>> FROM FAMOUS ARTWORK THAT REVEALS OUR HISTORIC PAST TO ARCHAEOLOGICAL ARTIFACTS THAT UNEARTH OUR BEGINNINGS... >> IT'’’S BEEN FORMED INTO A COPPER-WORKING ANVIL FROM PREHISTORIC TIMES.

>> THE STORIES OF STORIED PEOPLE RECALL FOR US HOW WE CAME TO WHERE WE ARE.

>> THE HISTORY OF THE BOUNDARY WATERS AS IT RELATES TO THE CHANGES IN HER LIFESTYLE IS INCREDIBLY IMPORTANT.

>> THERE ARE COMMUNITIES FOUNDED AROUND A COMMON NEED, LIKE A PLACE THEY COULD GO TO GRIND THEIR GRAIN AND TOWNS SHAPED BY THE SHORELINE, AS IMMIGRANTS BUILT A FISHING BUSINESS FROM THE BIG LAKE.

THERE ARE EVENTS THAT FOREVER CHANGED OUR LIVES AND OUR LANDSCAPE.

>> WE GREW UP WITH STORIES OF THE FIRE, AND IT WAS ALWAYS "THE FIRE."

>> WE TRAVEL TO 10 HISTORICAL SITES ACROSS THE ARROWHEAD, A REGION RICH WITH HISTORY, AND SHARE WITH YOU ITS "RARE FINDS."

AT THE NORTH SHORE COMMERCIAL FISHING MUSEUM IN TOFTE, YOU'’’LL FIND MODEL SHIPS AND ORIGINAL BOATS PLUS THE TOOLS OF THE TRADE THAT WERE USED BY THOSE WHO MADE THEIR LIVING ON THE INLAND SEA.

BUT IT IS OUTSIDE THE MUSEUM AT THE LAKE-WALK EXHIBITS WHERE THEIR STORY UNFOLDS AND COMES TO LIFE.

>> WHAT YOU'’’RE LOOKING AT REALLY HELPS TO EXPLAIN HOW THE NORWEGIAN SETTLERS COULD MAKE ALL OF THIS WORK FOR THEM.

PEOPLE TELL THEM ABOUT THE NORTH SHORE.

THEY COME UP HERE.

IT LOOKS PRETTY FAMILIAR, EXCEPT NO BIG, NICE, DEEP PROTECTED FJORDS.

SO WHAT THEY DO THEN IS THEY BUILD THEIR FISH HOUSES IN THESE WONDERFUL LITTLE BAYS, AND THEN THEY CREATE THESE RAMPS.

OFTENTIMES AS THEY CAME ROWING IN OFF THE LAKE, THE FAMILY, THE WIVES, WOULD COME DOWN AND GRAB AND HOOK ONTO THE BOAT AND DRAG IT UP THIS RAMP.

THE METALWORK THAT'’’S UNDERNEATH IS ALL ORIGINAL.

AND JUST UP AT THE TOP OF THE RAMP, YOU WOULD HAVE SEEN THE...YOU KNOW, THE FRONT OF THE FISH HOUSE.

AND ACTUALLY RIGHT...RIGHT HERE IS THE ORIGINAL FOUNDATION.

YOU CAN EVEN SEE A LITTLE BIT OF THE OLD WALL OVER HERE ON THE SIDE.

THIS IS ALL FROM, YOU KNOW, BACK IN THOSE.. THAT EARLIEST DAYS, THE TURN OF THE CENTURY.

THE OLD FISH HOUSE, ONE OF THEM, ONE OF HUNDREDS THAT WERE ALONG THE SHORE AT ONE TIME.

SO THIS FISH HOUSE WAS PART OF THE TOFTE FAMILY THAT CAME AND SETTLED THIS AREA.

IF YOU WERE TO STAND RIGHT DOWN AT WATER'’’S LEVEL, THE HORIZON LINE IS ABOUT 3 MILES OUT.

SO, YOU KNOW, WE CAN SEE A LITTLE FARTHER THAN THAT NOW FROM UP HERE, BUT YOU'’’VE GOT TO IMAGINE ROWING ALL THE WAY OUT THERE AND CHECKING YOUR NETS AND HOW QUICKLY THE WEATHER CAN CHANGE ON THIS LAKE, AND SOME OF THE EXPERIENCES SOME OF THE FISHERMEN HAD THAT WERE JUST RAZOR-CLOSE.

THIS PANEL OVER HERE, CALLED LAKE SUPERIOR VOICES, HAS SOME BUTTONS UNDERNEATH THAT LET YOU, YOU KNOW, LISTEN TO SOME OF THESE STORIES.

>> SO WHEN THE PEOPLE CAME BACK, THERE WAS A LOT OF STORIES THAT ANDY WAS LOST.

>> YEAH, OF COURSE.

>> AND THEY CAME BACK, AND HERE HE WAS.

HERE HE WAS.

>> THAT WAS ORTON TOFTE SR. TALKING ABOUT HIS DAD, WHO WAS BLOWN DOWN IN A STORM, IN A QUICK STORM, ALL THE WAY DOWN TO SPLIT ROCK AND HAD TO ROW HIMSELF BACK.

THERE'’’S AN OPPORTUNITY FOR YOU TO SEE THE OLD BOATHOUSE THAT HANS INGLESON HAD.

IT'’’S A REPLICA.

YOU LOOK AT THESE OLD MOTORS, AND IT'’’S...YOU KNOW, YOU THINK TO YOURSELF, OH, MAN, YOU KNOW, THEY'’’RE JUST... YOU KNOW, WHY BOTHER?

BUT THEN WHEN YOU LOOK AT THOSE OARS AND YOU LOOK AT THE SIZE AND THE WEIGHT OF THAT BOAT, YOU THINK, OK. HA HA!

I'’’LL TAKE IT ALONG.

THESE EARLY MOTORS WERE SO WEAK THAT YOU COULDN'’’T REALLY TURN THE BOAT WITH THEM.

YOU HAD TO BRING YOUR OARS ALONG TO TURN WITH, BUT THE MOTOR CERTAINLY HELPED YOU OUT IN RESPECTS TO STRAIGHT LINE.

YOU CAN JUST MAKE OUT WHAT WAS LEFT OF THE OLD PIER.

YOU CAN SEE KIND OF THIS PROGRESSION OF ROCK THAT'’’S JUST FALLEN INTO THE WATER.

AND THAT PIER IS PART OF WHAT MADE TOFTE SUCCESSFUL AND EVEN MADE IT A TOWN, WAS THAT IT WAS A DEEP-ENOUGH DRAW THERE, OR DRAFT, THAT THE AMERICA COULD JUST PULL RIGHT UP TO THE END OF THE PIER AND UNLOAD, AS OPPOSED TO MOST PLACES ALONG THE SHORE REQUIRED YOU TO ROW OUT TO THE AMERICA AND MOVE YOUR PROVISIONS OFF INTO YOUR SKIFF AND THEN ROW BACK IN.

FARTHER DOWN IS THE LITTLE PARK THAT ONE OF THE YOUNG TOFTES GAVE TO THE TOWN.

THERE'’’S SOME WONDERFUL LITTLE STONE ARCHWORK THAT WAS DONE DOWN THERE.

SO, THE LATEST ADDITION IS, YOU KNOW, JUST AN INTERPRETATION OF WHAT WOULD BE COMMON FOR, YOU KNOW, THE FISH THAT COME OUT OF THE LAKE, YOU KNOW, THAT ALL OF THESE COMMERCIAL FISHERMEN HARVESTED.

AND WE CHOSE AVERAGE SIZE FOR TODAY.

A HUNDRED YEARS AGO, THEY WERE MUCH BIGGER.

THIS PANEL SPEAKS TO THE... WHY WE WERE HERE.

SO THE LAKE WALK IS, YOU KNOW, A VERY IMPORTANT PART OF THE EXPERIENCE.

>> THE STORY OF THE GREYHOUND BUS MUSEUM IN HIBBING IS THE STORY OF ONE MAN'’’S PASSION TO UNCOVER HISTORY AND PUT IT ON DISPLAY.

GENE NICOLELLI PASSED BY THIS SIGN EVERY DAY ON HIS WAY TO WORK AT NATIONAL FOODS.

NATIONAL WAS HOUSED IN A FORMER GREYHOUND BUS BUILDING.

>> IT WAS ORIGINALLY THE GREYHOUND NORTHLAND TRANSPORTATION TERMINAL AND GARAGE, WHERE THEY STORED THEIR BUSES.

I REMEMBER WHEN WE WERE THERE, THERE WAS THAT PLAQUE THAT WAS ON THAT BUILDING, AND THEN, LIKE I SAID, THEY REMOVED IT.

SO I WENT INTO THE LIBRARY, ASKED IF MAYBE THEY KNEW OR HAD ANY DOCUMENTATION OF IT.

>> INITIALLY, NICOLELLI DID NOT FIND THE PLAQUE, BUT HE CAME UPON SOME ARTICLES ABOUT GREYHOUND BUS LINES.

>> THE ONE THAT INTRIGUED ME THE MOST WAS THE "FORTUNE" MAGAZINE.

JUST WHEN I READ IT, IT JUST FASCINATED ME AS TO WHAT THESE PEOPLE DID THAT WERE IMMIGRANTS, BEEN HERE FOR A WHILE, SPOKE VERY BROKEN ENGLISH.

