Skip header and navigation

9 records – page 1 of 1.

Date Range From
1925
Date Range To
1930
Material Type
Artifact
Materials
WOOD, SHEET METAL
Catalogue Number
P19750120000
Material Type
Artifact
Date Range From
1925
Date Range To
1930
Materials
WOOD, SHEET METAL
No. Pieces
1
Height
7.6
Length
12.7
Width
51.0
Description
MARKED ON BACK "R. LIVINGSTON, SUPT., GALT MINE, LETH. ALTA". WOOD AROUND SIGN PAINTED GREEN AT ONE TIME. BACKGROUND OF SIGN PAINTED BLACK AT ONE TIME.
Subjects
VISUAL COMMUNICATION T&E
ADVERTISING MEDIUM
Historical Association
COAL MINING
History
FROM FRONTIER, SASKATCHEWAN. SENT TO FRONTIER IN THE LATE '20'S OR DURING THE '30'S. THESE SIGNS WERE DISPLAYED ON SEVERAL GRAIN ELEVATOR CO. BLDGS IN THIS AREA WHERE EXCELLENT GRADE GALT COAL WAS SOLD IN LARGE QUANTITIES DURING THIS ERA. DONOR DROVE A TEAM OF HORESES 12 MILES TO HAUL COAL TO HIS FARM. SPECIAL BINS WERE BUILT NEAR THE ELEVATORS TO STORE COAL. COAL SHIPPED VIA C.P.R. BY BOXCAR FROM LETHBRIDGE. CONSERVATION REPORT ON FILE. *NOTE* SIGN MISSING AS OF 2004 INVENTORY.
Catalogue Number
P19750120000
Acquisition Date
1975-07
Collection
Museum
Less detail
Date Range From
1925
Date Range To
1930
Material Type
Artifact
Materials
WOOD, SHEET METAL
Catalogue Number
P19770335000
Material Type
Artifact
Date Range From
1925
Date Range To
1930
Materials
WOOD, SHEET METAL
No. Pieces
1
Height
91.4
Length
151.1
Width
4.3
Description
SIGN SAYS "GALT BURNS ALL NIGHT COAL, FOR SALE HERE TAYLOR SIGN WORKS CALGARY". WOOD FRAME AROUND SIGN PAINTED GREEN AT ONE TIME. BACKGROUND OF SIGN PAINTED BLACK AT ONE TIME. WORDS AND SYMBOLS ARE PAINTED ON SIGN IN YELLOW, WHITE AND BLACK. PAINT IS BADLY CHIPPED AND SCRATCHED OFF AT THE FACE OF THE SIGN. HEAVILY WORN. FRAME UNSTABLE; MOULDING LOOSE; NAILS PROJECT THROUGH FRAME; TOP LEFT CORNER BADLY DAMAGED; 3 PUNCTURE HOLES IN SHEET METAL; NUMEROUS DENTS; PAINT CHIPPED, EXPOSING METAL BACKING.
Subjects
VISUAL COMMUNICATION T&E
ADVERTISING MEDIUM
Historical Association
COAL MINING
Catalogue Number
P19770335000
Acquisition Date
1977-02
Collection
Museum
Less detail
Other Name
DANGER
Date Range From
1960
Date Range To
1980
Material Type
Artifact
Materials
FIBRE BOARD
Catalogue Number
P20030016009
Material Type
Artifact
Other Name
DANGER
Date Range From
1960
Date Range To
1980
Materials
FIBRE BOARD
No. Pieces
1
Height
0.1
Length
30.5
Width
22.9
Description
RECTANGULAR. WHITE BACKGROUND WITH BLACK AND RED PRINT. HAS A THIN BLACK BORDER AROUND PERIMETER. AT TOP OF SIGN IS A RED OVAL WITH "DANGER" IN IT IN BLACK. TO THE LEFT IS A HOLLOW RED OCTAGON WITH A LIGHTNING BOLT/ARROW INSIDE. AT TOP RIGHT HAND CORNER IS A RING WITH A POWER POLE IN THE CENTER AND "CALGARY POWER" BELOW. SIGN ALSO READS "IRRIGATION NEAR POWER LINES "AVOID" UPENDING PIPE NEAR LINES MOVING EQUIPMENT UNDER LINES SPRAYING ON WIRES STORING EQUIPMENT UNDER LINES". EACH CORNER OF SIGN HAS A HOLE IN IT.
Subjects
VISUAL COMMUNICATION T&E
Historical Association
INDUSTRY
History
ARTIFACTS CAME FROM FARM OWNED AND OPERATED BY DONOR AND HER HUSBAND, JAKE. JAKE DOGTEROM'S FATHER, JACOB, CAME TO LETHBRIDGE FROM HOLLAND IN 1912. IT WAS JACOB'S AMBITION TO BECOME A FARMER AND HE GAINED EXPERIENCE WORKING AT THE EXPERIMENTAL STATION AS WELL AS OTHER FARMS IN THE AREA. IN 1918 HE BOUGHT HIS FIRST QUARTER SECTION OF LAND, THE SE 1/4-25-8-21. JACOB MET HIS WIFE EMILY WHILE THEY WERE BOTH WORKING AT THE EXPERIMENTAL FARM AND THEY MARRIED IN 1929. TOGETHER THEY FARMED THE ORIGINAL QUARTER OF LAND UNTIL 1929, WHEN THEY PURCHASED A SECOND QUARTER SECTION ADJOINING THE FIRST. THEY GREW VARIOUS CROPS INCLUDING POTATOES, CORN, ONIONS AND WHEAT. JACOB AND EMILY CONTINUED TO LIVE ON THE FARM AFTER RETIRING. JACOB PASSED AWAY IN 1975, AT THE AGE OF 80, AND EMILY IN 1986 AT THE AGE OF 86. JACOB AND EMILY HAD 7 CHILDREN, ONE OF WHOM IS DONOR'S HUSBAND JAKE. JAKE GREW UP ON THE FARM AND AFTER ATTENDING WHITE SCHOOL FOR ONE YEAR HE TOOK UP FARMING WITH HIS FATHER. THEIR MAIN CROP WAS POTATOES, WITH CATTLE, HAY AND GRAIN. JAKE MARRIED IRMA ELLIS (DONOR) OF LETHBRIDGE IN 1950 AND TOGETHER THEY HAD 4 CHILDREN. IN 1967 JAKE'S YOUNGEST BROTHER RAYMOND AND HIMSELF FORMED A PARTNERSHIP, AND THEY CONTINUED TO FARM TOGETHER UNTIL 1994 WHEN JAKE SOLD HIS QUARTER OF THE LAND. JAKE AND IRMA MOVED OFF THE FARM INTO LETHBRIDGE IN 1988 BUT STILL RETAINED QUARTER SECTION AND CONTINUED TO WORK IT UNTIL 1994. JAKE'S BROTHER HAS RECENTLY SOLD THE FARM OUT OF THE DOGTEROM FAMILY, HENCE THE DONATION OF ARTIFACTS FROM THE FARM.
