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00:00:51,655 --> 00:00:53,517
Narrator:
WE CAN'T ALL RUB SHOULDERS
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00:00:53,517 --> 00:00:55,482
WITH POLITICAL GREATS
AND MOVIE STARS.
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00:00:55,482 --> 00:00:58,448
BUT FOR THE PRICE OF ADMISSION
TO A WAX ATTRACTION,
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00:00:58,448 --> 00:01:01,137
ANYONE CAN MINGLE
WITH THEIR WAX REPLICAS.
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00:01:01,137 --> 00:01:03,862
THESE LOOK-ALIKES
AREN'T MUCH FOR CONVERSATION,
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00:01:03,862 --> 00:01:05,965
BUT THE LIKENESS
CAN BE STARTLING,
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00:01:05,965 --> 00:01:09,275
THANKS TO A PROCESS
HONED OVER CENTURIES.
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00:01:13,344 --> 00:01:15,931
FAMOUS FACES
COME TO LIFE IN BEESWAX,
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00:01:15,931 --> 00:01:18,931
SO IT'S ALMOST LIKE SEEING THEM
IN THE FLESH.
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00:01:18,931 --> 00:01:20,241
BUT HOW DO THEY DO IT?
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00:01:20,241 --> 00:01:22,793
IT OFTEN STARTS
WITH A FACE-TO-FACE MEETING
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00:01:22,793 --> 00:01:24,413
WITH THE SUBJECT,
DURING WHICH THEY TAKE
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00:01:24,413 --> 00:01:27,413
MORE THAN 200 MEASUREMENTS
OF THE FACE ALONE
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00:01:27,413 --> 00:01:29,413
AND STILL MORE OF THE BODY.
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00:01:29,413 --> 00:01:31,068
DRAWING ON THOSE MEASUREMENTS
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00:01:31,068 --> 00:01:33,862
AND USING PHOTOS
AND ADDITIONAL RESEARCH,
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00:01:33,862 --> 00:01:37,241
AN ARTIST SCULPTS A CLAY BODY
ONTO A METAL SKELETON.
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THIS CLAY SCULPTURE
WILL BE USED TO MAKE A MOLD.
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THE HEAD, OF COURSE,
RECEIVES SPECIAL ATTENTION.
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00:01:43,275 --> 00:01:47,413
THEY SCULPT IT IN STAGES,
AND THIS TAKES ABOUT SIX WEEKS.
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00:01:47,413 --> 00:01:50,275
TO CHECK THE SYMMETRY
OF THE SCULPTURED FACE,
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00:01:50,275 --> 00:01:53,689
THE ARTIST STRETCHES A WIRE
FROM THE TEMPLE TO THE CHIN.
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SHE MEASURES IT FROM ALL ANGLES
AND COMPARES THE NUMBERS
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00:01:57,137 --> 00:02:00,517
TO MEASUREMENTS
OF THE ACTUAL SUBJECT.
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00:02:00,517 --> 00:02:02,965
EVERY SINGLE ASPECT
OF THE CLAY FACE
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00:02:02,965 --> 00:02:05,655
MUST MIRROR THAT
OF THE SUBJECT'S PRECISELY
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00:02:05,655 --> 00:02:09,482
SO IF IT'S EVEN SLIGHTLY OFF,
SHE MAKES ADJUSTMENTS.
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00:02:09,482 --> 00:02:13,310
HERE, SHE REDEFINES THE TEETH
A BIT MORE.
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00:02:13,310 --> 00:02:16,827
AND THEN
SHE TWEAKS THE HAIRLINE.
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00:02:20,862 --> 00:02:22,896
THEY'RE NOW READY
FOR THE NEXT STEP --
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THE MAKING OF THE HEAD MOLD.
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THE WORKER PAINTS PLASTER
ONTO THE SCULPTURE
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IN 14 DIFFERENT SECTIONS.
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00:02:29,137 --> 00:02:30,413
THIS MULTI-PART MOLD
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CAN BE EASILY REMOVED
FROM THE CLAY HEAD
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00:02:32,931 --> 00:02:35,103
ONCE THE PLASTER DRIES.
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AFTER THE CLAY HEAD
HAS BEEN DISCARDED,
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THEY GIVE THE REASSEMBLED MOLD
A QUICK RINSE.
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THE WAX ARTIST TURNS THE
PLASTER HEAD MOLD UPSIDE DOWN
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AND SLOTS IT INTO THE WAX BENCH,
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SO NAMED BECAUSE IT SECURES
THE MOLD DURING THE WAX CASTING.
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00:02:55,620 --> 00:02:58,034
THEY MELT
BLOCKS OF JAPANESE BEESWAX
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00:02:58,034 --> 00:02:59,655
AND FUNNEL THE LIQUID WAX
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INTO THE NECK
OF THE PLASTER CAST.
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00:03:02,206 --> 00:03:04,137
THEY LET IT SET FOR AN HOUR,
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00:03:04,137 --> 00:03:07,034
JUST LONG ENOUGH
FOR THE WAX TO SOLIDIFY
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AND FORM A THICK CRUST
AROUND THE INSIDE OF THE CAST.
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00:03:10,310 --> 00:03:12,724
THE ARTIST
REMOVES CRUST AT THE NECK
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00:03:12,724 --> 00:03:15,000
AND POURS OUT
THE REST OF THE WAX,
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LEAVING
A HOLLOW WAX FACE INSIDE.
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THEY SET IT ASIDE FOR ANOTHER
HOUR TO FURTHER SOLIDIFY.
