS THE NEON SIGNS NOR WERE THEY AS NICE TO LOOK AT WHEN THEY WERE ON. HE REALLY TOOK AN INTEREST IN IT; HE REALLY TRIED TO KEEP IT UP QUITE WELL. THEN HE RETIRED AND WE SOLD TO A MAN FROM CALGARY. I DON’T KNOW WHAT HAPPENED AFTER THAT BUT I THINK NEON PRODUCTS OWNS IT NOW, SO THEY SHUT [THE ORIGINAL] BUILDING DOWN. ALLAN HAD SOLD THE BUILDING AFTER HE RETIRED AND THEN THEY SHUT [THE] BUILDING DOWN AFTER THAT.” “WE HOPED THAT NATIONAL NEON WOULD BE IN PEOPLE’S MINDS AS BEING HERE AND BUILDING THOSE SIGNS…NATIONAL NEON WAS HERE AS A COMPANY AND EXPANDED FROM HERE. [ALLAN] USED TO GO INTO B.C. AND SASKATCHEWAN, TO EDMONTON…TO SELL THEM. IT WASN’T JUST A LOCAL BUSINESS. IT WAS ALL OVER, B.C., SASKATCHEWAN, ALBERTA—AND I THOUGHT IT WAS REALLY INTERESTING THAT THEY’D PICK ONE OF THE FIRST SIGNS THAT [ALLAN] BUILT TO TAKE DOWN AND PRESERVE. I’M SURE [ALLAN] WOULD HAVE BEEN HAPPY WITH THAT.” ON NOVEMBER 28, 2019, MACLEAN INTERVIEWED MIRIAM SMITH AND BOB CRIGHTON REGARDING THEIR MEMORIES OF THE ALBERTA MEAT MARKET, OWNED AND OPERATED BY THEIR GRANDFATHER GEORGE CRIGHTON, FATHER JAMES CRIGHTON, AND THEMSELVES. ON THE HISTORY OF THE ALBERTA MEAT MARKET, MIRIAM SMITH RECALLED, “THE CRIGHTON FAMILY MOVED FROM SCOTLAND IN 1920…[GRANDPA CRIGHTON] OPENED THE STORE; HE RAN THE 6TH AVENUE STORE. HE RAISED HIS SONS OUT OF THERE. DAD WAS A BUTCHER IN SCOTLAND; THEY ALL BECOME BUTCHERS. BOBBY LEFT; TOMMY LEFT; DAVEY, HE WAS A BUTCHER; GEORGE WENT TO CAMPBELL RIVER.” “[DAD TOOK OVER THE SHOP ON 6TH AVENUE] ’38, OR ’39.” BOB CRIGHTON ELABORATED, “[DAD] TRIED TO ENLIST, BUT HE HAD THE STORE ON 3RD AVENUE, AND HE WENT BROKE THERE. THAT WAS CALLED CRIGHTON’S MEAT MARKET AT THAT TIME...HE HAD TO PAY ALL OF HIS BILLS OFF, SO MY GRANDPA ASKED HIM TO TAKE OVER THE 6TH AVENUE STORE. SO HE TOOK OVER THE 6TH AVENUE STORE, AND CHANGED IT TO THE ALBERTA MEAT MARKET.” “[WHEN DAD GOT THE NEW NEON SIGN] I REMEMBER HIM PUTTING IT UP. DAD RENOVATED THE STORE AND WE GOT NEW MEAT COUNTERS, AND WHEN HE GOT THE NEW SIGN UP, I WATCHED THEM PUT IT UP. NATIONAL NEON PUT IT UP…I WAS 12-14 YEARS OLD.” MIRIAM SMITH RECALLED, “I WORKED THERE WHEN I WENT TO SCHOOL. I HAD TO ANSWER THE TELEPHONE ON SATURDAYS, OR HOLIDAYS…IT WAS A BUSY STORE. I REMEMBER ALONG 6TH AVENUE AND 5TH STREET, YOU COULDN’T FIND A PLACE TO PARK BECAUSE IT WAS SO BUSY. I REMEMBER, AT LUNCHTIME, I USED TO SAY, 'I’M GOING TO GO FOR MY LUNCH NOW,' AND THERE USED TO BE SILVER’S ACROSS THE STREET. MY DAD WOULD ALWAYS SAY, ‘NO, YOU CAN’T GO. I’VE GOT TO FIX THE COUNTER AND GET MY PARSLEY OUT.' HE ALWAYS HAD HIS COUNTER VERY BEAUTIFULLY DONE.” “THE PHONE WOULD RING OFF THE HOOK, ESPECIALLY [WITH] EVERYBODY WANTING TO ORDER THEIR MEAT. IT WAS PLEASANT VISITING WITH THE DIFFERENT PEOPLE. SOME OF THEM I KNEW; SOME OF THEM I DIDN’T. BUT I FOUND MOST PEOPLE VERY NICE TO CHAT WITH. I REMEMBER MY DAD, AND DORIS HUNT (H.B.HUNT), THE DOCTOR’S WIFE. SHE USED TO COME IN, AND SHE WAS QUITE A BOISTEROUS LADY, AND SHE SPOKE HER MIND. I REMEMBER ONE TIME SHE SAID TO MY DAD, 'JIMMY, THAT ROAST BEEF YOU GAVE ME LAST WEEK WAS TOUGHER THAN HELL.' WELL, MY DAD SAID TO HER, 'YOU KNOW, DORIS, I REMEMBER YOUR HUSBAND TOOK MY APPENDIX OUT, AND THEY COME BACK AGAIN.'" MIRIAM SMITH NOTED, "I REMEMBER THE TIME THAT DAD GAVE THE TURKEY TO THE KID…THE KID HAD NO MONEY, AND HE COME FOR HAMBURGER.” BOB CRIGHTON ELABORATED, “HAMBURGER, AT CHRISTMAS TIME. IT WAS 40 BELOW OUTSIDE, AND HE [CAME] DOWN…HE SAID, ‘I WANT A POUND OF HAMBURGER, MR. CRIGHTON.' [DAD] SAYS, ‘WHAT ARE YOU HAVING FOR CHRISTMAS SUPPER?' 'HAMBURGER.' 'JUST A MINUTE.' SO, [DAD] GETS A TURKEY, AND A HAM, AND SAUSAGE. GOT A BAG FOR HIM, AND HE SAYS, 'THERE – MERRY CHRISTMAS.'" “DAD WAS A PRETTY GENEROUS MAN! WHEN ANDY KERGEN DIED, JUDY [CAME] IN. SHE WAS CRYING. SHE HAD A $200.00 BILL; SHE COULDN’T PAY IT. SHE HAD $5.00 TO PUT ON THE BILL. DAD SAYS, “GIVE ME THE BILL, JUDY.” HE LOOKED AT THE BILL; HE TOOK HIS WALLET OUT AND PAID THE BILL, AND THEN GAVE HER THE RECEIPT.” MIRIAM SMITH CONTINUED, “I ALWAYS REMEMBER WHEN WE WERE KIDS GROWING UP, WE ALWAYS HAD LOTS OF MEAT. WHATEVER WAS LEFT OVER AT THE STORE [WOULD] COME HOME…WE COULD BRING ANYBODY WE WANTED, MOTHER DIDN’T MIND. THE MEAT PLATTER WOULD BE PLACED IN THE MIDDLE OF THE TABLE, AND THE WATER PITCHER. NOBODY WANTED TO SIT BESIDE THE WATER PITCHER, BECAUSE ALL YOU DID WAS POUR WATER.” MIRIAM SMITH NOTED, “[WE, THE CHILDREN, BOUGHT DAD OUT] IN 1965.” ON DECEMBER 11, 2018, MACLEAN INTERVIEWED KEN CRIGHTON, GRANDSON OF JAMES [JIM] CRIGHTON. KEN CRIGHTON WORKED WITH THE FAMILY IN ALBERTA MEAT MARKET. ON HIS MEMORIES OF WORKING IN THE ALBERTA MEAT MARKET, KEN CRIGHTON NOTED, “I WAS THERE EVERY DAY FOR 30 SOME YEARS…MY DAD AND HIS TWO BROTHERS WERE OPERATING IT WHEN I WAS A KID. [I] GOT TOLD TO GET DOWN THERE, AND HELP CLEAN UP; DO SOME CHORES; HELP WITH DELIVERIES; THEN I WORKED INTO LEARNING HOW TO CUT MEAT.” “[MY GRANDFATHER OWNED IT] JAMES ANDERSON CRIGHTON, BUT EVERYONE CALLED HIM ‘JIM’.” “[MY] FIRST MEMORIES OF GOING THERE TO WORK WAS HAVING TO RIDE ON YOUR BIKE, OR WALK FROM SCHOOL RIGHT AFTER SCHOOL, TO HELP CLEAN UP EITHER AT 4 O’CLOCK OR 4:30. IT ALWAYS SEEMED TO ME THAT I WAS DOING THE BULK OF THE WORK, AND THEY WERE DOING MOST OF THE BEER-DRINKING.” “EVERY NIGHT YOU HAD TO EMPTY ALL THE MEAT OUT OF THE COUNTER, COVER IT OVER, TAKE IT, PUT IT IN THE BIG COOLER; TAKE ALL THE PLATTERS OUT OF THE COUNTER, WASH THEM, DRY THEM…EVERYTHING FROM SWEEPING THE FLOOR, TO RAKING THE FLOOR. WE USED TO HAVE SAWDUST ON THE FLOOR TO SOAK UP ALL THE BLOOD AND FAT THAT WOULD FALL DOWN. YOU’D RUN A RAKE THROUGH IT TO PICK UP ALL THE BIG CHUNKS OF GARBAGE, AND THEN TWICE A WEEK YOU’D SWEEP UP ALL THE SAWDUST, AND REPLACE IT WITH FRESH SAWDUST. THAT ENDED WHEN THE HEALTH DEPARTMENT CHANGED…WHEN I WAS ABOUT 12-13, SO THAT WOULD HAVE BEEN 1972.” “[THE SHOP WAS OPEN] SIX DAYS A WEEK. WE WERE ONLY CLOSED, THEN, ON SUNDAYS.” “EVERY DAY, WEEKDAYS AFTER SCHOOL, AND SATURDAYS, I WOULD HELP THE GUY THAT WOULD DO DELIVERIES. WE’D RUN OUT A COUPLE, OR THREE, LOADS OF DELIVERIES TO HOUSES. IT WAS DIFFERENT BACK THEN. WE HAD SOME CUSTOMERS WHO WOULD ORDER THEIR STUFF IN THE MORNING FOR WHAT THEY WANTED FOR LUNCH. THEN THEY PHONE IN THE AFTERNOON, AND ORDER FOR WHAT THEY WANTED FOR SUPPER, WHICH, LATER ON, BECAME THE, “NO, YOU GET ONE DELIVERY A DAY.”” KEN CRIGHTON RECALLED THE LAYOUT OF THE SHOP, STATING, “THE FRONT HALF OF THE BUILDING, WHERE THE CUSTOMERS WERE, WAS PROBABLY ONLY ABOUT THE FIRST THIRD, MAYBE HALF OF THE BUILDING. A GLASS COUNTER/COOLER [WAS] ALONG THE MIDDLE, AND BEHIND IT WAS WHERE WE HAD OUR CUTTING BLOCKS AND SAW. [THERE WAS A] LITTLE COUNTER FOR A PHONE, [A] LITTLE COUNTER TO DO BOOKS ON, [AND] A 6’ WIDE AREA FOR THE CUSTOMERS TO STAND. EVERYTHING WAS SERVED. THERE WAS NO ‘THEM PICKING IT OUT’ AT THE COUNTER. IT WAS ALL DONE AND WRAPPED IN BROWN PAPER BY US.” “ON THE LEFT SIDE, [THERE WAS] A GOOD 15’ TO 20’ WALK-IN COOLER. THEN, ALONG THE WEST WALL, WE HAD A SMALL FREEZER WITH SHELVES. [IT] HAD NINE LITTLE DOORS THAT [OPENED] UP, AND SLIDE TRAYS IN. WHEN YOU’RE DOING FREEZER BEEF ORDERS, YOU’D USE THAT TO FREEZE THEM UP. [THERE WAS] A LITTLE WALK-IN FREEZER TO HOLD THE BOXES, PROBABLY ONLY 3’ BY 6’. [THERE WAS] A COUNTER [AT] THE BACK END, WITH A STOVE, THAT WE WOULD USE TO COOK UP CORNED BEEF, [AND] A FEW OTHER COLD MEATS.” “WE HAD A DOUBLE DOOR ON THE SIDE THAT WENT TO THE ALLEY, THAT WE WOULD BRING THE STUFF IN OFF THE TRUCK. USUALLY IT WAS TUESDAYS AND THURSDAYS, WE WOULD GET THE BIG ORDERS OF HANGING BEEF IN. WE HAD TWO HUGE 2’ BY 6’ PIECES OF WOOD THAT WERE ON BIG HOOKS THAT WERE PROPPED UP IN THE ATTIC. THEN YOU WOULD HANG YOUR BIG MEAT HOOKS ON THEM. YOU COULD GET 8 HIND QUARTERS, AND 6-8 FRONT QUARTERS HANGING UP IN THERE. ONE DAY WAS THE DAY YOU WOULD BREAK THEM DOWN INTO PIECES, AND THEN PUT THEM INTO THE COOLER, OR SAVE THE QUARTERS IF YOU HAD A WHOLE QUARTER FOR A FREEZER ORDER.” “[I LEARNED THE TRADE] MOSTLY BY WATCHING…BY THE TIME I WAS 15-16, [I WAS] IN THERE DOING EVERY SINGLE THING THEY’RE DOING: RUNNING THE BAND SAW, THE GRINDER, MIXING UP BURGERS, MAKING PATTIES, THE WHOLE DEAL. [I] DIDN’T REALLY GET TO SERVE CUSTOMERS TILL [I WAS] OLDER. A LOT OF THE CUSTOMERS, EVEN THEN, DIDN’T WANT ME SERVING THEM, [THEY] WANTED THE OLD MAN, OR ONE OF THE OLDER GUYS. I’M SURE LOTS OF FAMILY BUSINESSES RUN INTO THAT, WHERE THE OLD-TIME CUSTOMERS ONLY WANT THE OLDER PEOPLE LOOKING AFTER THEM.” “[THE SHOP DID WELL] I THINK BECAUSE, PROBABLY A LOT OF REPUTATION, AND PERSONALIZED SERVICE. BUT, AFTER A WHILE, IT GOT TO BE THAT YOU WERE RUNNING INTO A LOT OF PEOPLE THAT WOULD WANT YOUR QUALITY/YOUR SERVICE BUT AT THE SAME SALE PRICE THAT THE BIG STORES WOULD HAVE. THAT WAS THE FRUSTRATION OF IT…I WOULD SAY PROBABLY 90% OF THE CLIENTELE WERE REPEATS, AND YOU HAD YOUR STEADY CORE CUSTOMERS…THEY WOULD GET WHAT THEY LIKED.” “[IN THE 1980S] THERE WAS MYSELF, DAD, [AND] HE HAD TWO OTHER YOUNGER PEOPLE WORKING, ONE NAMED LEN, WHO WAS CUTTING MEAT, AND ANOTHER [WOMAN] NAMED IDA, WHO CUT. BUSINESS STARTED TO TAPER OFF THEN. HE LAID OFF IDA, AND THEN ME, AND LEN, AND DAD WOULD PRETTY WELL OPERATE THE WHOLE SHOW. THAT WAS ABOUT 1990.” “[DAD] WAS VERY, I THINK, ASTUTE AT THE BUSINESS…[HE] HAD TO BE, BECAUSE THAT WAS THEIR LIVING. THEY HAD NOTHING ELSE TO FALL BACK ON. [HE HAD TO] MAKE IT WORK. HE WAS REALLY GOOD WITH THE CUSTOMERS. HE ENJOYED SERVING THE CUSTOMERS MORE THAN THE GRUNT WORK IN THE BACK. HE COULD DO IT, BUT HE PREFERRED BEING UP FRONT, WORKING WITH THE PEOPLE. ME AND MY UNCLE RON COULD STAY IN THE BACK ALL DAY. I COULD STAND THERE AT THAT BLOCK, AND WE COULD CUT MEAT 8 HOURS STRAIGHT. [IT] WOULDN’T BOTHER US. I COULD HANDLE SERVING THE CUSTOMERS, BUT I PREFERRED JUST WORKING.” “[BUSINESS] REALLY STARTED DECLINING…I REALLY NOTICED IT AROUND 2008, 2009. FOR THE LAST WHILE, [I] JUST HAD MYSELF AND ONE OTHER YOUNG FELLOW, GARRY, WORKING THERE. IT WAS TO THE POINT WHERE YOU COULDN’T MAKE ENOUGH SALES TO AFFORD ANOTHER PERSON, BUT IT WAS TOO BUSY FOR ONE. GARRY WAS STARTING TO HAVE A FAMILY, AND NEEDED MORE MONEY. HE LEFT TO GO WORK SOMEWHERE ELSE. SO, I HUNG ONTO IT, AND JUST DID IT ALL BY MYSELF FOR THE LAST FOUR YEARS. BEING THE ONLY GUY THERE, EVERY HOUR OF EVERY DAY, FOR TEN HOURS A DAY, STARTED TO GET TO ME. IT GOT TO THE POINT WHERE, IN 2011, EARLY 2012, I JUST THOUGHT, “THERE’S NO POINT IN WORKING LIKE THIS, AND NOT MAKING ANYTHING. I MIGHT AS WELL DO NOTHING, AND MAKE THE SAME AMOUNT.”” KEN CRIGHTON SOLD ALBERTA MEAT MARKET IN 2012. MIRIAM SMITH SPOKE TO HER THOUGHTS ON THE SIGN BEING DONATED TO THE GALT MUSEUM, NOTING, “I’M VERY HAPPY. I THINK IT’S A GOOD PLACE FOR IT, AND I THINK KENNETH, AND EVERYBODY FEELS THAT WAY.” KEN CRIGHTON CONFIRMED, “I’M ECSTATIC! I WOULD RATHER IT BE HERE. OUR WHOLE FAMILY’S LOST OUR IDENTITY/ERASED [IT] BY HAVING IT JUST THROWN AWAY. ON THE OTHER HAND, I DIDN’T WANT IT STILL ON THE BUILDING, [WITH] THE BUILDING BEING USED FOR A DIFFERENT PURPOSE, AND HAVING THE NAME ASSOCIATED. [IT] FELT LIKE THE NAME BELONGED TO THE CRIGHTON’S MORE THAN THE COMMUNITY, OR WHOEVER OWNED THE BUILDING.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, FAMILY OBITUARIES, AND ARTICLES FROM THE LETHBRIDGE HERALD, PLEASE SEE THE PERMANENT FILE P20180025000-GA.