Catalogue Number
P20030016009
Acquisition Date
2003-07
Collection
Museum
Less detail
Date Range From
1950
Date Range To
2002
Material Type
Artifact
Materials
WOOD, METAL
Catalogue Number
P20160008001
  2 images  
Material Type
Artifact
Date Range From
1950
Date Range To
2002
Materials
WOOD, METAL
No. Pieces
1
Height
38.3
Length
121.5
Width
4.6
Description
SIGN. WOOD AND METAL. BORDER OF SIGN IS PAINTED MEDIUM/DARK BROWN. MAIN PORTION OF SIGN IS GOLDEN ROD YELLOW, WITH BLACK LETTERING. TEXT READS: “A SAFE WORKER IS A VALUABLE EMPLOYEE”. TWO METAL BRACKETS FOR HANGING ATTACH TO BACK OF SIGN. EACH BRACKET ATTACHES TO THE BACK WITH TWO FLAT HEADED BOLTS, WHICH ARE VISIBLE ON THE YELLOW SIDE OF THE SIGN. NUTS HOLD THE BOLTS ON THE BACK. HANDWRITTEN IN BLUE INK ON BOTTOM LEFT SIDE “317-9353”. REVERSE OF SIGN IS UNFINISHED DARK, ROUGH PINE BORDER. OVERALL IN GOOD TO VERY GOOD CONDITION. SIGN IS VERY DIRTY. SOME OF BROWN PAINT AROUND BORDER HAS SCRATCHED OFF, REVEALING BLACK PAINT UNDERNEATH.
Subjects
VISUAL COMMUNICATION T&E
Historical Association
INDUSTRY
TRANSPORTATION
History
THE FOLLOWING INFORMATION COMES FROM A SERIES OF LETHBRIDGE HERALD NEWSPAPER ARTICLES AND AN INTERVIEW WITH DONOR JOHN SUMPTION CONDUCTED BY GALT MUSEUM TECH KEVIN MACLEAN ON 22 MARCH 2016: JOHN STARTED WORKING AT THE FROG SHOP IN KIPP, AB IN 1992. HE DESCRIBED HOW IT WAS THAT HE CAME TO WORK THERE: “I WAS WORKING AS A SEASONAL MACHINE OPERATOR ON THE PACIFIC REGION, WHICH MEANT THAT IN THE SPRINGTIME EVERY YEAR, I GENERALLY START OUT SOMEWHERE NEAR THE FRASER CANYON AND OVER THE COURSE OF THE YEAR I’D WORK ANYWHERE FROM THERE TO SWIFT CURRENT AND FROM THE U.S. BORDER AS FAR NORTH AS [THE CPR HAD TRACKS, TO ROUGHLY ST. PAUL, AB]. THE LENGTH OF MY YEAR’S EMPLOYMENT WOULD BE DETERMINED IN MY SENIORITY AND THE AMOUNT OF WORK THAT WAS AVAILABLE. I WAS REAL TIRED OF BEING ON THE ROAD. THE YEAR PREVIOUSLY, THERE’D BEEN A TEMPORARY JOB – A COUPLE OF TEMPORARY JOBS THAT WERE BULLETINED AT THE FROG SHOP IN THE FALL, PROCESSING SOME SCRAP MATERIAL THAT WAS THERE. A FRIEND AND MINE BID THOSE JOBS AND GOT THEM. THAT MEANT WE WERE ON THE SHOP’S SENIORITY LIST AND WHEN THE OPPORTUNITY AROSE, THERE WAS A POSITION THERE BULLETINED – ACTUALLY A COUPLE OF POSITIONS BULLETINED THERE – MY FRIEND AND I BID THEM TO BE ABLE TO BE AT HOME AND HAVE A YEAR ROUND JOB. MIGHT NOT HAVE BEEN THE BEST IDEA EVER, BUT IT WAS GOOD TO BE HOME AND SLEEP IN MY OWN BED AT NIGHT AND WAKE UP AND SEE MY HORSES IN THE MORNING.” JOHN REMOVED THIS SIGN FROM HIS WORKPLACE WHEN THE CANADIAN PACIFIC RAILWAY ELECTED TO CLOSE THE FROG SHOP IN KIPP IN THE SPRING OF 2002. JOHN’S SUPERVISOR, GUY MITCHELL, KNEW THAT HE HAD AN INTEREST IN HISTORY AND OLD THINGS AND ALLOWED JOHN TO TAKE SOME ITEMS HOME. JOHN RECOUNTED THE EXPERIENCE: “WHEN I ASKED [GUY] WHAT WAS TO BECOME OF THE [SAFE WORKER] SIGN HE SAID, ‘YOU CAN HAVE IT, JOHN. THEY’LL JUST THROW IT AWAY. IT’S JUST JUNK AS FAR AS ANYONE ELSE CONCERNED.’ I ASKED HIM, ‘GEE, COULD I HAVE THE LITTLE PLAQUE OFF THE DOOR?’ AND HE SAID, ‘OF COURSE, YEAH, TAKE IT. IT’S GOING TO GET – SOMEONE ELSE WILL KNOCK IT OFF AND IT’LL GET BROKEN. SO MUCH THE BETTER. YOU WANNA SEE IT HANG IN THERE, GO FOR IT. IT’S ALL YOURS.’” JOHN EXPLAINED THAT THIS SIGN HUNG ON THE WALL: “IT WAS HANGING ON THE WALL WELL ABOVE THE DOORWAY, AND [I] PUT A LADDER UP AND TOOK THE TWO BIG SCREWS OUT OF THE WALL THAT HELD IT IN PLACE, AND TOOK THE TWO LITTLE TINY SCREWS OUT OF THE DOORWAY THAT HELD THE FROG SHOP SIGN IN PLACE. THAT WAS ONE OF THE LAST DAY – I THINK IT MIGHT HAVE BEEN EVEN THE LAST DAY THAT WE