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THE WAX ARTIST
REMOVES THE PLASTER MOLD
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00:03:26,724 --> 00:03:30,034
AND COMES FACE TO FACE
WITH THE WAX CREATION.
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SHE EXAMINES IT THOROUGHLY,
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CONFIRMING
THAT THE DETAIL FROM THE MOLD
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HAS BEEN EFFECTIVELY TRANSFERRED
TO THE WAX
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AND THAT THE WAX FACE
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00:03:37,517 --> 00:03:40,275
IS A DEAD RINGER
FOR THE HUMAN SUBJECT.
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00:03:40,275 --> 00:03:43,241
THE TEAM THEN
CASTS THE WAX FIGURE'S HANDS,
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00:03:43,241 --> 00:03:46,344
AND AN ARTIST
MATCHES THE SUBJECT'S SKIN TONE
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AGAINST A CHART.
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SHE MIXES PAINT
AND DABS THE BRUSH IN IT.
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00:03:50,862 --> 00:03:53,275
SHE THEN STRIKES HER BRUSH
WITH ANOTHER ONE
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00:03:53,275 --> 00:03:55,724
SO THE PAINT SPLATTERS
ACROSS THE HAND.
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00:03:55,724 --> 00:03:58,068
SHE BLOTS UP THE PAINT
TO BLEND IT IN.
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00:03:58,068 --> 00:04:00,724
THIS TECHNIQUE
GIVES THE WAX A SPECKLED LOOK
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THAT MIMICS HUMAN PORES.
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00:04:04,482 --> 00:04:08,241
SHE PAINTS ON KNUCKLES, VEINS,
AND DISTINCTIVE MARKINGS
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00:04:08,241 --> 00:04:11,000
TO MIMIC THOSE
ON THE SUBJECT'S HANDS.
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00:04:11,000 --> 00:04:13,034
SHE GIVES THE NAILS A MANICURE
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00:04:13,034 --> 00:04:17,241
TO MAKE THE HANDS
LOOK IDENTICAL TO THE SUBJECT'S.
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IN THE HANDS
OF A SKILLED ARTIST,
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THESE WAX HANDS
HAVE COME TO LIFE.
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00:04:22,413 --> 00:04:25,586
AS A MEDICAL GLASS EYE SPINS,
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00:04:25,586 --> 00:04:28,862
THE ARTIST BLOTS ON
A VERY WIDE PUPIL FIRST
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00:04:28,862 --> 00:04:32,689
AND THEN PAINTS THE PERIPHERY
TO MIMIC THE PERSON'S IRIS.
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00:04:32,689 --> 00:04:35,862
IRIS COLOR AND PATTERN
ARE UNIQUE TO THE INDIVIDUAL,
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00:04:35,862 --> 00:04:38,448
AND THE ARTIST
REPLICATES THOSE QUALITIES
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00:04:38,448 --> 00:04:40,793
AS CLOSELY AS POSSIBLE.
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00:04:43,931 --> 00:04:47,310
SHE GLUES RED SILK THREADS
ONTO THE WHITES OF THE EYES
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00:04:47,310 --> 00:04:50,275
TO SIMULATE
BROKEN BLOOD VESSELS.
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IT'S ANOTHER TOUCH OF REALISM.
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00:04:57,758 --> 00:05:00,965
THEY SLOT THE EYES INTO SOCKETS
IN THE WAX HEAD.
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00:05:00,965 --> 00:05:04,034
THEN THE WAX FIGURE
IS READY FOR ITS HAIR --
85
00:05:04,034 --> 00:05:07,310
ACTUAL HUMAN HAIR
MATCHED TO THE SUBJECT'S.
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00:05:07,310 --> 00:05:09,310
THEY PIERCE THE WAX
WITH A HOT NEEDLE
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00:05:09,310 --> 00:05:11,827
TO INSERT
EACH HAIR INDIVIDUALLY.
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00:05:11,827 --> 00:05:14,896
THE WAX MELTS
AND CLOSES AROUND THE HAIR.
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00:05:14,896 --> 00:05:17,448
THIS PROCESS
CAN TAKE FOUR WEEKS.
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00:05:17,448 --> 00:05:20,068
THEY ALSO PLUG IN
BROWS AND LASHES
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00:05:20,068 --> 00:05:22,862
AND THEN BRUSH ON PAINT
LIKE MAKEUP.
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00:05:22,862 --> 00:05:26,689
WITH HIS FACE ON, THE WAX FIGURE
NOW LOOKS TRUE TO LIFE.
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00:05:26,689 --> 00:05:27,896
ONCE COMPLETED,
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WAX FIGURES
GET MOVIE-STAR TREATMENT.
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THEIR HAIR IS WASHED
AND STYLED REGULARLY,
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00:05:33,379 --> 00:05:36,241
AND THEIR CLOTHING
IS ROUTINELY DRY-CLEANED.
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AFTER ALL, EVEN WAX VERSIONS
OF FAMOUS PEOPLE
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HAVE TO KEEP UP APPEARANCES.
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Narrator:
THE UNFURLING OF AWNINGS
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USUALLY MARKS
THE ROLL-OUT OF PATIO SEASON.
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IT'S A LONG TRADITION, ONE THAT
ACTUALLY DATES BACK CENTURIES.
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00:05:59,344 --> 00:06:01,655
EARLY ROMANS
WERE AMONG THE FIRST
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TO SEEK REFUGE FROM THE HOT SUN
UNDER FABRIC AWNINGS.
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00:06:04,931 --> 00:06:06,827
AND TODAY, DESIGN INNOVATIONS
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00:06:06,827 --> 00:06:09,931
MEAN THERE'S ALWAYS
SOMETHING NEW UNDER THE SUN.
