Common Ground 114 – Two Inlets Saw Mill, Watercolor Artist, Wood Turner

Common Ground 114 – Two Inlets Saw Mill, Watercolor Artist, Wood Turner


>>>PRODUCTION FUNDING FOR COMMON GROUND IS MADE POSSIBLE BY THE MINNESOTA ARTS AND CULTURAL HERITAGE FUND.>>>HI, AND WELCOME TO THIS WEEK’S EDITION OF COMMON GROUND. COMMON CROWNED — GROUND IS A WEEKLY SERIES THAT HIGHLIGHTS NORTHERN AND CENTRAL MINNESOTA CULTURE. EACH WEEK WE WILL EXPLORE THE UNIQUE PEOPLE, PLACES AND EVENTS THAT ARE AN IMPORTANT PART OF OUR REGION. EACH WEEK, WE’LL TAKE VIEWERS ON A JOURNEY OF EXPLORATION INTO THE WORLDS OF ART, HISTORY AND CULTURE. THIS WEEK, GEORGE AND MARIE SHARE THE HISTORY OF THE SAWMILL. JUDITH, A WATERCOLOR ARTIST FROM BEMIDJI SHARES THE TECHNIQUE THAT MAKES HER PAINTINGS GROW.>>>AND TOM LARSON, A WOOD TURNER FROM BRAINERD TURNS A BULL FOR US AND SHOWS US HIS >>>I’M JUDITH SELBY, AND I’M A WATERCOLOR ARTIST, AND I’M GOING TO SHOW YOU MY PROCESS TODAY. THE FIRST THING I DO IS TAKE MY 140 OR 300-POUND PAPER. THIS IS 300 PAPER, AND I GIVE IT A BATH. MY TECHNIQUE IS A SATURATED TECHNIQUE, SO THAT STILL ISN’T ENOUGH WATER EVEN THOUGH I GAVE IT A BATH. THAT JUST GOT ME STARTED SO THAT IT WAS PLENTY WET ON BOTH SIDES SO THAT IT LAYS FLAT AND I GET THE FLOW FOR THE WATER. WATER HAS A STATIC QUALITY. SEE HOW IT SITS RIGHT ON TOP OF THE PAPER AND DOESN’T MOVE, BUT IF YOU LIGHTLY MOVE IT, THERE’S DIFFERENT AMOUNTS OF REFLECTION. WHAT I TRY TO DO TO KEEP THE SPONTANEITY OF MY WATER AND MY PIGMENT IS THAT I ALLOW A LOT OF WATER TO BE OVER THE WHOLE SURFACE SO THAT THE PIGMENT CAN MOVE NATURALLY. WATER HAS — WATERCOLOR IS SO INTRIGUING TO ME BECAUSE WHEN YOU’VE GOT THE FINISHED PICTURE, THERE’S NO SIGN OF THE WATER. IT’S TOTALLY ABSENT. BUT YET YOU HAVE THE PATH AND THE MOVEMENT OF THE WATER AND THE PIGMENT. ONE DAY, I HAD BEEN AT OUR CABIN IN CANADA, AND I WAS GETTING ON THE BOAT TO GET BACK TO THE MAIN LAND, AND THE PAINTING I HAD IN MY HAND THE WIND BLEW INTO THE LAKE, AND EVERYONE THOUGHT OH, SAD, IT’S RUINED. I GRABBED THE PIECE BACK OUT OF THE WATER, PUT IT ON A PIECE OF MACE NIGHT AND — MASON EIGHTH EIGHTH — MAY MASON ITEM AND CARED IT BACK HOME THAT WAY. WHEN THE PAPER FINALLY DRIED, I HAD ANOTHER STAGE UP OF THE IRDECEMBERENTS, SO I INCORPORATED THAT TO MY PROJECT. I WANTED THE WATER TO SOAK IN BUT STILL