July 8, 2025 • 41 mins
In this episode of Home in Progress by RepcoLite, host Dan Hansen, dives into intriguing 4th of July-themed topics. First, Hansen debunks common misconceptions about colonial-era homes, revealing that many interiors were more vibrant and colorful than typically imagined. He discusses how preservation experts have used advanced techniques to uncover the bold hues used in historical American homes, including details about the Williamsburg palette created by Benjamin Moore. Then, Hansen provides a comprehensive look at the life of Paul Revere, highlighting his diverse roles as a silversmith, dentist, engraver, and copper manufacturer. Revere's story also includes his famous midnight ride, his contributions to the American Revolution, and his lasting impact on American industry. Hansen ties these historical anecdotes to a broader theme encouraging the 'maker's mindset,' urging listeners to approach their home improvement projects with curiosity and a willingness to learn.RESOURCES
CHAPTERS00:00 Welcome to Home In Progress01:59 Colonial Colors: A Vibrant History10:49 Paul Revere: The Man Behind the Legend21:34 The Sons of Liberty and the Punch Bowl23:10 Paul Revere: The Revolutionary Silversmith24:05 Paul Revere's Unexpected Dental Career26:56 The Midnight Ride of Paul Revere29:02 Paul Revere's Role in Wartime Manufacturing31:15 The Penobscot Expedition: A Military Catastrophe33:32 Paul Revere's Industrial Legacy36:09 The Maker's Mentality: Lessons from Paul Revere39:22 Conclusion and 4th of July Wishes
CHAPTERS00:00 Welcome to Home In Progress01:59 Colonial Colors: A Vibrant History10:49 Paul Revere: The Man Behind the Legend21:34 The Sons of Liberty and the Punch Bowl23:10 Paul Revere: The Revolutionary Silversmith24:05 Paul Revere's Unexpected Dental Career26:56 The Midnight Ride of Paul Revere29:02 Paul Revere's Role in Wartime Manufacturing31:15 The Penobscot Expedition: A Military Catastrophe33:32 Paul Revere's Industrial Legacy36:09 The Maker's Mentality: Lessons from Paul Revere39:22 Conclusion and 4th of July Wishes
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
Hey everyone, and welcome to Home in Progress, brought to
you by Repcolite Paints and Benjamin Moore. I'm Dan Hansen,
and this is the podcast where we talk about homes,
the people who shape them, and the projects that make
them better. Eventually. You know, whether you're deep in a remodel,
maybe you're halfway through a fix it job, or you know,
who knows what, Maybe you're just looking for a little inspiration.
(00:22):
Wherever you're at in the grand scheme of things, you're
in the right place. And right off the bat, I apologize.
I was out of coffee today and out of the
normal coffee that I make, and so I grabbed a
bag of coffee that my son, my eldest son, had purchased,
and I made that up and I drank that down.
(00:44):
And now my head is pounding, and I looked on
the bag to figure out what is going on. This
is strange. There is so much energy coursing through my veins.
It's like it's like I'm seeing the entire universe playing
out in front of me, and I feel like I
can interact with all parts of it. I feel all powerful,
and that's not normal. I don't normally feel that when
(01:06):
I drink coffee. So I looked to see what did
I drink, and it's apparently coffee that has four, five, six.
I can't remember seven times the amount of caffeine of
a normal cup of coffee. So I know I already
talk like a crazy person. I can only imagine what's
in store for you. I am trying desperately to rain
(01:29):
my horses in. You know, my horses are running, My
horses are going crazy. I'm trying to rein them in
and slow my mouth down. But I do apologize in
advance if I am unable to control those wild beasts. Anyway,
Home in Progress, that's what you're listening to. I talked
about it last week. I'll mention it briefly again. I've
changed the name of the show. It's going to be
(01:50):
same old content as the Repolite Home improvement Show. So
no improvements there, same old thing, just a different wrapper,
a different package. All right, Home in Progress on the
show this week. I want to do what I've done
for the past few years, and I want to take
a deep dive into Fourth of July related topics. You know,
there are some home improvement takeaways in all of this,
(02:11):
but really these are just fun. I had a lot
of fun with the topics today. Now I've got two
of them picked and coming up in a little bit.
We're going to get to one where I take a
deep dive into Revolutionary War hero Paul Revere. Now, I
don't know what you think you know about the man,
the myth, the legend, Paul Revere, but I can pretty
much promise you that I'm going to surprise you with
(02:32):
at least a few things. It's a lot of fun
that's coming up in a bit. But right now, if
I asked you to picture a colonial era home, say
something from the seventeen hundreds, what do you see? What
do you imagine? Plain white clapboard house, maybe black shutters,
maybe a weathered red barn sitting somewhere nearby. What about
the interiors? You know? Do you picture calm muted, conservative
(02:53):
color schemes. Well that's the image that a lot of
us carry, but it's not the full story. Colonial America
was more colorful than we usually give it credit for.
In fact, the colors people used were sometimes far bolder
and far more vivid than we'd expect. And it's not
just theory. In recent years, preservation experts from the Colonial
Williamsburg Foundation, which is the organization behind the Living History
(03:17):
site in Virginia. They've been using microscopes, they've been using
chemical analysis and all of those things to examine old
paint layers, and what they found under the centuries of
fading and layered paint is really surprising. They're finding bright blues,
deep greens, rich ochres, even emerald tones, and these findings
are reshaping all of our assumptions about colonial interiors. You know,
(03:41):
we've talked about this on the show before, probably I
think it was a couple years ago, maybe three years
ago or more. We talked about the bright chrome yellow
that Thomas Jefferson used to paint the dining room at Monticello.
It was loud, it was bold, and it definitely wasn't
the Wedgewood blue color that previously we had thought he
painted that room. It was really really interesting stuff, but
(04:03):
that kind of vibrancy wasn't available to just anybody. You know,
the colors that we see now in high end restorations
came from pigments that were either imported or really really
costly to produce. Prussian blue, for example, popular color amongst
the wealthy but it had to come from Europe verdigree.
You know, a green was made by suspending copper over vinegar,
(04:25):
which was incredibly time consuming and expensive, you know, just
a lengthy process to get to that color. Wealthier homeowners
they could afford those materials, and they could afford the
labor and the time that it took to apply multiple
coats on their walls. So they got the rich green parlors,
the deep blue hallways, you know, the yellow dining rooms,
all of that. But if you were an average tradesman
(04:47):
or farmer, you know, you're an average joe, you know,
you just you're cutting the mustard. But that's about all
you're cutting, you know, if that's you, your options were
way more limited and a lot more local. You know,
paint wasn't cheap, even the basics like linseed oil that
came at a cost. So in many rural homes, especially
early on, the walls were left unpainted, or if they
(05:09):
were coated, it was often with something really simple, you know,
homemade mixtures using whatever they had on hand. You know,
iron oxide, for example, they got red from that. It's
basically rust. They gathered rust and put it in linseed
oil and there you go, you've got red paint, yellow ochre,
or raw umber. They used those materials for warm, earthy
(05:29):
yellows and browns. Carbon black came from charred wood, lime whitewash.
It was simple, really cheap to make, widely used, but
it really required a lot of maintenance. It wasn't durable
at all. These colors that they had weren't selected for style,
you know, they weren't finding just the right carbon black,
just the right iron red oxide. They were chosen because
(05:52):
they were there and somebody was saying, you got to
use something. Use that mud over there. It's going to
make a nice brown for you. So they're warm, they're practical,
they were, and in many cases the goal wasn't to
decorate something. It was to protect something. These coating sealed
wood and help preserve structures from the weather. And the
fact that they added color was more or less incidental,
(06:13):
you know, not a big part of the process. When
it comes to process. Let's talk about making the paint
a minute, just briefly. How did they do that? How
did they get all of that stuff together? Well, they
did it right at home. There were no repcholites making
paint for them. No fandecks to choose from. If you
wanted to add color to your world, basically you had
to go dig something up in the yard, grind the
(06:34):
pigments yourself, and then you're stirring it into oil. I
mentioned linseed oil earlier. You're stirring it into that, into milk,
into lime. It's a messy, labor intensive process, and as
an aside, it was crazy unpredictable. You know, one batch
might go on smooth and dry evenly and be this
or that color. The next batch that you make using
(06:55):
what you thought were the same ingredients might function differently,
might have an entirely differ diferent color. You know, who knew,
you didn't know. It was a crapshoot. Still, for those
who could afford it, color was more than a coding.
It was a message. Right, So that bright white house
that we might picture it wasn't about simplicity. You know,
we tend to sometimes think, oh, they went white because
(07:15):
they're you know, being modest or being simplistic or something
like that. You know, just streamlined. No, if you had
a white house, especially an immaculate white house, it meant
you had the means to reapply that whitewash regularly. Like
I said, it didn't last. It wasn't a durable product,
so it had to be reapplied regularly. If you could
do that and keep the house looking good, you had
(07:35):
some money. That was what that said. If you had
a rich yellow or a blue somewhere, that meant imported
pigments had to come in. It meant skilled labor was involved. Again,
it meant you had money. In colonial America, color wasn't
just esthetic. It wasn't just about setting the mood or
the tone for a room that happened. That was part
of it, but it was also a way telling your
(07:56):
neighbors what kind of cash, what kind of resources you had,
acts to what you valued where you stood, you know,
in the economic scheme of things. But even the most
expensive eye popping colors didn't stay that way over time.
They changed verdigree, for example, it darkened when exposed to sunlight.