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00:06:12,827 --> 00:06:14,517
WITH MODERN MECHANISMS,
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UNFOLDING AN AWNING
HAS NEVER BEEN EASIER.
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00:06:17,241 --> 00:06:21,724
THIS MANUAL CRANK SYSTEM IS
DESIGNED FOR A SMOOTH ROLL-OUT.
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00:06:21,724 --> 00:06:23,586
AND FOR EXTRA CONVENIENCE,
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THERE ARE MOTORIZED AWNINGS
OPERATED BY REMOTE CONTROL.
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PRODUCTION BEGINS
WITH THE FABRIC,
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00:06:30,896 --> 00:06:34,103
WHICH COMES IN A RANGE
OF WEATHER-RESISTANT SYNTHETICS.
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00:06:34,103 --> 00:06:37,793
THE SEAMSTRESS CUTS OUT PATTERNS
FROM THICK ACRYLIC MATERIAL
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00:06:37,793 --> 00:06:39,758
AND SEWS THE PIECES TOGETHER.
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00:06:39,758 --> 00:06:42,827
HERE SHE WORKS ON
THE AWNING'S FRONT VALANCE.
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A ROLLER KEEPS
THE FABRIC CORRECTLY ALIGNED
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AND STOPS IT
FROM BUNCHING UP AS SHE SEWS.
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SHE STITCHES
A LONG POCKET ALONG THE BORDER.
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00:06:52,551 --> 00:06:55,413
A PLASTIC ROD WILL LATER
BE CHANNELED THROUGH IT
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TO CONNECT THE VALANCE
TO THE AWNING FRAMEWORK.
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00:07:01,931 --> 00:07:05,413
SHE TRACES A SCALLOPED EDGE
ONTO THE BOTTOM OF THE VALANCE
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00:07:05,413 --> 00:07:09,586
AND THEN CAREFULLY
CUTS ALONG THE PENCILED LINE.
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00:07:09,586 --> 00:07:12,758
WITH A STEADY HAND, SHE FOLLOWS
THE OUTLINE PRECISELY
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00:07:12,758 --> 00:07:17,068
TO GIVE THE VALANCE THOSE
DISTINCTIVE CURVES AND NOTCHES.
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00:07:19,586 --> 00:07:21,827
WORKERS
THEN POSITION THE AWNING PANEL
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IN FRONT OF AN ALUMINUM TUBE.
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THEY THREAD
THE POCKETED END OF THE AWNING
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INTO A CHANNEL IN THE TUBE
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00:07:27,655 --> 00:07:30,586
AND THEN SLIDE A PLASTIC ROD
INTO THE POCKET.
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00:07:30,586 --> 00:07:33,827
THIS SECURES THE END
OF THE FABRIC TO THE TUBE.
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00:07:33,827 --> 00:07:37,482
IT TAKES TWO PEOPLE TO AVOID
ANY BUCKLING OF THE FABRIC.
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00:07:39,965 --> 00:07:43,482
THEY INSERT A PLASTIC CAP
INTO ONE END OF THE TUBE
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00:07:43,482 --> 00:07:47,000
BUT LEAVE THE OTHER END OPEN FOR
THE INSTALLATION OF THE MOTOR.
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THEY NOW WIND THE AWNING PANEL
AROUND THE TUBE,
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SYNCHRONIZING THEIR EFFORTS
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00:07:52,068 --> 00:07:54,724
SO THE TENSION IN THE ROLL
IS EQUAL AT BOTH ENDS.
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00:07:57,172 --> 00:08:00,689
NEXT, ROLLERS CARRY
A SQUARED ALUMINUM TUBE
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00:08:00,689 --> 00:08:02,551
TO A CIRCULAR SAW.
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00:08:06,103 --> 00:08:09,241
ONCE IN POSITION,
ARMS DESCEND TO STEADY THE TUBE,
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00:08:09,241 --> 00:08:12,482
AND THE SAW SLICES IT
TO THE CORRECT LENGTH.
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00:08:12,482 --> 00:08:15,275
THE CUT TUBE
WILL BE THE CARRIER BAR,
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00:08:15,275 --> 00:08:18,379
AN IMPORTANT PART
OF THE AWNING FRAMEWORK.
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00:08:18,379 --> 00:08:20,379
A WORKER
NOW BUILDS THAT FRAMEWORK,
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00:08:20,379 --> 00:08:22,379
STARTING WITH THE CARRIER BAR.
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00:08:22,379 --> 00:08:25,344
HE SLIDES A BRACKET
PARTWAY DOWN THE TUBE
146
00:08:25,344 --> 00:08:28,793
AND USES IT
TO ATTACH THE RETRACTABLE ARMS,
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00:08:28,793 --> 00:08:31,620
SECURING THE ASSEMBLY
WITH A HEAVY-DUTY STEEL PIN.
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00:08:34,620 --> 00:08:36,827
TWO WORKERS
SLIDE CONNECTOR PIECES
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00:08:36,827 --> 00:08:38,931
INTO THE GROOVES
IN THE DROP BAR
150
00:08:38,931 --> 00:08:40,620
FOR THE VALANCE.
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00:08:40,620 --> 00:08:44,793
THEN THEY RAISE THE BAR
AND ATTACH THE RETRACTABLE ARMS.
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00:08:47,241 --> 00:08:51,448
THEY INSTALL A SIDE BEARING
IN THE END OF THE CONNECTOR BAR.