THEY WERE DIAMOND DRILL OPERATORS.

I THINK IT'’’S JUST I GOT FASCINATED WITH THE MEN AND WHAT THEY DID AND HOW THEY DID IT WITH NOT HAVING ANY KNOWLEDGE OF WHAT THEY WERE DOING.

SO I THINK THAT INSPIRED ME MORE THAN ANYTHING.

>> SO INSPIRED HE WAS THAT NICOLELLI BEGAN A DECADES-LONG MISSION TO FIND JUST THE RIGHT PLACE FOR THE GREYHOUND STORY.

>> THIS BUILDING HAS BEEN HERE FOR 11 YEARS.

WE OPENED UP JULY 10, 1999.

AND PRIOR TO THAT, WE WERE IN A MEMORIAL BUILDING FOR 10 YEARS, AND PRIOR TO THAT, WE WERE IN HIBBING CITY HALL, WHERE WE STARTED OFF WITH A TWO-FOOT DISPLAY.

YOU KNOW, ALL OF A SUDDEN, WE JUST OUTGREW.

BUT WE HAD THAT.

SO I STARTED THE WHEELS TURNING, AND THE FIRST THING WE HAD TO DO WAS TO ACTUALLY SEE GREYHOUND, BECAUSE IF THEY DIDN'’’T PUT THEIR STAMP OF APPROVAL AND GIVE US SOME MONEY...

THE WHOLE PROJECT IS DEAD.

>> WITH A BUILDING DESIGN AND EXHIBIT PLAN IN HAND, GENE AND HIS SON FLEW TO DALLAS, SECURING APPROVAL AND FUNDING FROM GREYHOUND.

THEN HE LOBBIED FOR MONEY FROM AGENCIES AND DONORS IN AND AROUND HIBBING.

>> I'’’M STILL AMAZED WHEN I WALK IN HERE OR DRIVE UP HERE.

I CAN'’’T BELIEVE THAT WE DID THIS, YOU KNOW, BECAUSE IT IS A BIG PROJECT.

WITHOUT VOLUNTEERS, YOU KNOW, NONE OF THIS STUFF WOULD HAVE HAPPENED.

THERE'’’S NO DOUBT IN MY MIND.

THIS IS THE ONLY FREESTANDING MUSEUM, I'’’VE BEEN TOLD, STRICTLY ON BUSES AND STRICTLY ON ONLY GREYHOUND.

>> AND THE PLAQUE THAT STARTED IT ALL?

>> IT ENDED UP-- YOU KNOW WHERE IT WAS?

IN THE LIBRARY.

>> THAT PLAQUE NOW GRACES THE ENTRANCE TO THE MUSEUM.

AND THE STORY OF GREYHOUND, AS GENE IS HAPPY TO TELL YOU, WELL, THAT'’’S EVEN MORE AMAZING.

>> THE FIRST TRIP THAT THEY MADE WAS MAY 7, 1914, WHICH WAS A THURSDAY, WITH THE HUPMOBILE.

THEY JUST WENT FROM HIBBING TO ALICE LOCATION, WHICH WAS TWO MILES AWAY.

AND SO IT WAS BACK AND FORTH AND 25 CENTS ROUNDTRIP.

AND IF YOU TOOK THE HORSE AND A BUGGY, IT WAS $1.50.

THEY WERE RIDING ON THE RUNNING BOARDS, SITTING ON THE FENDERS.

SO NEEDLESS TO SAY, THEY HAD TO DO SOMETHING TO GET MORE PASSENGERS.

SO THEY ENLARGED THE HUPMOBILE.

>> FROM 1914 UNTIL THE EARLY THIRTIES, THE BUSINESS MORPHED FROM MESABA MOTORS AND VARIOUS OTHER TRANSIT COMPANIES UNTIL OFFICIALLY TAKING THE NAME OF GREYHOUND.

>> AS YOU WAS GOING BY THE WINDOW SEATS, YOU HAPPEN TO LOOK IN THE WINDOWS, AND YOU CAN SEE THE REFLECTION OF THAT BUS GOING IN AND OUT OF THE ENTRANCES.

HE SAID IT REMINDED HIM OF A GREYHOUND.

SO THEY DISCUSSED IT.

THEY TOOK THE GREYHOUND AS THE NAME.

>> THE MUSEUM HOUSES SOME 20 ORIGINAL GREYHOUND BUSES, MARKING THE REINCARNATIONS OF THE MASS-TRANSIT INDUSTRY, FROM THE 1936 SUPER COACH TO THE BATTLE OF BRITAIN TO THE SCENIC CRUISER, EACH WITH A STORY FROM WHENCE THEY CAME.

NOW, IS THE SCENIC CRUISER YOUR FAVORITE?

>> WELL, IN A WAY, IT IS.

THAT'’’S THE ONE THERE THAT MADE THE GREYHOUND.

WHEN THAT CAME UP IN '’’54, THEY HAD A PATENT ON IT.

THEY MADE 1,001 WITH THE PROTOTYPE.

AND IT JUST CAUGHT ON, AND, BOY, I'’’LL TELL YOU, THE COMPETITION WAS REALLY AFTER IT, BUT THERE'’’S A LOT OF UNIQUE BUSES.

>> FOR YEARS, GENE HIMSELF TOOK ON THE TASK OF FIXING THEM UP.

>> WELL, YEAH, I DID.

I HAVE NOT TOO MUCH KNOWLEDGE.

GETTING A LITTLE OLDER, AND I'’’D LIKE TO, BECAUSE I LIKE TO GET MY HANDS DIRTY.

BUT WE HAVE ALL VOLUNTEERS, AND VERY SELDOM THAT WE HAVE TO HIRE SOMEBODY BECAUSE, NUMBER ONE, WE COULDN'’’T AFFORD IT.

SO WE DO WHAT WE CAN.

AND I REMEMBER THERE WAS A GENTLEMAN FROM THE MINNESOTA HISTORICAL SOCIETY COME BY, AND WE WERE GOING THROUGH THE...

LOOKING AT THE BUSES AND ALL THAT.

THEY HAVE ALL GOT LITTLE IMPERFECTIONS AND DENTS AND STUFF THAT WE COULDN'’’T TAKE OUT, AND I WAS...

I SAYS, "BOY," I SAYS, YOU KNOW, "I'’’D SURE LIKE TO HAVE BEEN ABLE TO DO THOSE THINGS."

HE SAYS, "NO."

HE SAYS, "YOU'’’RE A MUSEUM.

"THESE THINGS ARE SUPPOSED TO LOOK LIKE THEY'’’VE BEEN USED."

AND I NEVER THOUGHT OF IT THAT WAY, AND I SAYS, "HMM..." SO NOW I DON'’’T MIND A LITTLE DINGY OR A DENT THERE, YOU KNOW.

>> HE'’’S DONE EVERYTHING FROM DESIGN AND ARTWORK TO EXHIBIT CONSTRUCTION.

>> YEAH.

THAT WAY, THAT SAVES A LOT OF MONEY, IF YOU CAN DO THINGS YOURSELF.

AND I'’’VE GOT PEOPLE THAT'’’LL HELP ME IF I NEED IT, KIND OF PROFESSIONALS, AND THEY WILL PROBABLY DO IT PRO BONO OR SHOW ME HOW TO DO IT.

>> AND AT AGE 87, HE DOESN'’’T PLAN TO STOP WORKING FOR THE MUSEUM ANY TIME SOON.

>> I'’’LL PROBABLY DO THIS UNTIL DORDIE COMES AND GETS ME.

AND THEN AT THAT TIME THERE, I'’’M GONNA BE-- YOU'’’RE GONNA DIG A BIG, BIG HOLE RIGHT IN FRONT OF THE MUSEUM.

YOU'’’RE GONNA DRESS ME UP AND PUT ME IN A SCENIC CRUISER DRIVER'’’S SEAT WITH THE NOSE UP IN THE AIR OFF THE GROUND.

THAT WILL BE MY MEMORIAL.

>> I REMEMBERED THE ICY WATERS OF THE LITTLE FORK, THE LOG DRIVES OF YEARS PAST, AND LEGENDS CREATED AROUND THE CAMPFIRES, BUT I WILL REMEMBER MOST THE OLD LOG DRIVER.

>> THOSE MEMORIES DON'’’T JUST COME FROM BEING THERE.

KARL HENDRICKSON, JR. WAS ALSO SHOOTING FILM THAT SPRING AND SUMMER OF 1937 TO DOCUMENT THE FINAL LOG DRIVE IN THE STATE OF MINNESOTA.

>> THIS WAS A WELL-KNOWN EVENT, AND IT DROVE MUCH MEDIA TO THE EVENT.

MY UNDERSTANDING IS THAT MANY MIDWESTERN NEWSPAPERS WERE THERE TO CAPTURE THE EVENT.

"LIFE MAGAZINE" ALSO CAPTURED THAT FATEFUL EVENT.

IT WAS AN UNUSUAL DRIVE.