Catalogue Number
P20180025000
Acquisition Date
2018-11
Collection
Museum
Images
Less detail
Date Range From
1930
Date Range To
1950
Material Type
Artifact
Materials
STEEL, PLASTIC
Catalogue Number
P20170024000
  2 images  
Material Type
Artifact
Date Range From
1930
Date Range To
1950
Materials
STEEL, PLASTIC
No. Pieces
2
Height
22
Length
50
Width
40
Description
A. TYPERWRITER, 22 CM TALL X 50 CM LONG X 40 CM WIDE. DARK GREY WITH SILVER TRIM AND BLACK DECK; TYPEWRITR HAS BLACK AND RED RIBBON FIXED UNDER DARK GREY COVER; TYPEWRITER HAS FULL SET OF KEYS MARKED WITH BLACK AND CREAM LABELS. TYPEWRITER HAS TWO SILVER SWITCHES ON FRONT LEFT SIDE ABOVE “TAB CLEAR” BUTTON, AND TWO SILVER SWITCHES ON FRONT RIGHT SIDE WITH RED, BLUE AND WHITE MARKS BETWEEN, ABOVE “TAB SET” BUTTON. FRONT HAS GOLD PLATE TARNISHED BLACK WITH SILVER TEXT “ROYAL”, AND WHITE WORN PAINTED TEXT “MADE IN CANADA” BELOW. TYPEWRITER HAS WIDE DECK. RIGHT SIDE OF TYPEWRITER HAS BLACK TURN-KNOB WITH WORN WHITE PAINTED TEXT “TOUCH CONTROL” AND METAL ADJUSTMENT PLATE BELOW. BACK HAS WORN WHITE PAINTED LABEL “ROYAL”; UPPER LEFT CORNER OF BACK HAS WORN WHITE PAINTED LABEL “PATENTED, 1910, 1915, 1916, 1924”; BOTTOM OF BACK HAS WORN WHITE PAINTED LABEL “PROTECTED BY AMERICAN AND FOREIGN PATENTS, NOT FOR EXPORT, TOUCH CONTROL”. SERIAL NUMBER ENGRAVED INSIDE BACK LEFT SIDE OF CARRIAGE DECK, “KMM14-2685751”. CARRIAGE DECK IS WORN AND SOILED; PAINTED LABELS ARE WORN; OVERALL VERY GOOD CONDITION. B. TYPEWRITER COVER, 51.5 CM LONG X 50.5 CM WIDE. GREY-GREEN CANVAS COVER WITH COTTON LINING. COVER HAS WHITE MACHINE-STITCHED EDGES THAT ARE WORN AND FRAYING. COVER HAS HOLES AND TEARS IN SIDES AND FRONT; COVER IS CREASED AND FLAKING ON FRONT AND SIDES. OVERALL GOOD CONDITION.
Subjects
WRITTEN COMMUNICATION T&E
Historical Association
BUSINESS
COAL MINING
INDUSTRY
History
ON JULY 26, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED GLORIA MARTENS REGARDING HER DONATION OF A “ROYAL” TYPEWRITER. MARTENS ACQUIRED THE TYPEWRITER FROM DON LIVINGSTON WITH BRIDGE VALLEY GOLF IN LETHBRIDGE, ALBERTA. ON HER MEMORIES OF THE TYPEWRITER, MARTENS RECALLED, “I DIDN’T [KNOW IT WAS THERE] PRIOR TO TAKING IT. IT WAS UP ON A HIGH SHELF IN THE BACK CORNER AND I WAS UP TRYING TO FIND WHAT WAS UP THERE AND THAT’S WHEN I COME ACROSS IT. I NEVER [SAW MR. LIVINGSTON USE IT].” “I WAS WORKING DOWN AT BRIDGE VALLEY GOLF FOR MR. DON LIVINGSTON. I WAS CLEANING UP THE OFFICE ONE DAY AND IT WAS UP ON A TOP SHELF IN THE BACK CORNER. I ASKED HIM ABOUT IT AND HE INFORMED ME THAT IT HAD BEEN HIS DAD’S AND THAT HE HAD USED IT IN THE MINE, IN HIS OFFICE. MR. LIVINGSTON SAID, “IF YOU WANT IT YOU CAN TAKE IT HOME.” I BROUGHT IT HOME THINKING IT WAS QUITE AN INTERESTING PIECE AND IT’S MOVED WITH ME A COUPLE OF TIMES, BUT IT’S GOT TO THE POINT WHERE I DON’T USE IT SO, THEREFORE, MAYBE IT CAN BE PUT TO SOME USE SOMEWHERE.” “IT HAS TO BE 30 OR SO YEARS AGO [SINCE I WAS GIVEN THE TYPEWRITER].” “IT WAS JUST AN OLD TYPEWRITER AND IT WAS SOMETHING SIMILAR TO WHAT MY GRANDFATHER PROBABLY USED, AND SO IT WAS INTERESTING TO ME. SO I BROUGHT IT HOME.” “I HAD A SMALL LITTLE TYPEWRITER, BUT I NEVER DID MUCH TYPING.” IN THE LETHBRIDGE HERALD OBITUARY FOR R. DONALD LIVINGSTONE [MARCH 13, 2001], IT IS RECOUNTED THAT R. LIVINGSTONE WORKED FOR THE #8 MINE UNDERGROUND BEFORE ADVANCING TO ENGINEER, MANAGER, AND GENERAL MANAGER FOR LETHBRIDGE COLLIERIES FOR 34 YEARS. R. LIVINGSTONE WAS A LIFETIME MEMBER OF THE LETHBRIDGE COUNTRY CLUB AND OWNED BRIDGE VALLEY PAR-3 GOLF COURSE AND DRIVING RANGE. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND LETHBRIDGE HERALD ARTICLES, PLEASE SEE THE PERMANENT FILE P20170024000-GA.
Catalogue Number
P20170024000
Acquisition Date
2017-07
Collection
Museum
Images
Less detail
Other Name
CANDLESTICK TELEPHONE
Date Range From
1950
Date Range To
1970
Material Type
Artifact
Materials
METAL, COTTON, PLASTIC
Catalogue Number
P20180007000
  2 images  
Material Type
Artifact
Other Name
CANDLESTICK TELEPHONE
Date Range From
1950
Date Range To
1970
Materials
METAL, COTTON, PLASTIC
No. Pieces
1
Height
31
Diameter
13.4
Description
BLACK CANDLESTICK-STYLE TELEPHONE WITH RECEIVER AND SPEAKER. TELEPHONE SPEAKER IS ATTACHED TO BLACK ROUND BASE AND BLACK MIDDLE ROD WITH HOOK FOR HANGING THE RECEIVER; METAL STAND ON BROWN PADDED BASE WITH BLACK PLASTIC SPEAKER AT THE TOP. BASE HAS WHITE STAMPED TEXT AROUND BASE OF THE STAND “WESTERN ELECTRIC, MADE IN U S A, PAT IN U S A JAN 26 15”. TELEPHONE HAS BLACK METAL PLATE BENEATH PLASTIC SPEAKER WITH ENGRAVED TEXT “9298W, WESTERN ELECTRIC, MADE IN U S A, PAT IN U S A JAN 14 1919”. BASE HAS TWO BROWN CLOTH-COVERED CORDS EXTENDING FROM BACK OF BASE; FIRST CORD IS CUT OFF, SECOND CORD IS ATTACHED TO BLACK PLASTIC RECEIVER. RECEIVER IS CONE-SHAPED WITH WIDER MOUTHPIECE AT END. RECEIVER IS WRAPPED WITH BLACK TAPE AROUND MIDSECTION; RECEIVER HAS ENGRAVED TEXT AROUND CORD, “PAT. IN U.S.A. APRIL 16, 1918, MAY 20, 1913, JUNE 3, 1913”. RECEIVER HAS ENGRAVED TEXT AROUND BACK EDGE OF MOUTHPIECE “WESTERN ELECTRIC MADE IN U S A 143”. TELEPHONE HAS CHIPPED PAINT ON RECEIVER HOOK; SPEAKER OF TELEPHONE IS CHIPPED WITH LOSS IN PLASTIC; TELEPHONE BODY AND RECEIVER ARE STAINED WITH WHITE PAINT. OVERALL VERY GOOD CONDITION.
Subjects
TELECOMMUNICATION T&E
Historical Association
AGRICULTURE
BUSINESS
INDUSTRY
History
ON APRIL 3, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED JOHN WENSVEEN REGARDING HIS DONATION OF A CANDLESTICK TELEPHONE. WENSVEEN HAD RETIRED FROM ALBERTA TERMINALS LIMITED AND HAD KEPT THE TELEPHONE AS A SOUVENIR FROM HIS TIME EMPLOYED. ON HOW HE CAME INTO POSSESSION OF THE TELEPHONE, WENSVEEN ELABORATED, “WHEN I RETIRED [IN THE FALL OF 1989] FROM THE ELEVATOR, THESE PHONES WERE NOT USED ANY MORE SO THEY WERE MORE OR LESS DISCARDED. WHEN I RETIRED I [WOULD] JUST TAKE ONE HOME. SO I DID. I DIDN’T STEAL IT OR ANYTHING BECAUSE THEY WEREN’T USED ANYMORE.” “[I WORKED FOR] THE CANADIAN GOVERNMENT ELEVATOR LATER KNOWN AS ALBERTA TERMINALS LIMITED.” “THESE [PHONES] WERE IN THE ELEVATOR AND AS LONG AS THEY WERE WORKING, WE USED THEM. [THE COMPANY] DIDN’T WANT TO GO TO ANOTHER PHONE AND HAVE THE SAME THING SITTING IN THE OFFICE…THE PHONE WOULD RING AND THEN YOU WOULD HAVE TO GO OVER THERE AND ANSWER IT. THEY DECIDED WE’VE GOT TO GET SOMETHING THAT WE CAN CARRY WITH US AND THAT’S WHAT WE DID. WE COULD HAVE GONE THROUGH A REGULAR PHONE AS SUCH BUT, AGAIN, YOU WOULD HAVE TO GO THROUGH THAT OFFICE AND ANSWER THE PHONE.” “WE HAD A BOX, [THE] WIRE WAS CONNECTED ON TO THE BOX…IT WAS ON THE WALL AND IT HAD DIFFERENT FLOORS MARKED IN A LITTLE SPACE [WITH] A LITTLE BUTTON BEHIND IT. IF YOU WANTED TO CONTACT ANOTHER FLOOR, YOU WENT IN THERE AND YOU PRESSED THAT BUTTON FOR THAT PARTICULAR FLOOR. THEN THE PHONE WOULD RING. THEN YOU WOULD GET IT OVER THERE AND YOU WOULD ANSWER THE CALL.” “I STARTED IN ’58 AND I THINK WE USED THEM FOR ABOUT 15 YEARS AFTER THAT [UNTIL ABOUT 1972]." “WE WENT OVER TO WALKIE TALKIES…[WHEN] I STARTED WORK THERE...WE WERE USING ALL THESE PHONES AND THEY HAD ONE OF THESE PHONES ON EACH FLOOR. IF YOU WANTED TO CONTACT SOMEBODY, THAT’S WHAT YOU HAD TO USE. THAT’S WHAT WE DID AND, LATER ON THEY WERE OFF-LISTED AND PUT IN THE BASEMENT, AND MORE OR LESS FORGOT ABOUT. SO I DECIDED TO TAKE ONE HOME.” “THESE PHONES WERE NOT THAT CLEAR. WALKIE TALKIES WERE MUCH CLEARER…[YOU] HELD THE MIC CLOSE TO YOU. IF YOU WERE TOO FAR AWAY FROM THE PHONE AND SOMEONE WAS TALKING YOU COULDN’T PICK IT UP VERY WELL. IT WAS SOMETHING AT THE TIME, IT WAS GOOD AT THE TIME BECAUSE THERE WAS NOTHING ELSE. BUT WALKIE TALKIES WERE MUCH BETTER.” “WE USED THIS PHONE ALL THE TIME WHEN WORKING THERE, SO IT WAS SOMETHING THAT WE WERE USED TO USING…THAT’S THE MAIN REASON [I BROUGHT IT HOME]. I THOUGHT IT WOULD BE NICE TO TAKE ONE AS A REMEMBRANCE OF THE ELEVATOR AND I’LL USE IT HOW IT USED TO BE.” “I PUT IT OUTSIDE, I HAVE A SHED, AND I PUT IT IN THE SHED AND IT MORE OR LESS STAYED THERE...I THOUGHT EVENTUALLY IT WOULD BE A KEEPSAKE AND WOULD BE A REMINDER OF MY PLACE WHERE I WORKED. [NOW] I’M DOWNSIZING. I’M GOING TO BE MOVING OUT OF THE HOUSE AND I KNEW I HAD THIS IN THE SHED OUTSIDE. I THOUGHT MAYBE THIS IS A GOOD TIME TO SEE IF I CAN DONATE IT AND I DIDN’T WANT TO THROW IT OUT.” ON HIS TIME WITH ALBERTA TERMINALS LIMITED, WENSVEEN RECALLED, “I WORKED ON THE SCALE FOR 8 YEARS. THE SCALES WERE UPSTAIRS AND THEY HAD 6 PITS DOWN BELOW WHERE THE GRAIN WOULD BE DUMPED. IN THE EARLY DAYS THEY USED BOXCARS, CPR, AND THEY WOULD HOLD 1500 BUSHELS. THEY WERE MADE FOR [TRANSPORT] AND THE GRAIN WOULD COME UP…ABOVE THE SCALE AND WE COULD CONTROL THAT AND WE WOULD WEIGH IT. I WORKED UP THERE FOR ABOUT 8 YEARS. THEN A POSITION CAME AVAILABLE DOWNSTAIRS FOR RECEIVING AND SHIPPING SO I PUT IN FOR IT AND I GOT THAT POSITION. I DID THE RECEIVING AND SHIPPING LATER ON, TAKING GRAIN IN AND SHIPPING GRAIN OUT.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180007000-GA.