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00:08:51,448 --> 00:08:55,517
IT'S ONE OF TWO THAT WILL
SUPPORT THE AWNING'S MAIN TUBE.
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00:08:56,413 --> 00:08:59,586
NEXT UP
IS THAT FABRIC-WRAPPED TUBE.
155
00:09:01,655 --> 00:09:03,241
THEY ATTACH IT TO THE FRAMEWORK
156
00:09:03,241 --> 00:09:05,551
AND TUCK THE OTHER END
OF THE AWNING FABRIC
157
00:09:05,551 --> 00:09:08,206
INTO A ROUND SLOT
IN THE DROP BAR.
158
00:09:08,206 --> 00:09:10,068
THEY SLIDE
ANOTHER LONG PLASTIC ROD
159
00:09:10,068 --> 00:09:13,034
THROUGH A POCKET
IN THE FABRIC TO SECURE IT.
160
00:09:13,034 --> 00:09:15,689
THEY'RE NOW READY FOR THE MOTOR.
161
00:09:15,689 --> 00:09:18,793
IT'S A TUBULAR MODEL.
162
00:09:18,793 --> 00:09:20,137
HE ATTACHES A METAL BRACKET
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00:09:20,137 --> 00:09:23,379
FOR ASSEMBLING THE MOTOR
TO THE MAIN FRAMEWORK.
164
00:09:23,379 --> 00:09:27,103
HE THEN EQUIPS THE TUBULAR MOTOR
WITH TWO PLASTIC RINGS,
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00:09:27,103 --> 00:09:29,206
ONE AT EACH END.
166
00:09:29,206 --> 00:09:31,724
POWERED BY THE MOTOR,
167
00:09:31,724 --> 00:09:35,724
THESE RINGS WILL REVOLVE
TO OPEN AND CLOSE THE AWNING.
168
00:09:35,724 --> 00:09:39,931
A TEST CONFIRMS
THAT IT'S FULLY OPERATIONAL.
169
00:09:43,896 --> 00:09:49,034
HE SLIDES THE TUBULAR MOTOR INTO
THE OPEN END OF THE AWNING TUBE.
170
00:09:51,724 --> 00:09:55,724
HE ATTACHES THE SECOND SIDE
BEARING TO THE METAL BRACKET...
171
00:09:58,379 --> 00:10:02,206
...AND CAPS
THE OPEN END OF THE DROP BAR.
172
00:10:02,206 --> 00:10:06,689
A FEW TAPS WITH A HAMMER
DRIVES IT DOWN THE SHAFT.
173
00:10:06,689 --> 00:10:09,068
HE NOW TESTS THE AWNING
174
00:10:09,068 --> 00:10:12,379
TO CONFIRM THAT
EVERYTHING UNFOLDS AS IT SHOULD.
175
00:10:15,034 --> 00:10:16,448
HE TIGHTENS SOME SCREWS.
176
00:10:16,448 --> 00:10:18,655
AND WHEN
IT'S PERFECTLY OPERATIONAL,
177
00:10:18,655 --> 00:10:21,103
HE'LL INSTALL THE VALANCE.
178
00:10:26,862 --> 00:10:31,000
IT TAKES ABOUT AN HOUR TO
MANUFACTURE A MOTORIZED AWNING,
179
00:10:32,931 --> 00:10:36,517
AND IT SHOULD SUPPLY
ABOUT A DECADE OF SHADE.
180
00:10:50,103 --> 00:10:52,103
Narrator:
SANDWICH CRACKERS
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00:10:52,103 --> 00:10:54,344
ARE ONE OF
LIFE'S LITTLE CONVENIENCES --
182
00:10:54,344 --> 00:10:57,586
CRISPY WAFERS WITH PEANUT BUTTER
OR CHEESE SPREAD BETWEEN THEM,
183
00:10:57,586 --> 00:10:59,586
ALL WRAPPED UP
IN A NEAT PACKAGE.
184
00:10:59,586 --> 00:11:03,379
IN NORTH AMERICA, FACTORIES HAVE
BEEN MASS-PRODUCING THESE SNACKS
185
00:11:03,379 --> 00:11:05,827
SINCE THE EARLY PART
OF THE 20th CENTURY
186
00:11:05,827 --> 00:11:08,344
TO SATISFY THE NEED TO NIBBLE.
187
00:11:12,344 --> 00:11:16,241
SANDWICH CRACKERS COME IN HANDY
FOR A QUICK REFUEL.
188
00:11:16,241 --> 00:11:20,931
JUST UNWRAP AND SNACK WHILE
CONTINUING ON YOUR ROUTINE.
189
00:11:20,931 --> 00:11:24,310
THEY START WITH THE SMALLER
INGREDIENTS FOR THE DOUGH,
190
00:11:24,310 --> 00:11:28,931
WHICH INCLUDE BAKING SODA,
A POWDERED CHEESE ADDITIVE,
191
00:11:28,931 --> 00:11:30,448
AND A KIND OF PHOSPHATE,
192
00:11:30,448 --> 00:11:34,275
WHICH, LIKE THE BAKING SODA,
IS A LEAVENING AGENT.
193
00:11:34,275 --> 00:11:37,103
NEXT ARE ENZYME TABLETS
AND THE YEAST,
194
00:11:37,103 --> 00:11:40,379
TWO INGREDIENTS THAT WILL
LATER CAUSE THE DOUGH TO FERMENT
195
00:11:40,379 --> 00:11:43,034
TO GIVE THE CRACKERS
TEXTURAL STRENGTH.