Prussian blue often faded towards gray or green. Linseed oil
(08:19):
yellowed as it aged. Go ahead and add decades of
weather and wear, and many of those original colors became
nearly unrecognizable. So part of the reason that we now
imagine colonial homes as drab or colorless is because we're
not seeing what was originally there. We're seeing what's left behind,
you know, after centuries of change, but not what was
(08:39):
originally there. And so when these restoration projects took off
in the early nineteen hundreds, many of them leaned into restraint,
soft white sage greens, grays, things like that. The choices
felt historic, but it turns out they weren't always accurate.
Now that we've got better tools and a little scientific
detective work that we can do, we're beginning to set
(09:00):
the record straight. Paint analysis and pigment research from institutions
like Colonial Williamsburg we mentioned them earlier, they've helped us
reconstruct historically accurate palettes, sometimes down to the exact mix
of ingredients. Benjamin Moore even partnered with Colonial Williamsburg to
create a color collection based on these findings. Their Williamsburg
(09:21):
Palette includes soft creams, smoky greens, rich browns, saturated blues.
All colors pulled from original paint chips, from plaster fragments,
from wallpaper samples. They're not just guesses, they're evidence based
recreations of what eighteenth century America really look like. And
I love that That is so interesting to me because paint,
you know, something we so often think about as a background,
(09:43):
is actually a bit of a time machine. It tells
us who we were, what we had, you know, and
what we thought mattered. It reminds us that even the
simplest design choice, what color to put on the walls,
it really at the grand scheme of things, that is
a pretty simple choice compared to all the other things
that go into decor and designing a home. Even that
simple choice, though, was loaded with meaning. So yeah, some
(10:07):
colonial colors, they were quite colorful. Some were even stunning,
you know, incredibly vivid other areas. Other homes were completely uncoded,
or if they were coded, they were coded with whatever
a family could make by hand. But each one of
those colors, everything that went on anywhere, tells a story.
And now, thanks to science, we're starting to see these
stories a little more clearly. It's really interesting, definitely something
(10:30):
to dig into a little further, and by all means
go back in time. I'll put a link in the
show notes, but go back in time and find our
discussion on Thomas Jefferson's Monicello. We dig into a little
more of the science behind discovering that color. It's really
really interesting. Go check that out. All right, that's enough
of that. Now I want to talk about Paul Revere,
(10:51):
the man, the myth, the legend. There is so much
more going on with Paul Revere than you probably know,
and we're going to get to that after this. You're
listening to Home in Progress, real projects, real life, and
a little bit of paint on your hands, in your eyes,
in your hair, on your shirt everywhere. Home in Progress
is sponsored by Repcolite Paints and Benjamin Moore, offering expert advice,
(11:14):
premium paint, and all the tools you need to keep
your home moving forward. And we're back. You're listening to
Home in Progress, sponsored by Repcolite Paints and Paints, Repcolite
Paints and Benjamin Moore, and we're working our way through
another Fourth of July extravaganza. I love the fourth of July.
I get so giddy that my voice breaks. That's what
(11:35):
happened earlier. It's not that I'm you know, still growing
into a real boy. It's because I'm just that excited. Anyway.
I love the fourth of July. I think because of
its close connection to the American Revolution. You know, I'm
not a big fireworks fan or all of those things.
I like grilling hot dogs, I like having a day off.
But I think the biggest reason I'm drawn to the
(11:57):
Fourth of July is just, you know, the connection that
it has to the American Revolution. Ever since I was
a little kid, the little Danny always loved reading about
George Washington, Valley Forge, Ben Franklin and all of those people.
It's an amazing period in our history. And there's just
something about how all of these people, you know, we're
in the right place at the right time. It's amazing.
(12:20):
And yes, I'm well aware that they were all flawed
individuals in one way or another. You know, they weren't perfect.
They made mistakes like the rest of us make. But
still there's still something really interesting in the fact that
they were all there at the right time, you know,
all there together. I read something interesting the other day.
The average written constitution around the world lasts about seventeen
(12:43):
to nineteen years before it has to be replaced or
significantly revised. By that standard, the US Constitution is practically ancient,
since it's been in place since seventeen eighty nine, making
it not only one of the oldest written national constitutions
still in use, but the most influential, you know, especially
considering that it's governing such a large, diverse, and ever
(13:06):
evolving country and has done so for over two centuries.
Now realizing that the people needed to craft that document
all happened to be in the same place around the
same time, it's pretty amazing. It's a great, great human story.
I love it. And right now I want to look
at one of these characters, one of these characters from
the Revolutionary War, not so much from drafting the Constitution,
(13:28):
but just from the Revolutionary War period. I want to
look at one of these guys, Paul Revere. Now, when
you hear the name Paul Revere, I'm betting that you're
thinking of a guy in a horse riding through the
Massachusetts countryside, hollering the British are come in, the British
are come in. And then he's getting you know, shushed
shy by ladies with their babies or old men who
(13:49):
you know, just got up to go to the bathroom
and they're trying to get back to sleep and they
don't want to hear this stuff. But Paul Revere is
just riding through. That's probably the image in your mind.
You know, that's one of those images that's burned into
our minds from an early age, and whether we know
it or not, it's largely there because of Henry Wadsworth
Longfellow's poem Paul Revere's Ride. Now that poem, it's not
(14:10):
an incredibly or at least it's not an entirely i
should say, accurate, historically accurate poem or representation of the events,
but still it painted quite a picture and it really
embedded itself in the national psyche. So that's how we
know Paul Revere. But Paul Revere's importance in the grand
scheme of the country is way more than that one
(14:32):
midnight ride. And I'm going to get to that. But
let's start at the beginning. And for Paul Revere, like
most people, the beginning means we got to start with
his birth. And right off the bat, the guy's interesting.
You know, he's not going to be born just like
everybody else because he's Paul Revere, dang it. And he's
born in two different years, all right, same guy, singular person,
(14:56):
born in two different years, not twins, same guy, different years.
He's born in both seventeen thirty four and seventeen thirty five.
Are you working that one out? Are you thinking it through?
Do you think you have the answer? He was born
in those two years, eleven days apart, all right, So
it's not midnight on December thirty one that he starts
(15:18):
to be born and then happens to be born the
rest of the way completes the deal on the new year,
no eleven days apart. How in the world did that happen.
It's a fun little trivia fact. You can break this
out at your Fourth of July event and festivities later today.
Here's the deal. Paul was originally born on December twenty one,
seventeen thirty four. All right fully, born there he is
(15:41):
boom Paul Revere in the world December twenty one, seventeen
thirty four, according to the old Julian calendar that was
being used in the British colonies at the time. But
when Britain adopted the Gregorian calendar in September of seventeen
fifty two, the calendar shifted four by eleven days, and
all of a sudden, Paul's official date of birth went
(16:03):
from December twenty one, seventeen thirty four to January one,
seventeen thirty five. All right, so we have a man
with two birthdays. But that's just the tip of the
iceberg when it comes to Paul Revere. So he was
born on January one, seventeen thirty five. We'll use that
date to Apollos Revere. His original name was Revoir rivoaju
(16:27):
ha ha. It was French. He was born to we
Apollos Rivoi and his wife Deborah. Now Pollos had moved
to Boston from France in seventeen sixteen, and around seventeen
twenty two he changed that name to Revere, probably because
his wife Debe's family. You know, they were native Bostonians.
I bet they couldn't pronounce Revoi, and they probably said
(16:50):
it with some ridiculous, fake French accent like you hear
in the cartoons. Revoa. I bet that's what they said.
He was sick and tired of listening to it, and
so he said, look, changing the name, it's not gonna
be Revoir anymore. It's just going to be Revere. So
you guys can say that, say Revere. Anyway, Apollos changed
his last name to Revere. That is not important to
(17:12):
this part of the story. But I was really hung
up on that, so I wanted to drill into that
in a lot more detail than was necessary. He changed
his name to Revere, married Deborah, and then set up
a silver shop on Boston's North End. And it was
there in that silversmith shop that young Paul, a wee lad,
(17:33):
you know, just a wee whipper snapper. He began learning
the silversmithing craft, working side by side with his pappy,
and by his teens, Paul was assisting with all kinds
of things, tasks like polishing finished pieces. He was shaping
simple forms. He was handling basic soldering work. You know.
He likely spent hours and hours and hours melting scrapsilver,
(17:55):
hammering out sheets, and learning how to engrave decorative patterns
into tankards and pots. He was even producing small engraved
items on his own, you know, things like name plates, rings,
perhaps custom buttons or charms. He was repairing belt buckles,
you know, the little buckles on their shoes even, you know,
because remember they had buckles on their shoes back then.
We've even got historical records, including Revere's own account books,
(18:19):
preserved by the Massachusetts Historical Society. Showing that he took
on tons of small jobs as a teenager, probably so
he had money for taking girls out on dates or
maybe getting you know, the latest music or whatever he
was into at that time. Anyway, when his father died
in seventeen fifty four, nineteen year old Paul his birthday
(18:40):
has just been switched, by the way, so he's still
dealing with the fact that he's no longer a December
twenty one baby, but now he's a January one baby.