Catalogue Number
P20180007000
Acquisition Date
2018-04
Collection
Museum
Images
Less detail
Date Range From
1930
Date Range To
1960
Material Type
Artifact
Materials
IRON, LEATHER, STEEL
Catalogue Number
P20160020000
  1 image  
Material Type
Artifact
Date Range From
1930
Date Range To
1960
Materials
IRON, LEATHER, STEEL
No. Pieces
2
Length
15.5
Width
9.1
Diameter
12.2
Description
METAL COW BELL WITH LEATHER STRAP. BELL IS MADE UP OF 2 PIECES OF METAL FUSED TOGETHER AT SIDES WITH TWO NAILS IN EACH SEAM. TOP IS FOLDED TOGETHER WITH THE ENDS FUSED DOWN THE SIDE IN A TRIANGULAR FOLD. FRONT AND BACK OF BELL ARE RELATIVELY FLAT, COMING OUT SLIGHTLY AT EDGE. WELDING OF BELL IS CRUDE. INSIDE OF THE BELL IS THE CLAPPER WITH A BALL END THAT IS 10.5 CM IN CIRCUMFERENCE. BALL IS ATTACHED TO A ROD THAT IS HOOKED TO THE LOOP INSIDE THE TOP OF BELL. FLAT METAL LOOP AT TOP OF BELL ATTACHES THE BELL TO LEATHER STRAP THAT IS 109.4 CM IN LENGTH AND 2.4 CM IN WIDTH. 9 HOLES PUNCHED IN LEATHER FOR STRAP ADJUSTMENT WITH THE BUCKLE GOING THROUGH THE 10TH HOLE PUNCH. STANDARD METAL BUCKLE WITH LEATHER BELT LOOP FOR THE EXCESS LENGTH OF STRAP. FAIR CONDITION: METAL SEVERELY RUSTED IN COLOUR. AT ONE SEAM NEAR THE BASE, THE METAL HAS OXIDIZED TO A GREEN COLOUR. METAL SURFACE INSIDE OF BELL HAS LOST SHINE AND IS RUSTY. STRAP IS SEVERELY WORN AND HAS SCRATCHES AND LOSS OF FINISH OVERALL. END OF THE STRAP OPPOSITE OF BUCKLE IS TORN OFF.
Subjects
ANIMAL HUSBANDRY T&E
Historical Association
AGRICULTURE
History
ON 14 JULY, 2016, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE DONOR, ELLENNOR PORTER, AND HER DAUGHTER, KAREN PORTER AT THE GALT MUSEUM. THE FOLLOWING INFORMATION COMES FROM THAT INTERVIEW. ELLENNOR’S HUSBAND WAS ROBERT MICHAEL “MICK” PORTER. HE FOUND THE BELL AS ELLENNOR REMEMBERS, “[I REMEMBER] HIM BRINGING IT IN THE HOUSE… I DON’T KNOW JUST HOW LONG AGO… [AND HIM SAYING], ‘LOOK WHAT I GOT.’ THEN IT WAS JUST EVERYONE WAS SAYING, ‘WOW,’ AND PLAYING AROUND WITH IT… [AFTER THAT] IT WAS PUT IN THE BASEMENT WITH THE REST OF THE THINGS.” KAREN AND ELLENNOR BELIEVE THE BELL WOULD HAVE BEEN FOUND BY MICK IN THE 1950S OR THE 1960S. ELLENNOR CONTINUED, “[HE FOUND IT ON] THE RANCH. HE WAS OUT VISITING HIS RELATIVES OUT THERE. HE HAD AUNTS AND UNCLES ON THE BURN RANCH. HE’S PROBABLY JUST RE-VISITING THEIR PLACE THAT HAD BEEN SOLD, SO MAYBE IT CAME FROM PINCHER CREEK. IN THAT AREA ANYWAY, LUNDBRECK OR PINCHER CREEK.” “DAD WOULD GO UP SOMETIMES BY HIMSELF,” KAREN ADDED, “I DON’T THINK ANY OF US WERE WITH HIM WHEN HE CAME HOME WITH THAT. I THINK WE WERE AT HOME WHEN HE BROUGHT IT TO THE HOUSE… IT IS ALSO POSSIBLE THAT HIS FATHER AND MOTHER HAD [THE BELL] AT THEIR HOUSE AND GAVE IT TO HIM. THEY WERE FARMERS AT THE WALDRON RANCH – NOW THE WALDRON RANCH – [BUT IT] WAS THE PORTER RANCH. THEY HAD A HOUSE IN PINCHER CREEK, SO THERE IS A POSSIBILITY THAT’S ALSO WHERE HE WOULD HAVE GOTTEN IT.” THINKING BACK TO HER LATE HUSBAND’S DAYS IN THE AREA, ELLENNOR EXPLAINED, “[MICK’S] DAD WAS AT THE PORTER/WALDRON RANCH. IT WAS JUST THE PORTER RANCH AND AFTER HE MOVED TO PINCHER, HE SOLD LIKE HIS INTEREST PART OF IT TO WALDRON, SO IT [BECAME] A PARTNERSHIP… THE WALDRON RANCH IS NEAR BLACK MOUNTAIN ON THAT ROAD, TOWARDS THE BAR-U RANCH.” WHEN ASKED ABOUT THE BELL, ELLENNOR SAID, “[THIS BELL] BRINGS BACK MEMORIES FROM WAY BACK WHEN WE USED TO LOOK FOR CATTLE BACK IN THE BUSH, AND I IMAGINE THAT’S WHAT MY HUSBAND MUST HAVE THOUGHT TOO… [IT WOULD BE] A REMEMBRANCE FROM HIS CHILDHOOD. THEY PROBABLY HAD TO BRING IN THE OLD MILK COW AND SHE WOULD BE WEARING THE BELL. THAT’S WHAT THEY DID. THEY PUT IT ON THE BIG MILK COW, SO THAT WHEN THEY WANTED THEM TO COME IN TO MILK THEY COULD FIND THEM. SOMETIMES THEY’D GO HIDE IN THE BUSH, SO THEY KEPT THE BELL ON THEM SO THEY COULD KEEP TRACK OF WHERE THEY WERE AT.” ELLENNOR FURTHER EXPLAINED, “I HAD NO CONNECTION WITH THAT BELL. WE HAD NO CATTLE. WE WERE GRAIN FARMERS.” KAREN ADDED, “MUM AND DAD WERE WHEAT FARMING ON [THE K-LAZY-A-RANCH]. THERE WERE CATTLE THERE, BUT MUM DOESN’T REMEMBER THERE BEING CATTLE WITH BELLS ON. THEY WERE IN THE FARM YARD… THERE WERE HARDLY ANY TREES. THAT WAS THE RANCH ORIGINALLY AND LATER BECAME A WHEAT FARM. IF THEY KEPT IT AS A RANCH WITH CATTLE AND HORSES, THAT MEANT THEY COULD NEVER EVER LEAVE AND IT WAS PRETTY ISOLATED, SO OVER THE YEARS DAD TALKED THE OWNER INTO LETTING HIM COVERT IT TO WHEAT.” “THERE WAS NO BUSH [THERE FOR THE COWS] TO HIDE IN. SO NO NEED FOR A BELL!” ELLENNOR REMEMBERED. THE DONOR AND HER DAUGHTER REMEMBERED HOW MICK VALUED OBJECTS AND MEMORIES. “HIS EYES WOULD LIGHT UP [AND HE WOULD SAY], ‘LOOK WHAT WE HAVE HERE,’ [WHEN HE SAW SOMETHING ATTACHED TO A MEMORY]. HE HAD ALL KINDS OF MEMORIES OF HIS GROWING UP. SOME WERE NOT TOO HAPPY, SOME WERE VERY HAPPY, BUT HE ALWAYS REALLY LOVED COWS. IT DIDN’T MATTER WHERE WE WENT TRAVELLING IN THE WORLD…[HE ALWAYS] STOPPED AND TOOK SOME PICTURES. ‘OH LOOK AT THE COWS!’ HE’D SAY,” ELLENNOR JUMPED IN, COMPLETING HER DAUGHTER’S SENTENCE. “DAD TOOK THOUSANDS OF PICTURES OF COWS. FOR HIM THERE WAS A REAL CORRELATION,” KAREN FINISHED. “[THE BELL IS A TREASURE] BECAUSE IT HAS BEEN IN OUR HOME FOR SUCH A LONG TIME. WHEN DAD BROUGHT IT HOME, IN HIS PERSPECTIVE, HE WOULD HAVE THE SAME KIND OF MEMORIES MY MUM DOES OF HEARING THE COWS…I CAN REMEMBER THEM WHEN I WAS LITTLE ON THE FARM OUT BY SKIFF HEARING COW BELLS OR BEING OUT AT MY GRANDMOTHER’S FARM BY OLDS HEARING COW BELLS… [THIS BRINGS] THE MEMORY OF DAD BEING EXCITED ABOUT [THE BELL] AND TRYING TO WAKE US UP IN THE MORNING RINGING IT, IF WE WERE SLEEPING IN TOO LONG. THAT’S MORE THE MEMORY FOR US… [BUT] I WAS NEVER ON THE RANCH WHEN MY DAD WOULD HAVE FOUND [THIS SPECIFIC] BELL, SO THOSE MEMORIES AREN’T MY MEMORIES, THEY’RE MORE HIS MEMORIES. HE ALWAYS TREASURED IT, HE ALWAYS WANTED IT KEPT AND WE’D LIKE TO HONOUR THAT,” KAREN ADDED. NOTES FROM AN 2008 INTERVIEW WITH MICKEY AND ELEANOR PORTER STATE THE DONOR’S FATHER-IN-LAW, GEORGE ENGLISH PORTER, WAS BORN 1878 IN ORILLIA, ONTARIO AND DIED ON MARCH 16, 1959. HE CAME WEST FROM ONTARIO IN 1896 AT THE AGE OF SEVENTEEN. GEORGE PORTER’S FAMILY SETTLED 30 MILES NORTH OF LUNDBRECK, ON THE EASTERN SLOPES OF THE ROCKY MOUNTAINS. THE FAMILY SETTLED ON THE BLACK MOUNTAIN RANCH. GEORGE WAS ONE OF FOURTEEN CHILDREN IN THE FAMILY. HER MOTHER-IN-LAW WAS BORN IN EASTERN CANADA BEFORE MOVING TO OREGON. SHE IMMIGRATED TO CANADA WHEN SHE WAS8 YEARS OLD AND WAS RAISED ON THE BURN RANCH NORTH OF LUNDBRECK, ALBERTA. THE NOTES FURTHER STATE THE DONOR, ELLENNOR PORTER, WAS BORN IN 1922. THE OBITUARY FOR ROBERT MICHAEL “MICK” PORTER READS MICK WAS BORN ON MAY 23, 1921 IN COWLEY, ALBERTA. HE ATTENDED SCHOOL IN COWLEY AND GRADUATED HIGH SCHOOL FROM ST. MICHAEL’S CATHOLIC SCHOOL IN PINCHER CREEK. HE JOINED THE RCAF DURING WWII AND UPON AN HONOURABLE DISCHARGE AFTER A HIP INJURY, HE WORKED AS A GRAIN BUYER. HE MARRIED ELLENNOR CHRISTOFFERSEN IN OLDS, ALBERTA. LATER, HE WORKED FOR THE MCINTYRE RANCH FOR 5 YEARS. IN 1953, HE BEGAN FARMING IN THE SKIFF AREA AND RETIRED IN 1984. MICK AND ELLENNOR HAD FIVE CHILDREN: LAWNA ROBART, MICHAEL, RONALD, KAREN PORTER, AND CHRISTOPHER, WHO PASSED AWAY AS AN INFANT. MICK PASSED AWAY IN LETHBRIDGE ON SEPTEMBER 27, 2012 AT THE AGE OF 91 YEARS. HISTORY OF THE WALDRON CATTLE RANCH LTD. WAS PUBLISHED IN THE “CANADIAN CATTLEMEN” PUBLICATION IN MARCH OF 1946. IT STATES THE RANCH “COMPRISED ONE HUNDRED THOUSAND ACRES OF LAND SITUATED IN SOUTH-WESTERN ALBERTA. IT WAS SITUATED IN A VALLEY EXTENDING BETWEEN THE PORCUPINE HILLS AND OLD MAN RIVER FOR ABOUT 30 MILES NORTH AND SOUTH AND VARYING FROM THREE TO FIVE MILES IN WIDTH.” THE HISTORY STATES THE WALDRON CATTLE RANCH WAS FORMED IN 1883 BY SIR JOHN WALROND WALROND OF BARONET AND LORD CLINTON OF LONDON – BOTH MEN OF ENGLAND. ON JUNE 26TH, 1884, QUEEN VICTORIA GRANTED THE RANCH AN INDENTURE OF LEASE TO SIR WALROND, BARONET. (THE TEXT OF THAT LEASE AGREEMENT WAS PRODUCED AS PART OF THE CATTLEMEN PUBLICATION AND IS ATTACHED TO THE ARTIFACT’S PERMANENT RECORD.) ACCORDING TO THE ARTICLE, THE FIRST PURCHASE OF CATTLE WAS IN 1883 – 3,125 HEAD FOR $100,000. IN 1897, THE COMPANY WAS INCORPORATED UNDER THE CANADIAN JOINT STOCK COMPANIES ACT, MOVING ITS HEAD OFFICE FROM LONDON, ENGLAND. DUNCAN MCEACHRAN WAS APPOINTED PRESIDENT AND GENERAL MANAGER OF THE RANCH AND DAVID WARNOCK FROM GLASGOW BECAME THE LOCAL MANAGER. AT THE TIME OF THIS TRANSITION, IT IS BELIEVED THE RANCH HAD GROWN TO 12,311, THOUGH THIS WAS A MERE ESTIMATE. MCEACHRAN WAS INVOLVED WITH THE COMPANY FROM ITS BEGINNING IN 1883, WHEN HE STARTED AS THE GENERAL MANAGER. HIS LEADERSHIP GOT THE COMPANY THROUGH “PERIODS OF DEPRESSED CONDITION.” AFTER A HARSH WINTER IN 1906-1907, THE RANCH LOST APPROXIMATELY 5,000 HEAD OF CATTLE DUE TO SEVERE TEMPERATURE CHANGES. AFTER THIS, IN THE SUMMER OF 1908, THE RANCH “DISPOSED OF ALL ITS CATTLE TO PAT BURNS. FOLLOWING THE SALE, THE LAND OF THE WALDRON RANCH, EXCLUDING 1,000 ACRES WAS LEASED FIRST TO W. R. HULL, THEN TO PAT BURNS. C. W. BUCHANAN WAS APPOINTED THE PRESIDENT AND GENERAL MANAGER OF THE RANCH THAT IN 1923. MCEACHRAN PASSED AWAY IN OCTOBER 1924. ANOTHER HISTORY ON THE RANCH WAS FOUND BY MUSEUM RESEARCHERS IN THE LETHBRIDGE HERALD. PUBLISHED ON 1 MAY 1954, THE ARTICLE READS, “AT ONE TIME THE WALDRON LEASE CONSISTED OF BETWEEN 300,000 TO 400,000 ACRES OF LAND, EXTENDING FROM WHAT IS KNOWN AS STOWE TO THE NORTH FORK OF THE OLDMAN RIVER. IN THE NORTH FORK DISTRICT THE LAND WAS DIVIDED INTO FIVE BRANCHES… AT ITS PEAK IN THE SUMMER OF 1906 THE RANCH HAD 20,000 HEAD OF STOCK.” GEORGE PORTER IS LISTED IN THE HISTORY AS ONE OF THE CATTLE MEN EMPLOYED BY THE WALDRON RANCH FROM 1883 TO 1908. ABOUT HIM, THE ARTICLE STATES, “GEORGE PORTER [WAS] A GOOD STOCKMAN, [WHO] LATER BOUGHT 12 SECTIONS OF THE COMPANY’S FREEHOLD AT ITS NORTHERN END AND ADJOINING LAND ALREADY OWNED BY HIM.” “GEORGE PORTER AND SONS HAVE SOLD THEIR RANCH AND CATTLE TO JOHN FRANCIS MILLER… THE PORTER RANCH IS ABOUT THIRTY MILES NORTH OF LUNDBRECK AND ADJOINS THE 19,000 ACRE WALDRON RANCH WHICH MR. MILLER ALSO OWNS HAVING PURCHASED IT FROM P. BURNS RANCHES LAST FEBRUARY,” THE HISTORY STATES. AN ARTICLE PUBLISHED IN THE 21 AUGUST 1953 LETHBRIDGE HERALD ANNOUNCED, “TWO OF THE LARGEST AND MOST FAMOUS RANCHES IN THE SOUTH-WESTERN ALBERTA FOOTHILLS ARE BEING OFFERED FOR SALE. THEY ARE THE WALDRON AND PORTER RANCHERS, NORTH OF LUNDBRECK. THESE PROPERTIES ARE OWNED NOW BY JOHN F. MILLER OF LAS VEGAS, NEVADA… [THEY] HAVE BEEN OPERATED BY MR. MILLER’S SON, WHO TOOK OVER THE JOB SEVERAL YEARS AGO WHEN THE MILLERS BOUGHT THE WALDRON FROM THE WALDRON RANCHING COMPANY AND THE PORTER RANCH PROPERTY FROM GEORGE PORTER…” THE HISTORY OF GEORGE AND NORA PORTER (NEE BURN)’S MARRIAGE WAS PUBLISHED IN THE LETHBRIDGE HERALD ON JUNE 26, 1954 FOR THEIR 50TH ANNIVERSARY. THE COUPLE WERE MARRIED AT THE BURN RANCH IN JUNE 21 1904. THE COUPLE’S FOURTEEN CHILDREN WERE: MARJORIE ANDERSON, NORMAN PORTER, PHYLLIS ROBBINS, KATHLEEN HAMILTON, WINNIFRED BONERTZ, SANDY PORTER, EILEEN IRONMONGER, JEAN ALCOCK, JOSEPHINE ROBINSON, LILLIAN CHRISTIANSON, ISOBEL SINNOT, MICHAEL PORTER, LAWRENCE PORTER, AND CONNIE PORTER. PLEASE SEE PERMANENT RECORD P20080020001 FOR FURTHER INFORMATION REGARDING THE EARLY HISTORY OF THE PORTER AND BURN FAMILIES.