196
00:11:43,034 --> 00:11:44,379
THEY ADD WATER
197
00:11:44,379 --> 00:11:47,862
AND THICKEN THE LIQUEFIED BLEND
WITH A LITTLE FLOUR.
198
00:11:47,862 --> 00:11:51,310
THIS MAKES IT EASIER
TO PUMP INTO THE NEXT MIXER.
199
00:11:51,310 --> 00:11:54,793
THIS ONE IS A BIG TROUGH
FULL OF FLOUR.
200
00:11:54,793 --> 00:11:56,413
THEY ADD ICE TO CHILL IT
201
00:11:56,413 --> 00:11:59,172
AND THEN PIPE IN
THE SMALL-INGREDIENT BLEND.
202
00:11:59,172 --> 00:12:00,689
COOLING THE MIX WITH ICE
203
00:12:00,689 --> 00:12:04,379
PRESERVES THE YEAST AND ENZYMES
TO HOLD OFF ON FERMENTATION.
204
00:12:04,379 --> 00:12:07,275
IF FERMENTATION
HAPPENS TOO SOON,
205
00:12:07,275 --> 00:12:09,620
THE DOUGH COULD TURN TO MUSH.
206
00:12:09,620 --> 00:12:12,689
THEY LOWER A LID EQUIPPED
WITH THREE SPIRALING BLADES
207
00:12:12,689 --> 00:12:14,310
AND SET THE BLADES IN MOTION,
208
00:12:14,310 --> 00:12:16,724
PUMPING IN MORE WATER
TO AUGMENT THE MOISTURE
209
00:12:16,724 --> 00:12:19,241
FROM THE MELTING ICE
AND SMALL-INGREDIENT BLEND.
210
00:12:19,241 --> 00:12:24,068
IT'S NOW READY FOR FERMENTATION,
SO IT'S INTO A WARM ROOM
211
00:12:24,068 --> 00:12:27,068
TO ACTIVATE
THE YEAST AND THE ENZYMES.
212
00:12:27,068 --> 00:12:28,655
THE DOUGH SWELLS,
213
00:12:28,655 --> 00:12:32,517
AND A WORKER BREAKS THE CRUST
TO RELEASE GAS.
214
00:12:32,517 --> 00:12:36,862
AN AUTOMATED SYSTEM TIPS
THE TROUGH OF DOUGH INTO A CHUTE
215
00:12:36,862 --> 00:12:40,172
THAT TAKES IT ONE FLOOR DOWN
TO THE ROLLING STATION.
216
00:12:40,172 --> 00:12:43,103
THE CHEMICAL CHANGES
CAUSED BY FERMENTATION
217
00:12:43,103 --> 00:12:45,448
HAVE MADE THIS DOUGH
LESS STICKY,
218
00:12:45,448 --> 00:12:47,172
SO IT CAN NOW
BE ROLLED INTO SHEETS
219
00:12:47,172 --> 00:12:50,068
WITHOUT ADHERING
TO THE EQUIPMENT.
220
00:12:50,068 --> 00:12:52,344
THE DOUGH
NOW TRAVELS BETWEEN ROLLERS
221
00:12:52,344 --> 00:12:56,689
THAT FLATTEN IT AND SQUEEZE IT
TO A SPECIFIC THICKNESS.
222
00:12:56,689 --> 00:13:00,517
THE SHEETS OF DOUGH
EXIT AND ACCUMULATE.
223
00:13:00,517 --> 00:13:02,827
WHEN SEVERAL LAYERS
HAVE PILED UP,
224
00:13:02,827 --> 00:13:05,241
THE DOUGH IS ON THE MOVE AGAIN.
225
00:13:05,241 --> 00:13:06,931
SEVERAL LAYERS AT A TIME NOW,
226
00:13:06,931 --> 00:13:09,206
IT MOVES BETWEEN
A SERIES OF ROLLERS,
227
00:13:09,206 --> 00:13:12,000
WHICH COMPRESS THE DOUGH
TO ITS FINAL THICKNESS.
228
00:13:12,000 --> 00:13:14,482
A QUICK DUST WITH FLOUR,
229
00:13:14,482 --> 00:13:17,448
AND THE DOUGH
NOW GOES UNDER A ROLLING CUTTER
230
00:13:17,448 --> 00:13:20,310
THAT SCORES IT
TO CRACKER-SIZE PROPORTIONS.
231
00:13:20,310 --> 00:13:24,206
THE CUTTER IS ALSO SPIKED WITH
PINS THAT PUNCTURE THE DOUGH.
232
00:13:24,206 --> 00:13:26,793
THE HOLES GIVE THE CRACKERS
A DIMPLED LOOK,
233
00:13:26,793 --> 00:13:28,931
AND THEY HAVE
A PRACTICAL PURPOSE,
234
00:13:28,931 --> 00:13:33,068
ALLOWING STEAM TO ESCAPE DURING
COOKING FOR A CRISPIER SNACK.
235
00:13:34,241 --> 00:13:35,551
A SPRINKLE OF SALT,
236
00:13:35,551 --> 00:13:38,931
AND THE CRACKER DOUGH
NOW HEADS INTO THE OVEN.
237
00:13:38,931 --> 00:13:41,517
THIS OVEN
IS MORE THAN 65 YARDS LONG,
238
00:13:41,517 --> 00:13:43,344
WITH SEVERAL HEATING ZONES.
239
00:13:43,344 --> 00:13:48,344
THE HOTTEST IS AROUND
700 DEGREES FAHRENHEIT.
240
00:13:48,344 --> 00:13:52,482
A ROLLER BREAKS THEM
CLEANLY ALONG THE SCORE LINES.