I'm sure that really played in his psyche, Probably not
as important as when his father passed away. But when
his dad dies, nineteen year old Paul takes over the
family business. A few years later, he marries Sarah Orn
(19:01):
and they began raising a family. Now as a quick aside,
Paul had eight children with Sarah, and she died giving
birth to their eighth child, and the eighth child also
passed away. After that, after a while passed, he married
Rachel Walker, his second wife, and proceeded to have eight
more kids. So, yeah, fifteen kids. Paul was busy. He
(19:26):
had a lot going on. Now when we look at
the pieces, let's get back to the important stuff. Let's
look at the stuff that he's making. So when we
look at the pieces, you know, the silver that he's
producing in this period, the cream pitchers, the tankards, the
sugar bowls, you know, all of those things. Probably cool
little salt shakers, little salt and pepper shakers sets. I'm
(19:47):
sure he was doing all of that stuff. He probably
made the cream pictures that look like a cow that
you grab the tail and you pour it and the
milk comes out of its mouth, which doesn't make any
sense at all, right, anatomically, that's not where the milk
should come from. But anyway, I don't know that Paul
made those. Don't take me to the bank on that.
But when we look at the stuff that we know
he did make, the cream pitchers, the tankards, the sugar bowls,
(20:10):
we see that his skills are developing, right, We see
that they're they're coming along. But he's still coloring inside
the lines. You know, he's not really breaking new ground.
He's duplicating what's popular, and he's doing the things the
same way that his dad did him. But in seventeen
sixty eight that starts to change. And we're going to
explain what happens that brings that change about, Right, after
(20:31):
this stick around Home in Progress is brought to you
by Repcolite Paints and Benjamin Moore Top Toier Paint expert advice.
Your next project is way easier than you think it's
going to be. So what is this big change that
I'm talking about? How do we see it evidenced? Well,
we see it evidenced in an item that he creates,
probably one of the most famous pieces that he creates,
(20:52):
the Liberty Bowl. Now, by this point in his career,
he's been running his own shop for about fourteen years
or so, so it's confidence is growing, his skill is deepening.
But it's not just Paul Revere who's changing. That's important.
You know, as we look at his whole life, it's
not just him who's experiencing these changes. The whole colony
is changing. All of the colonies are changing, you know.
(21:14):
Public sentiment is shifting, people are growing restless, tensions with
the British are heating up, and Paul Revere himself is
becoming more and more committed to the revolutionary cause. Now
out of that moment comes the Liberty Bowl. Now, first glance,
it's just a punch bowl, you know, eleven inches across,
raised from a single sheet of silver. It's hand engraved.
But it's way more than just that. It's also a
(21:36):
political statement. Now, the engravings on the ball they honor
the ninety two members of the Massachusetts Assembly who had
defied the crown. So it's clearly political in that regard.
But there's way more cool stuff to the story. See,
it was designed not just to sit on a shelf
like a fancy you know, like a fancy participation trophy.
It was commissioned and designed to be passed around at
(21:57):
gatherings of the Sons of Liberty, you know those guys
right Boston tea party guys, the Sons of Liberty. It's
passed around at their gatherings, filled with punch, and then
it's emptied and acts of noisy public defiance. You know,
I can picture it, Sam Adams, John Hancock, Patrick Henry,
you know that give me liberty or give me death guy,
all of them gathered in some back room, you know, hollering,
(22:20):
passing the bowl, plotting their next move. Now, for us today,
a punch bowl probably brings to mind, you know, grandma's house.
You know, fancy parties at grandma's house, church, potlucks, things
like that. But in the seventeen sixties and the seventeen seventies,
punch was political, and it was a communal drink, usually alcoholic,
and it was served at taverns and private meetings, places
(22:42):
where people would meet to talk, argue, organize things like that.
And as the revolution is gaining steam, those gatherings, of
course became hotbeds of resistance. So when the sons of
Liberty pass around a punch bowl like Paul Revere's Liberty Bowl,
it wasn't just for refreshment. They weren't looking for a
little dabbsh sure herbit on a hot day. It was
a ritual, you know, sherbet in punch. It was a
(23:04):
common recipe that we have for making punch when I
was a kid. They weren't looking for sherbet. They were
experiencing a moment of unity. You know, you weren't just
sipping a drink here, you were toasting the rebellion. You
were thumbing your nose at the crown. You know, take that,
your majesty, How do you feel about it? Now? We're
drinking from the Liberty Bowl. Here you were raising a
(23:24):
glass in protests. So, yeah, it was a punch bowl,
But it was also a symbol, you know, a shared
act of resistance. And in that way, Paul River's Liberty
Bowl was more than just a beautiful piece of silver.
It was a tool of the revolution. And the message
didn't stop with the engraving and the symbolic act of
drinking the punch. Even the design of the Liberty Bowl
itself was rebellious. It was clean, neoclassical. It was stripped of,
(23:49):
you know, the over the top flourishes that defined the
British aristocracy. It was elegant, but it was restrained. It
was practical, not pretentious. You know. That wasn't an act accident.
It was a deliberate break from the well better than
you esthetic of the Crown. Everything about the Liberty Bowl,
from how it looked to how it was used, sent
a message. It was a showcase of skill and craftsmanship, sure,
(24:12):
but it was also the work of an artist who
had something to say, which was a big shift from
the work that he was previously producing. And on top
of all of that, Paul Revere wasn't done adding new
skills to his repertoire. That same year, seventeen sixty eight,
he adds dentist to his growing resume dentist. On top
of everything else, he's got time to become a dentist.
(24:33):
He published an ad in the Boston Gazette thinking past
clients and going on to announce that he's available to
craft artificial teeth. You know, thanks for buying your paint
from us. We just started doing dental work. That's the equivalent.
You know, if Repcolite would run that ad, that's what
Paul's doing. Thanks for letting me make your silver. Have
you ever thought about having me make your teeth? Well,
(24:55):
that's the ad that goes out now. He's not making
full dentures like we would think of today, but he's
making partials, and he's making him from ivory, animal tusk, metal,
things like that. You know, he saw a need, realized
that he had the tools and the skills, and then
he stepped into the gap. Some might even say the
gap between people's teeth. He stepped right into that gap.
(25:17):
That is so dumb, but he did. That's literally what
he did. And because of that, because he stepped into
the gap in various people's teeth, he stepped into the
gap with a replacement partial. Because he did that, Paul
Revere became a big part of history and yet another way,
another unexpected way. And I bet you don't know this,
most of you won't know this. After the Battle of
(25:38):
Bunker Hill in seventeen seventy five, doctor Joseph Warren, a
fellow patriot, he was killed in that battle and he
was buried in a mass grave. Months later, Paul Revere
helps identify his body because he's able to recognize a
dental prosthesis that he had personally made for the good doctor.
That moment, that moment of recognition is widely regarded as
(26:00):
the first known use of forensic dentistry in America, and
it goes back to Paul Revere. So take that to
your next little family event and whip that little fact out.
You're gonna have to work at it to get to
the point where that isn't just coming out of the
blue at people, But you can do it, and it's
a good one. It's a good little tidbit that you
can take with you. So, yeah, Paul Revere, he's an
(26:21):
accomplished silversmith. He's a dabbling dentist, but that's not all.
He also becomes one of the most prolific engravers of
his era. He produces certificates, illustrations, political cartoons, book plates,
all of them meticulously etched into copper plates. His most
famous work of this type of work is the engraving
of the Boston massacre, and that was dramatic and emotionally charged.
(26:45):
You know, the piece that he made, incredibly emotionally charged.
It wasn't entirely accurate, you know, historically, it wasn't meant
to be. It was propaganda, and it worked. It really
stirred up the anger. It helped unify the colonies against
the British occupation. So Paul Revere, he's all of the
things that I talked about, the craftsman, the dentist, you know,
the engraver, the illustrator, all of these things. But primarily
(27:08):
he's he's a patriot, deeply, deeply involved in the revolutionary movement.
And that's going to bring us to the events that
most of us remember, the midnight ride, you know, the
midnight ride of Paul Revere. Now, on the night of
April eighteen seventy five, Paul Revere receives word that the
British troops are on the move. They're likely heading to
arrest Samuel Adams and John Hancock in Lexington. They're going
(27:30):
to seize weapons that are stored in Concord. Well, Paul
springs into action. Now. First he's arranged for two lanterns
to be hung in the steeple of the old North
Church and that's a signal, as we all know, for
patriots across the river in Charleston, and it's letting them know, hey,
the British are coming by sea. Then he's rowed across
the Charles River and he mounts a borrowed horse. I
(27:53):
got a feeling that what happened is they rode him
across the river, and they put him on a little
bit of a little bit of a hill or something,
and then they pulled a horse just beneath him, because
that's always how it is in the movies with cowboys.
And then he jumped from that little cliff or that
little hill and landed firmly on the seat or the
seat the saddle, the saddle of the horse, and took
(28:16):
off across the countryside. So he's riding around through Massachusetts
and he's warning everybody, the militia leaders and everything. He's
rousing the local population. Now, he didn't yell sadly the
British are coming. I guess how did we know? We
don't know for sure. I would like to believe that
he yelled the British are coming, but apparently we don't
(28:37):
have that definitively. In fact, it seems like we could
probably imply that he might not have yelled that at all.
But he did knock on doors, he did raise the alarm,
and he triggered a communication chain that mobilized the militia.
And he wasn't riding alone. Paul Revere was part of
a well organized intelligence network, you know, a relay system
of riders and informants. William Dawes took a different route,
(29:00):
others joined along the way, and yeah, Paul Revere was
eventually detained by a British patrol and he didn't even
make it all the way to Concord. But by the
time that happened, the warning had already been spread. You know,
it was fast, it was efficient, did a good job,
it worked, and thanks to those efforts, the colonial militias
were ready and the next morning, the battles of Lexington
and Concord marked the official start of the American Revolution.
(29:22):
Now after Lexington and Concord, as the war is intensifying.
Paul Revere steps into a completely new role wartime manufacturing.