IT TOOK THEM FROM APRIL, I BELIEVE, UNTIL JULY OF THAT YEAR TO MAKE SURE THAT ALL THE TIMBER HAD GOT DOWN TO THE SAWMILLS, THE REASON BEING THAT THAT WINTER OF 1937 HAD HEAVY BLIZZARDS, THEY HAD LOTS OF SNOW, AND THEN THAT SPRING-- IT WAS AN EARLY SPRING, SO IT BROUGHT ALONG A LOT OF RAIN-- AND SO ALL OF THOSE CONDITIONS WORKED TOGETHER TO MAKE THIS A VERY DIFFICULT DRIVE.

FOR THE MEN TO DO.

>> 30 MILLION BOARD FEET OF PINE AND 30,000 CORDS OF PULPWOOD JOINED THE RIVER CURRENT, RACING TOWARD THE NET RIVER BRIDGE.

>> OUR GUESTS CAN SIT IN HERE AND WATCH THIS AND UNDERSTAND ABOUT LOG DRIVES, ABOUT THE WORK THESE MEN DID, AND RELIVE SOME OF THE DAYS OF YESTERYEAR, WHEN MEN WERE DOING DANGEROUS WORK, BECAUSE IT WAS VERY DANGEROUS WORK THAT THEY DID ON LOG DRIVES.

IT IS OWNED BY THE MINNESOTA HISTORICAL SOCIETY AND THE FOREST HISTORY CENTER, AND AT THIS POINT, THIS IS THE ONLY PLACE THAT YOU CAN VIEW THIS HISTORIC FOOTAGE.

>> HISTORY COMES TO LIFE NOT ONLY IN THE FILM, BUT IN LIVING REENACTMENTS ALONG THE RIVER, WHERE AN ESSENTIAL ELEMENT OF THE LOG DRIVE, THE WANNIGAN, IS SET UP AS IT WAS BACK THEN.

>> YOU'’’RE ON THE RIVER WANNIGAN, AND IN THIS PARTICULAR ONE, IT'’’S A FLOATING COOK SHACK.

SO, YOU KNOW, THE OBVIOUS THING, THIS IS THE KITCHEN.

SO AT MEALTIMES, THE RIVER PIGS, THE BANK RATS, THE WHITEWATERMEN HAVE COME IN THROUGH ONE DOOR, PICK UP THEIR FOOD, GO OUT THE OTHER DOOR, CLIMB UP ON THE BANKS, AND FIND A PLACE TO EAT.

SO THIS IS A FLOATING COOK SHACK, IT'’’S THE OFFICE, IT'’’S THE STORAGE AREA, IT'’’S THE...YOU KNOW, IF A MAN GETS HURT, THIS IS WHERE WE'’’LL DO THE DOCTORING.

AND ON SOME OF THE DRIVES, YOU'’’LL HAVE SLEEPING WANNIGAN, WHICH WILL JUST BE FLOATING BUNKHOUSES, SO THAT THE MEN CAN SLEEP THERE.

>> THEY COULD HEAR THE ROAR EVEN BEFORE THEY REACHED THE BEND.

[WATER ROARING] WHEN THE HAYSTACK WAVES CAME INTO SIGHT, MUSCLES TENSED, AND A MAN'’’S HEARTBEAT RACED AS HE ENTERED THE RAPIDS.

IN SPITE OF THE HUGE SWEEP OARS FOR STEERING, THERE WAS LITTLE ANYONE COULD DO EXCEPT LET THE WANNIGANS FIND THEIR OWN WAY.

THERE WOULD BE WET SLEEPING THAT NIGHT.

ON THIS DRIVE, THE SLEEPING WANNIGANS HAD NOT BEEN BUILT BUOYANT ENOUGH TO SUPPORT ALL THE MEN, FORCING THE LAST TO BED AT NIGHT AND THE FIRST TO RISE IN THE MORNING TO WADE THROUGH 4 INCHES OF ICY WATER TO GET TO AND FROM THEIR BUNKS.

EVEN WITH CARE GIVEN TO PREPARING THE RAPIDS FOR THE COOK-CAMP WANNIGAN TO PASS THROUGH, THEY BUMPED OVER THE RAPIDS LIKE OLD TUBS.

>> SO, ONE OF THE THINGS WE ENCOURAGE OUR VISITORS TO DO IS, AFTER GOING DOWN TO THE RIVER WANNIGAN, COME UP HERE, TAKE 10, 15 MINUTES, WATCH THIS FOOTAGE, AND YOU CAN SEE THE LOOK ON FOLKS'’’ FACES ONCE THEY'’’VE HEARD THE INTERPRETATION, ONCE THEY'’’VE SEEN AN ACTUAL REPRODUCTION OF A RIVER WANNIGAN AND THEN COME UP HERE AND ABLE TO SEE EXACTLY HOW THAT WORKS TOGETHER AND PUTS TOGETHER.

I THINK WITHOUT THE FILM, WE'’’LL BE MISSING A HUGE CHUNK OF RELATING TO OUR VISITORS AND HAVING THEM WALK AWAY WITH A BETTER UNDERSTANDING OF MINNESOTA FOREST HISTORY.

THIS IS VERY REAL.

THERE ARE PEOPLE THAT LIVED THIS.

THERE ARE PEOPLE THAT THIS WAS THEIR LIVELIHOOD.

THIS IS MINNESOTA FOLKS AT THEIR BEST.

>> BUT I WILL REMEMBER MOST THE OLD LOG DRIVER.

LIFTING HIS PIKE POLE, HE PUSHED IT AT THE PASSING LOGS FOR THE VERY LAST TIME.

>> WE'’’RE AT THE SITE OF THE FIRE SHACK WHERE MY MOTHER AND HER PARENTS STAYED AFTER THE 1918 FIRE.

I, OF COURSE, GREW UP WITH STORIES OF THE FIRE.

IT WAS ALWAYS "THE FIRE."

>> FEW STORIES OF THE HISTORY OF CARLTON COUNTY CAN BE TOLD WITHOUT REFERENCE TO THE REGION'’’S GREATEST DEVASTATION, THE FIRE OF 1918.

AS MANY AS 500 PEOPLE DIED IN THAT BLAZE.

AT THE TIME, IT WAS FEARED EVEN MORE HAD PERISHED.

FOR THOSE WHO SURVIVED, THEY GOT AWAY WITH FEW SPARE BELONGINGS.

>> THEY FLED WITH THE WORST THINGS THEY POSSIBLY COULD TAKE WITH THEM, AND MY GRANDMOTHER HAD A LARGE SATCHEL THAT SHE CARRIED DIAPERS IN AND, YOU KNOW, VARIOUS NECESSITIES OF THAT SORT, AND THE FIRE BEAR.

AND WHY SHE PICKED THE BEAR, I DON'’’T KNOW.

BUT IT'’’S JUST ONE OF THOSE STRANGE THINGS.

THE BEAR, OF COURSE, WENT WITH MOTHER ALL THE WAY TO SUPERIOR, BECAUSE THEY FLED THE AREA WITH THE NEIGHBORS, IN THE NEIGHBORS'’’ CAR, AND GOT AS FAR AS CARLTON, AND THEN MY GRANDFATHER WAS FORCED TO FIGHT FIRE.

HE WAS TOLD EITHER TO FIGHT FIRE OR GO TO JAIL.

AND SO HE CHOSE TO FIGHT FIRE.

AND GRANDMOTHER CONTINUED ON WITH MY MOM TO SUPERIOR, WHERE THEY HAD RELATIVES, AND THEY STAYED.

PEOPLE TOOK IN RELATIVES AND FRIENDS, EVEN STRANGERS, BECAUSE THERE WAS NO PRECEDENT FOR SOMETHING LIKE THIS IN TERMS OF A DISASTER.

>> IT'’’S ONE OF THE BIGGEST DISASTERS OF THE AREA, OF THE STATE REALLY.

THE 1918 FIRE COVERED AN EXTENSIVE AREA ALL THE WAY FROM MOOSE LAKE IN THE SOUTH OF CARLTON COUNTY RIGHT THROUGH THE COUNTY, JUST NEARLY DESTROYING THE ENTIRE TOWN OF CLOQUET.

>> AMONG THE RUINS WAS THE PUBLIC LIBRARY, A SOLID STANDARD OF COMMUNITY PRIDE.

>> BUILT RIGHT ON THIS SPOT IN THE 1890'’’s, AND IT WAS AN EFFORT THAT WAS SPEARHEADED BY GEORGE SHAW, WHO WAS PRESIDENT OF THE PAPER MILL AT THE TIME.

AND IT WAS SO IMPORTANT TO HIM THAT THE CITIZENS OF CLOQUET HAVE A PUBLIC LIBRARY.

LITTLE DID HE KNOW THAT THE 1918 FIRE WOULD COME ALONG AND BURN HIS BEAUTIFUL BUILDING DOWN.

>> BY THE TIME OF THE FIRE, SHAW HAD PASSED AWAY, BUT HIS FAMILY WORKED TO ENSURE THAT A NEW LIBRARY BE BUILT AT THE VERY SITE.

>> THERE, OF COURSE, WAS A BIG BUILDING BOOM AFTER THE FIRE TO GET SOME OF THE ESSENTIAL BUILDINGS UP AND RUNNING, AND THIS WAS ONE OF THE FIRST.

>> YEARS LATER, THE LIBRARY BUILDING CAME TO SERVE AS THE CARLTON COUNTY HISTORICAL SOCIETY, AND LOCALS BROUGHT IN FAMILY DISCOVERIES TO SHARE, INCLUDING WHAT HAS COME TO BE KNOWN AS THE FIRE BEAR.