241
00:13:52,482 --> 00:13:56,172
A QUICK SPRAY WITH VEGETABLE OIL
ADDS FLAVOR.
242
00:13:58,034 --> 00:14:01,689
THE CRACKERS THEN TRANSFER
FROM ONE CONVEYER TO ANOTHER
243
00:14:01,689 --> 00:14:04,206
AND LAND IN NEAT STACKS.
244
00:14:04,206 --> 00:14:06,344
THEY HEAD INTO
AN INSPECTION STATION,
245
00:14:06,344 --> 00:14:08,793
WHERE WORKERS PICK OUT
ANY DAMAGED CRACKERS
246
00:14:08,793 --> 00:14:11,965
AND ADJUST THE ALIGNMENT
OF THE SHINGLED ROWS
247
00:14:11,965 --> 00:14:15,965
SO IT'S A SMOOTH TRANSITION
AS THE CRACKERS MOVE INTO LANES.
248
00:14:15,965 --> 00:14:17,275
DOWN THE LINE,
249
00:14:17,275 --> 00:14:20,103
WORKERS PULL OFF SAMPLES
TO WEIGH THEM.
250
00:14:20,103 --> 00:14:22,413
THEN EQUIPMENT
FLIPS THE CRACKERS UPRIGHT,
251
00:14:22,413 --> 00:14:25,758
POSITIONING THEM
TO ENTER THE FILLING LINE.
252
00:14:25,758 --> 00:14:28,310
THE PEANUT-BUTTER FILLING
IS READY AND KEPT WARM
253
00:14:28,310 --> 00:14:31,758
SO IT'S SMOOTH AND CREAMY ENOUGH
TO PUMP.
254
00:14:31,758 --> 00:14:33,241
THE TOP CRACKERS
255
00:14:33,241 --> 00:14:36,206
NOW HEAD DOWNWARD
IN A PRECISE CONFIGURATION,
256
00:14:36,206 --> 00:14:37,620
WHILE BELOW,
257
00:14:37,620 --> 00:14:41,068
THE BOTTOM CRACKERS WHIZ BY
THE PEANUT-BUTTER DEPOSITOR.
258
00:14:41,068 --> 00:14:43,896
IT PUMPS
A DOLLOP OF PEANUT BUTTER
259
00:14:43,896 --> 00:14:45,931
ONTO EACH BOTTOM CRACKER.
260
00:14:51,379 --> 00:14:53,379
THE PEANUT-BUTTER-COVERED
BOTTOM CRACKERS
261
00:14:53,379 --> 00:14:56,241
NOW MOVE FORWARD TO MEET UP
WITH THE TOP CRACKERS.
262
00:14:57,586 --> 00:14:59,827
AND AGAIN, WITH PERFECT TIMING,
263
00:14:59,827 --> 00:15:03,655
THE TOP CRACKERS LAND ON THE
BOTTOM ONES IN EXACT ALIGNMENT.
264
00:15:03,655 --> 00:15:07,793
EQUIPMENT SEPARATES THEM
INTO SETS OF THREE
265
00:15:07,793 --> 00:15:09,517
AS THEY HEAD INTO PACKAGING.
266
00:15:09,517 --> 00:15:11,862
PLASTIC WRAP ENVELOPS THEM,
267
00:15:11,862 --> 00:15:15,379
AND A HEAT SEALER
CUTS AND CLOSES THE PACKETS.
268
00:15:17,413 --> 00:15:19,482
SUCTIONING ARMS
COLLECT THE PACKETS
269
00:15:19,482 --> 00:15:22,482
AND TRANSFER THEM
TO CARDBOARD BOXES.
270
00:15:22,482 --> 00:15:27,103
FROM MIXING TO PACKAGING,
IT HAS TAKEN ABOUT 24 HOURS
271
00:15:27,103 --> 00:15:29,758
TO PRODUCE A PACKET
OF SANDWICH CRACKERS.
272
00:15:29,758 --> 00:15:32,000
ONCE IT REACHES
A HUNGRY SNACKER,
273
00:15:32,000 --> 00:15:34,965
IT WILL BE GONE
IN NO TIME AT ALL.
274
00:15:50,379 --> 00:15:54,137
Narrator: A TRADITIONAL DRINKING
VESSEL TYPICALLY USED FOR BEER,
275
00:15:54,137 --> 00:15:56,068
A TANKARD OFTEN HAS A HINGED LID
276
00:15:56,068 --> 00:15:58,517
YOU RAISE AND LOWER
WITH A THUMB LEVER.
277
00:15:58,517 --> 00:16:01,034
DATING BACK
TO 15th-CENTURY ENGLAND,
278
00:16:01,034 --> 00:16:04,724
THEY WERE INITIALLY MADE
OF WOOD, THEN SILVER OR PEWTER.
279
00:16:04,724 --> 00:16:09,793
THE TRADITION OF HAND-CRAFTING
PEWTER TANKARDS CONTINUES TODAY.
280
00:16:09,793 --> 00:16:13,172
THIS MANUFACTURER MAKES
PEWTER TANKARDS IN MANY STYLES,
281
00:16:13,172 --> 00:16:14,517
ONE OF WHICH
282
00:16:14,517 --> 00:16:17,310
HAS THE LEGEND OF THE
KING'S SHILLING ENGRAVED ON IT
283
00:16:17,310 --> 00:16:20,655
AND A REPRODUCTION
OF A SHILLING COIN FROM 1816
284
00:16:20,655 --> 00:16:22,620
ENCASED IN THE GLASS BOTTOM.