The Massachusetts Provincial Congress tasks him with inspecting a newly
created gunpowder mill in Canton. And there's a problem with this.
You know, Paul Revere has no background in chemistry or
explosives or anything like that. But instead of passing the
(29:43):
job off, he travels to a working mill in Philadelphia.
He observes the process there, takes copious notes noe pad
after noe pad he's filling out, and then he returns
to help oversee and improve the Massachusetts production. Now, that
same year, he took on a government contract to cast cannons.
You know, another thing he had absolutely no prior experience doing. Surprise, surprise,
(30:06):
The first cannons that he made failed. They were losers.
They were lemons, you know, absolute lemons. They cracked, they
were unusable. Send these cannons back to Paul Revere. These
are no good. But he didn't walk away dejected and
horrified that he'd made cruddy cannons. He studied, He adjusted
his techniques, he refined his methods until the cannons that
(30:27):
he was producing passed inspection and actually saw service. Now,
As the war progressed, he served as a major in
the Massachusetts Militia and then later was promoted to lieutenant
colonel of a newly formed artillery regiment. Now he wasn't
a trained soldier, but he was creative, he was determined.
He was capable of organizing and leading others, and for
(30:47):
the most part, as he did all of that, things
went well. But there's a big butt coming up. Not
everything went smoothly, and seventeen seventy nine was a really
year for Paul. In fact, probably one of Paul's worst years.
If he had a diary, it probably said, dear Diary,
seventeen seventy nine stunk. What happened? We're going to get
(31:10):
to that story right after this. This is home in progress,
where the to do list is long, and that's all right.
We're not crabbing at you. We're not gonna yell at you.
That's how it is. It's how ours is too. It's
probably supported by repcoll like Paints and Benjamin Moore, because
home projects are easier when you've got people you can trust.
All right, So seventeen seventy nine, what in the world
(31:32):
made this year so bad for Paul? Revere. Well, to
get to that, we've got to look at the Panobscot expedition.
The Panobscot expedition, I am sure, I'm not saying that smoothly.
It's not an easy word to say. Pe n O
b Scot, Panobscot during that expedition, which was a military
(31:53):
campaign that was designed to be quick, you know, decisive,
and of course victorious. Not many campaigns military camp pains
are designed to be failures. This one was designed to
be victorious. And they were going to drive the British
out of eastern Maine, reclaim the territory, and secure the coast.
You know, a great, big, grand vision here. On paper,
(32:13):
it looked like it was brilliant. You know, it was
going to work. American land forces, including Paul Revere and
his artillery regiment, were going to coordinate with a fleet
of naval ships, and together they were going to corner
the British and force a surrender. But that is not
how it played out at all. Poor leadership, miscommunication hesitation
among the commanders turned the campaign into a literal catastrophe.
(32:37):
The land troops, including Revere and his artillery, clashed repeatedly
with their superiors and while they were stalled on land,
the American fleet set vulnerable in Panopskat Bay. Now, eventually
the British reinforcements arrived, and in the chaos of that,
the entire American fleet, which was over forty ships, was destroyed.
Many were scuttled or burned by their own crews to
(32:59):
prevent capture. That was the worst naval disaster in American
history until Pearl Harbor. Now, in the aftermath of all
of that, Paul Revere was accused of disobedience, he was
accused of cowardice, and those charges ended up leading to
a military court martial. The trial itself dragged on for
three years something like that, and during that time, Paul
(33:19):
Revere was effectively sidelined. You know, his name is tarnished,
his careers at an absolute standstill. But finally, when the
court convenes in seventeen eighty two, he's acquitted on all counts.
The tribunal found no basis, absolutely no basis for the accusations.
Turns out much of the blame rested on the higher
ranking officers. Sure, Paul Revere had made mistakes, we all
made mistakes. It was a crazy time, but they weren't
(33:42):
criminal mistakes. So his name is cleared and he comes
out of that ordeal determined that he's going to rebuild
his life and his reputation, and that's exactly what he
ends up doing. So at the age of sixty five,
the war's over, He's sixty five years old. Many people,
you know, they would slow down at this point. Some
of us slow down win before that, But at sixty five,
Paul Revere jumps into industrial manufacturing. That was a bold move.
(34:06):
You know, he was trying to bring rolled copper technology,
which was then, you know, mostly a European innovation. He
was trying to bring that into American hands. Now why copper, Well,
he did it because copper sheets were critical to naval
shipbuilding and as you remember, we lost a lot of
ships in the Panopskat expedition. So Paul Revere is doing
what he can to replenish the American fleet, and this
(34:28):
sheathing ends up being used on the wooden hulls of
ships like the USS Constitution, which, thanks in part to
this copper, is still afloat today. Now what's interesting is
in this endeavor, like in so many things that he undertook,
he didn't know what he was doing. In the beginning,
he visited European style mills, he studied machinery, He hired experts,
He experimented, sometimes with success, often with failure. He had
(34:52):
the troubleshoot every aspect of the process, the temperature of
the alloy ratios, the rolling techniques. It was a constant
grind of learning and then revising and then rebuilding. But
he didn't give up. You know, That's the thing that's
really cool about all of this. He didn't give up.
He kept pushing, he kept refining, and eventually he got
it right. And his copper sheets were used, like I said,
(35:13):
on the wholes of ships, but also on the roofs
of public buildings and in countless industrial applications. The business
that he started at this point in his life, you
know what would become the Revere Copper and Brass Company,
helped lay the groundwork for American manufacturing. Yeah. I mean,
it's just absolutely crazy, all the things that guy did.
You know, in the end, Paul Revere wasn't just that
(35:34):
guy on a horse shouting warnings in the night. He
was a silversmith, He was a printer, a dentist, a dentist,
remember the dentist He was a political organizer, a military officer,
a cannon maker, he worked with gunpowder. He was a
copper baron, you know, in every sense of the word.
He was a pioneer of American industry. Now he died
in eighteen eighteen at the age of eighty three. He'd
(35:56):
spent his entire life doing what makers do best. And
we're gonna get to that term in a little bit here.
What makers do best, that's what Paul Revere did, solving problems,
learning new things, and trying again and again and again
after failure, and then in the end building something that
will last. And when you look at it that way,
Paul Revere's story isn't just a piece, you know, a
little tiny piece of American history. It's kind of like
(36:19):
a blueprint, you know, it's a plan. It's proof that
you don't need to be perfect or prepared before you
begin something. You just need to start. You need to
jump in. And that mindset, that approach to life, nowadays
we would call it the maker's mentality. And it's not
just about building cabinets or fixing furniture, you know, that's
not just what a maker is. It's about the way
(36:40):
you approach life. You know, it's about being curious, being
willing to learn. It's being willing to mess up. You know,
it's not needing to be perfect before you start something.
It's saying I don't know how to do this. In fact,
I might not even have a clue. But I can
figure it out, or at least maybe I can figure out.
I'm going to try to figure it out. That's what
A revered it over and over and over again. That's
(37:03):
why I spent this entire episode talking about him. Most
of the episode talking about him. He didn't always know
what he was doing. He wasn't trained as a dentist,
which is exactly the dentist we all want, right, you know,
in some instances, yeah, you just we want we want
the degree. You know, so in some instances this isn't perfect.
(37:24):
Back then just jump in. You know, it's a free
for all. You don't mind touching people's mouths, the inside
of it. Maybe dentistry is for you. Try No, that's
not what we want. We want the degree in dentistry
and medical science. You know, if you're going to cut
me open and remove some innards, I'd like you to
at least have a degree on your wall that means something.
(37:45):
But in a lot of other situations, you know, I'm
talking around the home and stuff like that, it's okay
to not know exactly what you're doing, but just to
jump in anyway and learn along the way. Now, you've
got to be smart. You jump in in situations where
you're not going to pose a threat to your family
or to the safety of your home or the longevity
(38:05):
of your home. I'm not saying figure out breaks. You
know how to put brakes in your car on the fly,
you know, that's not part of the maker's mentality. You
work with smaller things and build up to that. You
change your windshield wipers, you change the battery in the car.
You do all of that, and then you build up
eventually over time, as you're learning your skills and you're developing,
(38:26):
you're gaining confidence, you're gaining insight, and eventually you tackle
the bigger things. You know, when it comes to painting,
you don't start, you know, the very first time you
open a can of paint. You don't paint the exterior
of your home. You start with smaller things. Build the confidence,
build the skills. The maker's mentality is a first step,
a necessary first step to all of that, and it's
(38:47):
the step that says, I don't know it now, but
I'm willing to jump in and try. I'm willing to learn,
and I'm willing to deal with some failure. I'm not
going to be perfect, but I'm going to still plow through.
I'm going to persevere, and I'm going to get there.
Set works everywhere. It works in a workshop, it works
in a kitchen, works at a desk job, it works
in parenting. It's not about being an expert, like I said,
(39:08):
it's about being willing to try. And when you live
like that, when you lean into that maker's mindset, you
really start to realize that the world isn't something that
just happens to you. You know, your home isn't just
something that happens to you, and you've got to just
deal with it as best you can by calling in
experts and waiting un till they can get there. When
you've got a maker's mindset, you gain agency. You know
(39:28):
you can shape things, you control things, you can fix things.
You're not waiting for somebody else. Necessarily, you're willing to
jump in and try. You can be Let's say it
this way, you can be a mini, little DIY version
of Paul Revere. That's the whole point of all of this,
you know, And it's fun because it's fourth of July.