Catalogue Number
P20160020000
Acquisition Date
2016-07
Collection
Museum
Images
Less detail
Other Name
CARTON, MILK
Date Range From
1957
Date Range To
1970
Material Type
Artifact
Materials
PAPER, INK
Catalogue Number
P20160019000
  1 image  
Material Type
Artifact
Other Name
CARTON, MILK
Date Range From
1957
Date Range To
1970
Materials
PAPER, INK
No. Pieces
1
Height
24
Length
7.4
Width
7.2
Description
CARDBOARD MILK CARTON. SIDE ONE HAS “HOMOGENIZED MILK” ON TOP FOLD IN GREEN BLOCK LETTERING. FADED, BLACK INK STAMP ON THIS FOLD SAYS “?A 2 -45.” ON THE MAIN SECTION OF THIS SIDE THERE IS THE PURITY LOGO (“PURITY” IN PURPLE CURSIVE FONT), A PURPLE AND GREEN FLOWER, AND THE WORDS “CREAM IN EVERY DROP” IN PURPLE CURSIVE. ON THE BASE OF THIS PANEL IT SAYS “… HEAD OFFICE LETHBRIDGE.” THE OPPOSING SIDE (SIDE 3) IS SIMILAR, BUT WITH THE INDICATION OF “NET CONTENTS ONE QUART” AT THE BASE OF THE PANEL. SIDE 2’S TOP FOLD SAYS, “THE CONTAINER COVERED BY CANADIAN PATENTS 1941 – 395.645 1957 – 542-432… MANUFACTURED UNDER LICENSE FROM EX-CELL-O CORPORATION.” THE MAIN SECTION HAS THE PURITY LOGO AND THE SLOGANS “IT’S PURE. THAT’S SURE” AND “YOURS TO LOVE. OURS TO PROTECT.” ADDITIONALLY THIS SIDE INDICATED THAT THE MILK IS “PASTURIZED” AND IS “NOT LESS THAN 3.25% B.F.” PARALLEL TO THAT IS SIDE 4 WITH A TOP FOLD THAT HAS “SPOUT” MARKED ON IT. ON THE TOP FOLD, IT SAYS “PUREPAK” “YOUR PERSONAL MILK CONTAINER.” THE MAIN SECTION OF THIS HAS A GREEN ILLUSTRATION OF A CHURCH WITH “ATTEND THE CHURCH OF YOUR CHOICE…” ON THE BOTTOM OF THE CARTON, THERE ARE NUMBERS AND/OR LETTERS THAT WERE STAMPED INTO THE BOTTOM. A “W” IS VISIBLE. GOOD CONDITION. COLOUR OF CARDBOARD HAS YELLOWED OVERALL. THERE ARE VARIOUS STAINS ON THE SURFACE. BLACK STAINING AROUND THE CHURCH ILLUSTRATION. THE TOP FLAP OF THE CARTON IS DETERIORATING (BENT/TORN) WITH NOTICEABLE LOSS OF MATERIAL ON ONE SIDE’S CORNER.
Subjects
CONTAINER
Historical Association
BUSINESS
INDUSTRY
History
THE DONOR, HANK VROOM, FOUND THE MILK CARTON IN LETHBRIDGE APPROXIMATELY A DECADE BEFORE THE DATE OF DONATION (JULY 2016), AS A RESULT OF HIS CITY EMPLOYMENT AS A GARBAGE TRUCK DRIVER. THE LOCATION OF THE FIND IS UNKNOWN. IN THE TIME SINCE HIS POSSESSION, THE CARTON HAS BEEN IN A PLASTIC BAG IN A CUPBOARD. ACCORDING TO ADDITIONAL RESEARCH INTO THE EXISTENCE OF THIS TYPE OF MILK CARTON AND BRAND, IT IS ESTIMATED THAT THIS CARTON ORIGINATED PRIOR TO THE MID-1970S BECAUSE MILK MEASUREMENTS WERE CHANGED FROM QUARTS TO LITERS AROUND THAT TIME AND THIS CARTON’S MEASUREMENT IS INDICATED IN QUARTS. IN THE LATE 1950’S, PURITY DAIRY ADVERTISED BEING 100% PURE-PAK, MEANING THAT ALL MILK PRODUCTS CAME IN CARDBOARD CARTONS. BLOW MOLD PLASTIC CONTAINERS REPLACED CARDBOARD SHORTLY AFTER. WITH THE INDICATION OF THE 1957 PATENT NUMBER ON THE CARTON, THIS PLACES THE DATE OF THE MILK CARTON BETWEEN 1957 AND THE 1970S. THE FOLLOWING INFORMATION ABOUT PURITY DAIRY IS FROM THE RECORD FOR ARTIFACT P20070013001: SIMONIE (SAM) FABBI STARTED FABBI DAIRY IN 1923 IN LETHBRIDGE. HE WAS AN ITALIAN IMMIGRANT WHO BEGAN THE BUSINESS WITH THREE COWS AND SOME LARD BUCKETS. THE DAIRY WAS LOCATED AT 12 STREET B NORTH. AT THAT TIME, MILK WAS TRANSPORTED USING LARD PAILS OR CANS, WHICH, WITH THE HELP OF SAM’S SONS, WOULD BE LADLED INTO CUSTOMER’S CONTAINERS. FABBI DAIRY EXPANDED TO THE SOUTHSIDE DAIRY HILL IN THE EARLY 1930S. SHORTLY AFTERWARDS, FABBI DAIRY BOUGHT CITY DAIRY. SONS STAN AND ROMEO BOUGHT THE BUSINESS FROM THEIR FATHER IN 1936. AT THIS POINT, MILK WAS PACKAGED AND SOLD IN GLASS BOTTLES IN PINT, QUART OR GALLON SIZES. THE DAIRY HAD ITS OWN COWS, WHICH WERE MILKED DAILY AND WOULD PASTURE IN THE COULEES. BY 1936, HOWEVER, MILK AND CREAM WERE BROUGHT IN FROM OFFSITE. BETWEEN 1939 AND 1944, THE FABBI DAIRY BOUGHT PAVAN DAIRY AND THE BELLEVUE DAIRY. AT THAT POINT IN TIME, MANY SMALL DAIRIES WERE SUBJECT TO PASTEURIZATION LAWS, AND CHOSE TO CLOSE DOWN RATHER THAN CONVERT. FABBI DAIRY PURCHASED MAJESTIC THEATRE IN THE LATE 1930S OR EARLY 1940S FOR $10,000 FROM MAYOR SHACKERFORD, CONVERTING IT INTO A MILK BOTTLING PLANT. FABBI DAIRY CHANGED ITS NAME TO PURITY DAIRY, AND EXPANDED THROUGHOUT THE LATE 1940S AND 1950S, OPENING UP BUSINESSES IN MEDICINE HAT (1948), CALGARY (1950), EDMONTON (1950), CRANBROOK (1958), RED DEER AND TABER. ALL THESE LOCATIONS HAD DAIRIES EXCEPT FOR TABER, WHICH HAD A DEPOT. ACCORDING TO KEN FABBI, STAN FABBI’S SON, STAN AND ROMEO ESTABLISHED A DAIRY IN CALGARY WITHOUT A LICENSE. THE ONLY WAY TO OBTAIN A LICENSE FOR A DAIRY AT THAT TIME WAS TO BUY OUT AN EXISTING DAIRY. EXPANSION WAS SEEN AS NECESSARY TO THE FABBI BROTHERS, IF THEY WERE TO REMAIN IN BUSINESS. THE PURITY DAIRY IN CALGARY WAS DEEMED ILLEGAL, AND IN THE EARLY 1960S, STAN AND ROMEO FABBI WERE HANDCUFFED AND ARRESTED. PUBLIC SYMPATHY FOR THE FABBI BROTHERS ENABLED THEM TO PURCHASE A LICENSE AFTER THE INCIDENT. PURITY DAIRY HAD MANY INNOVATIVE PRODUCTS THAT OTHER DAIRIES IN TOWN DID NOT HAVE, LIKELY CONTRIBUTING TO THE DAIRY’S POPULARITY WITH THE PUBLIC. PURITY DAIRY WAS THE FIRST DAIRY IN WESTERN CANADA TO RELY SOLELY ON THE USE OF MILK TANKERS, WHICH VISITED VARIOUS LOCALS TO PICK UP MILK AND BRING IT TO THE DAIRY. PRIOR TO 1957, FARMERS WERE REQUIRED TO DELIVER MILK IN CANS TO THE DAIRY THEMSELVES. PURITY DAIRY HAD A SUBSTANTIAL FLEET OF RETAIL DELIVERY VEHICLES. IN ITS EARLY DAYS, HORSES WERE AN INTEGRAL PART OF THE DELIVERY SYSTEM. AT ONE POINT, 17 HORSES WERE BEING USED FOR DELIVERY PURPOSES. IN 1959, PURITY DAIRY REPLACED ITS LAST THREE HORSES WITH DELIVERY TRUCKS. IN THE 1950S, PURITY DIARY BEGAN TO STREAMLINE PRODUCTION. BUTTER WAS PRODUCED IN MEDICINE HAT, WHILE THE LETHBRIDGE BRANCH PRODUCED ICE CREAM, NOVELTIES, BUTTER MILK, AND SOUR CREAM, IN ADDITION TO MILK AND COTTAGE CHEESE. THE EDMONTON PLANT SHARED MILK PRODUCTION WITH LETHBRIDGE, AND BECAME THE SOLE PRODUCER OF BLOW MOLD PLASTIC FOR PURITY DAIRY. BUSINESS BEGAN TO FALL IN THE 1960S, AND IN 1971 STAN AND ROMEO FABBI SOLD PURITY DAIRY TO CO-OP DAIRY, WHICH WAS SUBSEQUENTLY KNOWN AS PURITY CO-OP LTD. BEFORE THE SALE, PURITY DAIRY EMPLOYED ABOUT 200 FULL-TIME STAFF AND SUPPLIED MILK PRODUCTS TO THOUSANDS OF ALBERTANS DAILY. THE LETHBRIDGE PLANT EMPLOYED ABOUT 70 PEOPLE, AND MANUFACTURED ICE CREAM CONFECTIONS, COTTAGE CHEESE, BUTTER, YOGURT, BUTTERMILK, SOUR CREAM, AND FRUIT DRINKS. STAN’S WIFE, NETTI, SAID OF THE SALE, “WE LOST EVERYTHING…WE EXPANDED TOO FAST. I TOLD STAN ‘WHO CARES? I’VE GOT YOU AND WE STILL HAVE THREE MEALS A DAY.’” IN 1972, PURITY CO-OP LTD WAS BOUGHT OUT BY PALM DAIRY, WHICH WAS CLOSED DOWN FOLLOWING A DRAMATIC EXPLOSION IN 1978. IT REOPENED AT A DIFFERENT LOCATION ONE YEAR LATER. IN THE INTERIM, PRODUCTS WERE SHIPPED IN FROM THE CALGARY PLANT. STAN AND ROMEO FABBI DIED IN 1992 AND 1991, RESPECTIVELY. THIS INFORMATION WAS GATHERED IN 2008-09 FROM ANTOINETTE AND KEN FABBI, STAN’S WIFE AND SON, RESPECTIVELY, AND FROM THE LETHBRIDGE HERALD ARCHIVES. FOR MORE INFORMATION, SEE PERMANENT FILE FOR P20070013001. SEE PERMANENT FILE FOR P20160019000 FOR ADDITIONAL LETHBRIDGE HERALD CLIPPINGS, PRINT RESEARCH, AND PATENT DOCUMENTS.