>> WELL, THE BEAR WAS PUT IN THE ATTIC, AND IT REMAINED IN THE ATTIC FOR HALF A CENTURY ALONG WITH AN OLD WICKER BABY BUGGY THAT MY MOTHER HAD.

WELL, THAT WAS ACTUALLY MY GRANDMOTHER'’’S.

FEW THINGS LIKE IT THAT SURVIVED.

>> TO HELP PRESERVE HIS MOTHER'’’S ONCE-TREASURED TOY, LARRY TOOK THE BEAR TO THE SOCIETY'’’S ARCHIVES.

>> CHILDREN PARTICULARLY, IT MEANS A LOT TO THEM TO KNOW WHAT WERE THE PRECIOUS THINGS THAT WERE SAVED OR SURVIVED THE FIRE?

TO A CHILD COMING TO THE MUSEUM, TO SEE THAT A TEDDY BEAR SURVIVED IS AN IMPORTANT THING.

LUKE AND HIS MOTHER HAD HELD TIGHT TO THE BEAR THROUGH THE YEARS FOLLOWING THE FIRE.

SHE'’’S SEEN HERE HOLDING HER TEDDY ON THE FRONT PORCH OF THE FAMILY'’’S NEW HOME, ONE OF THE MANY SO-CALLED FIRE SHACKS BUILT TO SHELTER FIRE REFUGEES.

>> WHEN THE FIRE SWEPT THROUGH THE AREA, OF COURSE, IT DESTROYED EVERY BUILDING IN THE AREA.

TO KEEP THE WORK FORCE HERE AFTER THE FIRE, THE LUMBER COMPANIES DONATED LUMBER AND ACTUALLY CAME UP WITH QUITE OF A STEREOTYPE HOUSE OR SHACK THAT PEOPLE COULD USE, YOU KNOW, AS TEMPORARY HOUSING.

AND THE HOUSE BEHIND ME, RIGHT HERE WITH THE AMERICAN FLAG, 330 NINTH STREET, WAS MY MOTHER'’’S HOUSE.

AND THE FIRE SHACK WAS RIGHT ABOUT WHERE THE FRONT DOOR IS.

>> NEARLY A CENTURY LATER, THERE IS LITTLE OR NO OUTWARD EVIDENCE OF THOSE HARROWING TIMES, SAVE FOR THE FEW OBJECTS THAT ENDURE AND THE STORIES THAT GO WITH THEM.

>> THE BEAR REMAINS A SYMBOL OF SURVIVAL, AND I STILL LOOK AT HIM EVERY TIME I COME IN THE HISTORICAL SOCIETY DOWNTOWN, AND I JUST WONDER WHAT THAT THING WENT THROUGH.

>> FROM ITS PERCH INSIDE THE HIGHEST REACHES OF THE GRAND MARAIS LIGHTHOUSE, THE LANTERN LENS HAS HELPED GUIDE SEAFARING FOLKS FOR MORE THAN 100 YEARS.

BUT AS TIME MARCHES ON, THE ONCE-PRIZED PRISMED GLASS MUST BE MOVED ASIDE.

>> THEY DON'’’T WANT THEM.

THAT'’’S WHY THE COAST GUARD IS GETTING RID OF THEM.

THIS IS OBSOLETE TECHNOLOGY.

THEY'’’RE EXTREMELY FRAGILE.

>> LOCALLY, IT'’’S JUST OF VERY GREAT IMPORTANCE.

IT WAS PART OF THE IMPORTANCE AND THE STATURE, COMING OF AGE OF COOK COUNTY AND GRAND MARAIS TO HAVE THAT HARBOR SUPPLIED AS IT WAS WITH A STATION, WITH A LIGHT, WITH ALL THE REST OF IT.

IT REALLY WAS IMPORTANT.

NOW IT'’’S JUST GONNA BE AN L.E.D.

THAT FLASHES.

>> THE COAST GUARD HAS A CURRENT NEW POLICY, A NEW CARETAKER IN WASHINGTON, WHOSE GOAL IS TO REMOVE THE LENS FROM THE TOWER, WHICH IS NOT A GOOD SITUATION FOR THE LENS IN THE FIRST PLACE, AND BRING IT TO A LOCAL...

SOME KIND OF AN ORGANIZATION OR HISTORICAL SOCIETY THAT CAN ACTUALLY TAKE CARE OF IT, CARE FOR IT, AND DISPLAY IT PROPERLY.

>> WHEN SOMETHING ONCE UTILITARIAN BECOMES A RELIC, A CHALLENGE ARISES GETTING IT TO ITS NEW HOME.

THAT'’’S WHY THE COAST GUARD HIRES A SPECIALIST CALLED A LAMPIST TO DO THE JOB.

>> I'’’VE PROBABLY DONE 40 TO 45 LENSES NOW ALL ACROSS THE COUNTRY.

I STARTED IN ACTUALLY 1999.

AS MY FIRST JOB, I DID JUST AS A VOLUNTEER AND THEN WORKED ON APPRENTICE... APPRENTICESHIP, AND...

ANYWHERE FROM 3 TO 5 LENSES A YEAR PROBABLY SINCE THEN.

YOU NEVER KNOW WHAT YOU'’’RE GOING TO RUN INTO WHEN YOU GET THERE.

YOU DON'’’T KNOW WHAT THE CONDITIONS ARE GONNA BE IN THE LIGHTHOUSE.

OK.

HOLD ONTO HER.

OK.

HERE WE GO.

OVER.

JUST LIKE THAT.

JUST LIKE IT'’’S MADE FOR IT.

[DRILL WHIRRING] SHE'’’S IN.

>> I SUPPOSE I DON'’’T HAVE TO SAY "DON'’’T DROP IT..." >> RIGHT?

YEAH, YOU SHOULDN'’’T SAY THAT.

YOU'’’VE GOT A HAND ON IT, RIGHT?

HE'’’S GOT A HAND ON IT.

>> I'’’VE GOT A HAND ON IT.

>> I'’’VE GOT A ROPE.

>> YOU'’’VE GOT THE ROPE.

OK.

IT'’’S YOURS.

YOU CAN HAVE IT.

>> ROPE'’’S COMING DOWN.

>> WELL, LET'’’S JUST GET IT OVER HERE.

AND SET HER RIGHT DOWN.

THERE IT IS.

[LAUGHTER] >> THANK YOU.

>> OK.

STEP...STEP DOWN.

AND THEN WE CAN STEP DOWN.

>> HOURS LATER, THAT DELICATE PROCESS COMPLETE, THE LENS GETS A MORE CAREFUL CRITIQUE.

>> BLACKEN IS JUST OXIDATION OVER TIME, BECAUSE IT WAS SILVER, AND IT WAS OUT THERE EXPOSED, THERE'’’S LAMP...

THERE USED TO BE LAMP BLACK, YOU KNOW, FROM THE ORIGINAL LAMP ITSELF IS STILL THERE.

SO IT'’’S KIND OF HISTORICAL DIRT.

WE'’’LL LEAVE IT ON AS FAR AS HISTORICAL DIRT.

BUT IT'’’S A SILVER REFLECTIVE SURFACE SYSTEM.

IT'’’S IN GOOD SHAPE.

MISSING SOME WEDGES.

MISSING ONE PRISM OVER HERE.

BUT THE REST OF YOUR LITHARGE, THIS WHITE COMPOUND THAT'’’S IN HERE IS CALLED LITHARGE, AND THAT IS...

THINK OF IT AS WINDOW GLAZING.

THE FIRST THING THE KEEPER DID EVERY MORNING WAS PUT CURTAINS UP.

THAT'’’S WHY ALL THE PHOTOGRAPHS YOU SEE OF AN OLD LIGHTHOUSE WHEN THE KEEPER IS STILL THERE, YOU DON'’’T SEE THE LENS, BECAUSE THERE'’’S CURTAINS, BECAUSE AS MUCH AS THIS IS MEANT TO BE OUTDOORS, THE SUN IS ITS ENEMY.

THE SUN DRIES THAT LITHARGE UP.

SO AS SOON AS THE KEEPER LEFT, THEY STARTED TO DETERIORATE.

I SEE THAT AT SOME POINT IN ITS HISTORY, IT WAS KEPT POLISHED ON A REGULAR BASIS, BECAUSE THERE'’’S POLISHING COMPOUND EVERYWHERE.

SO IT WAS POLISHED.

THE KEEPER OR WHOEVER MAINTAINED THIS A LONG TIME AGO, BEFORE THE COAST GUARD-- THEY'’’RE ALL CALLED FRESNEL LENSES.

SO THIS IS AN L. SATE...

I BELIEVE.

OH, "CONSTRUCTED IN PARIS."

NOW, I HAPPENED TO ACTUALLY JUST SEE THIS IN A LENS A COUPLE YEARS AGO.

THIS IS THE SAME AS THE ONE IN EVA HARBOR.

YEAH, IT'’’S THE EXACT SAME THING AS EVA HARBOR, AND WE DATED THAT BETWEEN 1882 AND 1885.

I'’’LL DOUBLE-CHECK MY NOTES WHEN I DO THE REPORT.