It's fun to talk about Paul Revere and this era
(39:50):
in general, but also to squeeze a little bit of
DIY goodness out of it and maybe apply it to
our lives. So get out there and give it a shot,
give it a try. And if your project does involve paint,
you know, if that's part of what you're working on,
we're here to help. So just swing out to any Repcollite,
tell us what you're working on. We'll get you moving
in the right direction. Thank you so much for listening
(40:11):
to Home in Progress. I hope today's story, you know,
it gave you a new perspective on Paul Revere. Maybe
it sparked a little inspiration for your next project. If
you do want to hear more stories like this, more
content like this where history and home improvement collide and
all kinds of different things, that's what we do on
the show. If you want to hear that, be sure
to follow the show and leave us a review. That
(40:33):
really helps new listeners find us and it lets us
keep making great content for you. You can find Home
in Progress wherever you get your podcasts, and if you're
enjoying the show, share it with a friend who might
love it too. Have a safe and happy Fourth of
July weekend, enjoy your time with your family, and remember
whatever project you've got next on your list, Repcolite is
here to help you make it easier. I'm Dan Hanson.
(40:53):
See you next time.
Hey everyone, and welcome to Home in Progress, brought to
you by Repcolite Paints and Benjamin Moore. I'm Dan Hansen,
and this is the podcast where we talk about homes,
the people who shape them, and the projects that make
them better. Eventually. You know, whether you're deep in a remodel,
maybe you're halfway through a fix it job, or you know,
who knows what, Maybe you're just looking for a little inspiration.
(00:22):
Wherever you're at in the grand scheme of things, you're
in the right place. And right off the bat, I apologize.
I was out of coffee today and out of the
normal coffee that I make, and so I grabbed a
bag of coffee that my son, my eldest son, had purchased,
and I made that up and I drank that down.
(00:44):
And now my head is pounding, and I looked on
the bag to figure out what is going on. This
is strange. There is so much energy coursing through my veins.
It's like it's like I'm seeing the entire universe playing
out in front of me, and I feel like I
can interact with all parts of it. I feel all powerful,
and that's not normal. I don't normally feel that when
(01:06):
I drink coffee. So I looked to see what did
I drink, and it's apparently coffee that has four, five, six.
I can't remember seven times the amount of caffeine of
a normal cup of coffee. So I know I already
talk like a crazy person. I can only imagine what's
in store for you. I am trying desperately to rain
(01:29):
my horses in. You know, my horses are running, My
horses are going crazy. I'm trying to rein them in
and slow my mouth down. But I do apologize in
advance if I am unable to control those wild beasts. Anyway,
Home in Progress, that's what you're listening to. I talked
about it last week. I'll mention it briefly again. I've
changed the name of the show. It's going to be
(01:50):
same old content as the Repolite Home improvement Show. So
no improvements there, same old thing, just a different wrapper,
a different package. All right, Home in Progress on the
show this week. I want to do what I've done
for the past few years, and I want to take
a deep dive into Fourth of July related topics. You know,
there are some home improvement takeaways in all of this,
(02:11):
but really these are just fun. I had a lot
of fun with the topics today. Now I've got two
of them picked and coming up in a little bit.
We're going to get to one where I take a
deep dive into Revolutionary War hero Paul Revere. Now, I
don't know what you think you know about the man,
the myth, the legend, Paul Revere, but I can pretty
much promise you that I'm going to surprise you with
(02:32):
at least a few things. It's a lot of fun
that's coming up in a bit. But right now, if
I asked you to picture a colonial era home, say
something from the seventeen hundreds, what do you see? What
do you imagine? Plain white clapboard house, maybe black shutters,
maybe a weathered red barn sitting somewhere nearby. What about
the interiors? You know? Do you picture calm muted, conservative
(02:53):
color schemes. Well that's the image that a lot of
us carry, but it's not the full story. Colonial America
was more colorful than we usually give it credit for.
In fact, the colors people used were sometimes far bolder
and far more vivid than we'd expect. And it's not
just theory. In recent years, preservation experts from the Colonial
Williamsburg Foundation, which is the organization behind the Living History
(03:17):
site in Virginia. They've been using microscopes, they've been using
chemical analysis and all of those things to examine old
paint layers, and what they found under the centuries of
fading and layered paint is really surprising. They're finding bright blues,
deep greens, rich ochres, even emerald tones, and these findings
are reshaping all of our assumptions about colonial interiors. You know,
(03:41):
we've talked about this on the show before, probably I
think it was a couple years ago, maybe three years
ago or more. We talked about the bright chrome yellow
that Thomas Jefferson used to paint the dining room at Monticello.
It was loud, it was bold, and it definitely wasn't
the Wedgewood blue color that previously we had thought he
painted that room. It was really really interesting stuff, but
(04:03):
that kind of vibrancy wasn't available to just anybody. You know,
the colors that we see now in high end restorations
came from pigments that were either imported or really really
costly to produce. Prussian blue, for example, popular color amongst
the wealthy but it had to come from Europe verdigree.
You know, a green was made by suspending copper over vinegar,
(04:25):
which was incredibly time consuming and expensive, you know, just
a lengthy process to get to that color. Wealthier homeowners
they could afford those materials, and they could afford the
labor and the time that it took to apply multiple
coats on their walls. So they got the rich green parlors,
the deep blue hallways, you know, the yellow dining rooms,
all of that. But if you were an average tradesman
(04:47):
or farmer, you know, you're an average joe, you know,
you just you're cutting the mustard. But that's about all
you're cutting, you know, if that's you, your options were
way more limited and a lot more local. You know,
paint wasn't cheap, even the basics like linseed oil that
came at a cost. So in many rural homes, especially
early on, the walls were left unpainted, or if they
(05:09):
were coated, it was often with something really simple, you know,
homemade mixtures using whatever they had on hand. You know,
iron oxide, for example, they got red from that. It's
basically rust. They gathered rust and put it in linseed
oil and there you go, you've got red paint, yellow ochre,
or raw umber. They used those materials for warm, earthy
(05:29):
yellows and browns. Carbon black came from charred wood, lime whitewash.
It was simple, really cheap to make, widely used, but
it really required a lot of maintenance. It wasn't durable
at all. These colors that they had weren't selected for style,
you know, they weren't finding just the right carbon black,
just the right iron red oxide. They were chosen because
(05:52):
they were there and somebody was saying, you got to
use something. Use that mud over there. It's going to
make a nice brown for you. So they're warm, they're practical,
they were, and in many cases the goal wasn't to
decorate something. It was to protect something. These coating sealed
wood and help preserve structures from the weather. And the
fact that they added color was more or less incidental,
(06:13):
you know, not a big part of the process. When
it comes to process. Let's talk about making the paint
a minute, just briefly. How did they do that? How
did they get all of that stuff together? Well, they
did it right at home. There were no repcholites making
paint for them. No fandecks to choose from. If you
wanted to add color to your world, basically you had
to go dig something up in the yard, grind the
(06:34):
pigments yourself, and then you're stirring it into oil. I
mentioned linseed oil earlier. You're stirring it into that, into milk,
into lime. It's a messy, labor intensive process, and as
an aside, it was crazy unpredictable. You know, one batch
might go on smooth and dry evenly and be this
or that color. The next batch that you make using
(06:55):
what you thought were the same ingredients might function differently,
might have an entirely differ diferent color. You know, who knew,
you didn't know. It was a crapshoot. Still, for those
who could afford it, color was more than a coding.
It was a message. Right, So that bright white house
that we might picture it wasn't about simplicity. You know,
we tend to sometimes think, oh, they went white because
(07:15):
they're you know, being modest or being simplistic or something
like that. You know, just streamlined. No, if you had
a white house, especially an immaculate white house, it meant
you had the means to reapply that whitewash regularly. Like
I said, it didn't last. It wasn't a durable product,
so it had to be reapplied regularly. If you could
do that and keep the house looking good, you had
(07:35):
some money. That was what that said. If you had
a rich yellow or a blue somewhere, that meant imported
pigments had to come in. It meant skilled labor was involved. Again,
it meant you had money. In colonial America, color wasn't
just esthetic. It wasn't just about setting the mood or
the tone for a room that happened. That was part
of it, but it was also a way telling your
(07:56):
neighbors what kind of cash, what kind of resources you had,
acts to what you valued where you stood, you know,
in the economic scheme of things. But even the most
expensive eye popping colors didn't stay that way over time.
They changed verdigree, for example, it darkened when exposed to sunlight.
Prussian blue often faded towards gray or green. Linseed oil
(08:19):
yellowed as it aged. Go ahead and add decades of
weather and wear, and many of those original colors became
nearly unrecognizable. So part of the reason that we now
imagine colonial homes as drab or colorless is because we're
not seeing what was originally there. We're seeing what's left behind,
you know, after centuries of change, but not what was
(08:39):
originally there. And so when these restoration projects took off
in the early nineteen hundreds, many of them leaned into restraint,
soft white sage greens, grays, things like that. The choices
felt historic, but it turns out they weren't always accurate.
Now that we've got better tools and a little scientific
detective work that we can do, we're beginning to set
(09:00):
the record straight. Paint analysis and pigment research from institutions
like Colonial Williamsburg we mentioned them earlier, they've helped us
reconstruct historically accurate palettes, sometimes down to the exact mix
of ingredients. Benjamin Moore even partnered with Colonial Williamsburg to
create a color collection based on these findings. Their Williamsburg
(09:21):
Palette includes soft creams, smoky greens, rich browns, saturated blues.