BE THAT REFLECTIVE MIRROR STAGE. THESE ARE WATERCOLOR PIGMENTS. I’M ACTIVATING THE COLORS. I USE THE MOST TRANSPARENT PAINT I CAN FIND. I START WITH THE LIGHTEST VALUES FIRST. I LIKE TO MOVE AROUND THE PAPER AT THIS STAGE. ANOTHER PART OF MY PROCESS THAT EVOLVED WAS HOW I PAINT. INSTEAD OF SITTING, I’M USUALLY STANDING AND MOVING. AFTER A CAR ACCIDENT MANY YEARS AGO, I THOUGHT I WOULDN’T BE ABLE TO PAINT ANYMORE, AND I HAD TO ADAPT A WAY TO BE ABLE TO CONTINUE THAT, AND I COULDN’T STAND OR SIT IN ONE SPOT BECAUSE OF A NECK INJURY, SO I JUST STARTED WORKING AROUND THE TABLE AND KEPT ON MOVING, AND NOW I CAN STAY IN ONE SPOT, BUT AT THE TIME I COULDN’T. SO I’VE JUST INCORPORATED THAT IN, BECAUSE THAT HAS CREATED A KIND OF EFFECT THAT I LIKE IN MY PAINTINGS. I HAVE NO PRECONCEIVED NOTION ABOUT WHAT I’M GOING TO MAKE THIS INTO YET. I’M JUST APPLYING THE COLOR VERY RANDOMLY. IT’S SPONTANEOUS AND RANDOM. AS THE PIGMENTS FLOW TOGETHER, I BEGIN TO LOOK FOR SHAPES TO HELP ME DETERMINE WHERE I’M GOING TO GO WITH THIS. I LIKE COLOR, SO I PRETTY MUCH JUST START WITH THE PRIMARIES AND LET THEM BEGIN TO COMPLEMENT EACH OTHER. SO THE BLUES START GOING INTO THE GREENS. I PAINT FROM THE HEART AND SOUL. SO IT’S LIKE JUST WHATEVER HAPPENS, HAPPENS. THE TIPPING PART IS REALLY IMPORTANT FOR GETTING THE DIFFERENT COLORS, AND THERE’S A LOT OF MOVEMENT. A LOT OF TIMES, I END UP WITH A LOT OF BLUE BACKGROUND, BUT IN THIS ONE, I WANT — I’M JUST THINKING I’M IN A YELLOW MOOD, SO I WANT TO DO SOME MORE YELLOW. IT’S SO FUN TO JUST WATCH IT CHANGE AS IT MINGLES. THE 300-POUND PAPER HOLDS SO MUCH WATER THAT IT JUST GIVES ME MORE OPPORTUNITY WITH THIS STAGE. WITH THE LIGHTER PAPER, IT DOESN’T STAY AT THE MIRROR STAGE THIS LONG. THERE’S A COUPLE DRY SPOTS. I DON’T KNOW IF YOU CAN SEE THOSE. BUT I’M GOING TO LEAVE THOSE, BECAUSE THAT WILL ADD SOME TEXTURE. I RELY ON HAPPY ACCIDENTS AND BACK BLEEDS AND, OH, THINGS YOU’RE NOT SUPPOSED TO HAVE IN WATERCOLOR. I RELY ON THEM TO HELP GIVE ME INSPIRATION ON WHERE I WANT TO GO. I STILL DON’T HAVE ANY PLAN, WHAT I’M ACTUALLY GOING TO PAINT. SOMETIMES I ADD A LITTLE BIT OF COLLAGE, KIND OF RICE PAPER THAT I’LL PULL APART, AND THAT SHOULD ABSORB THE COLOR. SEE HOW IT’S PULLING THE COLOR IN? , AND IT WILL MAKE INTERESTING SHAPES, AND WE’LL SEE WHAT WE GET. STILL WORKING ON