Catalogue Number
P20160019000
Acquisition Date
2016-07
Collection
Museum
Images
Less detail
Other Name
MAHJONG SET
Material Type
Artifact
Materials
PLASTIC
Catalogue Number
P20150028000
  2 images  
Material Type
Artifact
Other Name
MAHJONG SET
Date
1987
Materials
PLASTIC
No. Pieces
159
Height
9.6
Length
23
Width
23
Description
A – G: 7 STANDARD 6-SIDED DICE. 6 OF THE DICE HAVE BLACK DOTS ON A WHITE BACKGROUND, EXCEPT RED DOTS FOR THE ONE AND THE FOUR ON ALL DICE. THE SEVENTH DIE IS THE SAME AS THE FIRST SIX BUT WITH BROWN DOTS INSTEAD OF BLACK. THE DICE ARE 1.4 CM CUBED WITH ROUNDED EDGES. GOOD CONDITION: NORMAL WEAR FROM USE. H-I: A DIRECTIONAL PIECE CUBE (LIKE A DIE) AND A HOLDER. THERE ARE RED CHINESE CHARACTERS ON 4 OF THE 6 SIDES OF THE WHITE CUBE. THE DIE IS 1.2 CM CUBED. THE PIECE’S CIRCULAR HOLDER HAS A RED TOP AND A WHITE BASE WITH A CUBE INSERT IN THE CENTER OF THE TOP THAT FITS THE DIRECTIONAL PIECE. THE HOLDER IS IN FAIR TO GOOD CONDITION. IT IS WELL WORN AND THE EDGES ARE YELLOWING. FAIR TO GOOD CONDITION WITH SOME WEAR TO THE CHARACTERS AND THE CORNERS OF THE DIE. J-BBBBBBB: MAHJONG GAME SET. 144 TILES PLUS 4 BLANK SPARES (148 TILES TOTAL). THERE ARE 108 SIMPLE TILES (OF THE 3 SUITS: DOTS, BAMBOO, AND CHARACTERS), THERE ARE 28 HONOURS TILES (16 WINDS AND 16 DRAGONS), AND THERE ARE TWO SETS OF BONUS TILES (FLOWERS AND SEASONS) EACH WITH 4 TILES IN THE SET. EACH TILE IS 3.5 X 2.8 X 2.1 CM. VERY GOOD TO EXCELLENT CONDITION WITH SLIGHT SCUFFING ON THE TILES. CCCCCCC – DDDDDDD: GREEN RUBBERMAID PLASTIC CONTAINER WITH A WHITE PLASTIC LID FOR THE MAHJONG SET’S CASE. THE BOTTOM OF THE CONTAINER READS “RUBBERMAID 4 QUARTS” “J-3204”. THE DIMENSIONS OF THE CONTAINER ARE 23 X 23 X 9.6 CM. THE DIMENSIONS OF THE LID ARE 23 X 24.5 X 1.5 CM. GOOD CONDITION. THE OVERALL SURFACE OF BOTH THE CONTAINER AND THE LID ARE SCRATCHED. ON THE LID, THE TOP COATING OF PLASTIC IS PEELING OFF. THERE IS ADHESIVE TAPE RESIDUE IN ONE CORNER.
Subjects
GAME
Historical Association
ETHNOGRAPHIC
LEISURE
History
ON NOVEMBER 10, 2015, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED RICHARD LOO AT THE GALT MUSEUM REGARDING A MAHJONG SET HE WAS DONATING TO THE MUSEUM. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT INTERVIEW: MAHJONG IS A TILE-BASED GAME THAT ORIGINATED IN CHINA. LOO RECALLS ACQUIRING THE SET APPROXIMATELY 30 OR 40 YEARS AGO. HE SAID HE GOT THEM, “WHEN I WENT BACK TO HONG KONG. LET’S SEE – ’87. I WENT TO HONG KONG IN ’87. I BOUGHT SEVERAL [MAHJONG] SETS… TO GIVE TO THE KIDS IF THEY WERE INTERESTED. HERE, THEY ARE NOT AVAILABLE – NOT IN THIS CITY. YOU CAN GET IT IN CALGARY, BUT, IF I BROUGHT IT BACK FROM CHINA, IT’S A BETTER DEAL FOR ME… I STILL HAVE A COUPLE OF SETS AT HOME. I GIVE SOME TO MY FRIENDS; SOME TO THE KIDS.” WHEN ASKED ABOUT HIS USE OF GAME SET, LOO EXPLAINED, “I USE IT NOT TOO MANY TIMES… THEY COME IN A CASE – LIKE A BRIEFCASE - JUST FLIMSY STUFF. IF IT WAS USED SO LONG, IT WOULD JUST GO IN PIECES. SO I PUT IT INTO CONTAINERS – KEEPS A BETTER SHAPE, THAT’S ALL.” HE EXPLAINS THAT THE GAME IS PLAYED, “MOSTLY AT HOME. TO FOOL AROUND; JUST TO KILL TIME,” AND THAT THE SET DONATED WAS A PERSONAL SET THAT HAS ALWAYS BEEN AT LOO’S HOUSE. “THERE ARE SO MANY DIFFERENT STYLES OF PLAY. WHEN I CAME, IN THOSE DAYS, WE PLAYED A DIFFERENT WAY, AND AFTER YOU STAYED FOR A LITTLE WHILE, THEY PLAYED A DIFFERENT WAY… YOU PLAY THIS GAME MORE GENERALLY FOR ENTERTAINMENT, KILLING TIME; THE PURPOSE IS NOT TO MAKE MONEY… SEE, I REMEMBER THOSE DAYS, WHEN I WAS YOUNG – JUST A KID THOSE DAYS, IN THE OLD COUNTRY, OLD DAYS. IN THE NEW YEAR, I SAW FOUR OLDER GENTLEMEN PLAY THESE GAMES, BUT I DON’T UNDERSTAND…. WE CALL IT OLD STYLE. NOBODY IS INTERESTED IN PLAYING OLD STYLE ANYMORE. [IT IS] QUITE COMPLICATED... THEY PLAY THIS ONE, JUST LIKE YOU PLAY RUMMY, BUT YOU HAVE TO USE YOUR HEAD A LITTLE BIT. SOMETIMES YOU’VE GOT LUCK TOO." LOO SAYS HE DOES NOT MISS PLAYING THE GAME, “FOR MY AGE, NO. RIGHT NOW, NOT INTERESTED - [I'VE] GOT OTHER THINGS TO DO. YOU PLAY FOR SO LONG, AND THEN, [YOU ARE] NOT INTERESTED ANYMORE. WE USED TO PLAY THIS ON NEW YEAR’S EVE, TILL THE NEXT MORNING. [WE WOULD] START ON NEW YEAR’S EVE TILL TOMORROW MORNING, 6 OR 7 O’CLOCK. NOT ANYMORE. WE PLAYED AT ALBERT’S PLACE, BOW ON TONG…” THE FOLLOWING BIOGRAPHICAL INFORMATION ABOUT RICHARD LOO HAS BEEN TAKEN FROM THE ARTIFACT RECORDS P20110031*: LOO ARRIVED IN LETHBRIDGE IN 1953, HAVING LEFT THE MAINLAND OF CHINA IN 1949. LOO'S GRANDFATHER HAD MOVED TO CANADA IN EITHER LATE 1800S OR THE EARLY 1900S AND HAD HAD TO PAY THE HEAD TAX. HIS GRANDFATHER WORKED AS A COOK IN RESTAURANTS, EITHER IN LETHBRIDGE OR IN TABER (ACCORDING TO LOO, HIS GRANDFATHER WORKED THROUGH THE WAR YEARS IN TABER). LOO’S GRANDFATHER HAD PLANNED ON MOVING BACK TO CHINA WHEN HE RETIRED, BUT THEN THE COMMUNISTS TOOK OVER, AND HE ELECTED TO STAY. AT THAT TIME, HE INVITED LOO TO MOVE TO LETHBRIDGE AS WELL. LOO LEFT HONG KONG, AFTER LIVING THERE FOR 8 MONTHS, ON A FRIDAY AFTERNOON AT 2PM LOCAL TIME. HE ARRIVED IN LETHBRIDGE SUNDAY AFTERNOON. HE WAS LUCKY IN THAT HE WAS ABLE TO GET HIS FLIGHTS ON SALE. NORMALLY A TICKET FROM HONG KONG TO VANCOUVER WOULD HAVE COST $700, BUT LOO WAS ABLE TO SECURE A FLIGHT FOR ONLY $500. HE ALSO INDICATED THAT HIS FLIGHT TO LETHBRIDGE WAS ONLY $39.95. ON RECALLING HIS FIRST TIME IN LETHBRIDGE, LOO RECOUNTED THE FOLLOWING STORY: “SO, BY THE TIME I GOT TO THE AIRPORT, I DIDN’T KNOW HOW TO SAY [ANYTHING]. DIDN’T KNOW – MAYBE COULD SAY ‘GOOD MORNING’ – THAT’S ALL I COULD SAY, JUST HOW TO SAY ‘HELLO.' IN THE MEANTIME, THE FELLOW AT THE AIRPORT MUST HAVE KNOWN ZEKE, YOU KNOW ZEKE QUAN [OWNER OF] THE LOTUS INN [RESTAURANT], AND HE PHONED HIM UP. HE SAYS, ‘ZEKE.’ I DIDN’T KNOW WHAT HE WAS TALKING ABOUT – NOTHING. AND THEN HE SAYS, ‘HEY, THIS IS A CHINA BOY HERE. WHAT ARE YOU GOING TO DO WITH HIM?’ SO, ZEKE SAYS, ‘OH, JUST TAKE HIM TO CHINATOWN AND DUMP HIM.’ NOW, I DIDN’T KNOW THOSE, NOT UNTIL LATER ON. ZEKE’S SON GO TO SAME SCHOOL I DID – CENTRAL SCHOOL.” LOO INITIALLY LIVED IN THE NATIONAL LEAGUE SOCIETY BUILDING FOR SEVERAL YEARS, OCCUPYING A ROOM THAT HAD BEEN RECENTLY VACATED BY ANOTHER MAN NAMED LOO WHO HAD GONE TO WORK IN PICTURE BUTTE. LOO RECALLED THAT THE SOCIETY WAS A GOOD PLACE TO FEEL A SENSE OF COMMUNITY AND THAT IT WAS A WELCOMING PLACE FOR NEW CHINESE IMMIGRANTS, A PLACE WHERE THEY WEREN’T DISCRIMINATED AGAINST. PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTION
Catalogue Number
P20150028000
Acquisition Date
2015-11
Collection
Museum
Images
Less detail
Other Name
BLANKET
Date Range From
1920
Date Range To
1990
Material Type
Artifact
Materials
RAW FLAX YARN
Catalogue Number
P20160003007
  2 images  
Material Type
Artifact
Other Name
BLANKET
Date Range From
1920
Date Range To
1990
Materials
RAW FLAX YARN
No. Pieces
1
Length
139
Width
99.5
Description
HAND-WOVEN BLANKET MADE FROM RAW FLAX. THE BLANKET IS COMPOSED OF 2 SECTIONS OF THE SAME SIZE OF MATERIAL THAT ARE JOINED TOGETHER WITH A SEAM AT THE CENTER. ON THE FRONT SIDE (WITH NEAT SIDE OF THE STITCHING AND PATCHES), THERE ARE THREE PATCHES ON THE BLANKET MADE FROM LIGHTER, RAW-COLOURED MATERIAL. ONE SECTION OF THE FABRIC HAS TWO OF THE PATCHES ALIGNED VERTICALLY NEAR THE CENTER SEAM. THE AREA SHOWING ON ONE PATCH IS 3 CM X 5 CM AND THE OTHER IS SHOWING 5 CM X 6 CM. ON THE OPPOSITE SECTION THERE IS ONE PATCH THAT IS 16 CM X 8.5 CM SEWN AT THE EDGE OF THE BLANKET. THE BLANKET IS HEMMED ON BOTH SHORT SIDES. ON THE OPPOSING/BACK SIDE OF THE BLANKET, THE FULL PIECES OF THE FABRIC FOR THE PATCHES ARE SHOWING. THE SMALLER PATCH OF THE TWO ON THE ONE HALF-SECTION OF THE BLANKET IS 8CM X 10 CM AND THE OTHER PATCH ON THAT SIDE IS 14CM X 15CM. THE PATCH ON THE OTHER HALF-SECTION IS THE SAME SIZE AS WHEN VIEWED FROM THE FRONT. THERE IS A SEVERELY FADED BLUE STAMP ON THIS PATCH’S FABRIC. FAIR CONDITION. THERE IS RED STAINING THAT CAN BE SEEN FROM BOTH SIDES OF THE BLANKET AT THE CENTER SEAM, NEAR THE EDGE OF THE BLANKET AT THE SIDE WITH 2 PATCHES (CLOSER TO THE LARGER PATCH), AND NEAR THE SMALL PATCH AT THE END FURTHER FROM THE CENTER. THERE IS A HOLE WITH MANY LOOSE THREADS SURROUNDING NEAR THE CENTER OF THE HALF SECTION WITH ONE PATCH. THERE ARE VARIOUS THREADS COMING LOOSE AT MULTIPLE POINTS OF THE BLANKET.
Subjects
AGRICULTURAL T&E
BEDDING
Historical Association
AGRICULTURE
DOMESTIC
ETHNOGRAPHIC
History
THE KONKINS WERE A RUSSIAN-SPEAKING FAMILY FROM THE TOWN OF SHOULDICE, ALBERTA, NEAR CALGARY. THEY AND MANY OTHER RUSSIAN FAMILIES COMPOSED THAT TOWN’S DOUKHOBOR COLONY. IT WAS THERE WILLIAM KONKIN MARRIED ELIZABETH WISHLOW. IN 1928, THEIR DAUGHTER, ELSIE WAS BORN. THEY LATER MOVED TO A FARM IN VAUXHALL, ALBERTA. THE PRECEDING AND FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM A TWO-PART INTERVIEW WITH DONOR ELSIE MORRIS, WHICH WAS CONDUCTED BY COLLECTIONS TECHNICIAN KEVIN MACLEAN ON FEBRUARY 17, 2016. ADDITIONAL INFORMATION COMES FROM FAMILY HISTORIES AND TEXTS PROVIDED BY THE DONOR. A FULL HISTORY OF THE KONKIN FAMILY CAN BE FOUND WITH THE RECORD P20160003001. ACCORDING TO A NOTE THAT WAS ATTACHED TO THIS LIGHTWEIGHT BLANKET AT THE TIME OF ACQUISITION THE BLANKET IS BELIEVED TO HAVE BEEN MADE C. 1920S. MORRIS SAYS HER MEMORY OF THE BLANKET DATES AS FAR BACK AS SHE CAN REMEMBER: “RIGHT INTO THE ‘30S, ‘40S AND ‘50S BECAUSE MY MOTHER DID THAT RIGHT UP UNTIL NEAR THE END. I USE THAT EVEN IN LETHBRIDGE WHEN I HAD A GARDEN. [THIS TYPE OF BLANKET] WAS USED FOR TWO PURPOSES. IT WAS EITHER PUT ON THE BED UNDERNEATH THE MATTRESS THE LADIES MADE OUT OF WOOL AND OR ELSE IT WAS USED, A DIFFERENT PIECE OF CLOTH WOULD BE USED FOR FLAILING THINGS. [THE] FLAIL ACTUALLY GOES WITH IT AND THEY BANG ON THE SEEDS AND IT WOULD TAKE THE HULLS OFF… IT’S HAND WOVEN AND IT’S MADE OUT OF POOR QUALITY FLAX… IT’S UNBLEACHED, DEFINITELY… RAW LINEN." THIS SPECIFIC BLANKET WAS USED FOR SEEDS MORRIS RECALLS: “…IT HAD TO BE A WINDY DAY… WE WOULD PICK DRIED PEAS OR BEANS OR WHATEVER BEET SEEDS AND WE WOULD BEAT AWAY AND THEN WE WOULD STAND UP, HOLD IT UP AND THE BREEZE WOULD BLOW THE HULLS OFF AND THE SEEDS WOULD GO STRAIGHT DOWN [ONTO THE BLANKET.” THE SEEDS WOULD THEN BE CARRIED ON THE BLANKET AND THEN PUT INTO A PAIL. OF THE BLANKET’S CLEAN STATE, MORRIS EXPLAINS, “THEY’RE ALWAYS WASHED AFTER THEY’RE FINISHED USING THEM.” WHEN SHE LOOKS AT THIS ARTIFACT, MORRIS SAYS: “I FEEL LIKE I’M OUT ON THE FARM, I SEE FIELDS AND FIELDS OF FLAX, BLUE FLAX. BUT THAT’S NOT WHAT SHE USED IT FOR. SHE DID USE IT IF SHE WANTED A LITTLE BIT OF THE FLAX THEN SHE’D POUND THE FLAX, BUT THAT WASN’T OFTEN. IT WAS MOSTLY BEANS AND PEAS.” IT IS UNKNOWN WHO WOVE THIS BLANKET. PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION, OBITUARIES, PHOTOGRAPHS, AND FAMILY HISTORIES.