All colors pulled from original paint chips, from plaster fragments,
from wallpaper samples. They're not just guesses, they're evidence based
recreations of what eighteenth century America really look like. And
I love that That is so interesting to me because paint,
you know, something we so often think about as a background,
(09:43):
is actually a bit of a time machine. It tells
us who we were, what we had, you know, and
what we thought mattered. It reminds us that even the
simplest design choice, what color to put on the walls,
it really at the grand scheme of things, that is
a pretty simple choice compared to all the other things
that go into decor and designing a home. Even that
simple choice, though, was loaded with meaning. So yeah, some
(10:07):
colonial colors, they were quite colorful. Some were even stunning,
you know, incredibly vivid other areas. Other homes were completely uncoded,
or if they were coded, they were coded with whatever
a family could make by hand. But each one of
those colors, everything that went on anywhere, tells a story.
And now, thanks to science, we're starting to see these
stories a little more clearly. It's really interesting, definitely something
(10:30):
to dig into a little further, and by all means
go back in time. I'll put a link in the
show notes, but go back in time and find our
discussion on Thomas Jefferson's Monicello. We dig into a little
more of the science behind discovering that color. It's really
really interesting. Go check that out. All right, that's enough
of that. Now I want to talk about Paul Revere,
(10:51):
the man, the myth, the legend. There is so much
more going on with Paul Revere than you probably know,
and we're going to get to that after this. You're
listening to Home in Progress, real projects, real life, and
a little bit of paint on your hands, in your eyes,
in your hair, on your shirt everywhere. Home in Progress
is sponsored by Repcolite Paints and Benjamin Moore, offering expert advice,
(11:14):
premium paint, and all the tools you need to keep
your home moving forward. And we're back. You're listening to
Home in Progress, sponsored by Repcolite Paints and Paints, Repcolite
Paints and Benjamin Moore, and we're working our way through
another Fourth of July extravaganza. I love the fourth of July.
I get so giddy that my voice breaks. That's what
(11:35):
happened earlier. It's not that I'm you know, still growing
into a real boy. It's because I'm just that excited. Anyway.
I love the fourth of July. I think because of
its close connection to the American Revolution. You know, I'm
not a big fireworks fan or all of those things.
I like grilling hot dogs, I like having a day off.
But I think the biggest reason I'm drawn to the
(11:57):
Fourth of July is just, you know, the connection that
it has to the American Revolution. Ever since I was
a little kid, the little Danny always loved reading about
George Washington, Valley Forge, Ben Franklin and all of those people.
It's an amazing period in our history. And there's just
something about how all of these people, you know, we're
in the right place at the right time. It's amazing.
(12:20):
And yes, I'm well aware that they were all flawed
individuals in one way or another. You know, they weren't perfect.
They made mistakes like the rest of us make. But
still there's still something really interesting in the fact that
they were all there at the right time, you know,
all there together. I read something interesting the other day.
The average written constitution around the world lasts about seventeen
(12:43):
to nineteen years before it has to be replaced or
significantly revised. By that standard, the US Constitution is practically ancient,
since it's been in place since seventeen eighty nine, making
it not only one of the oldest written national constitutions
still in use, but the most influential, you know, especially
considering that it's governing such a large, diverse, and ever
(13:06):
evolving country and has done so for over two centuries.
Now realizing that the people needed to craft that document
all happened to be in the same place around the
same time, it's pretty amazing. It's a great, great human story.
I love it. And right now I want to look
at one of these characters, one of these characters from
the Revolutionary War, not so much from drafting the Constitution,
(13:28):
but just from the Revolutionary War period. I want to
look at one of these guys, Paul Revere. Now, when
you hear the name Paul Revere, I'm betting that you're
thinking of a guy in a horse riding through the
Massachusetts countryside, hollering the British are come in, the British
are come in. And then he's getting you know, shushed
shy by ladies with their babies or old men who
(13:49):
you know, just got up to go to the bathroom
and they're trying to get back to sleep and they
don't want to hear this stuff. But Paul Revere is
just riding through. That's probably the image in your mind.
You know, that's one of those images that's burned into
our minds from an early age, and whether we know
it or not, it's largely there because of Henry Wadsworth
Longfellow's poem Paul Revere's Ride. Now that poem, it's not
(14:10):
an incredibly or at least it's not an entirely i
should say, accurate, historically accurate poem or representation of the events,
but still it painted quite a picture and it really
embedded itself in the national psyche. So that's how we
know Paul Revere. But Paul Revere's importance in the grand
scheme of the country is way more than that one
(14:32):
midnight ride. And I'm going to get to that. But
let's start at the beginning. And for Paul Revere, like
most people, the beginning means we got to start with
his birth. And right off the bat, the guy's interesting.
You know, he's not going to be born just like
everybody else because he's Paul Revere, dang it. And he's
born in two different years, all right, same guy, singular person,
(14:56):
born in two different years, not twins, same guy, different years.
He's born in both seventeen thirty four and seventeen thirty five.
Are you working that one out? Are you thinking it through?
Do you think you have the answer? He was born
in those two years, eleven days apart, all right, So
it's not midnight on December thirty one that he starts
(15:18):
to be born and then happens to be born the
rest of the way completes the deal on the new year,
no eleven days apart. How in the world did that happen.
It's a fun little trivia fact. You can break this
out at your Fourth of July event and festivities later today.
Here's the deal. Paul was originally born on December twenty one,
seventeen thirty four. All right fully, born there he is
(15:41):
boom Paul Revere in the world December twenty one, seventeen
thirty four, according to the old Julian calendar that was
being used in the British colonies at the time. But
when Britain adopted the Gregorian calendar in September of seventeen
fifty two, the calendar shifted four by eleven days, and
all of a sudden, Paul's official date of birth went
(16:03):
from December twenty one, seventeen thirty four to January one,
seventeen thirty five. All right, so we have a man
with two birthdays. But that's just the tip of the
iceberg when it comes to Paul Revere. So he was
born on January one, seventeen thirty five. We'll use that
date to Apollos Revere. His original name was Revoir rivoaju
(16:27):
ha ha. It was French. He was born to we
Apollos Rivoi and his wife Deborah. Now Pollos had moved
to Boston from France in seventeen sixteen, and around seventeen
twenty two he changed that name to Revere, probably because
his wife Debe's family. You know, they were native Bostonians.
I bet they couldn't pronounce Revoi, and they probably said
(16:50):
it with some ridiculous, fake French accent like you hear
in the cartoons. Revoa. I bet that's what they said.
He was sick and tired of listening to it, and
so he said, look, changing the name, it's not gonna
be Revoir anymore. It's just going to be Revere. So
you guys can say that, say Revere. Anyway, Apollos changed
his last name to Revere. That is not important to
(17:12):
this part of the story. But I was really hung
up on that, so I wanted to drill into that
in a lot more detail than was necessary. He changed
his name to Revere, married Deborah, and then set up
a silver shop on Boston's North End. And it was
there in that silversmith shop that young Paul, a wee lad,
(17:33):
you know, just a wee whipper snapper. He began learning
the silversmithing craft, working side by side with his pappy,
and by his teens, Paul was assisting with all kinds
of things, tasks like polishing finished pieces. He was shaping
simple forms. He was handling basic soldering work. You know.
He likely spent hours and hours and hours melting scrapsilver,
(17:55):
hammering out sheets, and learning how to engrave decorative patterns
into tankards and pots. He was even producing small engraved
items on his own, you know, things like name plates, rings,
perhaps custom buttons or charms. He was repairing belt buckles,
you know, the little buckles on their shoes even, you know,
because remember they had buckles on their shoes back then.
We've even got historical records, including Revere's own account books,
(18:19):
preserved by the Massachusetts Historical Society. Showing that he took
on tons of small jobs as a teenager, probably so
he had money for taking girls out on dates or
maybe getting you know, the latest music or whatever he
was into at that time. Anyway, when his father died
in seventeen fifty four, nineteen year old Paul his birthday
(18:40):
has just been switched, by the way, so he's still
dealing with the fact that he's no longer a December
twenty one baby, but now he's a January one baby.
I'm sure that really played in his psyche, Probably not
as important as when his father passed away. But when
his dad dies, nineteen year old Paul takes over the
family business. A few years later, he marries Sarah Orn
(19:01):
and they began raising a family. Now as a quick aside,
Paul had eight children with Sarah, and she died giving
birth to their eighth child, and the eighth child also
passed away. After that, after a while passed, he married
Rachel Walker, his second wife, and proceeded to have eight
more kids. So, yeah, fifteen kids. Paul was busy. He
(19:26):
had a lot going on. Now when we look at
the pieces, let's get back to the important stuff. Let's
look at the stuff that he's making. So when we
look at the pieces, you know, the silver that he's
producing in this period, the cream pitchers, the tankards, the
sugar bowls, you know, all of those things. Probably cool
little salt shakers, little salt and pepper shakers sets. I'm
(19:47):
sure he was doing all of that stuff. He probably
made the cream pictures that look like a cow that
you grab the tail and you pour it and the
milk comes out of its mouth, which doesn't make any
sense at all, right, anatomically, that's not where the milk
should come from. But anyway, I don't know that Paul
made those. Don't take me to the bank on that.
But when we look at the stuff that we know
he did make, the cream pitchers, the tankards, the sugar bowls,
(20:10):
we see that his skills are developing, right, We see
that they're they're coming along. But he's still coloring inside
the lines. You know, he's not really breaking new ground.