RANDOMNESS. I’M ACTUALLY STARTING TO SEE SOME UMBRELLA SHAPE, SO I’M APPLYING SOME OF THIS TO KIND OF BRING OUT THE UMBRELLA SHAPE. I PROBABLY WILL PULL THIS PAPER OFF WHEN IT DRIES, BUT IT WILL LEAVE TEXTURE AND SHAPES, AND THEN I CAN BUILD MY PROJECT FROM THAT. AND IT WILL KEEP ON CHANGING. I’M THINKING ABOUT — NOT SO MUCH ABOUT WHAT I’M GOING TO MAKE THIS IT INTO BUT WHAT I WANT THE COLORS TO BE DOING AND WHERE I WANT THEM TO GO SO I GET THE DIFFERENT VALUES AND SOME DIFFERENT MIXTURES OF COLOR. LIKE, I WANT THE TURQUOISE TO BLEND WITH THE BLUE HERE, AND I WANT SOME PURPLE TO DO SOME BLENDING OVER HERE. NOW I’M GOING TO DEMONSTRATE LIFTING. IN THE MAT STAGE, I NEED A THIRSTY BRUSH, SO I SQUEEZE OUT MY BRUSH. I’M LOOKING FOR SHAPES THAT I WANT TO ENHANCE. THIS IS THE FIRST THAT I’M ACTUALLY PUSHING MY BRUSH INTO THE PAPER. THE RAG AND THE — THERE’S 100% RAG AND THE PAPER, AND THE RAG WORKS WITH THE COLOR AND THE WATER TO GET THE COLORS I WANT. WHAT I’M LOOKING FOR HERE IS I JUST WANT TO START BUILDING SOME CONTRAST FROM LIGHTS TO DARKS AND A FEW OF THE SHAPES. THE PIGMENT AND THE WATER AND THE PAPER RIGHT NOW HAS GOTTEN TO THE POINT WHERE I HAVE TO LEAVE IT ALONE OVERNIGHT. MY FOCUS ISN’T ON THE FINISHED PROJECT. IT’S THE PROCESS THAT I ENJOY SO MUCH. I PAINT FROM MY HEART, NOT FROM MY MIND, AND I ALLOW THE SPONTANEITY OF THE ELEMENTS WORKING TOGETHER IN A NATURAL WAY TO ACHIEVE WHERE I’M GOING >>>I’M TOM LARSON, AND THIS IS MY SHOWROOM OF MY STUDIO. I’M IN BRAINERD, MINNESOTA, AND I’M A WOOD TURNER. I’VE BEEN DOING THIS FOR ABOUT 16 YEARS. I DO IT FULL TIME. THIS IS MY BUSINESS. IT’S CALLED TURNING TRAIL, BUT NORMALLY I GO TO ART SHOWS ACROSS THE COUNTRY. I DO ARTS IN THE PARK IN BRAINERD, THOUGH, BY THE WAY, AND I’VE ALSO DONE THE BEMIDJI ART SHOW IN THE SUMMERTIME. BUT I’VE DONE A LOT OF SHOWS IN MINNESOTA, BUT I GO ALL OVER THE WHOLE COUNTRY TO FINE ART FAIRS, AND IT’S A PRETTY FUN HOBBY. IT’S ONE OF THE FUNNEST THINGS I’VE EVER DID IN MY LIFE. I HAD A PET SHOP IN BRAINERD FOR 32 YEARS, AND I STARTED DOING THIS IT IN 1993, AND I DON’T HAVE THE PET SHOP ANYMORE, BUT I’M STILL DOING THIS, AND THIS IS PRETTY FUN. WE JUST TOOK THIS FROM THE WOOD PILE. WE’RE GOING TO CUT THIS INTO A SECTION. WE’RE GOING TO MAKE A SECTION ABOUT THE SAME WIDTH AS THE DIAMETER, AND THEN WE’RE GOING TO MAKE