Catalogue Number
P20160003007
Acquisition Date
2016-02
Collection
Museum
Images
Less detail
Other Name
DYE SAMPLES
Date Range From
1940
Date Range To
1977
Material Type
Artifact
Materials
CARDBOARD, FABRIC, INK
Catalogue Number
P20160003004
  1 image  
Material Type
Artifact
Other Name
DYE SAMPLES
Date Range From
1940
Date Range To
1977
Materials
CARDBOARD, FABRIC, INK
No. Pieces
1
Length
22.6
Width
15
Description
BOOK WITH BLACK HARDCOVER. THE FRONT COVER OF THE BOOK HAS IN GOLD LETTERING “NACCO DYES” WITH A SMALL, GOLD LOGO IN THE CENTER AND “NATIONAL ANILINE & CHEMICAL CO. …” IN GOLD AT THE BOTTOM. THE SPINE OF THE BOOK HAS “NACCO DYES NO. 172” IN GOLD LETTERS. THE INSIDE COVER OF THE BOOK BEGINS WITH “NATIONAL SERVICE” WITH ADDITIONAL TEXT SUCCEEDING. THE PAGES ARE THICK, WHITE BOARD THAT ARE ATTACHED TO ONE ANOTHER WITH PAPER SEAMS. THE BOARDS FOLD OUT ACCORDIAN-STYLE INTO A HORIZONTAL LINE. THERE ARE 6 BOARDS IN TOTAL. THE FIRST FOUR BEGINNING FROM THE LEFT ARE TITLED, “NACCO UNION DYES.” EACH BOARD HAS TWO COLUMNS OF RECTANGULAR DYE SAMPLES. THERE ARE 9 ROWS ON EACH BOARD. THE TWO SAMPLES IN EACH ROW ARE THE SAME COLOUR BUT ON DIFFERENT TYPES OF FABRIC. THE 5TH BOARD IS DIVIDED INTO TWO COLUMNS. THE LEFT IS TITLED, “NACCO NEUTRAL DYES” AND THERE ARE 10 SAMPLES OF VARIOUS DYE COLOURS UNDERNEATH IT. THE RIGHT SIDE IS TITLED, “NACCO WOOL DYES.” GOOD CONDITION. THE BOARDS HAVE YELLOWED. SLIGHT SCUFFING ON THE BLACK COVER. SLIGHT BROWN STAIN ON 5TH AND 6TH BOARDS. ACCRETION ON LOWER SECTION ON THE BACKSIDE OF BOARD TO THE RIGHT OF THE TITLE PAGE (5TH BOARD).
Subjects
MERCHANDISING T&E
Historical Association
INDUSTRY
TRADES
RETAIL TRADE
History
THE KONKINS WERE A RUSSIAN-SPEAKING FAMILY FROM THE TOWN OF SHOULDICE, ALBERTA, NEAR CALGARY. THEY AND MANY OTHER RUSSIAN FAMILIES COMPOSED THAT TOWN’S DOUKHOBOR COLONY. IT WAS THERE WILLIAM KONKIN MARRIED ELIZABETH WISHLOW. IN 1928, THEIR DAUGHTER, ELSIE WAS BORN. THEY LATER MOVED TO A FARM IN VAUXHALL, ALBERTA. THE PRECEDING AND FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM A TWO-PART INTERVIEW WITH DONOR ELSIE MORRIS, WHICH WAS CONDUCTED BY COLLECTIONS TECHNICIAN KEVIN MACLEAN ON FEBRUARY 17, 2016. ADDITIONAL INFORMATION COMES FROM FAMILY HISTORIES AND TEXTS PROVIDED BY THE DONOR. A FULL HISTORY OF THE KONKIN FAMILY CAN BE FOUND WITH THE RECORD P20160003001. MORRIS’ FATHER SOLD DYE TO LOCALS ON THE DOUKHOBOR COLONY. MORRIS DESCRIBES THE PURPOSE OF THE DYES AND HOW HER FATHER BECAME INVOLVED: “DYEING WAS NECESSARY TO DYE THE WOOL THAT YOU SPUN AND SOMETIMES YOU COULDN’T GET THE NECESSARY DYES IN THE STORE, SO I DON’T KNOW WHERE MY DAD GOT THOSE. THEY MIGHT HAVE SENT HIM SOME OR WHAT AND THEN HE WOULD CHOOSE THE COLOURS THEY WANTED AND HE WOULD ORDER THEM. NOW IT SO HAPPENS THAT THE PEOPLE IN THE COLONY ALL WANTED THESE PARTICULAR DYES BECAUSE THEY WERE BETTER THAN THE KIND THEY GOT IN THE STORE. I DON’T KNOW WHY. SO MY DAD BUILT A SCALE AND I REMEMBER THIS SCALE. IT STOOD ON THE TABLE, IT HAD A CENTRAL PART, THEN THERE WAS A ROD GOING ACROSS AND IT CAME DOWN LIKE THIS AND THREE NAILS ON ONE SIDE BROUGHT IT DOWN AND WHEN YOU WANTED TO SELL THE DYE YOU PUT A PIECE OF PAPER DOWN, PUT IN A SPOONFUL UNTIL WE BALANCED [IT] AND THEN YOU GOT AN EVEN BALANCE AND THAT AMOUNT CAME TO TEN CENTS. IF WANTED LESS THEN YOU PUT TWO NAILS DOWN AND THOSE CAME TO FIVE CENTS SO… I SUPPOSE [HE SOLD THE DYE] BECAUSE HE WANTED TO MAKE SOME MONEY. HE SOLD VEGETABLES IN THE WINTERTIME TO THE LOCALS WHO DIDN’T GROW GARDENS. IN SUMMERTIME IF HE COULD GET A JOB HARVESTING WORKING SOMEWHERE ON FARMS HE DID THAT. [HE WAS] THE MIDDLE MAN [SELLING DYES]… [A]ND NOBODY TOLD ANYONE THE STOREKEEPERS THAT OR HE’D HAVE PROBABLY BEEN TOLD TO STOP IT.” PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION, OBITUARIES, PHOTOGRAPHS, AND FAMILY HISTORIES.
Catalogue Number
P20160003004
Acquisition Date
2016-02
Collection
Museum
Images
Less detail
Other Name
WINDSHIELD COVER
Date Range From
1955
Date Range To
1965
Material Type
Artifact
Materials
COTTON, POLYESTER, INK
Catalogue Number
P20180021005
  2 images  
Material Type
Artifact
Other Name
WINDSHIELD COVER
Date Range From
1955
Date Range To
1965
Materials
COTTON, POLYESTER, INK
No. Pieces
1
Length
174
Width
82
Description
YELLOW COTTON-BLEND COVER WITH MACHINE-STITCHED EDGES; FRONT OF COVER HAS LOGO IN UPPER LEFT CORNER OF WHITE SHIELD WITH RED BORDER, A WHITE ROSE WITH GREEN LEAVES ON YELOW CIRCLE ON SHIELD, AND RED TEXT “WHITE ROSE”. FRONT OF COVER HAS STENCILED GREEN TEXT AT TOP “DRIVE IN-“ AND RED STENCILED TEXT BELOW “LET US CLEAN YOUR WINDSHIELD!” BACK OF COVER IS WHITE COTTON-NYLON FABRIC. FRONT IS STAINED WITH TWO LARGE HOLES ON LEFT AND RIGHT WITH RIPS EXTENDING FROM HOLES; BACK IS STAINED; RIGHT EDGE FRAYED; COVER IS SEVERELY CREASED AND FOLDED. OVERALL GOOD CONDITION.
Subjects
LAND TRANSPORTATION-ACCESSORY
Historical Association
INDUSTRY
TRANSPORTATION
History
ON AUGUST 22, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED MARG OBERG REGARDING HER DONATION OF AN AUTOMOBILE WINDSHIELD COVER. THE COVER WAS USED BY HER FATHER IN LETHBRIDGE. ON HER FATHER’S USE OF THE COVER, OBERG ELABORATED, “[I REMEMBER] HOW EMBARRASSING IT WAS THAT ALL THE OTHER DADS IN THE NEIGHBORHOOD WOULD JUST GET OUT IN THE MORNING, AND SCRAPE THEIR WINDSHIELD OFF, BUT OUR DAD [JACK GRANT KEYS] HAD THIS BRIGHT YELLOW THING STRAPPED ONTO HIS WINDSHIELD TO KEEP THE SNOW OFF. AS CHILDREN, THE PEER PRESSURE WAS PRETTY INTENSE, AND WE WERE THE ONLY ONES ON THE STREET THAT HAD THIS GREAT BIG CANVAS THING ON THE FRONT OF OUR DAD’S CAR. WHEN WE MOVED TO EDMONTON, WE DIDN’T HAVE A GARAGE AT THAT POINT. AGAIN, THERE GOES THIS (EVEN THOUGH WHITE ROSE GASOLINE HAD BECOME OBSOLETE). MY DAD DIDN’T THROW TOO MANY THINGS OUT IF THEY STILL HAD A USEFUL PURPOSE, AND SO, THERE IT WAS, FRONT AND CENTER AGAIN–-THE ONLY GUY ON THE BLOCK. I DON’T KNOW WHY SOMEBODY DIDN’T COME UP WITH SOMETHING NOT QUITE SO OBVIOUS. IT WAS JUST AN EMBARRASSMENT THAT MY FATHER ALWAYS HAD TO COVER UP HIS WINDSHIELD.” “HE WAS THE MANAGER OF THE [WHITE ROSE OIL COMPANY] PLANT. WELL, HE CALLED IT ‘THE PLANT’, BUT THEY DIDN’T MANUFACTURE ANY PRODUCTS THERE. THERE WERE BIG TANKS. I BELIEVE THEY WERE UP ON THIRD AVENUE SOUTH–-I WANT TO SAY IN THE AREA OF HARLEY-DAVIDSON. WE LIVED ON 18TH STREET, AND I KNOW THAT IT WAS STRAIGHT NORTH ON 18TH STREET, AND EITHER LEFT OR RIGHT. IT WAS IN THAT GENERAL AREA. IT WAS WITHIN WALKING DISTANCE, [AND] HE WAS THE MANAGER OF THE PLANT. I THINK HE WAS EVEN THE ONLY EMPLOYEE, BUT HE USED TO GO AROUND IN SOUTHERN ALBERTA TO ALL OF THE GAS STATIONS THAT WERE DEALING IN WHITE ROSE OIL, AND GET THEIR ORDERS…THEN, THERE MUST HAVE BEEN A DRIVER THAT WOULD COME AND FILL UP THEIR TANKER TRUCKS FROM WHERE HE WAS–-THE BULK STATION–-AND GO AND DELIVER IT. I KNOW THAT [DAD] WAS ON THE ROAD AN AWFUL LOT, BUT I DON’T RECALL, AS A CHILD, THAT THERE WERE OTHER EMPLOYEES, OTHER THAN THE TRUCK DRIVER.” “I DON’T RECALL THAT HE WAS THAT FOND OF HIS JOB. IN THE WINTER-TIME, IT WAS REALLY TOUGH. HE USED TO FREEZE HIS FINGERS, ON OCCASION, BECAUSE HE WAS THE ONE THAT HAD TO CLIMB UP THE STAIRCASE THAT WENT AROUND THESE BIG TANKS IN THE COLD OF WINTER, AND DO A DIP STICK TO MEASURE HOW MUCH FUEL WAS IN THE TANKS. WE DIDN’T HAVE SNOW BLOWERS…IT WAS TOUGH BECAUSE HE DID SPEND SOME TIME OUTSIDE, WITH HIS JOB, AND THEN [HAD] AN AWFUL LOT OF TIME ON THE ROADS. THERE WERE MANY TIMES THAT HE WOULD…BE STRANDED IN SMALL COMMUNITIES, BECAUSE OF BAD ROADS. OF COURSE HE WOULD HAVE PREFERRED TO BE HOME WITH HIS FAMILY. I DON’T RECALL THAT HE WAS REALLY ‘GUNG-HO’. I KNOW THAT SHELL TRIED TO GET HIM TO MOVE TO EDMONTON ON A FEW OCCASIONS, AND HE FLATLY REFUSED…WE MOVED IN ’63, SO IT WOULD HAVE BEEN MY GRANDMOTHER WAS ILL, AND DEALING WITH CANCER, AND IT WAS JUST A VERY INAPPROPRIATE TIME FOR US TO LEAVE. MY MOTHER WAS AN ONLY CHILD, SO THERE WERE NO OTHER FAMILY MEMBERS TO STAY AND LOOK AFTER HER. THEN, FINALLY SHELL SAID, “THIS IS YOUR FINAL CHOICE, AND THERE IS NO OPTION.” I GUESS IT WASN’T A CHOICE–-IT WAS EITHER MOVE, OR LOSE YOUR JOB. IT WAS A MATTER OF PUTTING IN TIME UNTIL HE RETIRED.” “MY DAD PASSED AWAY, AND WE ACQUIRED IT FROM HIS WIDOW…IT’S A SMALL PART OF MY DAD. I DIDN’T HAVE A LOT OF THINGS [FROM HIM]. THIS WAS MY DAD’S THIRD MARRIAGE, WHEN HE PASSED, AND HIS FAMILY/HIS WIFE DISPOSED OF A LOT OF THINGS THAT WE [THE CHILDREN] POSSIBLY WOULD HAVE KEPT. THEY MEANT NOTHING TO HER, BUT THEY WERE LIVING OUT ON SALT SPRING ISLAND AT THE TIME. I WAS LIVING IN REGINA. MY BROTHER LIVED IN CHICAGO, AND MY SISTER LIVED IN CALIFORNIA. NONE OF US REALLY WANTED ‘THINGS’, LIKE FURNITURE, SO IT WAS JUST A LITTLE TRINKET THAT BROUGHT BACK SO MANY MEMORIES, AND IT WENT BACK AS FAR AS LETHBRIDGE.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180021001-GA.