285
00:16:22,620 --> 00:16:26,689
EVERY STEP IS DONE BY HAND,
BEGINNING WITH A SHEET OF PEWTER
286
00:16:26,689 --> 00:16:29,034
THAT'S JUST
1/14 OF AN INCH THICK.
287
00:16:29,034 --> 00:16:31,931
USING A PUNCH PRESS,
THEY CUT IT INTO THE SHAPE
288
00:16:31,931 --> 00:16:35,551
REQUIRED
TO FORM THE TANKARD'S BODY.
289
00:16:35,551 --> 00:16:38,965
NEXT, THEY PLACE THE PEWTER ON
A COPPER PLATE THAT HAS ON IT,
290
00:16:38,965 --> 00:16:42,620
IN RAISED LETTERING, THE STORY
OF THE KING'S SHILLING.
291
00:16:42,620 --> 00:16:45,310
THEY FEED THIS
IN BETWEEN TWO ROLLERS
292
00:16:45,310 --> 00:16:46,827
THAT PRESS
THE LETTERING INTO THE PEWTER.
293
00:16:46,827 --> 00:16:50,000
A SOFT METAL, PEWTER
IS COMPOSED MOSTLY OF TIN,
294
00:16:50,000 --> 00:16:52,758
ALONG WITH SMALLER QUANTITIES
OF TWO OTHER METALS --
295
00:16:52,758 --> 00:16:55,931
ANTIMONY AND COPPER.
296
00:16:55,931 --> 00:16:58,724
NEXT, A METALSMITH TAKES OVER.
297
00:16:58,724 --> 00:17:00,482
HE MANUALLY BENDS THE PEWTER
298
00:17:00,482 --> 00:17:03,620
INTO THE CYLINDRICAL SHAPE
OF THE TANKARD'S BODY.
299
00:17:06,448 --> 00:17:08,137
HE BRUSHES ON FLUX,
300
00:17:08,137 --> 00:17:11,482
A CHEMICAL WHICH HELPS
MOLTEN METAL FLOW MORE EASILY.
301
00:17:11,482 --> 00:17:13,310
THEN, WITH A SOLDERING TOOL,
302
00:17:13,310 --> 00:17:16,586
HE FUSES THE EDGES OF THE BODY
WITH PURE TIN SOLDER.
303
00:17:16,586 --> 00:17:19,862
TRADITIONALLY, BOTH THE PEWTER
AND SOLDER CONTAINED LEAD,
304
00:17:19,862 --> 00:17:22,896
BUT TODAY, BOTH ARE LEAD-FREE.
305
00:17:22,896 --> 00:17:26,862
NEXT, THE METALSMITH SLIDES
THE CYLINDER ONTO A STEEL FORM
306
00:17:26,862 --> 00:17:29,344
AND HAMMERS
THE SOLDER SEAM FLAT,
307
00:17:29,344 --> 00:17:31,862
RENDERING IT
VIRTUALLY INVISIBLE.
308
00:17:34,103 --> 00:17:37,068
NOW A SPECIALIZED TRADESMAN
KNOWN AS A PEWTER SPINNER
309
00:17:37,068 --> 00:17:39,448
SLIPS THE BODY ONTO A LATHE.
310
00:17:39,448 --> 00:17:41,827
AS THE LATHE ROTATES,
311
00:17:41,827 --> 00:17:45,241
HE USES A SERIES OF TOOLS
TO SMOOTH THE SURFACE,
312
00:17:45,241 --> 00:17:47,379
TRIM EXCESS
OFF THE TOP AND BOTTOM,
313
00:17:47,379 --> 00:17:51,241
AND TURN THE TOP EDGE OVER
TO FORM A LIP.
314
00:17:51,241 --> 00:17:55,275
NEXT, A BUFFER USES PUMICE
AND A CLOTH BUFFING WHEEL
315
00:17:55,275 --> 00:17:59,482
TO REMOVE IMPERFECTIONS AND
MAKE THE SURFACE SILKY-SMOOTH.
316
00:17:59,482 --> 00:18:02,448
MEANWHILE,
IN THE CASTING DEPARTMENT,
317
00:18:02,448 --> 00:18:05,517
THEY HEAT SOLID PEWTER
TO 465 DEGREES FAHRENHEIT
318
00:18:05,517 --> 00:18:09,965
THEN CAREFULLY POUR THE NOW
MOLTEN METAL INTO A RUBBER MOLD.
319
00:18:09,965 --> 00:18:14,275
INSIDE ARE SEVERAL CAVITIES
FOR SHILLINGS AND LARGE RINGS.
320
00:18:14,275 --> 00:18:17,448
AFTER ABOUT 30 SECONDS,
THE PEWTER SOLIDIFIES,
321
00:18:17,448 --> 00:18:19,448
AND THE PARTS CAN COME OUT.
322
00:18:19,448 --> 00:18:21,551
TO MAKE THE TANKARD'S HANDLE,
323
00:18:21,551 --> 00:18:25,172
THE CASTERS POUR MOLTEN PEWTER
INTO A STEEL MOLD,
324
00:18:25,172 --> 00:18:27,586
THEN TILT THE MOLD
IN ALL DIRECTIONS
325
00:18:27,586 --> 00:18:29,551
TO SPREAD
THE RAPIDLY SETTING METAL
326
00:18:29,551 --> 00:18:31,448
ALL ALONG
THE WALL OF THE CAVITY.
327
00:18:31,448 --> 00:18:34,965
THIS MAKES THE HANDLE HOLLOW
AND THEREFORE LIGHTWEIGHT.