A NATURAL EDGE BOWL OUT OF THIS. OKAY. NOW WE HAVE A LOG THAT’S THE SAME DIAMETER AS IT IS WIDTH. NOW I’M GOING TO CUT THIS PIECE IN HALF. I’M GOING TO CUT IT ACROSS THE TOP LIKE THIS, AND THEN WE’RE GOING TO TAKE THE BOWL OUT OF THE SIDE OF THE PIECE NOT OUT OF THE TOP OF THE ROUND LIKE. THAT SO I’M JUST GOING TO CUT THIS RIGHT IN HALF LIKE SO. A FIFTH OF THE LOG, THE CENTER OF THE LOG, WE DON’T WANT THAT IN THE LOG. THIS IS THE CENTER OF THE LOG RIGHT HERE. WE WANT THAT OUT OF THERE. SO THIS IS THE PIECE WE’RE NOT GOING TO USE. THIS IS THE PIECE WE’RE GOING TO USE SO THAT THERE’S NO CENTER RIGHT HERE. I HAVE ALL THESE DIFFERENT SIZE CIRCLES MADE, SO WE’LL PUT THAT RIGHT UP ON HERE. WE CAN’T SAW IT THIS WAY, CAN’T SAW IT UPSIDE DOWN ON THE BAND SAW LIKE THIS, CAN’T DRAW A CIRCLE HERE LIKE THIS, BECAUSE WHEN WE START CUTTING IT ON A BAN SAW, IT WANTS TO RIP AND ROLL THAT LOG. WE WANT TO PUT IT IN THE TOP SIDE, PUT A NAIL IN HERE LIKE SO, AND THENLY TAKE IT TO THE BAND SAW, AND HAVE I A FLAT BASE ON THE BOTTOM, SO I CAN TAKE THIS LIKE THIS AND ROLL AROUND. WE’RE GOING TO CUT THE CORNERS OFF SO IT’S LESS WORK WHEN WE TRAY TO PUT IT ON THE THE LATHE AND WE DON’T BEND OUR TOOLS EVERY TIME WE GO AROUND THE CORNER, EVERY TIME IT SPINS AROUND. THIS IS ALL FIREWOOD. WE’LL PUT IT IN THERE. NOW WE HAVE A CIRCLE. WE HAVE A PIECE OF WOOD, THE BOWL. THIS IS GOING TO BE THE TOP OF THE BOWL. THIS IS GOING TO BE THE BOTTOM OF THE BOWL. WE CALL THIS A NATURAL EDGE PIECE. IT WILL HAVE THE BARK ON IT. WE COULD MAKE IT THE OTHER WAY, HAVE THIS AT THE TOP, AND IT WOULD BE A NATURAL BOWL, BUT I CHOOSE TO DO A NATURALLY EDGED PIECE THIS TIME BECAUSE IT’S KIND OF COOL, AND IT LOOKS KIND OF LIKE AN OBLONG PIECE WHEN WE GET IT DONE. WHEN I CUT THE CIRCLE, I PUT THAT NAIL IN HERE, AND THAT WAS THE CENTER OF MY PIECE. NOW I’M GOING TO TAKE THIS DRY CENTER HERE AND PUT THAT RIGHT ON THAT HOLE WHERE THE NAIL WAS, BASH IT IN THERE WITH MY HOMEMADE CLUB THAT YOU SEE IS VERY WELL USED, AND WHAT I’M GOING TO DO THERE IS PUT THAT HERE AND THEN I’M GOING TO TAKE THIS PIECE AND PUT IT INTO THIS UNIT AND TIGHTEN IT UP. I COULD PUT IT RIGHT INTO THE HEAD STOCK, BUT I CAN ALSO USE IT IN THIS. NOW I CAN TAKE THIS PIECE HERE. THIS IS THE TAIL STOCK. WE PUT IT UP THERE, AND WE PUT THAT NOT ONLY FOR SAFETY, BUT BECAUSE YOU HAVE