WERE THERE – AS I RECALL THAT’S THE CASE.” JOHN EXPLAINED WHY HE WAS SO INTERESTED IN THIS PARTICULAR SIGN: “BUT THE SIGN WAS SIGNIFICANT TO ME IN IT OF ITSELF GIVEN THAT WE SOMETIMES JOKED THAT THAT WAS THE ENTIRETY, FOR A LONG TIME, OF THE RAILWAY’S SAFETY PROGRAM – WAS A SIGN LIKE THIS. ON ALL THE MIRRORS IN ALL OF THE EMPLOYEES’ BATHROOMS, GOING BACK AT LEAST WHEN I FIRST WORKED FOR THE RAILWAY THE SUMMER OUT OF THE UNIVERSITY IN 1975, THE MIRRORS WERE ALL PAINTED WITH A SIGN ABOVE - AT THE TOP AND THE BOTTOM OF THE MIRROR THAT SAID, “YOU’RE LOOKING AT THE MAN MOST RESPONSIBLE YOUR SAFETY.” THOSE WERE QUITE OFTEN CHANGED BY EMPLOYEES TO SAY SOMETHING QUITE DIFFERENT, BUT YEAH, IT WAS SOMETHING OF A JOKE.” HE WENT ON FURTHER, SAYING THAT IN 1978 HE AND A FRIEND LOOKED INTO THE OLD ROUNDHOUSE AT THE RAIL YARD IN LETHBRIDGE AND “WAS MORTIFIED” TO SEE THE WORKING CONDITIONS: “WE PULLED UP BEHIND THE OLD ROUNDHOUSE IN THE OLD YARD HERE IN LETHBRIDGE, AND LOOKED IN THE DOORWAY. THAT’S AS MUCH AS I KNOW OF THE OLD ROUNDHOUSE, AND I WAS MORTIFIED TO SEE MEN WORKING IN A POORLY VENTILATED, ANCIENT, REALLY FALLING APART BUILDING. MORE PIGEONS THAN PEOPLE INSIDE, IN A CLOUD OF DUST AND WELDING SMOKE THAT YOU COULD NOT SEE THROUGH. THAT’S WHERE THIS SIGN CAME FROM.” IN COMPARISON, THE WORKING CONDITIONS IN THE KIPP FROG SHOP WERE MUCH BETTER, BUT JOHN EXPLAINS THAT THERE WERE STILL PROBLEMS: “WHEN I WENT TO WORK AT THE FROG SHOP IN KIPP IN EARLY ’92, A GREAT NUMBER OF PEOPLE WORKING THERE, AND THEN THERE WERE ONLY 12 EMPLOYEES THERE AND A SUPERVISOR, HAD WORKED THERE. CONSEQUENTLY, THAT FACILITY WAS LIGHT YEARS BEYOND WHERE THEY WORKED PREVIOUSLY, AND THEY’RE PRETTY COMFORTABLE IN THEIR ENVIRONMENT. THEY FELT THAT, YOU KNOW, THEY WERE DOING PRETTY WELL. THERE WERE A NUMBER OF US OVER THE COURSE OF THE NEXT COUPLE OF YEARS THAT CAME TO WORK THERE THAT HAD PREVIOUSLY WORKED ON THE SEASONAL WORK CREWS, AS MACHINE OPERATORS, WERE HAPPY TO HAVE A FULL TIME, YEAR-ROUND JOB. IT WASN’T A VERY PLEASANT PLACE TO WORK. IT WAS VERY DUSTY, VERY NOISY, AND DESPITE A RELATIVELY DECENT WELDING FUME VENTILATION SYSTEM, IT WASN’T A GOOD PLACE TO BE. AND WE LOOKED AT THE SIGN EVERY DAY AS YOU WALKED OUT. IN THE COURSE OF READING THE MSDS ON THE WELDING WIRE AND THE WELDING ROD WE USED, AFTER I WORKED THERE FOR MAYBE A YEAR OR SO – MAYBE A COUPLE YEARS – I SAW THAT THE WELDING WIRE MANUFACTURER – WELL THE WELDING ROD MANUFACTURER – SUGGESTED THAT PEOPLE HAVE AT LEAST ANNUAL BLOOD TESTS TO DETERMINE THEIR BLOOD LEVELS OF HEAVY METALS, IN PARTICULAR MANGANESE.” JOHN EXPLAINED THAT TOO MUCH MAGNESIUM IN THE HUMAN BODY CAN MIMIC PARKINSON’S DISEASE, A CONDITION CALLED PARKINSONISM. SUMPTION PUSHED FOR BLOOD TESTING TO BE DONE IN THE 1990S: “THAT STARTED US DOWN THE ROAD THAT RESULTED IN A STUDY BEING DONE BY A GROUP OF INDUSTRIAL MEDICINE SPECIALISTS FROM THE UNIVERSITY OF CALGARY, INCLUDING OF THE FOREMOST – THE WORLD’S MOST FOREMOST – MOVEMENT DISORDER SPECIALIST … . CONSEQUENTLY, WE ALL SPENT TWO DAYS IN CALGARY, GOT MRI, GOT BLOOD TESTS, AND THEREAFTER WERE REGULARLY SUBJECTED TO URINE TESTS.” THE RESULTS OF ALL OF THIS TESTING: “CONSEQUENTLY, THE VENTILATION SYSTEM WAS IMPROVED, THE DUST CAPTURE SYSTEM WAS IMPROVED FOR THE GRINDING PROCEDURES, AND ALL EMPLOYEES WORE POWER PURIFIED AIR RESPIRATORS THEREAFTER. SO WE HAD A MUCH SAFER WORK ENVIRONMENT.” JOHN NEVER SAW THIS SIGN HANGING IN THE ROUNDHOUSE AND HAD THE FOLLOWING TO SAY: “IT’S FAR TOO OLD TO HAVE BEEN MADE FOR THE FROG SHOP IN 1982. WHEN YOU LOOK AT THESE … BOLTS – HAVEN’T SEEN THEM DO LIKE THAT IN AN