Catalogue Number
P20180021005
Acquisition Date
2018-08
Collection
Museum
Images
Less detail
Other Name
"COORS"
Date Range From
1980
Date Range To
1990
Material Type
Artifact
Materials
GLASS, PAPER
Catalogue Number
P20180029007
  2 images  
Material Type
Artifact
Other Name
"COORS"
Date Range From
1980
Date Range To
1990
Materials
GLASS, PAPER
No. Pieces
1
Height
23
Diameter
6
Description
BROWN GLASS BOTTLE WITH SILVER AND YELLOW METAL TOP; TOP HAS FLUTED EDGES AND BLACK TEXT “TWIST OFF, COORS, OR USE OPENER”. BOTTLE NEVER OPENED; CONTENTS INTACT. BOTTLE HAS YELLOW LABEL ON FRONT WITH BLACK TEXT “COORS” WITH BLACK AND WHITE IMAGE OF A WATERFALL AND RED BANNER OVER IMAGE WITH WHITE TEXT “BEER, BANQUET, BIERE”, WHITE TEXT AT LOWER EDGE “341 ML”. LABEL SIDES GOLD WITH BLACK TEXT ON RIGHT “BREWED ACCORDING TO THE QUALITY STANDARDS OF THE ADOLPH COORS COMPANY, GOLDEN, COLORADO, U.S.A., AGED SLOWLY FOR THAT [WORD HAS HOLE IN CENTER], MOUNTAIN SMOOTHNESS AND [WORD HAS HOLE IN CENTER]”, TEXT ON LEFT “BREWED UNDER LICENCE AND SUPERVISION OF THE ADOLPH COORS COMPANY, GOLDEN, COLORADO, U.S.A., MOLSON BREWERIES OF CANADA LTD., MONTREAL, ST. JOHN’S, TORONTO, BARRIE, WINNIPEG, REGINA, EDMONTON, VANCOUVER, CANADA, UNION MADE”. BOTTLE HAS EMBOSSED TEXT IN GLASS ABOVE LABEL “COORS”. LABEL HAS TEARS AND HOLES IN SIDES; LOWER EDGE OF LABEL FRONT IS TORN WITH LOSS; BOTTLE HAS LIGHT SOILING ON FRONT; OVERALL VERY GOOD CONDITION.
Subjects
CONTAINER
Historical Association
INDUSTRY
History
ON DECEMBER 21, 2018, GALT MUSEUM CURATOR AIMEE BENOIT INTERVIEWED KEVIN MACLEAN REAGARDING HIS DONATION OF PERSONAL OBJECTS. ON THE BEER BOTTLE, MACLEAN RECALLED, “AS FAR AS IDENTITY GOES, WITH GOING DOWN TO WHITEFISH, AND SEEING NEON SIGNS IN BAR WINDOWS…THERE’S ALL [THE] NEON SIGNS FOR BEER. I ALWAYS LIKED THE COORS SIGN. MY NEIGHBOR, WHO DIDN’T LIKE MY MUSIC CHOICES, HE LITERALLY HAD, FROM THE U.S., BOUGHT A COORS NEON SIGN AND IT WAS IN HIS BEDROOM WINDOW IN HIS FARMHOUSE. IT WAS THE WHITE MOUNTAINS WITH THE RED COORS, AND I THOUGHT [IT] WAS COOL. THERE’S NO BEER SELECTION BACK THEN. IT WAS FORMS OF LABATT’S, MOLSON, IT WAS A BIG DEAL TO GET KOKANEE, BUT I CHOSE COORS. THAT WAS MY WAY OF EXERCISING SOME LEVEL OF DIFFERENCE.” “WHY [THE BOTTLE] GOT KEPT IS, NUMBER ONE IT HAS COORS ON IT, WHICH WAS MY BEER. [IN GRADE 11 WAS] ABOUT DRINKING AND DRIVING, WHICH IS THE YEAR THAT WE’RE PARTYING, SO THAT WOULD BE ’87. THE SPRING OF ’86, THERE’S A GRADUATION FOR THE KIDS IN GRADE 12 AND, BECAUSE IN GRADE 11 WE’RE BEING VERY SOCIAL AND WE’RE PARTYING…YOU’RE BEING INCLUDED TO GO TO A GRADE 12 [GRADUATION] EVEN THOUGH YOU’RE IN GRADE 11. THAT GRADUATION, FOR THAT YEAR, WHICH WAS 1986, WAS OUT IN IRON SPRINGS. IT WAS AT A SCHOOL, IT WAS IN THE FIELD AND EVERYBODY DROVE. THE WHOLE FIELD [WAS] JUST FULL OF VEHICLES, THAT’S ALL I REMEMBER. HAVE VAGUE MEMORIES OF BEING SICK AND AT A TREE AND SOMEBODY COMING OVER TO ASK HOW I WAS DOING AND I WASN’T DOING WELL, AND JUST THINKING, “THAT WAS REALLY NICE THAT THEY CARED ABOUT ME ENOUGH THAT THEY WOULD COME AND ASK.” WE SLEPT IN THE CAR THAT NIGHT. AT THAT TIME, I WAS LISTENING TO PINK FLOYD AND “THE WALL” AND I WAS LISTENING TO BOSTON.” “[IN] ’87, WE HAVE THE VERY FIRST SAFE GRAD. I DON’T KNOW HOW AND WHY THAT CAME TO PASS. I REMEMBER TWO NIGHTS OF PARTIES. ONE WAS AT SHANNON HYNDS’ FARM, THE OTHER WAS AT ALAN JANSAN’S FARM. THE SECOND NIGHT, AT ALAN’S, I ACTUALLY HAD VIDEO OF THAT PARTY. WE WERE ON BUSES, WE GOT BUSSED [TO THE LOCATION]. WE HAD TO, IN ADVANCE OF THE PARTY, BUY OUR ALCOHOL. WE WERE SUPPOSED TO BUY OUR ALCOHOL, WHICH WAS A CASE OF COORS, IN MY CASE, AND THEN HAVE IT SOMEWHERE SO THAT WE WEREN’T ACTUALLY TAKING THE ALCOHOL ITSELF TO THE SITE. IT WAS ALREADY THERE.” “THE WAY THEY SERVED THIS – I REMEMBER AT SHANNON’S AND MAYBE ALAN’S – THAT THEY HAD GALVANIZED DRINKING TROUGHS FOR CATTLE AND HORSES. THEY FILLED THEM FULL OF ICE WATER AND THEN THAT’S WHAT THESE [BOTTLES] WERE IN. THE REASON I REMEMBER THIS IS THAT BY THE END—AND SOMEONE TRIED TO DO IT TO ME BUT THEY WEREN’T SUCCESSFUL—THEY WERE THROWING KIDS INTO THAT ICE WATER. THE UNCOOL THING IS THAT THE BOTTLES WERE BREAKING AND IT WAS FULL OF BROKEN GLASS AND PEOPLE WERE BEING THROWN IN THERE. THAT WASN’T VERY COOL. WHEN I TOOK THE BOTTLE…I’M DRINKING COORS LIGHT. I HAD MY OWN NEON SIGN, SILVER BULLET. I TAKE THE BOTTLE BECAUSE IN MY MIND, BECAUSE THIS PARTY IS ENDED AND WE HAVE TO LEAVE, DOESN’T MEAN THAT I’M INTERESTED IN STOPPING DRINKING. I TAKE THE BOTTLE TO DRINK WHEREVER I’M GOING NEXT AND THEN I DON’T END UP DRINKING IT ‘CAUSE IT’S PROBABLY FIVE IN THE MORNING. OVER TIME, IT GETS SAVED BECAUSE IT’S A REMINDER OF THIS WHOLE HIGH SCHOOL [CULTURE].” ON HIS TIME DRINKING AND PARTYING, MACLEAN ELABORATED, “MY PARENTS CERTAINLY HAD PARTIES AT THE HOUSE SO THAT WAS SOMETHING THAT WAS FAMILIAR TO ME. THEY BUILT A HOUSE UP IN PICTURE BUTTE IN 1975. THEY HADN’T, INITIALLY, DEVELOPED THEIR BASEMENT. THEY DID WITHIN TWO TO THREE…THERE WERE HERITAGE ELEMENTS EITHER BY DECORATION, BY THE DESIGN OF THE INTERIOR THAT SHE INCORPORATED WHICH SPIKED MY INTEREST. THEY HAD A DANCE FLOOR DOWN THERE, OF WOOD. THE WALLS WERE MIRRORS, SO ALL THAT DISCO ERA-TYPE STUFF. THERE WAS A BAR THAT WAS BUILT, TOO. MY PARENTS WERE FRIENDS WITH AN R.C.M.P. OFFICER’S FAMILY, SO THE FAMILY IS OVER, AND THEY’RE UPSTAIRS AND I’M LITERALLY SERVING THE R.C.M.P. OFFICER’S KIDS…WHISKEY OUT OF THIS BAR. IT WASN’T THAT I HAD SOME SENSE THAT BY DRINKING THE FLUID THERE WAS IMPAIRMENT. IT WAS JUST SOMETHING THAT ADULTS DID.” “IN TERMS OF [MY FRIENDS AND I] IT HAPPENS TO BE THAT VERY TIME [WHEN] WE’RE IN THE BACK OF THAT PICKUP, AS KIDS…WHEN WE FINISH GRADE 9…THE SUMMER OF 1984. MY DAD DROPS US OFF IN THE COULEES DOWN AT THE END OF THE GRAVEL ROAD. THERE’S A BIG, DEEP COULEE DOWN THERE. WE HIKE AROUND AND THEN WE MANAGE TO COME BACK AND THERE’S SHALLOWER COULEES BY MY OWN PLACE. WE SET UP A TENT AND WE SLEEP OVERNIGHT DOWN THERE. ONE KID [WITH US] IS LES. I DON’T REMEMBER HOW OR WHY BUT HE HAD A MICKEY OF VODKA [OR GIN]. HE POUNDED IT BACK. HE DRANK THE WHOLE THING IN FRONT OF US. WE DON’T REALIZE OR UNDERSTAND WHAT THAT’S GOING TO DO EXCEPT TO KNOW THAT ALCOHOL IS SOMETHING THAT ADULTS ARE SUPPOSED TO BE DOING. LATER ON THAT NIGHT HE STARTED THROWING UP [ALL OVER THE PLACE]. THE REST OF US NEVER TOUCHED IT. HE WAS THE ONLY ONE. THEN WE KNEW THAT ALCOHOL MAKES YOU SICK. “IN GRADE 10 WE LEAVE. THERE’S FIVE BOYS AND ELEVEN GIRLS [IN MY CLASS]. WE LEAVE A CATHOLIC SCHOOL AND WE GO INTO THE PUBLIC SYSTEM. WE MERGE WITH ALL THESE OTHER KIDS.” “[WE’RE] STILL IN PICTURE BUTTE…THERE’S THIRTY-FOUR PUBLIC KIDS. SOME OF THOSE KIDS WOULD BE FROM MORE DIVERSE BACKGROUNDS THAN OUR OWN. MOST OF THE KIDS THAT WERE IN MY CLASS WERE ACTUALLY FROM DUTCH FAMILIES. THERE’S A LOT OF DISTRACTION FOR ME BECAUSE OF ALL THESE OTHER KIDS, SOME OF WHOM DON’T NECESSARILY WORK AS HARD IN SCHOOL. I DON’T THINK I WAS A KID WHO EVER THOUGHT IT WAS IMPORTANT TO WORK THAT HARD IN SCHOOL. I JUST WANTED TO HAVE FUN. GRADE 10, THERE’S ALSO THE GIRLS AND STUFF. BUT, THERE’S NO DRINKING AT ALL [IN GRADE 10] THAT I REMEMBER. THERE’S CERTAINLY DISTRACTIONS AS A BOY IN GRADE 10 WOULD HAVE.” “THEN IN THE SUMMER OF…1985, IN AUGUST…I DON’T REMEMBER HOW OR WHY BUT I’M WITH LES. I’VE SPENT NINE YEARS WITH HIM…IN PART, BECAUSE OF WHERE HE LIVED. MY AUNT AND UNCLE LIVED RIGHT NEXT DOOR. I REMEMBER BEING IN THE VEHICLE WITH HIM, AND THE VEHICLE BELONGED TO A [GIRL] NAMED CAROLINE OHLGART. SHE WAS DRIVING AND IT WAS A MUSTANG. SHE WAS THE ONE WHO WAS DRIVING AND THEN THERE WAS ANOTHER [GIRL], MELINDA. I THINK THERE [WERE] THREE BOYS AND TWO GIRLS IN THIS CAR. IT’S THE END OF THE SUMMER AND WE’RE IN SHAUGHNESSY. SOMEHOW THEY GET THIS GUY WHO SOMEBODY KNOWS…AND THEY GET OFF-SALES FROM THE SHAUGHNESSY BAR...WE GET A CASE OF BEER AND THAT’S REALLY THE FIRST TIME [I DRINK]. IT WASN’T EVEN SO MUCH THAT WE WERE DRINKING AS THE FACT THAT I WAS WITH THESE OTHER GIRLS AND GUYS. IT JUST FELT LIKE A VERY EXCITING THING TO DO. IT TURNED OUT, AS AN EXPERIENCE GOES, TO BE A REALLY GOOD EXPERIENCE. THAT SET THE STAGE, RIGHT OFF THE BAT, FOR GRADE 11, WHICH WAS PARTYING.” “IN GRADE 11, INITIALLY [LES IS] STILL A FRIEND. I’M HANGING OUT WITH HIM BUT I’M ALSO HANGING OUT WITH EVERYBODY. IT DIDN’T MATTER WHO THEY WERE, I COULD HANG OUT WITH ANYBODY. BUT, I’M NOTING THAT, FOR VARIOUS REASONS, HE AND ANOTHER GUY…[WERE] GOING DOWN A PARTICULAR ROAD AND, IF I EXERCISE SOME CRITICAL JUDGMENT AT [THE] TIME, IT WAS THAT, ‘OKAY, I SHOULD NOT CONTINUE ON THIS PATH’. IT DOESN’T MEAN THAT I CAN’T BE FRIENDS WITH THESE PEOPLE BUT IN TERMS OF MY IMMEDIATE SOCIAL CIRCLE, THAT MIGHT NOT BE A WAY TO GO. THEN I ELECTED…TO BE HANGING OUT MORE WITH [OTHERS]. THEY’RE MORE [INTO] SPORTS. THEY’RE DOING BASKETBALL AND VOLLEYBALL WHICH I NEVER DID ‘CAUSE I COULD NEVER PLAY ANYTHING. THEY’RE ALSO RELATIVELY STRONG ACADEMICALLY. THEY’RE GOOD KIDS FROM GOOD BACKGROUNDS. [THAT] DOESN’T MEAN THAT THEY’RE NOT PARTYING BECAUSE THEY’RE OUT PROBABLY EQUALLY EVERY SINGLE WEEKEND. BUT, THAT PARTYING WOULD INVOLVE BEER AS OPPOSED TO HASH OIL AND WEED WHICH WOULD BE MORE WHAT THE KIDS THAT THINGS DON’T NECESSARILY END UP WELL FOR [DID], LOOKING BACK.” “WE’RE OUT EVERY SINGLE WEEKEND AND, UNLIKE BEING IN LETHBRIDGE WHERE HOUSE PARTIES MIGHT BE A LITTLE BIT MORE ACCESSIBLE AND CLOSE…[OUR] HOUSE PARTIES ARE MILES AWAY. YOU WOULD HAVE TO GET THERE AND GET BACK. I REMEMBER, CERTAINLY IN GRADE 11 IN THE FALL, I DON’T HAVE MY DRIVER’S LICENSE ‘CAUSE THAT’S 1985. [I WAS] THINKING AT THE TIME THAT, AS LONG AS I WASN’T THE ONE DRIVING, THEN IT WAS OKAY AND [I WASN’T] NECESSARILY KNOWING WHAT THE STATE [WAS] OF THE INDIVIDUAL THAT WAS DRIVING.” “IT WOULD BE ALSO AT THIS TIME THAT THE WHOLE DRINKING AND DRIVING THING WAS GOING DOWN BECAUSE, POTENTIALLY, THREE YEARS PREVIOUS IT WAS NOT, CULTURALLY, AS BIG OF A DEAL. BUT, BY 1985, IT’S A BIG DEAL. IT’S STARTING TO REALLY KICK IN…OVER THE YEARS, YOU’VE WITNESSED IT, THAT THERE’S PEOPLE THAT WILL DRINK AND DRIVE, PEOPLE THAT YOU KNOW.” “IN TERMS OF PARTYING, I KNOW THAT IN GRADE 10, I WASN’T PAYING ATTENTION. I WAS KEEPING UP WITH MY FRIENDS BUT I WASN’T PUTTING ANY EXTRA WORK INTO [SCHOOL]…I WAS MORE ABOUT [THE] SOCIAL [ASPECTS]. THEN, IN GRADE 11, IT BECAME PARTYING EVERY WEEKEND. BY GRADE 12, I WAS [THINKING], ‘OH, YOU KNOW WHAT, THIS IS ALL GOING TO COME TO AN END IN FAIRLY SHORT ORDER SO I BETTER START WORKING A LITTLE BIT HARDER.’ I REMEMBER THE WHOLE PARTY THING AS BEING A LITTLE BIT LESS. NOT TO SAY THAT IT WASN’T STILL GOING ON BUT I KNEW THAT I HAD TO WORK HARDER IN SCHOOL. IN GRADE 12, THOUGH, THESE KIDS ARE GETTING TO BE OLDER…THEY ARE ABLE TO START TO DRIVE BECAUSE THEY HAVE DRIVER’S LICENSES TO DRIVE INTO LETHBRIDGE AND ACTUALLY GET ADMITTED TO BARS. THEY WOULDN’T EVEN WANT ME TO BE WITH THEM BECAUSE IF THEY WANTED TO GO TO A SPECIFIC BAR, WHICH, IF IT WAS A REALLY COOL BAR, AND I WAS WITH THEM, AND I COULDN’T GET IN, THEN THEY COULDN’T GO.” “IN ALL HONESTY…MY RELATIONSHIPS WITH [MY CLASSMATES] MEANT SOMETHING AND THAT CLASS OF FIFTY KIDS. I GENERALLY, OVER ALL AT THE TIME, ENJOYED THEIR COMPANY. THEY WERE FRIENDS. WHEN I CAME INTO LETHBRIDGE, FOR SOME YEARS—YOU COULD ALMOST SAY IT WAS NOT TILL UNIVERSITY—BUT THERE WOULD BE A FEW YEARS THAT I WOULD HAVE VERY WARM FEELINGS WHERE TODAY I DON’T LOOK BACK UPON IT AS THIS ‘BEST TIME OF MY LIFE’.” “BECAUSE I DIDN’T GO TO HIGH SCHOOL THE CITY…THE CLASSES ARE A LOT SMALLER [IN PICTURE BUTTE]. BY THE TIME I GRADUATE IN JUNIOR HIGH, THERE’S ONLY SIXTEEN OF US. WHEN I GRADUATE [FROM] HIGH SCHOOL, THERE’S ONLY FIFTY. I THINK [THE LCI GRADUATING CLASS AT THE TIME] WAS THREE HUNDRED KIDS. IT WAS HUGE. WHERE YOU DON’T EVEN KNOW ALL THE KIDS. I GUESS THERE’S MORE OPPORTUNITY FOR POCKETS OF KIDS WHO WANT TO EXPRESS THEMSELVES MORE STRONGLY. TO HAVE OTHER KIDS WHO FEEL THE SAME WAY. TO SUPPORT ONE ANOTHER. BUT THERE, OUT IN PICTURE BUTTE, I WOULDN’T SAY IT’S THE CASE AT ALL. MAYBE IT’S MY NOT WANTING TO STAND OUT AND DRAW ATTENTION TO MYSELF…IT WAS IMPORTANT TO ME THAT I FIT IN WHICH [DRINKING] WAS PART OF, TOO. IT WASN’T THAT I DON’T WANT TO DO THIS BUT I HAVE TO DO THIS, BECAUSE I WAS HAPPY TO DO THIS, ‘CAUSE I LIKE THE SOCIAL PART OF IT. THAT WAS ALSO PART AND PARCEL BECAUSE THEN THAT PUT YOU INTO ANOTHER GROUP IN TERMS OF ACCEPTABILITY. IN FACT KIDS THAT WOULD BE OLDER THAN YOU BY A YEAR OR TWO YEARS WOULD GIVE YOU ACCESS TO THOSE KIDS, TOO, ‘CAUSE THEN YOU WERE SHARING EXPERIENCES WITH THEM ON THE WEEKEND, CREATING CONNECTIONS WITH THEM.” MACLEAN NOTED HIS REASONS FOR SAVING AND DONATING THE BOTTLE, “I THINK I’VE SAVED THIS [BOTTLE] IN PART BECAUSE EITHER I THINK THAT IT’S HISTORICALLY IMPORTANT. I THINK SAFE GRADS AND DRINKING AND DRIVING [ARE] IMPORTANT.” “OVER TIME, [I THOUGHT] ‘YOU KNOW WHAT, THAT WAS FROM THE VERY FIRST SAFE GRAD OUT IN PICTURE BUTTE.’ IT MIGHT BE THE CASE ‘CAUSE WHEN [MY WIFE] GRADUATED, SHE HAD A SAFE GRAD AT LCI AND THAT COULD HAVE BEEN THE SAME YEAR…WEREN’T OUT [OF CLASSES] YET. [GRADUATION WOULD BE] IN JUNE AND I THINK WE WERE STILL IN CLASSES AFTER THAT.” FOR MORE INFORMATION INCLUDING ARTICLES FROM THE LETHBRIDGE HERALD, BRANDON SUN, MEDICINE HAT NEWS, AND THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180029001-GA.
Catalogue Number
P20180029007
Acquisition Date
2018-12
Collection
Museum
Images
Less detail
Other Name
FLAIL PADDLE
Date Range From
1920
Date Range To
1990
Material Type
Artifact
Materials
WOOD
Catalogue Number
P20160003001
  1 image  
Material Type
Artifact
Other Name
FLAIL PADDLE
Date Range From
1920
Date Range To
1990
Materials
WOOD
No. Pieces
1
Height
4
Length
41
Width
12
Description
WOODEN FLAIL. ONE END HAS A PADDLE WITH A WIDTH THAT TAPERS FROM 12 CM AT THE TOP TO 10 CM AT THE BASE. THE PADDLE IS WELL WORN IN THE CENTER WITH A HEIGHT OF 4 CM AT THE ENDS AND 2 CM IN THE CENTER. HANDLE IS ATTACHED TO THE PADDLE AND IS 16 CM LONG WITH A CIRCULAR SHAPE AT THE END OF THE HANDLE. ENGRAVED ON THE CIRCLE THE INITIALS OF DONOR’S MATERNAL GRANDMOTHER, ELIZABETH EVANAVNA WISHLOW, “ . . .” GOOD CONDITION. THERE IS SLIGHT SPLITTING OF THE WOOD ON THE PADDLE AND AROUND THE JOINT BETWEEN THE HANDLE AND THE PADDLE. OVERALL WEAR FROM USE.
Subjects
AGRICULTURAL T&E
Historical Association
AGRICULTURE
ETHNOGRAPHIC
History
THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM A TWO-PART INTERVIEW WITH DONOR ELSIE MORRIS, WHICH WAS CONDUCTED BY COLLECTIONS TECHNICIAN KEVIN MACLEAN ON FEBRUARY 17, 2016. ADDITIONAL INFORMATION COMES FROM FAMILY HISTORIES AND TEXTS PROVIDED BY THE DONOR. THIS WOODEN DOUKHOBOR TOOL IS CALLED A “FLAIL.” A NOTE WRITTEN BY ELSIE MORRIS THAT WAS ATTACHED TO THE FLAIL AT THE TIME OF DONATION EXPLAINS, “FLAIL USED FOR BEATING OUT SEEDS. BELONGED TO ELIZABETH EVANAVNA WISHLOW, THEN HANDED TO HER DAUGHTER ELIZABETH PETROVNA KONKIN WHO PASSED IT ON TO HER DAUGHTER ELIZABETH W. MORRIS.” ALTERNATELY, IN THE INTERVIEW, MORRIS REMEMBERED HER GRANDMOTHER’S, “… NAME WAS JUSOULNA AND THE MIDDLE INITIAL IS THE DAUGHTER OF YVONNE. YVONNE WAS HER FATHER’S NAME AND WISHLOW WAS HER LAST NAME.” THE FLAIL AND THE BLANKET, ALSO DONATED BY MORRIS, WERE USED TOGETHER AT HARVEST TIME TO EXTRACT AND COLLECT SEEDS FROM GARDEN CROPS. ELSIE RECALLED THAT ON WINDY DAYS, “WE WOULD PICK DRIED PEAS OR BEANS, OR WHATEVER, AND WE WOULD [LAY THEM OUT ON THE BLANKET], BEAT AWAY AND THEN HOLD [THE BLANKET] UP, AND THE BREEZE WOULD BLOW THE HULLS OFF AND THE SEEDS WOULD GO STRAIGHT DOWN.” THE FLAIL CONTINUED TO BE USED BY ELIZABETH “RIGHT UP TO THE END,” POSSIBLY INTO THE 1990S, AND THEREAFTER BY MORRIS. WHEN ASKED WHY SHE STOPPED USING IT HERSELF, MORRIS SAID, “I DON’T GARDEN ANYMORE. FURTHERMORE, PEAS ARE SO INEXPENSIVE THAT YOU DON’T WANT TO GO TO ALL THAT WORK... I DON’T KNOW HOW MANY PEOPLE HARVEST THEIR SEEDS. I THINK WE JUST GO AND BUY THEM IN PACKETS NOW.” THE KONKINS WERE A RUSSIAN-SPEAKING FAMILY FROM THE TOWN OF SHOULDICE, ALBERTA, NEAR CALGARY. THEY AND MANY OTHER RUSSIAN FAMILIES COMPOSED THAT TOWN’S DOUKHOBOR COLONY. DOUKHOBOURS CAME TO CANADA IN FINAL YEARS OF THE 19TH CENTURY TO ESCAPE RELIGIOUS PERSECUTION IN RUSSIA. ELIZABETH KONKIN (NEE WISHLOW) WAS BORN IN CANORA, SK ON JANUARY 22, 1907 TO HER PARENTS, PETER AND ELIZABETH WISHLOW. AT THE AGE OF 6 SHE MOVED WITH HER FAMILY TO A DOUKHOBOR SETTLEMENT AT BRILLIANT, BC, AND THEY LATER MOVED TO THE DOUKHOBOR SETTLEMENT AT SHOULDICE. IT WAS HERE THAT SHE MET AND MARRIED WILLIAM KONKIN. THEIR DAUGHTER, ELSIE MORRIS (NÉE KONKIN), WAS BORN IN SHOULDICE IN 1928. INITIALLY, WILLIAM TRIED TO SUPPORT HIS FAMILY BY GROWING AND PEDDLING VEGETABLES. WHEN THE FAMILY RECOGNIZED THAT GARDENING WOULD NOT PROVIDE THEM WITH THE INCOME THEY NEEDED, WILLIAM VENTURED OUT TO FARM A QUARTER SECTION OF IRRIGATED LAND 120 KM (75 MILES) AWAY IN VAUXHALL. IN 1941, AFTER THREE YEARS OF FARMING REMOTELY, HE AND ELIZABETH DECIDED TO LEAVE THE ALBERTA COLONY AND RELOCATE TO VAUXHALL. MORRIS WAS 12 YEARS OLD AT THE TIME. MORRIS STATED: “… [T]HEY LEFT THE COLONY BECAUSE THERE WERE THINGS GOING ON THAT THEY DID NOT LIKE SO THEY WANTED TO FARM ON THEIR OWN. SO NOW NOBODY HAD MONEY, SO VAUXHALL HAD LAND, YOU KNOW, THAT THEY WANTED TO HAVE THE PEOPLE AND THEY DIDN’T HAVE TO PUT ANY DOWN DEPOSIT THEY JUST WERE GIVEN THE LAND AND THEY HAD TO SIGN A PAPER SAYING THEY WOULD GIVE THEM ONE FOURTH OF THE CROP EVERY YEAR. THAT WAS HOW MY DAD GOT PAID BUT WHAT MY DAD DIDN’T KNOW WAS THAT THE MONEY THAT WENT IN THERE WAS ACTUALLY PAYING OFF THE FARM SO HE WENT TO SEE MR., WHAT WAS HIS LAST NAME, HE WAS THE PERSON IN CHARGE. ANYWAY HE SAID TO HIM “HOW LONG WILL IT BE BEFORE I CAN PAY OFF THIS FARM” AND HE SAYS “YOU’VE BEEN PAYING IT RIGHT ALONG YOU OWE ABOUT TWO HUNDRED AND A FEW DOLLARS”. WELL THAT WAS A REAL SURPRISE FOR THEM SO THEY GAVE THEM THE TWO HUNDRED AND WHATEVER IT WAS THAT HE OWED AND HE BECAME THE OWNER OF THE FARM." MORRIS WENT ON, ”THE DOUKHOBORS ARE AGRARIAN, THEY LIKE TO GROW THINGS THAT’S THEIR CULTURE OF OCCUPATION AND SO THE ONES WHO LIKED FRUIT MOVED TO B.C. LIKE MY UNCLE DID AND MY DAD LIKED FARMING SO HE MOVED TO VAUXHALL AND THERE WERE LET’S SEE, I THINK THERE WERE FOUR OTHER FAMILIES THAT MOVED TO VAUXHALL AND THREE OF THE MEN GOT TOGETHER AND DECIDED THEY WERE GOING TO GET THEIR TOOLS TOGETHER LIKE A TRACTOR AND MACHINERY THEY NEEDED AND THEN THEY WOULD TAKE TURNS…” THE KONKINS RETIRED TO LETHBRIDGE FROM VAUXHALL IN 1968. MORRIS, BY THEN A SCHOOL TEACHER, RELOCATED TO LETHBRIDGE WITH HER OWN FAMILY. WILLIAM KONKIN PASSED AWAY IN LETHBRIDGE ON MARCH 3, 1977 AT THE AGE OF 72 AND 23 YEARS LATER, ON APRIL 8, 2000, ELIZABETH KONKIN PASSED AWAY IN LETHBRIDGE. A NUMBER OF ARTIFACTS PREVIOUSLY BELONGING TO THE FAMILY EXIST IN THE GALT COLLECTION. THE KONKINS RETIRED TO LETHBRIDGE FROM VAUXHALL IN 1968. MORRIS, BY THEN A SCHOOL TEACHER, RELOCATED TO LETHBRIDGE WITH HER OWN FAMILY. WILLIAM KONKIN PASSED AWAY IN LETHBRIDGE ON MARCH 3, 1977 AT THE AGE OF 72 AND 23 YEARS LATER, ON APRIL 8, 2000, ELIZABETH KONKIN PASSED AWAY IN LETHBRIDGE. A NUMBER OF ARTIFACTS PREVIOUSLY BELONGING TO THE FAMILY EXIST IN THE GALT COLLECTION. PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION, OBITUARIES, PHOTOGRAPHS, AND FAMILY HISTORIES.
Catalogue Number
P20160003001
Acquisition Date
2016-02
Collection
Museum
Images
Less detail

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