TO HAVE IT BETWEEN CENTER SO I CAN SHAPE IT. PEOPLE ALWAYS ASK HOW FAST YOU GO. I GO AS FAST AS I CAN, BUT IF I SEE THE LATHE START TO SHIMMY OR SHAKE, I TURN IT BACK DOWN WHEN IT GETS THAT SPEED BECAUSE IT’S TOO FAST. I CHECK IT NOW AND SEE WHERE WE’RE AT. JUST ABOUT EXACTLY RIGHT. I SHOULD BALANCE THIS A LITTLE BIT MORE THIS WAY. I DON’T WANT THE SIDES TO — WANT THEM TO BE EVEN UP ON EACH SIDE. MOVE THAT OVER. TIGHTEN IT. I WANT TO BE ABLE TO HOLD THIS BOWL, PUT THE TAILS IN THERE IN CASE I BREAK ONE BUT ALSO FOR VISUAL REFERENCE. I HAVE TWO OF THEM. I USUALLY HAVE A VISUAL REFERENCE SO I DON’T GO THROUGH THE BOTTOM WHEN I FINISH. THESE TWO HAVE TO BE PRETTY ACCURATE, PRETTY SMOOTH BECAUSE THIS IS WHAT SHOWS HOW MUCH WOBBLE THERE IS WHEN I TURP — TURN IT AROUND. THIS, BY THE WAY IS A BLACK ASH BOWL. THIS TREE WAS 165 YEARS OLD. WE JUST COUNTED THE RINGS WHEN WE TOOK IT DOWN. IT CAME FROM ABOUT FOUR FOOT IN FRONT OF MY SHOP RIGHT HERE. NOW I’M GOING TO SHAPE IT A LITTLE BIT MORE. YOU CAN’T REALLY SEE WHAT YOU’RE CUTTING. IT LOOKS LIKE YOU’RE LOOKING AT AN AIRPLANE PROCEED — AIRPLANE PROPELLER GOING ROUND AND ROUND, SO YOU JUST CUT WHAT YOU CAN SEE. THERE WE GO. NOW WE HAVE A NICE ROUND, PRETTY MUCH ROUND BOWL WITH WINGS ON IT. SHAPE THAT UP JUST A LITTLE BIT. WE’RE GOING TO PUT THIS IN THE KILN TO DRY. IT THE BEST WAY IS EITHER AIR DRY THEM OR I PUT THEM FROM A REFRIGERATOR KILL INAND — KILN AND LET THEM DRY AT ABOUT 100 DEGREES. HERE IS THE CENTER OF MY PIECE. I’M GOING TO MAKE A LITTLE PILOT HOLE, A HOLE ABOUT LIKE THAT. NOW I’M GOING TO MAKE A DEPTH HOLE. I’M GOING TO TAKE A DRILL BIT, AND I’M GOING TO MEASURE THE DEPTH OF THIS, HOW DEEP I WANT TO GO. AND I WANT TO GO ABOUT RIGHT THERE FOR THE BOTTOM, SO I WILL GO RIGHT TO THERE, AND I WILL GO IN THAT FAR TO THE EDGE OF THE BARK. I’M GOING TO TURN THIS ON, AND I’M JUST GOING TO HANDLE THIS BY MY HAND AND STICK IT IN THERE LIKE THAT AND KEEP IT CLEANED OUT. WHEN I GET TO THE CENTER, I WANT TO STOP. IT WILL KICK BACK LIKE THAT. THAT’S WHERE I WANT THE BOTTOM TO BE. NOW I’M GOING TO TAKE A WOOD SCRAPER, A BOWL SCRAPER, AND I’M GOING TO COME IN HERE LIKE THIS. THIS BOWL IS DONE, ALL ROUGHED OUT, READY TO PUT IN THE KILN OR TO PUT IN A PLACE TO LET IT DRY. IT SHOULD DRY FOR, LIKE I SAID, IN A KILN MAYBE A MONTH, OTHERWISE ON THE FLOOR