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I’ve got here a variety of boats here foryou to see the differences between one rowing boat and another. No boat can do everything just like no carcan do everything. This boat is a lot wider and shorter thanthis boat which is very long and thin. So this is like your Grand Prix racing car,it’s a racing boat, it’s my racing boat. And it’s very slim, very unstable, impossibleto learn to scull in. It’s impossible even to sit in this boaton the water without oars.

Now the boat like the Yole here, you could stand up in this boat, turn around,stand on your head, without oars in it at all. So this is a stable boat, okay? The Turbos have an advantage which I willexplain to you. You can stand in the bottom of the boat whenyou get in and out. Why is that important? Well, it affects how stable it feels.

This is below the water line so when you getin it feels stable. You’re standing underneath the point aroundwhich it tips. That’s not the case with a racing boat. Let me show you. In a racing boat, you never stand on the hullin the bottom of the boat because it’s too fragile, and you have to stand here and this is abovethe tipping point. So as soon as you stand in a racing boat itfeels really scary and you get

white knuckle syndrome. So, this is not the way to learn. All the boats here have got outriggers, OK? And this is so that we could make the boatslimmer and that makes it faster than if you had tohave the boat as wide as this. The distance between the gates is the sameon all of the boats. Here the outrigger is attached by nuts andbolts. Here the outrigger on this boat is attachedby clips, which are very quick to use.

And this outrigger, this is a very interestingboat, slides forwards and backwards. All the boats have got sliding gear, some means of sliding forwards and backwardsso that you can bend your legs and use your whole body to get more power out of the body. And all the boats have got something for youto press your feet against. This is called a stretcher. All of these boats are unsinkable. That’s to say, they’re full of air andyou could throw as much water over them as

you like and they won’t sink because theyhave builtin buoyancy. This whole space here is sealed and no aircan get in or out of that and no water can get in or out. This is the same but you can see it’s alot bigger, wider, more volume. What’s the difference? Well, if you were to row this through a wavethat was only this high, then, this boat, the cockpit would fill with water and you’dhave wet feet. And this boat would just simply ride overthe top of it.

Craft in America Industry

gt;gt; ♪ I DON’T WANT NOBODY… ♪gt;gt; WE BEEN SELLING QUILTS NOW FOR A LONG TIME, AND THAT MADEEVERYTHING BETTER. gt;gt; ONE OF MY PASSIONS ISKEEPING THIS SHOP ALIVE. gt;gt; MACHINES HELP US, BUT THAT’SNOT THE ONLY THING. THERE’S ALWAYS A HUMAN CONNECTED TO THEMACHINE. gt;gt; ARTISTS ARE RESPONSIBLE FORPRODUCING THEIR WORK, MARKETING THEIR WORK, SELLING THEIR WORK. THAT IS NOT DIFFERENT THAN ABUSINESS.

gt;gt; HANDMADE GOODS AREABSOLUTELY IMPACTING THE NATIONAL ECONOMY. gt;gt; ♪ ‘TIS A GIFT TO BE SIMPLE’TIS A GIFT TO BE FREE ‘TIS A GIFT TO COME DOWNWHERE YOU OUGHT TO BE AND WHEN YOU FIND YOURSELFIN THE PLACE JUST RIGHT ‘TWILL BE IN THE VALLEYOF LOVE AND DELIGHT ♪ gt;gt; WHEN I STARTED MAKING QUILTSIN 1979, I CONCEIVED OF THE IDEA OF BECOMING APROFESSIONAL, AND I THOUGHT, quot;I

KNOW. I’LL HAVE A BUSINESS CARDPRINTED UP THAT SAYS JOE CUNNINGHAM, PROFESSIONALQUILTMAKER,quot; AND NOBODY CAN PROVE THAT YOU’RE NOT APROFESSIONAL QUILTMAKER. THAT’S THE GREAT THING ABOUT IT, ANDTHE NEXT THING YOU KNOW, PEOPLE IN TOWN, THEY STARTED HIRING METO GIVE TALKS. THEN THERE WERE THESE QUILT GUILDS FORMING. AT THE TIME, I COULD GET TOKNOWI COULD WORK AT ONE OF THE BIG CONFERENCES AND MEETTHE OTHER DOZEN PROFESSIONAL

QUILTMAKERS IN THE COUNTRY. NOWIT’S A $4.5 BILLION ANNUAL INDUSTRY, AND THERE’S THOUSANDSOF PROFESSIONAL QUILTMAKERS IN MANY DIFFERENT CAPACITIES. IT’SA HUGE INDUSTRY. SO MY PART OF THE INDUSTRY IS THAT. I’M ATEACHER, A LECTURER, AND A QUILTMAKER, AND OCCASIONALLY ISELL QUILTS SOMETIMES TO MUSEUMS AND TO PEOPLE. MY IDEASCOME FROM MY WHOLE LIFE, FROM EVERYTHING I’VE EVER SEEN,EVERYTHING I’VE EVER READ, BUT ALSO OLD QUILTS.

THE WAY I MADE THIS QUILT ISPRETTY TYPICAL OF A LOT OF MY QUILTS, WHICH IS I HAD NO IDEA. I DIDN’T KNOW WHAT I WAS GOINGTO DO. SO I TOOK MY ROTARY CUTTER AND A PIECE OF THISSHIRTING, AND THEN I STARTED CUTTING SOME OTHER STUFF UP ANDADDING IT TO THAT AND WONDERING WHAT WOULD HAPPEN IF I DID THATAGAIN, CUTTING UP THE PINK AND SEWING IT TOGETHER SO THAT THELINES MEET IN DIFFERENT WAYS, AND I JUST PATCHED THIS VAGUELINE ACROSS HERE, AND THEN I

REALIZED THAT IT WAS ALANDSCAPE. quot;OH, IT’S A LANDSCAPE!quot; SO I PUT MYVANISHING POINT ON, AND I PUT SOME CLOUDS ON. THEN I QUILTEDIT WITH CLOUDS. HANDQUILTING WAS THE FIRSTPART OF THE PROCESS THAT I LEARNED HOW TO DO, AND IT’SSTILL MY FAVORITE. WHEN I SIT IN MY STUDIO AND I QUILTSOMETHING BY HAND, I OFTEN WILL NOT EVEN HAVE MUSIC ON. I’LLSIT AND ENJOY THE SILENCE FOR 4 OR 5 OR 6 HOURS A DAY. IT MAKESME FEEL WEALTHY. IT MAKES ME

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