I'’’M GONNA DO A FULL REPORT ON THIS.

IT'’’S GOOD FOR COOK COUNTY HISTORICAL.

IT'’’S IN BEAUTIFUL SHAPE.

SO IT'’’S A GOOD SURPRISE.

>> GOOD FOR THE REGION AND THE HISTORY OF ITS PEOPLE.

A SPECIAL EXHIBIT IS BEING BUILT FOR THE GLASS MASTERPIECE.

THE DISPLAYED LENS WILL NO LONGER ACT TO REFRACT LIGHT, BUT INSTEAD TO ENLIGHTEN.

>> THAT WHOLE RELATIONSHIP BETWEEN COMMERCE AND FISHING, THE PACKAGE BOATS, SHIPPING FARTHER OUT ON THE LAKE, ALL OF THAT WORKED TOGETHER, AND THIS IS AN IMPORTANT, INTERESTING STORY.

IT MEANT A LOT.

STILL DOES.

[FLUTE PLAYING] >> TO LONGTIME DULUTHIANS AND ART LOVERS, THESE WORKS MAY BE FAMILIAR.

THE PAINTINGS OF THE RENOWNED EASTMAN JOHNSON HAVE BEEN CARED FOR BY THE ST. LOUIS COUNTY HISTORICAL SOCIETY FOR DECADES AND EXHIBITED OFTEN.

>> SINCE 1929, THE SOCIETY HAS OWNED THE EASTMAN JOHNSON COLLECTION, AND IT HAS BEEN ON DISPLAY PERIODICALLY.

IT ACTUALLY HAD A RUN OF 25 YEARS IN THE SPACE THAT WE'’’RE NOW STANDING IN.

IN THE LATE NINETIES, THE SOCIETY SUFFERED THE EFFECTS OF A CONSTRUCTION-RELATED DISASTER, AN AIR-HANDLING SYSTEM MALFUNCTIONED, MADE THIS SPACE UNSUITABLE FOR THE DISPLAY OF ART OF THIS QUALITY.

SO FOR EXTENDED PRESERVATION AND TO GIVE THE ART ITS DUE, A NEW EXHIBIT WAS NEEDED FOR THE COLLECTION.

NOW THE WORKS WILL GET A REINCARNATION OF SORTS AS PART OF A GALLERY MAKEOVER.

VISITORS TO THE LAKE SUPERIOR OJIBWE GALLERY WILL FIND A ROTATING SERIES OF PAINTINGS AND DRAWINGS.

ON THE ADVICE OF CONSERVATORS, THE COLLECTION CAN NO LONGER BE ON CONSISTENT DISPLAY.

SOME OF THE PAINTINGS, IF YOU WILL, AND DRAWINGS WILL BE RESTING WHILE OTHERS ARE SHOWN.

EASTMAN JOHNSON WAS IN HIS EARLY THIRTIES WHEN HE WAS IN DULUTH, HAVING RETURNED FROM YEARS OF STUDY IN EUROPE.

HE CAME TO DULUTH TO CONNECT WITH FAMILY.

BUT HOW FORTUNATE WE ARE TO OWN A COLLECTION OF PAINTINGS AND DRAWINGS DEPICTING THE LAKE SUPERIOR OJIBWE, PRIMARILY IN THE DULUTH AND GRAND PORTAGE AREA.

>> BEYOND THE CHARCOAL SKETCHES AND THE OIL PAINTINGS THEMSELVES, WHAT MAKES THE COLLECTION SO UNIQUE IS A 150-YEAR-OLD ARTIFACT DEPICTED IN THE ART.

>> ONE OF EASTMAN JOHNSON'’’S PAINTINGS IS ENTITLED "MINNEHAHA," AND IN THAT PAINTING, WE SEE A NATIVE WOMAN, AND WE ACTUALLY HAVE THE STRAPPED DRESS WORN BY THE OJIBWE MODEL IN EASTMAN JOHNSON'’’S PAINTING.

SO AGAIN, IF YOU THINK ABOUT 1856, '’’57, THIS IS A VERY SIGNIFICANT OBJECT IN THE COLLECTION.

WHAT WE DO KNOW IS IT'’’S MADE OUT OF WOOL, AND IT'’’S ESSENTIALLY A WOOL BLANKET.

UM, WHAT THEY DID WAS THEY SEWED A SIDE TOGETHER, AND THEN THEY ACTUALLY LEFT THIS EDGE AS DECORATIVE AND THIS EDGE AS WELL.

AND THEY ALSO ADDED THESE TWO RIBBONS.

THESE ARE LEGGINGS THAT CAME WITH THE DRESS.

THEY'’’RE AGAIN MADE OUT OF THE SAME BLANKET MATERIAL, AGAIN WITH THE SAME WHITE EDGE.

THIS IN HERE IS VERY TINY BEADS.

YOU RARELY SEE THESE IN ANY OF THE STUFF WE'’’VE GOT THAT'’’S OF LATER MANUFACTURE.

I GUESS THEY'’’RE WHAT WE CALL SEED BEADS.

I KNOW THERE ARE OTHER STRAPPED DRESSES THAT DO RESEMBLE THIS ONE.

>> BUT WAS THE DRESS A CHERISHED GARMENT OF A NATIVE WOMAN OF THE TIME OR MADE ESPECIALLY FOR THE GIRL WHO POSED FOR THE PAINTER?

>> WE DON'’’T KNOW.

>> YOU DON'’’T KNOW?

>> WE DON'’’T KNOW.

IT IS A MYSTERY AT THIS POINT.

WE DON'’’T KNOW.

>> STILL IT IS CHERISHED AS A TRUE EXAMPLE OF OJIBWE GARB.

>> AND TO HAVE THE ACTUAL DRESS WORN BY THE MODEL IN THE PASTEL WILL DEFINITELY ADD VALUE TO THE MUSEUM VISITOR'’’S EXPERIENCE.

>> THE MONETARY VALUE OF THE DRESS?

WELL, ALONG WITH THE PAINTINGS AND SKETCHES, THE COLLECTION'’’S ESTIMATED WORTH IS BETWEEN $4 MILLION AND $6 MILLION OR MORE.

BUT IT IS WHAT THE ENTIRE COLLECTION DEPICTS THAT NOW AUGMENTS ITS VALUE, MAKING IT THE CENTERPIECE OF A CULTURAL DISPLAY FOR A FUTURE VIEWING PUBLIC.

>> BECAUSE OF ITS QUALITY, BECAUSE OF FRANKLY ITS QUANTITY, THE NUMBER OF OJIBWE PEOPLE REPRESENTED, AND AGAIN THE PERIOD OF TIME IT REPRESENTS.

>> AND COOMBE SAYS THE NEW GALLERY INTENDS TO PRESENT AN OJIBWE WORLD VIEW, WITH ART AND ARTIFACTS SPANNING THE GENERATIONS.

AN OJIBWE ADVISORY BOARD IS GUIDING THE PROCESS.

>> ALONG WITH THE EASTMAN JOHNSON PAINTINGS, WE HAVE APPROXIMATELY 300 ARTIFACTS, MOST OF WHICH RELATE TO OJIBWE CULTURE.

BY THE SUMMER OF 2013, THANKS TO A LEGACY PLANNING GRANT AND THEN A LEGACY IMPLEMENTATION GRANT, THIS SPACE WILL BE COMPLETELY REDONE.

IT'’’S A $190,000 BUDGET PROJECT, AND WE WILL HAVE A STATE-OF-THE-ART GALLERY WHICH BEFITS A COLLECTION OF THIS IMPORTANCE.

AS YOU ASCEND OR DESCEND THE STAIRWAY, THERE WILL BE A BEAUTIFUL MURAL, AND THERE WILL BE A MASSIVE COVERED EXHIBIT CASE WITH MODELS, A MALE AND A FEMALE, IN POWWOW REGALIA.

EASTMAN JOHNSON LATER IN LIFE WAS AN ACCLAIMED GENRE PAINTER.

THAT MEANS HE LOOKED AT AMERICAN LIFE AND CAPTURED IT.

BUT IN THIS CASE, HE WAS LOOKING AT THE LAKE SUPERIOR OJIBWE AND CAPTURING THEIR LIFE.

>> THEY NEEDED TO GRIND UP THE GRAINS IN ORDER TO MAKE FLOUR, IN ORDER TO MAKE BREAD.

THERE WAS, LIKE, 19 FAMILIES THAT LIVED IN THE AREA, AND THEY ALL WENT TOGETHER AND BUILT WHAT THEY CALL A GRIST MILL, AND IT HAS-- IT WAS BUILT ON THE RIVER TO TURN A BIG WATER WHEEL, WHICH WOULD TURN THE GEARS.

>> THESE STUDENTS HAD ONLY TO WALK ONE BLOCK FROM THEIR ELEMENTARY SCHOOL FOR A LESSON IN HOMETOWN HISTORY AT THE ESKO MUSEUM.

BUT THE MUSEUM AND ITS MAMMOTH FLOUR-GRINDING MILL REPRESENT AN EXTRAORDINARY EFFORT BY THE EARLIEST SETTLERS AND A DISPLAY OF TRUE COMMUNITY-BUILDING.

>> THIS IS THE ORIGINAL EQUIPMENT HERE, AND THIS IS WHERE THE WATER WHEEL WAS.