OR IN A PAPER BAG OR SOMETHING UP TO A YEAR’S TIME UNTIL YOU CAN TURN IT AGAIN. THIS IS ABOUT THREE QUARTERS OF AN INCH THICK. WHEN WE HAVE A FINISHED BOWL, IT WILL PROBABLY BE ABOUT THREE 16THS TO A QUARTER INCH. ANYWAY, NOW I CAN TAKE THIS OFF THE LATHE, AND I CAN JUST SEAL THE ENDS HERE, SEAL THIS WITH A GREENWOOD SEALER, WHICH IS A WAXED BASED FINISHED, AND I’LL SEAL THIS RIGHT HERE, AND THENLY PUT IT IN MY REFRIGERATOR KILN OVER THERE, AND LEAVE IT SET. THIS IS A KILN. ALL IT IS IS AN OLD REFRIGERATOR WITH HOLES DRILLED IN THE BOTTOM AND ON TOP AND A 25-WATT LIGHT BULB IN HERE. IF IT’S A GREAT BIG REFRIGERATOR, YOU NEED A 40-WATT LIGHT BULB. THE TEMPERATURE IS AROUND 97 TO 100 DEGREES. THE STUFF SETS IN HERE, AND WITHIN ABOUT A MONTH, IT WILL ALL BE DRY. THAT’S THE CHEAPEST KILN YOU CAN FIND RIGHT NOW. THIS IS THE SHOWROOM IN HERE. THESE ARE PIECES THAT ARE DONE, AND READY FOR ME TO TAKE OFF. I’M GOING TO AN ART SHOW NEXT WEEK IN SCOTTSDALE, ARIZONA, AND THIS STUFF WILL ALL BE GONE, OUT OF HERE NEXT WEEK. THE WOOD DOESN’T HAVE TO COME FROM A LONG WAYS AWAY TO BE PRETTY. YOU CAN GET IT FROM ALMOST ANYWHERE, BUT YOU WANT TO FIND A PIECE OF WOOD THAT’S GOT SOME CHARACTER, A PIECE OF THE TREE THAT’S ALL WAVY OR SOMETHING, JUST STRAIGHT GRAIN LUMBER, STRAIGHT GRAIN WOOD IS NOT REALLY PRETTY BUT COULD BE VERY FUNCTIONAL BUT NOT VERY PRETTY. YOU CAN MAKE ANYTHING. IF YOU HAVE A LITTLE CREATIVE ABILITY TO THINK ABOUT SOMETHING, YOU TAKE A ROUND PIECE AND MAKE IT INTO SOMETHING THAT’S ROUND BUT STILL DIFFERENT, AND THAT’S THE HARD PART, TRYING TO FIGURE OUT HOW MANY MORE DIFFERENT ONES YOU CAN MAKE. AND THEN YOU WANT TO MAKE THEM AS BEST AS YOU CAN MAKE THEM. YOU WANT TO MAKE THEM WITH A NICE FINISH. THEY NEED TO FEEL GOOD. THEY NEED TO BE KIND OF BALANCED. AT LEAST THAT’S WHAT I PRIDE MYSELF IN DOING, THE BEST I CAN DO WITH EVERY PIECE OF WOODY PUT ON THE LATHE. I ALWAYS LIKE A CHALLENGE OF SOME SORT, AND I ALWAYS CHALLENGE MYSELF TO SEE IF I CAN MAKE SOMETHING BETTER AND FASTER. I HAVE THIS FASTER THING THAT I NEED TO MAKE IT FAST, BUT ACTUALLY FAST DOESN’T MEAN ANYTHING. YOU CAN MAKE THE SAME PIECE SLOW. IT’S JUST THAT I LIKE TO DO THINGS AS FAST AS I DO THEM AND STILL DO THEM GOOD. IF YOU CAN’T DO THEM GOOD, I DON’T WANT TO DO THEM FAST. I THINK THE BEST PART OF THIS HOBBY IS YOU