AWFUL LONG TIME. THIS IS HAND-PUNCHED – THIS IS HAND-CUT AND HAND-PUNCHED. LOOT AT THE WIDTH OF THE PINE PLANK THAT IT’S ON. IT’S NOT REGULAR, OLD CPR RED. THEY DIDN’T BUY THINGS. THEY ARE NOTORIOUSLY CHEAP. I REMEMBER THIS YELLOW PAINT. THIS IS THE SAME YELLOW PAINT THAT THEY PAINTED THEIR MOTOR CARS WITH – THE LITTLE, FREEZE-YOUR-ASS-OFF TRACK MOBILES WE USED TO TRAVEL ON WHEN WE’RE WORKING ON THE TRACK. YEAH, I WAS TOLD THAT. BUT I KNOW THEY WOULDN’T HAVE A SIGN PAINTED. I KNOW THEY WOULDN’T BUY ONE FROM ANYONE. AND THAT WAS WHAT I WAS TOLD BY ALL THE PEOPLE THAT I WORKED WITH THERE; SOME OF WHOM HAD A GREAT MANY YEARS. AND THERE WERE A COUPLE OLD GUYS THAT I WORKED WITH THAT RETIRED AT 35 YEARS, SHORTLY AFTER I ARRIVED IN THE FROG SHOP THERE IN ’92.” JOHN DESCRIBED WHERE THE SIGN HUNG IN THE FROG SHOP IN KIPP: “IT HUNG IN THE DOORWAY THAT LEAD OUT OF THE SHOP INTO THE HALLWAY INTO OUR CHANGE ROOM. I LOOKED AT IT EVERY DAY, AT LUNCHTIME, COFFEE TIME.” JOHN ADDED THE FOLLOWING ABOUT WORKER SAFETY: “I JUST THINK THAT THIS IS TO ME ILLUSTRATIVE OF HOW FAR WE’VE COME WHEN IT COMES TO WORKERS’ SAFETY. AND WHEN YOU TAKE A LOOK AROUND TODAY OF HOW HORRIFYINGLY FAR WE HAVE TO GO. TO THINK THAT THERE ARE PEOPLE, WHAT LESS THAN TWO WEEKS AGO, STANDING IN FRONT OF THE LEGISLATURE IN EDMONTON FIGHTING THE NOTION THAT FARM WORKERS IN ALBERTA SHOULD HAVE THE SAME PROTECTION THAT THEY DO EVERYWHERE ELSE IN THE COUNTRY AND HAVE FOR YEARS AND YEARS. TOO MANY PEOPLE DIE GOING TO WORK. IT’S TOO EASY TO HAPPEN AND IT’S EVEN EASIER NOW. IT’S SCARY TO THINK OF YOUNG PEOPLE. I’VE WORKED WITH LOTS OF YOUNG PEOPLE AS THE YEARS HAVE GONE ON. I’M OLD. I KNOW OLD PEOPLE - OLDER PEOPLE - LOOKED OUT FOR ME AND HELPED ME; AND I’M REALLY FORTUNATE FOR THAT. BUT IN THIS HURRY-UP WORLD, NOW AND PARTICULARLY AS YOU SEE UNION MEMBERSHIP DECLINING AND IT BECOMING MORE AND MORE DIFFICULT TO OBTAIN A UNION CONTRACT, TO RATIFY A UNION VOTE, GEE I DON’T WANT TO SEE ANYONE - ANYBODY ELSE GET HURT. AND I HOPE THAT THAT GETS BETTER. BECAUSE I’VE SEEN REALLY BAD THINGS HAPPEN TO PEOPLE AND IT WASN’T BECAUSE THEY WERE DUMB AND IT WASN’T BECAUSE THEY WERE CARELESS. FAR TOO OFTEN IT WAS BECAUSE THEY JUST DIDN’T KNOW AND SOMEBODY WHO SHOULD KNOW BETTER DIDN’T GET IN LINE.” RELOCATING THE RAIL YARDS TO KIPP IS COVERED IN DETAIL IN SEVERAL LETHBRIDGE HERALD NEWSPAPER ARTICLES, ESPECIALLY IN THE PERIOD OF 1980 TO 1982. THESE ARTICLES TEND TO FOCUS ON THE BENEFIT FOR THE CITY OF LETHBRIDGE AND THE ABILITY TO REDEVELOP THE YARDS. FOR EXAMPLE, AN OCTOBER 10, 1980 ARTICLE DISCUSSES REDEVELOPMENT OPPORTUNITIES: “THERE MUST BE A GOOD CORRIDOR WITH A DIVIDED HIGHWAY THROUGH THE CITY TO ACCOMMODATE BOTH TRAFFIC THAT DOESN’T WANT TO STOP AND TRAFFIC THAT WANTS TO GET OFF AT DOWNTOWN LETHBRIDGE. RAILWAY RELOCATION GIVES ROOM FOR SUCH A CORRIDOR FROM THE RAILWAY BRIDGE THROUGH TO 13TH ST.” FOR MORE DETAILS, PLEASE SEE PERMANENT FILE. FOR COPIES OF NEWSPAPER ARTICLES AND FOR A TRANSCRIPT OF THE INTERVIEW, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160008001
Acquisition Date
2016-03
Collection
Museum
Images
Less detail
Date Range From
1985
Date Range To
2002
Material Type
Artifact
Materials
PLASTIC
Catalogue Number
P20160008002
  1 image  
Material Type
Artifact
Date Range From
1985
Date Range To
2002
Materials
PLASTIC
No. Pieces
1
Length
22.8
Width
5.0
Description
SIGN. PLASTIC. BLACK BACKGROUND. “FROG SHOP” ENGRAVED INTO PLASTIC, REVEALING IVORY LETTERING. TWO SMALL HOLES ON EITHER END OF SIGN FOR HANGING. REVERSE IS IVORY. EXCELLENT CONDITION. SLIGHT DISCOLOURATION OF IVORY PLASTIC.