He's duplicating what's popular, and he's doing the things the
same way that his dad did him. But in seventeen
sixty eight that starts to change. And we're going to
explain what happens that brings that change about, Right, after
(20:31):
this stick around Home in Progress is brought to you
by Repcolite Paints and Benjamin Moore Top Toier Paint expert advice.
Your next project is way easier than you think it's
going to be. So what is this big change that
I'm talking about? How do we see it evidenced? Well,
we see it evidenced in an item that he creates,
probably one of the most famous pieces that he creates,
(20:52):
the Liberty Bowl. Now, by this point in his career,
he's been running his own shop for about fourteen years
or so, so it's confidence is growing, his skill is deepening.
But it's not just Paul Revere who's changing. That's important.
You know, as we look at his whole life, it's
not just him who's experiencing these changes. The whole colony
is changing. All of the colonies are changing, you know.
(21:14):
Public sentiment is shifting, people are growing restless, tensions with
the British are heating up, and Paul Revere himself is
becoming more and more committed to the revolutionary cause. Now
out of that moment comes the Liberty Bowl. Now, first glance,
it's just a punch bowl, you know, eleven inches across,
raised from a single sheet of silver. It's hand engraved.
But it's way more than just that. It's also a
(21:36):
political statement. Now, the engravings on the ball they honor
the ninety two members of the Massachusetts Assembly who had
defied the crown. So it's clearly political in that regard.
But there's way more cool stuff to the story. See,
it was designed not just to sit on a shelf
like a fancy you know, like a fancy participation trophy.
It was commissioned and designed to be passed around at
(21:57):
gatherings of the Sons of Liberty, you know those guys
right Boston tea party guys, the Sons of Liberty. It's
passed around at their gatherings, filled with punch, and then
it's emptied and acts of noisy public defiance. You know,
I can picture it, Sam Adams, John Hancock, Patrick Henry,
you know that give me liberty or give me death guy,
all of them gathered in some back room, you know, hollering,
(22:20):
passing the bowl, plotting their next move. Now, for us today,
a punch bowl probably brings to mind, you know, grandma's house.
You know, fancy parties at grandma's house, church, potlucks, things
like that. But in the seventeen sixties and the seventeen seventies,
punch was political, and it was a communal drink, usually alcoholic,
and it was served at taverns and private meetings, places
(22:42):
where people would meet to talk, argue, organize things like that.
And as the revolution is gaining steam, those gatherings, of
course became hotbeds of resistance. So when the sons of
Liberty pass around a punch bowl like Paul Revere's Liberty Bowl,
it wasn't just for refreshment. They weren't looking for a
little dabbsh sure herbit on a hot day. It was
a ritual, you know, sherbet in punch. It was a
(23:04):
common recipe that we have for making punch when I
was a kid. They weren't looking for sherbet. They were
experiencing a moment of unity. You know, you weren't just
sipping a drink here, you were toasting the rebellion. You
were thumbing your nose at the crown. You know, take that,
your majesty, How do you feel about it? Now? We're
drinking from the Liberty Bowl. Here you were raising a
(23:24):
glass in protests. So, yeah, it was a punch bowl,
But it was also a symbol, you know, a shared
act of resistance. And in that way, Paul River's Liberty
Bowl was more than just a beautiful piece of silver.
It was a tool of the revolution. And the message
didn't stop with the engraving and the symbolic act of
drinking the punch. Even the design of the Liberty Bowl
itself was rebellious. It was clean, neoclassical. It was stripped of,
(23:49):
you know, the over the top flourishes that defined the
British aristocracy. It was elegant, but it was restrained. It
was practical, not pretentious. You know. That wasn't an act accident.
It was a deliberate break from the well better than
you esthetic of the Crown. Everything about the Liberty Bowl,
from how it looked to how it was used, sent
a message. It was a showcase of skill and craftsmanship, sure,
(24:12):
but it was also the work of an artist who
had something to say, which was a big shift from
the work that he was previously producing. And on top
of all of that, Paul Revere wasn't done adding new
skills to his repertoire. That same year, seventeen sixty eight,
he adds dentist to his growing resume dentist. On top
of everything else, he's got time to become a dentist.
(24:33):
He published an ad in the Boston Gazette thinking past
clients and going on to announce that he's available to
craft artificial teeth. You know, thanks for buying your paint
from us. We just started doing dental work. That's the equivalent.
You know, if Repcolite would run that ad, that's what
Paul's doing. Thanks for letting me make your silver. Have
you ever thought about having me make your teeth? Well,
(24:55):
that's the ad that goes out now. He's not making
full dentures like we would think of today, but he's
making partials, and he's making him from ivory, animal tusk, metal,
things like that. You know, he saw a need, realized
that he had the tools and the skills, and then
he stepped into the gap. Some might even say the
gap between people's teeth. He stepped right into that gap.
(25:17):
That is so dumb, but he did. That's literally what
he did. And because of that, because he stepped into
the gap in various people's teeth, he stepped into the
gap with a replacement partial. Because he did that, Paul
Revere became a big part of history and yet another way,
another unexpected way. And I bet you don't know this,
most of you won't know this. After the Battle of
(25:38):
Bunker Hill in seventeen seventy five, doctor Joseph Warren, a
fellow patriot, he was killed in that battle and he
was buried in a mass grave. Months later, Paul Revere
helps identify his body because he's able to recognize a
dental prosthesis that he had personally made for the good doctor.
That moment, that moment of recognition is widely regarded as
(26:00):
the first known use of forensic dentistry in America, and
it goes back to Paul Revere. So take that to
your next little family event and whip that little fact out.
You're gonna have to work at it to get to
the point where that isn't just coming out of the
blue at people, But you can do it, and it's
a good one. It's a good little tidbit that you
can take with you. So, yeah, Paul Revere, he's an
(26:21):
accomplished silversmith. He's a dabbling dentist, but that's not all.
He also becomes one of the most prolific engravers of
his era. He produces certificates, illustrations, political cartoons, book plates,
all of them meticulously etched into copper plates. His most
famous work of this type of work is the engraving
of the Boston massacre, and that was dramatic and emotionally charged.
(26:45):
You know, the piece that he made, incredibly emotionally charged.
It wasn't entirely accurate, you know, historically, it wasn't meant
to be. It was propaganda, and it worked. It really
stirred up the anger. It helped unify the colonies against
the British occupation. So Paul Revere, he's all of the
things that I talked about, the craftsman, the dentist, you know,
the engraver, the illustrator, all of these things. But primarily
(27:08):
he's he's a patriot, deeply, deeply involved in the revolutionary movement.
And that's going to bring us to the events that
most of us remember, the midnight ride, you know, the
midnight ride of Paul Revere. Now, on the night of
April eighteen seventy five, Paul Revere receives word that the
British troops are on the move. They're likely heading to
arrest Samuel Adams and John Hancock in Lexington. They're going
(27:30):
to seize weapons that are stored in Concord. Well, Paul
springs into action. Now. First he's arranged for two lanterns
to be hung in the steeple of the old North
Church and that's a signal, as we all know, for
patriots across the river in Charleston, and it's letting them know, hey,
the British are coming by sea. Then he's rowed across
the Charles River and he mounts a borrowed horse. I
(27:53):
got a feeling that what happened is they rode him
across the river, and they put him on a little
bit of a little bit of a hill or something,
and then they pulled a horse just beneath him, because
that's always how it is in the movies with cowboys.
And then he jumped from that little cliff or that
little hill and landed firmly on the seat or the
seat the saddle, the saddle of the horse, and took
(28:16):
off across the countryside. So he's riding around through Massachusetts
and he's warning everybody, the militia leaders and everything. He's
rousing the local population. Now, he didn't yell sadly the
British are coming. I guess how did we know? We
don't know for sure. I would like to believe that
he yelled the British are coming, but apparently we don't
(28:37):
have that definitively. In fact, it seems like we could
probably imply that he might not have yelled that at all.
But he did knock on doors, he did raise the alarm,
and he triggered a communication chain that mobilized the militia.
And he wasn't riding alone. Paul Revere was part of
a well organized intelligence network, you know, a relay system
of riders and informants. William Dawes took a different route,
(29:00):
others joined along the way, and yeah, Paul Revere was
eventually detained by a British patrol and he didn't even
make it all the way to Concord. But by the
time that happened, the warning had already been spread. You know,
it was fast, it was efficient, did a good job,
it worked, and thanks to those efforts, the colonial militias
were ready and the next morning, the battles of Lexington
and Concord marked the official start of the American Revolution.
(29:22):
Now after Lexington and Concord, as the war is intensifying.
Paul Revere steps into a completely new role wartime manufacturing.
The Massachusetts Provincial Congress tasks him with inspecting a newly
created gunpowder mill in Canton. And there's a problem with this.
You know, Paul Revere has no background in chemistry or
explosives or anything like that. But instead of passing the
(29:43):
job off, he travels to a working mill in Philadelphia.
He observes the process there, takes copious notes noe pad
after noe pad he's filling out, and then he returns
to help oversee and improve the Massachusetts production. Now, that
same year, he took on a government contract to cast cannons.
You know, another thing he had absolutely no prior experience doing. Surprise, surprise,
(30:06):
The first cannons that he made failed. They were losers.
They were lemons, you know, absolute lemons. They cracked, they
were unusable. Send these cannons back to Paul Revere. These
are no good. But he didn't walk away dejected and
horrified that he'd made cruddy cannons. He studied, He adjusted
his techniques, he refined his methods until the cannons that
(30:27):
he was producing passed inspection and actually saw service. Now,
As the war progressed, he served as a major in
the Massachusetts Militia and then later was promoted to lieutenant
colonel of a newly formed artillery regiment. Now he wasn't
a trained soldier, but he was creative, he was determined.