CAN CREATE A PIECE IN ONE EVENING OR IN ONE AFTERNOON OR IN ONE DAY. SO YOU KIND OF GET INSTANT GRATIFICATION. IT’S LIKE WOW, I DID THIS. I MADE THIS IN ONE DAY OR TWO HOURS OR WHATEVER IT TAKES YOU TO MAKE. IT IS SOMETHING COOL. YOU DON’T SIT AND WAIT FOR GLUE TO DRY. YOU’RE NOT MAKING A CABINET WHICH TAKES WEEKS. YOU HAVE THAT ACCOMPLISHMENT, THAT SENSE OF ACCOMPLISHMENT RIGHT AWAY, AND WHEN YOU PUT THAT FIRST COAT OF FINISH ON IT, YOU SAY, LOOK AT THIS, IS THIS EVER COOL, AND THEN YOU SET IT ASIDE AND START ANOTHER ONE. THAT’S WHAT I LIKE ABOUT IT ANYWAY, YOU DON’T HAVE A TO HAVE A LOT OF PATIENCE TO WAIT FOR THINGS. >>>WE MOVED OUT THERE. WE WENT TO SCHOOL AND BUILT A LOG HOUSE AND MOVED WHEN YOU COULDN’T AFFORD TO MOVE. IN OTHER WORDS, THE — WE DIDN’T HAVE ENOUGH MONEY TO FINISH THE JOB. ANYWAY, THE HOUSE CAUGHT FIRE AND BURNT DOWN, AND WE LOST IT FOR TAXES. ONE THING WENT FROM THERE TO ANOTHER. THE MILL, WELL, THE MILL THAT STARTED HERE STARTED BY ITSELF. TURN OF THE CENTURY, HAD A WATER MILL GOING. THE NORMAL, WHATEVER THE LOGGING PROCEDURES CALLED FOR, THAT’S HOW WE DONE THINGS IN THEM DAYS, AND THEY WEREN’T VERY CAREFUL ON WHETHER THEY WASTED THE LOG OR NOT. WELL, LIKE ME, IF — THERE’S ONE THING I DONE THERE THAT WOULDN’T FIT IN WITH THE REST OF THEM. I DECIDED I WAS GOING TO RAISE A FAMILY HERE, SO I HAD TO MAKE MYSELF WORK YEAR-ROUND.>>LIKE I SAY, WE’VE BEEN NEIGHBORS, AND WE JUST — I DON’T KNOW, ONE THING LED TO ANOTHER, AND ALL OF A SUDDEN WE DECIDED IT’S TIME TO GET MARRIED, SO WE’VE BEEN MARRIED 56 YEARS THIS PAST FALL. AND AT TIMES I USED TO WONDER, ARE WE GOING TO MAKE IT? WELL, HE STARTED THE FIRST OF IT IT IN 1966, WHEN WE LIVED OVER ON THE OTHER PLACE, AND THEN WE BOUGHT THE FARM HERE AND MOVED IT OVER HERE, WENT INTO PARTNERSHIP, AND IT JUST KIND OF TOOK OFF.>>WELL, I WAS GOING TO SAY THAT WHAT I HAD TO DO IS FIGURE OUT A WAY TO MAKE A YEAR-ROUND YEAR, AND THAT SOUNDS KIND OF STUPID, BUT IN THE SPRING OF THE YEAR, IF YOU’RE IN THE LOGGING BUSINESS, THERE’S NOTHING FOR YOU TO DO. YOU CAN’T HAUL ANYTHING, WELL, BEYOND A FEW STATES, SO I GOT THIS OLD MILL HERE TO KEEP ME BUSY, BUT YOU DIDN’T EVER KNOW — WHAT I WANTED TO RUN IT WAS SOMEWHERE AROUND THE FIRST OF APRIL, SOMEWHERE, BECAUSE I WANTED TO DO SOMETHING THE REST OF THE TIME. I HAD TO DO SOMETHING WHEN THE ROAD