AND THE WATER, IT WOULD TURN THE WHEEL AND TURN THIS GEAR, WHICH WOULD TURN THAT GEAR.

AND UP ABOVE, THERE WAS A STONE THAT WILL TURN, AND THAT WOULD GRIND THE GRAIN.

YOU WOULD DUMP THE GRAIN IN THE HOPPER UP HERE, AND IT WOULD COME OUT DOWN THROUGH THAT SPOUT OVER THERE.

>> IT WAS 1878 WHEN THE 19 FINNISH FAMILIES OF THE REGION DETERMINED THE MOST EFFECTIVE WAY TO GRIND THEIR RYE AND GRAINS INTO FLOUR WAS TO BUILD A GRIST MILL ON THE MIDWAY RIVER.

>> NOW, YOU HAD TO HAVE WATER, AND WATER PRETTY HIGH WHEN IT WAS OPERATING.

>> LOCAL RESIDENT DONALD KINNINEN, WHOSE FAMILY IMMIGRATED FROM FINLAND, DESCRIBES THE PROCESS.

>> THEY USED THE RYE, YOU KNOW, FOR THEIR BREAD AND PORRIDGE.

AND EVEN THE WOMEN AND EVERYBODY TOOK AND CUT THAT WITH THESE.

I SEE WHERE THESE ARE.

THESE ARE HAND...

THESE.

THEN THEY TIED THEM, AND... THEN DRIED THEM OUTSIDE AS MUCH AS THEY COULD.

THEN THEY BROUGHT THEM IN HERE.

THIS IS WHERE THEY THRASHED THEM.

AND THEN THEY PUT A FIRE IN THAT.

THE SMOKE WOULD BELCH OUT OF THAT LITTLE TRAPDOOR THERE.

THAT'’’S WHY THEY HAD THESE RIIHIS, YOU KNOW.

WELL, RIIHI IS THE NAME OF A BUILDING, RIIHI, YOU KNOW.

IN FINLAND, THEY HAD THESE RIIHIS, TOO, THE SAME WAY.

>> THE RIIHI WAS THE BUILDING MADE OF HAND-HEWN LOGS WHERE THE TIED BUNDLES OF GRAIN WERE DRIED.

MANY OF THE EARLY FAMILIES HAD THEIR OWN RIIHI.

THIS ONE SURVIVED AND WAS MOVED TO THE MUSEUM SITE.

BUT WHEN IT CAME TIME TO GRIND THE DRIED GRAIN, THERE WAS ONLY ONE PLACE TO DO THAT.

>> IN THE TOWNSHIP, THAT WAS THE ONLY GRIST MILL THEY HAD.

>> IT'’’S WHAT BROUGHT THE TOWNSPEOPLE TOGETHER AFTER HARVEST AND DIRECTED THEIR WAY TO A FUTURE TOWN SITE.

FOR MORE THAN 35 YEARS, THE MILL WHEEL CHURNED ON THE RIVER, THEN SAT IDLE FOR ANOTHER 25 UNTIL THE TOWNSPEOPLE AGAIN DETERMINED ITS IMPORTANCE AND HAD THE MILL DISMANTLED FOR FUTURE PRESERVATION.

IT WOULD TAKE ANOTHER 20 YEARS FOR THE GRIST MILL TO FIND ITS NEW HOME.

>> THIS IS A PICTURE OF THE MEN THAT PUT IT BACK TOGETHER HERE, BECAUSE THEY HAD TO TAKE THIS ALL APART FROM WHERE IT USED TO BE, AND THEY BROUGHT IT HERE AND REASSEMBLED EVERYTHING TOGETHER JUST LIKE IT WAS.

NOW THE POWER OF ELECTRICITY MOVES THE MILL AS IT TURNS TO MARK THE PASSAGE OF TIME AND TO TEACH CHILDREN ABOUT HOW IT IS THAT THE TOWN THEY LIVE IN CAME TO BE.

>> BUT DON'’’T PUT YOUR FINGERS UP THERE.

[INDISTINCT VOICES] >> A LESSON IN COMMUNITY-BUILDING AND COMMUNITY PRIDE.

>> SAY ESKO!

>> ESKO!

[SHUTTER CLICKS] >> TO THE UNTRAINED EYE, ONE OF THE OLDEST ARTIFACTS IN THE REGION MIGHT LOOK JUST LIKE A BIG ROCK, AND TECHNICALLY, THAT'’’S WHAT IT IS.

BUT IT IS ALSO A SIGNIFICANT CLUE TO THE PEOPLE WHO CAME LONG BEFORE US AND TO HOW THEY LIVED.

>> WHAT WE HAVE HERE IS A PIECE OF BASALT THAT'’’S BEEN FORMED INTO A COPPER-WORKING ANVIL FROM PREHISTORIC TIMES.

WE BELIEVE WHAT THEY'’’VE DONE WITH THAT IS THEY CREATED LIKE THAT SO IT'’’LL SET A CERTAIN WAY, I BELIEVE IN BETWEEN TREE ROOTS.

AND YOU PROBABLY USE THIS GROOVE TO LASH IT ONTO A TREE.

YOU CAN SEE ON THE TOP HERE...

IT'’’S GOT SOME BATTERING ON HERE AND A LITTLE BIT OF A BEVEL THAT GOES AROUND THE OUTSIDE HERE, ROUGHLY ABOUT 3/4" OR A LITTLE BIT BETTER.

AND THAT'’’S FOR WORKING SMALL PIECES OF COPPER OUT HERE ON THAT EDGE.

A FRIEND OF MINE, A FAMILY I'’’VE KNOWN FOR MANY, MANY YEARS, THEY DISCOVERED IT ON THEIR PROPERTY.

IT WAS STICKING OUT OF THE GROUND A LITTLE BIT.

AND THEY LIVED ON KNIFE RIVER AND IN AN AREA WHERE THERE IS COPPER OUT THERE.

AND NOT TOO FAR AWAY, THERE IS HISTORIC COPPER MINES IN THERE, TOO.

BUT IT'’’S A UNIQUE PIECE.

YOU DON'’’T GENERALLY SEE THEM THIS LARGE.

YOU FIND THESE TYPES OF THINGS OVER IN MICHIGAN, IN COPPER COUNTRY OVER THERE, BUT USUALLY NOT THIS LARGE.

SO THIS IS A VERY UNUSUAL...

UNUSUAL ONE THAT YOU SEE HERE.

>> AND BEING ONE OF THE BIGGEST-- IN FACT, THE BIGGEST THAT WE KNOW ABOUT, MUCH BIGGER THAN THE OTHER ONES IN MICHIGAN, SOMEBODY WAS VERY SERIOUS ABOUT MAKING COPPER TOOLS.

OUR GUESS IS THAT IT WAS AN ARCHAIC TRADITION GROUP OR BUNCH OF PEOPLE LIVING HERE IN THE KNIFE LAKE AREA.

ARCHAIC TRADITION IS ANYWHERE FROM 7,000 OR 8,000 YEARS AGO UP TO 3,000 YEARS AGO.

AND WE ONLY GUESS IT'’’S ARCHAIC BECAUSE THAT'’’S THE TIME FRAME WHERE COPPER WAS MOST HEAVILY USED IN THIS PART OF MINNESOTA AND WISCONSIN AND MICHIGAN, AND THEY MADE THE LARGEST TOOLS.

A WORKED STONE LIKE THIS IS MOST LIKELY GOING TO BE NEAR WHERE THEY WERE MAKING THE COPPER TOOLS, WHICH WAS PROBABLY NEAR WHERE THEY WERE MINING IT OR PERHAPS AT A HABITATION SITE.

IT DEPENDS ON HOW THE PROCESS WENT.

BUT IT'’’S NOT REALLY VERY PORTABLE.

52 POUNDS IS A BIG STONE.

THESE ARE JUST SOME EXAMPLES OF ACTUAL PREHISTORIC COPPER TOOLS.

THESE WERE ALL FOUND AT THE FISH LAKE DAM SITE JUST OUTSIDE OF DULUTH.

BUT THEY ARE EXAMPLES OF THE TYPES OF TOOLS THAT COULD HAVE BEEN MADE USING THIS ANVIL STONE.

WITH A LOT OF THE COPPER, YOU HAVE TO GO FROM RAW NUGGETS TO THE RECTANGULAR FORMS, AND THEN FROM THIS RECTANGULAR FORM, YOU CAN MAKE ALL SORTS OF DIFFERENT TOOLS, BUT THERE'’’S AN AWFUL LOT OF POUNDING INVOLVED, SO YOU NEED A VERY TOUGH ROCK, LIKE THIS ONE.

>> YOU'’’LL FIND THE TOUGH OLD ROCK AT THE LAKE COUNTY DEPOT MUSEUM IN TWO HARBORS AMIDST TRAIN AND RAILROAD DISPLAYS AND ARTIFACTS.

AND THOUGH IT MIGHT NOT LOOK LIKE IT AT FIRST GLANCE, THIS RARE FIND MAKES KNOWN A TIME SOME HUNDREDS, MAYBE EVEN THOUSANDS OF YEARS BEFORE THE FIRST RAILROAD TRACK WAS EVER LAID, WHEN NATIVES DUG METAL FROM THE GROUND AND SHAPED IT TO SUIT THEIR NEEDS.