Subjects
VISUAL COMMUNICATION T&E
Historical Association
INDUSTRY
TRANSPORTATION
History
THE FOLLOWING INFORMATION COMES FROM A SERIES OF LETHBRIDGE HERALD NEWSPAPER ARTICLES AND AN INTERVIEW WITH DONOR JOHN SUMPTION CONDUCTED BY GALT MUSEUM TECH KEVIN MACLEAN ON 22 MARCH 2016: JOHN STARTED WORKING AT THE FROG SHOP IN KIPP, AB IN 1992. HE DESCRIBED HOW IT WAS THAT HE CAME TO WORK THERE: “I WAS WORKING AS A SEASONAL MACHINE OPERATOR ON THE PACIFIC REGION, WHICH MEANT THAT IN THE SPRINGTIME EVERY YEAR, I GENERALLY START OUT SOMEWHERE NEAR THE FRASER CANYON AND OVER THE COURSE OF THE YEAR I’D WORK ANYWHERE FROM THERE TO SWIFT CURRENT AND FROM THE U.S. BORDER AS FAR NORTH AS [THE CPR HAD TRACKS, TO ROUGHLY ST. PAUL, AB]. THE LENGTH OF MY YEAR’S EMPLOYMENT WOULD BE DETERMINED IN MY SENIORITY AND THE AMOUNT OF WORK THAT WAS AVAILABLE. I WAS REAL TIRED OF BEING ON THE ROAD. THE YEAR PREVIOUSLY, THERE’D BEEN A TEMPORARY JOB – A COUPLE OF TEMPORARY JOBS THAT WERE BULLETINED AT THE FROG SHOP IN THE FALL, PROCESSING SOME SCRAP MATERIAL THAT WAS THERE. A FRIEND AND MINE BID THOSE JOBS AND GOT THEM. THAT MEANT WE WERE ON THE SHOP’S SENIORITY LIST AND WHEN THE OPPORTUNITY AROSE, THERE WAS A POSITION THERE BULLETINED – ACTUALLY A COUPLE OF POSITIONS BULLETINED THERE – MY FRIEND AND I BID THEM TO BE ABLE TO BE AT HOME AND HAVE A YEAR ROUND JOB. MIGHT NOT HAVE BEEN THE BEST IDEA EVER, BUT IT WAS GOOD TO BE HOME AND SLEEP IN MY OWN BED AT NIGHT AND WAKE UP AND SEE MY HORSES IN THE MORNING.” JOHN REMOVED THIS DOOR PLAQUE FROM HIS WORKPLACE WHEN THE CANADIAN PACIFIC RAILWAY ELECTED TO CLOSE THE FROG SHOP IN KIPP IN THE SPRING OF 2002. JOHN’S SUPERVISOR, GUY MITCHELL, KNEW THAT HE HAD AN INTEREST IN HISTORY AND OLD THINGS AND ALLOWED JOHN TO TAKE SOME ITEMS HOME. JOHN RECOUNTED THE EXPERIENCE: “WHEN I ASKED [GUY] WHAT WAS TO BECOME OF THE [SAFE WORKER] SIGN HE SAID, ‘YOU CAN HAVE IT, JOHN. THEY’LL JUST THROW IT AWAY. IT’S JUST JUNK AS FAR AS ANYONE ELSE CONCERNED.’ I ASKED HIM, ‘GEE, COULD I HAVE THE LITTLE [FROG SHOP] PLAQUE OFF THE DOOR?’ AND HE SAID, ‘OF COURSE, YEAH, TAKE IT. IT’S GOING TO GET – SOMEONE ELSE WILL KNOCK IT OFF AND IT’LL GET BROKEN. SO MUCH THE BETTER. YOU WANNA SEE IT HANG IN THERE, GO FOR IT. IT’S ALL YOURS.’” JOHN EXPLAINED THAT THIS PLAQUE HUNG ON THE DOOR: “[I] TOOK THE TWO LITTLE TINY SCREWS OUT OF THE DOORWAY THAT HELD THE FROG SHOP SIGN IN PLACE. THAT WAS ONE OF THE LAST DAY – I THINK IT MIGHT HAVE BEEN EVEN THE LAST DAY THAT WE WERE THERE – AS I RECALL THAT’S THE CASE.” HE DESCRIBED THE LOCATION OF THE PLAQUE: “THE SMALL FROG SHOP SIGN – THE CHEAP, LITTLE 2-PIECE PLASTIC LAMINATED SIGN –WAS SCREWED TO THE DOORWAY ON THE ENTRANCE TO THE SHOP FROM THE HALLWAY. THERE WAS A SAFETY GLASS WINDOW ABOVE IT. SO THAT WOULD’VE SAT ABOUT WAIST-HIGH AND THEY HAD THOSE SORTS OF SIGNS ON THE VARIOUS ROOMS AND OFFICES AND SHOPS IN THE FACILITY. YEAH, 2 LITTLE SCREWS. AND IT JUST SEEMED – IT NEEDED TO COME WITH THIS.” JOHN DESCRIBED WHAT A FROG IS: ”A FROG IS A PIECE OF TRACK – WELL IT’S A TRACK APPLIANCE, I’D GUESS YOU’D SAY, THAT IS A PORTION OF A SWITCH. IT’S THE PORTION OF A SWITCH, WHICH IS IMMOBILE AND ALLOWS A TRAIN TO TRAVEL EITHER ON THE MAIN LINE, WELL ON BOTH THE MAINLINE AND THE DIVERGING TRACK. IT’S DEPENDING ON THE WAY IN WHICH YOU APPROACH IT – EITHER IN THE FRONT OR BEHIND THE SWITCH. IT’S TWO LONG, HOT-BENT AND SHAVED WRAP RAILS THAT EXTEND ON BEYOND THE CASTING, AND TWO SHORT HEEL RAILS IN THE MIDDLE. THE CASTING IS EXPLOSION HARDENED MANGANESE. IT’S A MATERIAL. THEY’RE FOR THE MOST PART MANUFACTURED ONLY IN THE U.S. IN NORTH AMERICA – THE NEW ONES. AND EXPLOSION HARDENED MANGANESE IS A STRATEGIC MATERIAL AS DECLARED BY THE DEFENSE DEPARTMENT. CONSEQUENTIALLY, IF THEY DECIDE THAT NONE – NO MORE – IS LEAVING THE COUNTRY THIS YEAR – NO MORE LEAVES THE COUNTRY. AND THE CASTINGS ARE ONLY EXPLOSION HARDENED IN THE US, BECAUSE HERE THE FROST DOESN’T COME OUT OF THE GROUND UNTIL FAR TOO LATE IN THE YEAR. THERE USED TO BE A FACILITY IN WINNIPEG THAT DID IT. IF THE GROUND’S FROZEN THE SHOCKWAVES TRAVEL TOO FAR AND CREATE HAVOC WITH INFRASTRUCTURE AND GROUNDWATER, AND NO ONE LIKES TO LIVE CLOSE TO A FACILITY THAT IS CONSTANTLY BUSTING OFF EXPLOSIVE SHOTS. EXPLOSION HARDENING OF MANGANESE ALLOWS THE HARDENING PROCESS TO BE DRIVEN INTO THE CASTING AT LEAST A QUARTER OF AN INCH, IF NOT AN INCH, AND IT MAKES THE MATERIAL (AN ALREADY VERY HARD MATERIAL) ANYWHERE FROM ONE AND A HALF TIMES TO TWO TIMES STRONGER THAN IT OTHERWISE WOULD BE, WHICH ALLOWS IT NOT TO WEAR. AND MANGANESE, UNDER THE BEST OF CIRCUMSTANCES, HARDENED IN THIS FASHION DOESN’T READILY BREAK OUT. IT MAINTAINS ITS STRUCTURAL INTEGRITY. IT WILL OVER TIME AS WEAR TAKES PLACE. BUT IN THE END WHEN WE SCRAP THINGS, THE RAIL WOULD GO IN ONE CAR, THE MILD STEEL IN THE CASTINGS WOULD GO TO NATIONAL SALVAGE HERE IN LETHBRIDGE AT A LOWER PRICE - MUCH LOWER PRICE. THE RAILS WERE HIGH CHROME STEEL AND THEY WENT FOR A HIGH PRICE AND WERE SHIPPED BY RAILCAR IN LARGE VOLUME. BUT THE CASTINGS WERE SET ASIDE, AND THEY WERE ONLY SHIPPED BY TRUCK BECAUSE THEY WERE VERY VALUABLE. THEY WERE ALWAYS PUT UP TO TENDER, AND YEAH, I WOULD EXPECT THAT THE CASTING MORE THAN PAID OUR WAGES EVERY YEAR.” ASKED IF THERE WERE OTHER FROG SHOPS IN CANADA, JOHN SAID THE FOLLOWING: “NO, THERE WAS ONLY – CANADA PACIFIC ONLY EVER HAD ONE FROG SHOP. THAT WAS LETHBRIDGE. AND CN AT ONE TIME HAD ONE BACK EAST, WHERE I DON’T KNOW. I THINK IN WINNIPEG, THEY MIGHT’VE DONE SOME WORK FOR A PERIOD OF IN WHAT BECAME A BUTT WELDING PLANT, BUT I’M REALLY NOT CERTAIN. I’M REALLY NOT CERTAIN.” HE DISCUSSED VISITING ANOTHER FROG SHOP IN WASHINGTON STATE: “WORKING WITH PEOPLE FROM A WELDING WIRE MANUFACTURER IN KENTUCKY, AND ACTUALLY WITH A GREAT DEAL OF HELP FROM THE PEOPLE OF THE BURLINGTON NORTHERN’S FROG SHOP IN SPOKANE, WASHINGTON. MADE A FEW TRIPS DOWN THERE, SAW WHAT THEY WERE DOING. WE MUCH IMPROVED THE PROCESS AND IN THE END OUR REMANUFACTURED FROGS WERE APPROXIMATELY, OH I’D SAY, MAYBE A SIXTH – BETWEEN A QUARTER AND A SIXTH OF THE COST OF THEM NEW. AND ACCORDING TO A GREAT MANY FIELD SUPERVISORS, THEY STOOD UP BETTER THAN THE NEW ONES BECAUSE OF THE WAY THAT WE DID THINGS AND WHAT WE LEARNED – NOT ONLY FROM THE PEOPLE AT TRACKWELD, BUT FROM OUR FRIENDS AT BURLINGTON NORTHERN. SOMETHING THAT WOULD NEVER HAPPEN TODAY AND MAY NOT HAVE HAPPENED THEN, WHERE UPPER LEVEL MANAGEMENT AT BURLINGTON TO KNOW WHAT THEY WERE DOING WITH WHAT’S FUNDAMENTALITY A DIRECT COMPETITOR OF THEIRS. BUT THEY WERE WONDERFUL. THEY WERE REALLY, REALLY WONDERFUL TO US. AND IT ALSO MEANT THAT THEY EFFECTIVELY RECYCLED THE NON-REBUILDABLE MATERIALS. THE FROG IN ONE PIECE, SCRAPPED, IS NOT WORTH A GREAT DEAL BECAUSE IT IS COMPRISED OF FOUR HIGH CHROME RAILS, THEY’RE BOLTED INTO BIG CAST IRON BLOCKS INTO AN EXPLOSION HARDENED MANGANESE CASTING IN THE MIDDLE.” KEVIN ASKED IF THERE WAS A PHOTOGRAPH OF JOHN IN THE FROG SHOP, JOHN REPLIED THAT HE DOESN’T LIKE HIS PICTURE TO BE TAKEN AND SUGGESTED: “I WOULD EXPECT – LETHBRIDGE HERALD ARCHIVES WILL HAVE A PICTURE OF WALTER – CAN’T REMEMBER HIS LAST NAME – FROM STERLING, OR MAGRATH RATHER, WHO WAS A LONGTIME FROG SHOP FOREMAN. HE RETIRED NOT LONG AFTER I