WOULD BREAK UP. OUTSIDE OF THAT, IT TOOK CARE OF ITSELF. BUT WHEN THE ROAD BREAKUP WAS ON, I HAD TO FIGURE OUT SOMETHING TO DO. WHAT I DONE HERE, I GOT THIS OLD MILL. PETE AND JOHN HAD IT. YOU DON’T KNOW PETE AND JOHN, BUT THEY LIVED UP IN THE NORTHWEST CORNER OF THE PRAIRIE, HAD A STEAM ENGINE AND HAD THIS OLD MILL THAT THEY COBBLED UP. I BOUGHT THAT. I DIDN’T NEED A BIG — WELL, IT WAS AN OLD TIME MILL. I NEEDED FROM ROAD CLOSING TO ROAD OPENING. IF YOU WOULD HAVE TOLD ME THAT YEAR AFTER YEAR, SOME YEARS I WOULD NOT EVEN HAVE STARTED IT, BUT THEN I DON’T KNOW WHEN THAT’S GOING TO BE. LATER ON, WE BOUGHT THE PLANTERS SO WE COULD PLANT LUMBER AND SELL IT. WE BOUGHT THAT IN LATER YEARS. HENRY FORD, THAT CAME OUT OF HIS FACTORY AT ONE TIME, THAT PLANTER WE’VE GOT BACK THERE. IT WAS ONE OF HIS PLANTERS THAT WAS IN HIS FACTORY. THAT WAS BACK WHEN THEY STILL MADE CAR WHEELS.>>OUT OF WOOD?>>OUT OF WOOD. THAT WAS THE MAIN THING. YOU COULD SELL ALL THE FIELD WOOD THAT YOU COULD MAKE. IN THEM DAYS, PROBABLY THE BIG IMPORTANT THING WAS SALES. YOU HAD TO SELL IT. IF YOU COULDN’T SELL IT, IT WAS NO GOOD TO YOU.>>WELL, WE STARTED THE MILL FIRST, AND IT WAS QUITE A FEW YEARS LATER THAT WE BUILT THE PLANTER SHED AND THEN PUT IN THE PLANTER, BECAUSE OUR SAWYER LAWYERS TO TINKER, AND HE HAS REBUILT THE MILL, AND HE’S PUT IN A LOT OF IMPROVEMENTS, AND HE’S EVEN PUT IN A WOOD CHOPPER THAT CHOPS THE SLAB WOOD. HE’S VERY GOOD AT WHAT HE DOES. IT’S MUCH IMPROVED. WELL, IN, WHAT, ’66 TILL ’09, THAT’S A LOT OF YEARS. IT WAS AT TIMES KIND OF TOUGH, BECAUSE THE THING WAS — THE MARKET WAS VARIABLE, AND TIMES WERE KIND OF TOUGH. YOU FIGURED OUT WHAT WAS MOST IMPORTANT, AND WE PUT THREE KIDS THROUGH COLLEGE, AND THE OTHER TWO SET THEY ALWAYS WENT THROUGH THE SCHOOL OF HARD KNOCKS, BUT NO, OUR KIDS HAVE DONE WELL. >>>THANK YOU SO MUCH FOR JOINING US. WE HOPE THAT YOU ENJOYED TONIGHT’S SHOW, AND WE LOOK FORWARD TO SEEING YOU NEXT WEEK RIGHT HERE ON COMMON GROUND. IF YOU HAVE A SEGMENT IDEA FOR COMMON GROUND, PLEASE CONTACT US AT LEGACY AT LPTV ORG OR CALL US AT (218)333-3022. >>>TO ORDER INDIVIDUAL SEGMENTS OR COPIES OF COMMON GROUND PLEASE CALL (218)333-3020.>>>PRODUCTION FUNDING FOR COMMON GROUND IS MADE POSSIBLE BY THE MINNESOTA ARTS AND Captioning provided by
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