>> TO ME, THE SIGNIFICANCE OF THIS IS THAT IT SAYS PEOPLE WERE MAKING COPPER TOOLS RIGHT HERE IN LAKE COUNTY AT KNIFE RIVER.

>> AT THE MINNESOTA MUSEUM OF MINING IN CHISHOLM, YOU'’’LL FIND THE REQUISITE HEAVY INDUSTRY EQUIPMENT USED TO EXTRACT ORE FROM THE LAND.

BUT THE STORY OF THE MUSEUM BUILDING ITSELF IS ONE OF A HAND-CRAFTED EFFORT TO PUT MEN TO WORK WHEN THE MINES STOOD IDLE.

IN THE PROCESS, THEY USED A DIFFERENT EARTHLY MATERIAL, GLACIAL DEPOSITS OF GRANITE.

>> THE WHOLE PARK HERE WAS ROCKS.

YOU COULD JUMP FROM ROCK TO ROCK THEY SAID.

SO THEY UTILIZED THEM, AND THEY STARTED IN '’’33, THEY STARTED BUILDING THE WALL, AND THEY STARTED DIGGING FOR THE WALL, AND THEY WORKED SUMMER AND WINTER THEY WORKED.

AND THEY GOT THE FOUNDATIONS IN THE FIRST YEAR, AND I THINK IT LASTED TILL '’’38 BEFORE THEY FINISHED THE WHOLE WALL.

IT EMPLOYED A LOT OF PEOPLE WHO NEEDED WORK.

THEY WERE LAID-OFF MINERS WHO HAD FAMILIES.

>> FAMILIES OF THE GREAT DEPRESSION, A TIME WHEN, AT ONE POINT, 70% OF THE IRON-RANGE WORK FORCE WAS UNEMPLOYED.

SO THE ROOSEVELT ADMINISTRATION, THROUGH THE WPA, OR WORKS PROGRESS ADMINISTRATION, GOT THEM BACK TO WORK ON PROJECTS LIKE MEMORIAL PARK IN CHISHOLM.

>> SO I THINK IT'’’S ALMOST A MILE.

YOU KNOW, IT STARTS HERE, GOES ALL THE WAY AROUND THE WHOLE PARK.

YOU CAN SEE IT WAY DOWN THERE.

AND THEN IT GOES BACK UP TOWARD THAT WATER TOWER THERE.

THEY STARTED DOING THE BASEBALL FIELD.

THEY STARTED THAT.

THAT WAS THE NEXT THING, I THINK, THAT WAS DONE.

AND, UH...THEN THEY HAD THE FOOTBALL FIELD.

SO THEY USED UP A LOT OF THE ROCKS THERE.

THE MUSEUM OF MINING BUILDING HERE, IT WAS A TRAP-SHOOTING BUILDING AT FIRST.

EVERY STONE IN THIS BUILDING WAS MADE OUT OF A BOULDER.

IT'’’S HARD TO BELIEVE THAT.

IF PEOPLE COME AND LOOK AT IT, THEY THINK THEY'’’RE BOUGHT THAT WAY.

THEY'’’RE ALL CUT WITH A STONE HAMMER LIKE THAT SMALL ONE.

EVERYTHING WAS TO KEEP THE PEOPLE EMPLOYED.

SO IT WAS 10% MATERIAL AND 90% LABOR.

THAT WAY, EVERYBODY WAS WORKING.

IT WAS ALL BY HAND, ALL... NO MODERN TOOLS.

IT'’’S ALL MOSTLY GRANITE.

THEY'’’D USE A HAMMER LIKE THIS.

THIS IS A 16-POUND.

THEY MADE 18-POUND EVEN.

AND THEY'’’D BREAK THE ROCK WITH THESE HAMMERS.

AND THEN THEY'’’D... TO FACE THEM, TO MAKE THE...

THEY MADE THEM ALL USING SMALL HAMMERS LIKE THESE FACING HAMMERS.

AND THIS IS ONE OF THE ORIGINAL ONES I HAD FROM...MY FATHER HAD.

>> BILL TARAMELLI'’’S FATHER PETER, LIKE SO MANY OTHERS, NEEDED THE JOB, AND HE WAS HAPPY TO LABOR AT CUTTING AND SHAPING STONES FOR $60 A MONTH.

>> THIS WAS A BOON FOR EVERYBODY REALLY.

HE WAS A GOOD WORKER.

MY FATHER WORKED 10 HOURS A DAY.

AND THEN HE LIVED MAYBE A BLOCK AWAY.

AND, UH...AT NOON... MY MOTHER SAYS AT NOON HE'’’D COME HOME AT NOON TO WORK ON HIS OWN BASEMENT AND THEN GO BACK TO WORK HERE.

HE LOVED THE WORK.

HE LOVED THE STONEWORK.

>> AND IT WASN'’’T LONG BEFORE THAT HARD WORK LED TO SOME DAZZLING CRAFTSMANSHIP.

>> ALL THE STONES ON THIS JOB WERE 5 3/4" HIGH AND ANY LENGTH YOU COULD MAKE THEM.

BUT MOST PEOPLE COULDN'’’T MAKE THEM MORE THAN FOOTBALL SIZE BECAUSE THEY'’’D BREAK.

WELL, MY FATHER DID THE FRONT HERE.

HE DID ALL ABOVE HERE.

AND IT'’’S ALL LONGER ONES.

HE COULD DO IT.

HE WAS GOOD AT IT.

THAT'’’S ALL.

>> SO GOOD THAT HE WENT ON TO CRAFT A STRUCTURE OF TRUE ROCK ARTISTRY AT THE SITE.

>> THIS FIREPLACE IS A MASTERPIECE.

IT'’’S ALL SYMMETRICAL.

YOU CAN SEE EACH STONE ON EACH SIDE IS THE SAME STONE CUT TO MATCH, AND IT GOES RIGHT TO THE CENTER, TO THE CENTERPIECE.

AND THIS STONE HERE IS SUPPOSED TO REPRESENT ROOSEVELT, DELANO ROOSEVELT.

THE GROUT, INSTEAD OF BUYING BLACK COLOR, THEY TOOK SOOT, AND THEY JUST SCREENED SOOT AND MADE THE BLACK COLOR OUT OF IT.

THERE.

>> HO!

THE BEAUTIFUL CORNER.

LOOK.

>> PETER TARAMELLI LIVED TO BE NEARLY 97 YEARS OLD, AND MANY OF THOSE YEARS HE SPENT CULLING THE GLACIAL TILL THAT WAS THE UNDERPINNING OF HIS HOMETOWN.

>> WHEN HE WAS 88 YEARS OLD, I TOOK HIM TO THE GRAVEL PIT.

AND I SAYS, "I WANT TO TAKE "PICTURES OF YOU, YOU KNOW, CRACKING ROCK."

HE SAYS, "OH, YEAH."

I BROUGHT THE HEAVY STONE HAMMERS, 16-POUNDERS.

HE WAS CRACKING ROCK.

THEY WERE BUSTING OPEN.

"PUT THEM IN THE TRUCK."

AND I SAYS, "NO, LEAVE THEM THERE."

"YOU PUT THEM IN THE TRUCK," HE SAYS.

HE WOULDN'’’T LEAVE THEM.

HE WOULDN'’’T LEAVE THE ROCK.

AND WE WENT..

I'’’LL BET YOU IT WAS 6 HOURS.

AND FINALLY I TOLD HIM, "WE'’’VE GOT TO GO HOME."

HA HA.

HE LOVED IT.

>> THAT LOVE AND COMMITMENT WAS PASSED DOWN TO THE NEXT GENERATION AND NOW SERVES TO PRESERVE THE PAST.

>> I SEE HIS WORK, AND I'’’M REPAIRING IT, BECAUSE OF AGE.

IT WAS LEFT, I'’’D SAY... FROM 1950 TO '’’53 IT WAS LEFT, JUST LEFT ABANDONED.

AND THE WINDOWS WERE BROKEN, AND THE DOOR WAS OPEN ON IN.

AND THEN THEY DECIDED TO MAKE A MUSEUM OF MINING OUT OF IT.

AND THEY HAD TO GO FIX EVERYTHING UP.

SO I'’’VE BEEN WORKING EVERY YEAR HERE, SO MANY, IF I HAVE TIME.

AND, UM...

HE...HE TAUGHT ME A LOT.

>> JUST OFF THE HIGHWAY IN ELY, YOU WALK THE PATH TO THE CABIN DOOR AND CAN ALMOST HEAR THE DISTINCTIVE VOICE OF THE WOMAN WHO SPENT A LIFETIME IN THE DEEP NORTH WOODS.

>> I GUESS, UH...

THE THING I MISSED THE MOST WAS PRESSING THE BUTTON TO TURN ON THE LIGHT.

>> THIS DOCUMENTARY FILM, MADE IN THE MID-1980'’’s, TELLS SOME OF HER STORY, BUT NOW THERE IS A PLACE WITHIN EASY ACCESS THAT CHANNELS DOROTHY MOLTER AND THE LESSONS OF HER LIFE.

>> WELCOME TO THE COZINESS OF DOROTHY'’’S WINTER CABIN.

DOROTHY WAS THE LAST LEGAL NON-INDIGENOUS RESIDENT OF THE BOUNDARY WATERS.