WENT IN THERE. I KNOW THERE WAS THE LETHBRIDGE HERALD ARTICLE THAT HAD A PICTURE OF WALTER, AND PROBABLY HAD A PICTURE OF THE SHOP. MAYBE THROUGH THE OFFICE WINDOW. THE OFFICE WAS IN THE SECOND FLOOR WITH A LARGE WINDOW. KIND OF LIKE A JAIL CELL – I MEAN IT WAS KIND OF LIKE A PRISON YARD TOWN. SO YOU COULD LOOK OUT OVER THE PRISONERS. THE PICTURE MIGHT HAVE BEEN TAKEN THROUGH THAT, THOUGH THERE WAS GRILL-WORK – WIRE GRILL-WORK – IN THE GLASS. BUT AS I RECALL, SOMEWHERE IN THE ‘90S AND I’M THINKING JUST BEFORE I CAME TO WORK THERE OR SHORTLY THEREAFTER, THERE WAS A PICTURE IN THE HERALD. I KNOW THAT IN YOUR ARCHIVES THERE ARE GREAT PICTURES OF THE ROUNDHOUSE. WHEN AN OLD FELLOW THAT I WORKED WITH FOR A LONG TIME RETIRED, CAME IN HERE – HE WORKED AS A KID WITH HIS BROTHER ON THE TURNTABLE. THE TURNTABLE WAS STILL IN OPERATION AND HIS BROTHER LEFT AND FRANK CONTINUED ON TO WORK WITH THE RAILWAY. SO WE CAME IN, I CAME IN HERE AND GOT SOME PHOTOS FROM YOUR ARCHIVES. ONE SHOT FROM THE ROOF OF THE BREWERY OUT IN THE YARD. ANOTHER TAKEN IN THE YARD, UP CLOSE TO THE TURNTABLE, AND THEN A COUPLE OF TERRY BLAND’S COLOUR SHOTS AFTER, IN THE TIME THAT INTERVENED BETWEEN THE ROUNDHOUSE BEING TORN, WELL THE YARD BEING MOVED TO KIPP AND EVERYTHING BEING TORN UP. YEAH, THERE WERE SOME BEAUTIFUL PICTURES, YOU KNOW … WHAT HE DID FOR LETHBRIDGE WAS JUST MAGNIFICENT AND WHAT A FINE PHOTOGRAPHER HE WAS. AND WHAT A LESSON TO PEOPLE, TO OTHER PHOTOGRAPHERS, TO WEAR A CARBON-FILTER MASK. BECAUSE THAT’S WHAT KILLED HIM, THE FIXATIVE ON HIS DEVELOPING AND HE WAS SHY TO SHARE THAT.” FROM NEWSPAPER ARTICLES: AN ARTICLE PUBLISHED MARCH 25, 1927 IN THE MONTREAL GAZETTE EXPLAINS WHAT A FROG IS: “IN THE RAILROAD TRACK CIRCLES, A ‘FROG’ IS NOT AN AMPHIBIOUS QUADRUPED, BUT THE TIE THAT BINDS AND HOLDS THE RAILS.” A JANUARY 17, 2002 ARTICLE IN THE LETHBRIDGE HERALD DESCRIBES A FROG: “THE FROG IS AN X-SHAPED COMPONENT WHERE THE LEFT RAIL CROSS THE RIGHT RAIL AT A SIDING. ‘PURCHASING NEW FROGS IS A MORE EFFICIENT ALTERNATIVE TO INTERNAL REMANUFACTURING OF TRACK COMPONENTS,’ SAYS IAN LACOUVEE, A CPR SPOKESMAN IN CALGARY. THE LETHBRIDGE SHOP, PART OF THE COMPANY’S SOUTHERN ALBERTA OPERATION FOR DECADES, HANDLED REBUILDS FOR ALL OF THE CPR’S TRACK NETWORKS ACROSS WESTERN CANADA. IT WAS MOVED TO THE KIPP SITE IN THE EARLY 1980S WHEN CANADIAN PACIFIC SOLD ITS DOWNTOWN LETHBRIDGE RAILYARDS AND ROUNDHOUSE AREA TO THE CITY FOR REDEVELOPMENT.” THE 2002 ARTICLE CONTINUES, DISCUSSING THE CLOSURE OF THE SHOP IN KIPP: “IT’S THE RAILWAY’S LAST REPAIR SHOP OF ITS KIND IN WESTERN CANADA. BUT CANADIAN PACIFIC IS CLOSING ITS RAIL FROG REBUILDING FACILITY AT KIPP THIS SPRING. EIGHT JOBS WILL BE LOST … WHEN THE RAILWAY BEGINS TO BUY ALL ITS TRACK SWITCHING EQUIPMENT FROM AN OUTSIDE SUPPLIER INSTEAD OF REBUILDING WORN COMPONENTS … NOW THE COMPANY HOPES TO SELL THE KIPP FROG REPAIR BUILDING AND ABOUT FOUR ACRES OF INDUSTRIAL LAND, LOCATED TO THE WEST OF CP’S FREIGHT CAR REPAIR SHOP AND OFFICE BUILDING.” THE ARTICLE CARRIES ON TO SAY: “THE LETHBRIDGE SHOP WAS ONE OF MANY OPERATED BY CANADIAN PACIFIC ACROSS CANADA. UNTIL MAY, IT WILL BE THE LAST FACILITY REBUILDING FROGS AND RELATED EQUIPMENT FOR TRACK MAINTENANCE CREWS ACROSS WESTERN CANADA. NEW COMPONENTS, BUILT BY PROGRESS RAIL IN WINNIPEG, WILL BE INSTALLED INSTEAD WHEN EXISTING EQUIPMENT NEEDS REPLACEMENT. OLDER COMPONENTS WILL BE SCRAPPED. LETHBRIDGE EMPLOYEES WERE GIVEN 120-DAY NOTICE OF THE COMPANY’S PLANS IN ACCORDANCE WITH THEIR UNION AGREEMENT.” A MAY 20, 1982 ARTICLE HAD THE FOLLOWING TO SAY ABOUT THE PROPERTY: “WORK IS ABOUT 20 PER CENT