He was capable of organizing and leading others, and for
(30:47):
the most part, as he did all of that, things
went well. But there's a big butt coming up. Not
everything went smoothly, and seventeen seventy nine was a really
year for Paul. In fact, probably one of Paul's worst years.
If he had a diary, it probably said, dear Diary,
seventeen seventy nine stunk. What happened? We're going to get
(31:10):
to that story right after this. This is home in progress,
where the to do list is long, and that's all right.
We're not crabbing at you. We're not gonna yell at you.
That's how it is. It's how ours is too. It's
probably supported by repcoll like Paints and Benjamin Moore, because
home projects are easier when you've got people you can trust.
All right, So seventeen seventy nine, what in the world
(31:32):
made this year so bad for Paul? Revere. Well, to
get to that, we've got to look at the Panobscot expedition.
The Panobscot expedition, I am sure, I'm not saying that smoothly.
It's not an easy word to say. Pe n O
b Scot, Panobscot during that expedition, which was a military
(31:53):
campaign that was designed to be quick, you know, decisive,
and of course victorious. Not many campaigns military camp pains
are designed to be failures. This one was designed to
be victorious. And they were going to drive the British
out of eastern Maine, reclaim the territory, and secure the coast.
You know, a great, big, grand vision here. On paper,
(32:13):
it looked like it was brilliant. You know, it was
going to work. American land forces, including Paul Revere and
his artillery regiment, were going to coordinate with a fleet
of naval ships, and together they were going to corner
the British and force a surrender. But that is not
how it played out at all. Poor leadership, miscommunication hesitation
among the commanders turned the campaign into a literal catastrophe.
(32:37):
The land troops, including Revere and his artillery, clashed repeatedly
with their superiors and while they were stalled on land,
the American fleet set vulnerable in Panopskat Bay. Now, eventually
the British reinforcements arrived, and in the chaos of that,
the entire American fleet, which was over forty ships, was destroyed.
Many were scuttled or burned by their own crews to
(32:59):
prevent capture. That was the worst naval disaster in American
history until Pearl Harbor. Now, in the aftermath of all
of that, Paul Revere was accused of disobedience, he was
accused of cowardice, and those charges ended up leading to
a military court martial. The trial itself dragged on for
three years something like that, and during that time, Paul
(33:19):
Revere was effectively sidelined. You know, his name is tarnished,
his careers at an absolute standstill. But finally, when the
court convenes in seventeen eighty two, he's acquitted on all counts.
The tribunal found no basis, absolutely no basis for the accusations.
Turns out much of the blame rested on the higher
ranking officers. Sure, Paul Revere had made mistakes, we all
made mistakes. It was a crazy time, but they weren't
(33:42):
criminal mistakes. So his name is cleared and he comes
out of that ordeal determined that he's going to rebuild
his life and his reputation, and that's exactly what he
ends up doing. So at the age of sixty five,
the war's over, He's sixty five years old. Many people,
you know, they would slow down at this point. Some
of us slow down win before that, But at sixty five,
Paul Revere jumps into industrial manufacturing. That was a bold move.
(34:06):
You know, he was trying to bring rolled copper technology,
which was then, you know, mostly a European innovation. He
was trying to bring that into American hands. Now why copper, Well,
he did it because copper sheets were critical to naval
shipbuilding and as you remember, we lost a lot of
ships in the Panopskat expedition. So Paul Revere is doing
what he can to replenish the American fleet, and this
(34:28):
sheathing ends up being used on the wooden hulls of
ships like the USS Constitution, which, thanks in part to
this copper, is still afloat today. Now what's interesting is
in this endeavor, like in so many things that he undertook,
he didn't know what he was doing. In the beginning,
he visited European style mills, he studied machinery, He hired experts,
He experimented, sometimes with success, often with failure. He had
(34:52):
the troubleshoot every aspect of the process, the temperature of
the alloy ratios, the rolling techniques. It was a constant
grind of learning and then revising and then rebuilding. But
he didn't give up. You know, That's the thing that's
really cool about all of this. He didn't give up.
He kept pushing, he kept refining, and eventually he got
it right. And his copper sheets were used, like I said,
(35:13):
on the wholes of ships, but also on the roofs
of public buildings and in countless industrial applications. The business
that he started at this point in his life, you
know what would become the Revere Copper and Brass Company,
helped lay the groundwork for American manufacturing. Yeah. I mean,
it's just absolutely crazy, all the things that guy did.
You know, in the end, Paul Revere wasn't just that
(35:34):
guy on a horse shouting warnings in the night. He
was a silversmith, He was a printer, a dentist, a dentist,
remember the dentist He was a political organizer, a military officer,
a cannon maker, he worked with gunpowder. He was a
copper baron, you know, in every sense of the word.
He was a pioneer of American industry. Now he died
in eighteen eighteen at the age of eighty three. He'd
(35:56):
spent his entire life doing what makers do best. And
we're gonna get to that term in a little bit here.
What makers do best, that's what Paul Revere did, solving problems,
learning new things, and trying again and again and again
after failure, and then in the end building something that
will last. And when you look at it that way,
Paul Revere's story isn't just a piece, you know, a
little tiny piece of American history. It's kind of like
(36:19):
a blueprint, you know, it's a plan. It's proof that
you don't need to be perfect or prepared before you
begin something. You just need to start. You need to
jump in. And that mindset, that approach to life, nowadays
we would call it the maker's mentality. And it's not
just about building cabinets or fixing furniture, you know, that's
not just what a maker is. It's about the way
(36:40):
you approach life. You know, it's about being curious, being
willing to learn. It's being willing to mess up. You know,
it's not needing to be perfect before you start something.
It's saying I don't know how to do this. In fact,
I might not even have a clue. But I can
figure it out, or at least maybe I can figure out.
I'm going to try to figure it out. That's what
A revered it over and over and over again. That's
(37:03):
why I spent this entire episode talking about him. Most
of the episode talking about him. He didn't always know
what he was doing. He wasn't trained as a dentist,
which is exactly the dentist we all want, right, you know,
in some instances, yeah, you just we want we want
the degree. You know, so in some instances this isn't perfect.
(37:24):
Back then just jump in. You know, it's a free
for all. You don't mind touching people's mouths, the inside
of it. Maybe dentistry is for you. Try No, that's
not what we want. We want the degree in dentistry
and medical science. You know, if you're going to cut
me open and remove some innards, I'd like you to
at least have a degree on your wall that means something.
(37:45):
But in a lot of other situations, you know, I'm
talking around the home and stuff like that, it's okay
to not know exactly what you're doing, but just to
jump in anyway and learn along the way. Now, you've
got to be smart. You jump in in situations where
you're not going to pose a threat to your family
or to the safety of your home or the longevity
(38:05):
of your home. I'm not saying figure out breaks. You
know how to put brakes in your car on the fly,
you know, that's not part of the maker's mentality. You
work with smaller things and build up to that. You
change your windshield wipers, you change the battery in the car.
You do all of that, and then you build up
eventually over time, as you're learning your skills and you're developing,
(38:26):
you're gaining confidence, you're gaining insight, and eventually you tackle
the bigger things. You know, when it comes to painting,
you don't start, you know, the very first time you
open a can of paint. You don't paint the exterior
of your home. You start with smaller things. Build the confidence,
build the skills. The maker's mentality is a first step,
a necessary first step to all of that, and it's
(38:47):
the step that says, I don't know it now, but
I'm willing to jump in and try. I'm willing to learn,
and I'm willing to deal with some failure. I'm not
going to be perfect, but I'm going to still plow through.
I'm going to persevere, and I'm going to get there.
Set works everywhere. It works in a workshop, it works
in a kitchen, works at a desk job, it works
in parenting. It's not about being an expert, like I said,
(39:08):
it's about being willing to try. And when you live
like that, when you lean into that maker's mindset, you
really start to realize that the world isn't something that
just happens to you. You know, your home isn't just
something that happens to you, and you've got to just
deal with it as best you can by calling in
experts and waiting un till they can get there. When
you've got a maker's mindset, you gain agency. You know
(39:28):
you can shape things, you control things, you can fix things.
You're not waiting for somebody else. Necessarily, you're willing to
jump in and try. You can be Let's say it
this way, you can be a mini, little DIY version
of Paul Revere. That's the whole point of all of this,
you know, And it's fun because it's fourth of July.
It's fun to talk about Paul Revere and this era
(39:50):
in general, but also to squeeze a little bit of
DIY goodness out of it and maybe apply it to
our lives. So get out there and give it a shot,
give it a try. And if your project does involve paint,
you know, if that's part of what you're working on,
we're here to help. So just swing out to any Repcollite,
tell us what you're working on. We'll get you moving
in the right direction. Thank you so much for listening
(40:11):
to Home in Progress. I hope today's story, you know,
it gave you a new perspective on Paul Revere. Maybe
it sparked a little inspiration for your next project. If
you do want to hear more stories like this, more
content like this where history and home improvement collide and
all kinds of different things, that's what we do on
the show. If you want to hear that, be sure
to follow the show and leave us a review. That
(40:33):
really helps new listeners find us and it lets us
keep making great content for you. You can find Home
in Progress wherever you get your podcasts, and if you're
enjoying the show, share it with a friend who might
love it too. Have a safe and happy Fourth of
July weekend, enjoy your time with your family, and remember
whatever project you've got next on your list, Repcolite is
here to help you make it easier. I'm Dan Hanson.
(40:53):
See you next time.
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