DOROTHY STAYED IN THIS CABIN IN THE WINTERTIME BECAUSE IT WAS TUCKED IN AMONG THE BIG TALL PINES, OUT OF THE WEATHER, ON THE EAST SIDE OF THE VERY LARGE ISLAND.

IN THE SUMMERTIME, SHE WOULD ACTUALLY PACK UP ALL HER BELONGINGS, LOAD THEM INTO THE BOAT, AND MAKE THE SHORT JOURNEY OVER TO WHAT WE CALL THE SUMMER TENT ISLAND, WHERE SHE HAD A SUMMER TENT, WHICH WAS KIND OF A SEMIPERMANENT STRUCTURE.

>> I COME UP HERE IN 1930 FOR THE FIRST TIME WITH MY DAD AND MY MOTHER, MY UNCLE.

>> DOROTHY WAS DONE WITH HER SEMESTER OF NURSING SCHOOL, SO SHE WAS INVITED ALONG.

AND IN 1934, AFTER SUBSEQUENT YEARS OF VISITING THE ISLE OF PINES RESORT, SHE GOT TO KNOW THE OWNER, BILL BERGLUND, QUITE WELL.

AND BILL RECOGNIZED SOMETHING IN DOROTHY.

HE ALSO HAD DIABETES AND HEART DISEASE.

WELL, HE FIGURED THAT DOROTHY MIGHT BE A GOOD FIT FOR THE RESORT, AND SO THIS CITY GIRL REALLY DEFIED CONVENTION AND ENDED UP WORKING AT THE ISLE OF PINES RESORT.

FOR HELPING HIM OVER THE YEARS RUN THE RESORT AND NURSE HIM BACK TO LIFE A COUPLE OF TIMES, THAT WHEN HE DIED, SHE WOULD INHERIT THE RESORT.

SO SHE BECAME SOLE OWNER OF THE ISLE OF PINES RESORT IN 1948 AT THE TENDER AGE OF 41.

FOR A WOMAN IN THAT ERA, THAT'’’S PRETTY IMPRESSIVE.

>> I USED TO HAVE POP UP HERE, BUT AFTER THE PLANES QUIT FLYING, THEN I DISCONTINUED IT, BECAUSE I WASN'’’T ABOUT TO PACK POP OVER THE PORTAGES.

SO I HAD SO MANY ROOT BEER BOTTLES ON HAND.

SO THEN WE GOT THE IDEA OF MAKING ROOT BEER.

YEAH.

I MAKE 12,000 BOTTLES.

AND WHATEVER'’’S LEFT, I LEAVE IN THE ROOT CELLAR FOR THE FOLLOWING SPRING.

>> 1949, PRESIDENT TRUMAN ISSUED AN EXECUTIVE ORDER ELIMINATING FLOAT PLANES INTO THE AREA THAT WE NOW KNOW AS THE BOUNDARY WATERS.

THAT IS ALSO THE SAME TIME THAT OUR GOVERNMENT DECIDED IT WANTED TO RETURN THIS AREA TO ITS ORIGINAL WILDERNESS STATE.

>> OVER THE YEARS, SOME 400 PROPERTY OWNERS SOLD OUT TO THE GOVERNMENT, BUT DOROTHY HELD FIRM.

SHE CHOSE TO STAY.

SO THE GOVERNMENT THREATENED CONDEMNATION.

>> BOB KERREY CAME RIGHT INTO THIS KITCHEN, THE STORY GOES, AND HE WROTE AN ARTICLE STATING THE TRAVESTY THAT WAS HAPPENING TO THIS SWEET OLD WOMAN.

AND OF COURSE, THAT ARTICLE WAS PICKED UP NATIONALLY, AND THEN ALL OF A SUDDEN, ALL OF THESE PEOPLE WHO HAD TAKEN A CANOE TRIP TO DOROTHY'’’S, HAD STOPPED AND HAD A NICE COLD ROOT BEER, OR HAD BEEN RESUPPLIED WHEN A BEAR GOT INTO THEIR FOOD PACK, OR HAD BEEN PATCHED UP WHEN THEY SLICED THEIR FOOT OPEN ON A SHARP ROCK, ALL OF THOSE PEOPLE CAME OUT IN DEFENSE OF DOROTHY AND IN SUPPORT OF HER STAYING.

IN FACT, EVEN SENATOR HUBERT HUMPHREY WAS ON DOROTHY'’’S SIDE.

AND SO IN THE RARE INSTANCE, DOROTHY FOUGHT THE FEDERAL GOVERNMENT AND WON HER CASE.

SHE WAS ALLOWED TO STAY BUT WITH STIPULATIONS.

SHE COULD NO LONGER RUN THE RESORT AS A COMMERCIAL OPERATION.

THE CHANGES IN MOTOR USE MADE THINGS A LITTLE BIT MORE DIFFICULT, THE PASSING OF THE LAW OF 1978 BANNING MOTORS, AND IT INCREASINGLY GOT MORE AND MORE RESTRICTIVE.

IN THE WINTER OF 1984, YOU COULD NO LONGER USE SNOWMOBILES.

DOROTHY FACED THESE CHALLENGES WITH AN INCREDIBLE DIGNITY AND SIMPLY FIGURED OUT WHAT SHE NEEDED TO DO TO GET BY.

SHE WASN'’’T GONNA LET A LITTLE OBSTACLE HOLD HER DOWN.

AND FORTUNATELY AT THAT TIME, IN 1975, WHEN SHE GAINED LIFETIME RESIDENCY, SHE ALSO BECAME A VOLUNTEER FOR THE FOREST SERVICE, AND SO SHE HAD A TWO-WAY RADIO.

SHE ALSO HAD A BOAT AND A MOTOR.

SHE WAS ABLE TO HAVE ITEMS FLOWN IN BY THE FOREST SERVICE BUT NEVER EVER HAD ELECTRICITY.

SO USED COLEMAN LANTERNS FOR HER LIGHTING.

HEATED HER CABINS WITH A WOOD STOVE.

CHOPPED HER OWN WOOD.

SHE HAD A LOT OF HELP FROM THAT GROUP REFERRED TO AS DOROTHY'’’S ANGELS, WHICH WERE PRIMARILY LOCALS IN THE AREA WHO WOULD COME UP AND CHOP AND PUT UP WOOD FOR HER.

AT 77 YEARS OF AGE, SPLITTING A HUGE PIECE OF WOOD, AND SHE PICKS UP THE AX LIKE IT'’’S NOTHING.

PRETTY AMAZING.

SHE WAS BELOVED BY SUCH A BROAD SPECTRUM OF PEOPLE.

WHEN DOROTHY PASSED AWAY, THE FOREST SERVICE HAD PLANS IN PLACE TO BURN DOWN THE CABINS, REMOVE EVERYTHING, AND RETURN THE ISLANDS TO THEIR ORIGINAL STATE OF WILDERNESS.

BUT A LOCAL GROUP, WELL, THEY GOT TOGETHER, AND THEY REALIZED, "WE CAN'’’T JUST LET THESE CABINS BE BURNED DOWN."

DOROTHY WAS SUCH A NORTH WOODS ICON.

SHE WAS SUCH A HUGE PART OF THE HISTORY OF THIS AREA.

AND SO THE FOREST SERVICE GAVE THAT GROUP PERMISSION TO REMOVE THE CABINS, BUT THE ONE STIPULATION WAS THEY COULDN'’’T USE MOTORIZED MEANS.

THAT WAS A HERCULEAN EFFORT, WHICH, YEAH, WHEN YOU LOOK AROUND HERE AND YOU THINK ALL OF THIS WAS MOVED BY DOG TEAM OVER 12 MILES OF FROZEN LAKES AND PORTAGES, THAT'’’S PRETTY EXTRAORDINARY.

IN EARLY MARCH, WE EXPERIENCED A LITTLE BIT OF A THAW, AND THEY WEREN'’’T QUITE DONE WITH THE JOB.

THE PORTAGES WERE VERY, VERY MUDDY.

THE LAKES WERE TURNING TO SLUSH, AND IT BECAME APPARENT THAT IT WAS GOING TO BE MUCH TOO HARD ON THOSE DOGS, AND BECAUSE THEY HAD MADE SUCH A GREAT EFFORT TO GET THE CABINS OUT USING NONMECHANIZED MEANS, THE FOREST SERVICE DID ALLOW, FOR A WEEKEND, THEM TO USE ATV'’’s.

DOROTHY KNEW INTIMATELY THE BIRDS AND THE ANIMALS THAT CAME TO HER ISLAND.

DOROTHY'’’S STORY IS SO COMPLEX, AND IT TOUCHES ON SO MANY GREAT THEMES.

THE HISTORY OF THE BOUNDARY WATERS AS IT RELATES TO THE CHANGES IN HER LIFESTYLE IS INCREDIBLY IMPORTANT TO THIS AREA.

BEING KIND AND HELPING, SHE WAS THERE FOR MANY PEOPLE WHO HAD EMERGENCY SITUATIONS.

HER STORY OF ALLOWING OTHERS TO HELP HER, TO GIVE BUT ALSO TO RECEIVE, I THINK ALSO IS PRETTY INSTRUMENTAL IN MAKING A DIFFERENCE IN PEOPLE'’’S LIFE.