COMPLETE ON CP RAIL’S NEW TRAIN MARSHALLING YARDS AT KIPP. THE $25.2-MILLION CONSTRUCTION PROJECT, EXPECTED TO BE COMPLETE DEC. 3, INCLUDES NEW ADMINISTRATION HEADQUARTERS AND A 2,322 SQUARE-METRE REPAIR SHOP.” MORE DETAILS ABOUT THE PROPERTY, INCLUDING A FLOOR PLAN (SEE PERMANENT FILE) COME FROM A BANKERS COMMERCIAL REAL ESTATE ADVERTISEMENT: “BUILDING TOTALS 18,400 SQ. FT. MAIN FLOOR, AS WELL AS 1,000 SQ. FT. MEZZANINE. BUILDING DIVIDED UP INTO 3 MAIN AREAS WITH LARGE BAY DOORS IN EACH AREA. THE BUILDING HAS A 5 TON OVERHEAD CRANE AND UPWARDS OF 600 VOLTS FOR ELECTRICAL. LAND DIMENSIONS – APPROXIMATELY 3.2 ACRES. 600FT EAST TO WEST, APPROXIMATELY. 20FT ON EAST SIDE OF BUILDING. 25FT ON NORTH SIDE OF BUILDING. SHARED ROAD ON SOUTH SIDE. 400FT TO WEST OF BUILDING, APPROXIMATELY.” RELOCATING THE RAIL YARDS TO KIPP IS COVERED IN DETAIL IN SEVERAL NEWSPAPER ARTICLES, ESPECIALLY IN THE PERIOD OF 1980 TO 1982. THESE ARTICLES TEND TO FOCUS ON THE BENEFIT FOR THE CITY OF LETHBRIDGE AND THE ABILITY TO REDEVELOP THE YARDS. FOR EXAMPLE, AN OCTOBER 10, 1980 ARTICLE DISCUSSES REDEVELOPMENT OPPORTUNITIES: “THERE MUST BE A GOOD CORRIDOR WITH A DIVIDED HIGHWAY THROUGH THE CITY TO ACCOMMODATE BOTH TRAFFIC THAT DOESN’T WANT TO STOP AND TRAFFIC THAT WANTS TO GET OFF AT DOWNTOWN LETHBRIDGE. RAILWAY RELOCATION GIVES ROOM FOR SUCH A CORRIDOR FROM THE RAILWAY BRIDGE THROUGH TO 13TH ST.” FOR MORE DETAILS, PLEASE SEE PERMANENT FILE. FOR COPIES OF NEWSPAPER ARTICLES AND FOR A TRANSCRIPT OF THE INTERVIEW, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160008002
Acquisition Date
2016-03
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
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
Date Range From
1930
Date Range To
1940
Material Type
Artifact
Materials
WOOD
Catalogue Number
P19960010008
Material Type
Artifact
Date Range From
1930
Date Range To
1940
Materials
WOOD
No. Pieces
1
Height
0.6
Length
45
Width
35.4
Description
WOOD SIGN, PAINTED ECRU WITH BLACK AND RED STENCILLED PRINT. READS IN LARGE BLOCK LETTERS "BELL SIGNAL 1 BELL STOP 2 BELLS DOWN 3 BELLS HOIST". NAIL HOLE IN EACH CORNER. WOOD IS DRY AND SPLIT, AND PAINT IS CHIPPING THROUGHOUT. DENT IN TOP SURFACE, NEAR UPPER EDGE OF SIGN.
Subjects
VISUAL COMMUNICATION T&E
Historical Association
COAL MINING
History
FOUND BY DONOR IN A MINE ON HIS SUMMER PROPERTY IN THE BEAVER MINES AREA. MINE WAS ABANDONED AFTER WWII DUE TO LOW GRADE OF COAL. ITEM SALVAGED PRIOR TO DONOR'S RETIREMENT FROM U OF L (PSYCHOLOGY PROFESSOR) TO THE WEST COAST IN 1996.
Catalogue Number
P19960010008
Acquisition Date
1996-03
Collection
Museum
Less detail
Other Name
GALT COAL
Date Range From
1920
Date Range To
1940
Material Type
Artifact
Materials
PAPER
Catalogue Number
P19990035171
Material Type
Artifact
Other Name
GALT COAL
Date Range From
1920
Date Range To
1940
Materials
PAPER
No. Pieces
1
Height
0.1
Length
65.5
Width
50.5
Description
RECTANGULAR. YELLOW BACKGROUND. AT THE TOP, PRINTED IN BLACK IS "WE RECOMMEND". BELOW THIS IN BLACK WITH A WIDE BLUE OUTLINE IS "ALBERTA'S HIGHEST GRADE DOMESTIC COAL". IN THE MIDDLE IS A BLACK GALT COAL LOGO WITH "GALT COAL" PRINTED IN FLUORESCENT ORANGE, AND "BURNS ALL NIGHT" IN BLACK. TO THE RIGHT OF THE LOGO, IN LARGE BLACK LETTERS IS "GALT". BELOW THIS IS "THE DEEP SEAM HARD COAL MINED BY" IN BLACK, AND "LETHBRIDGE COLLIERIES LTD." IN BLUE.
Subjects
ADVERTISING MEDIUM
VISUAL COMMUNICATION T&E
Historical Association
COAL MINING
RETAIL TRADE
History
SEE P19990035001-GA FOR DONOR HISTORY.
Catalogue Number
P19990035171
Acquisition Date
2000-07
Collection
Museum
Less detail

9 records – page 1 of 1.