328
00:18:34,965 --> 00:18:37,551
THEY GRIND THE ENDS
ON AN ABRASIVE BELT
329
00:18:37,551 --> 00:18:40,965
SO THE HANDLE WILL FIT FLUSH
AGAINST THE TANKARD BODY.
330
00:18:40,965 --> 00:18:43,103
ANOTHER WORKER, MEANWHILE,
331
00:18:43,103 --> 00:18:46,103
ASSEMBLES
THE TANKARD'S GLASS BASE.
332
00:18:46,103 --> 00:18:48,965
A GLASS DISK,
A SHILLING, A RING,
333
00:18:48,965 --> 00:18:50,586
THEN A SECOND GLASS DISK.
334
00:18:50,586 --> 00:18:52,241
THE RING ACTS AS A SPACER,
335
00:18:52,241 --> 00:18:55,275
CREATING ENOUGH OF A GAP
BETWEEN THE GLASS DISKS
336
00:18:55,275 --> 00:18:58,275
TO ALLOW THE COIN
TO SLIDE AROUND.
337
00:18:58,275 --> 00:19:01,344
HE APPLIES WATERPROOF GLUE
AROUND THE PERIMETER
338
00:19:01,344 --> 00:19:03,517
TO ADHERE EVERYTHING TOGETHER.
339
00:19:03,517 --> 00:19:07,517
NEXT, HE PLACES THIS SHILLING
SANDWICH IN A PEWTER BASE
340
00:19:07,517 --> 00:19:12,000
AND ADHERES A SECOND RING
TO HIDE THE GLUE.
341
00:19:14,827 --> 00:19:16,482
BACK TO THE METALSMITH NOW.
342
00:19:16,482 --> 00:19:21,482
HE DABS THE TANKARD'S BODY ONTO
A PAD IMPREGNATED WITH FLUX.
343
00:19:21,482 --> 00:19:24,827
HE THEN SOLDERS TOGETHER
THE BODY AND BASE.
344
00:19:29,137 --> 00:19:31,103
ONCE THE PARTS ARE ATTACHED,
345
00:19:31,103 --> 00:19:34,000
A FINAL BUFFING
WITH A SOFT FELT WHEEL.
346
00:19:35,448 --> 00:19:39,931
NEXT, THE METALSMITH
DIPS THE HANDLE ENDS IN FLUX
347
00:19:39,931 --> 00:19:42,793
AND SOLDERS THEM TO THE BODY.
348
00:19:42,793 --> 00:19:44,896
TO AVOID
SCORCHING THE TANKARD'S SURFACE,
349
00:19:44,896 --> 00:19:47,586
THIS TIME HE USES
A BISMUTH-AND-TIN SOLDER,
350
00:19:47,586 --> 00:19:50,275
WHICH REQUIRES
A LOWER TEMPERATURE TO MELT.
351
00:19:51,793 --> 00:19:55,172
THE TANKARD
IS NOW FULLY CONSTRUCTED.
352
00:19:55,172 --> 00:19:59,413
THEY CLEAN IT IN A DISHWASHER,
THEN SHINE IT UP.
353
00:19:59,413 --> 00:20:01,586
FIRST,
THE POLISHER DOES THE INSIDE,
354
00:20:01,586 --> 00:20:03,758
USING A ROUGH-GRID
ABRASIVE COMPOUND,
355
00:20:03,758 --> 00:20:06,034
PRODUCING A MATTE FINISH.
356
00:20:06,034 --> 00:20:10,034
THEN HE POLISHES THE OUTSIDE,
USING A FINER-GRID COMPOUND.
357
00:20:10,034 --> 00:20:13,137
THIS PRODUCES
A CONTRASTING MIRROR FINISH.
358
00:20:13,137 --> 00:20:16,068
IN 18th- AND 19th-CENTURY
ENGLAND,
359
00:20:16,068 --> 00:20:19,206
A VOLUNTEER
FOR ARMY OR NAVAL SERVICE
360
00:20:19,206 --> 00:20:21,896
ACCEPTED A SHILLING AS A BONUS
UPON SIGNING UP.
361
00:20:21,896 --> 00:20:24,551
HOWEVER,
VOLUNTEERS WERE IN SHORT SUPPLY,
362
00:20:24,551 --> 00:20:27,344
SO RECRUITERS ARE SAID
TO HAVE VISITED PUBS
363
00:20:27,344 --> 00:20:28,758
AND SLIPPED SHILLINGS
364
00:20:28,758 --> 00:20:31,517
INTO THE PEWTER TANKARDS
OF INEBRIATED MEN,
365
00:20:31,517 --> 00:20:33,172
WHO, UPON THEIR LAST SIP,
366
00:20:33,172 --> 00:20:35,827
DISCOVERED THEY'D BEEN
DUPED INTO SERVING.
367
00:20:35,827 --> 00:20:37,482
IT MAY WELL BE A MYTH,
368
00:20:37,482 --> 00:20:41,517
BUT IT STILL MAKES A DARN GOOD
STORY TO SHARE OVER A PINT.
369
00:20:51,034 --> 00:20:53,896
IF YOU HAVE ANY COMMENTS
ABOUT THE SHOW,
370
00:20:53,896 --> 00:20:56,000
OR IF YOU'D LIKE TO
SUGGEST TOPICS FOR FUTURE SHOWS,
371
00:20:56,000 --> 00:20:58,344
DROP US A LINE AT...
372
00:21:00,827 --> 00:21:03,896
--Captions by VITAC--
www.vitac.com
373
00:21:03,896 --> 00:21:06,862
CAPTIONS PAID FOR BY
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