Tag Archives: 1970s

Fashion

How to Remove Popcorn Ceilings? A Step-by-Step Guide for Beginners

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Popcorn ceilings are a well-known finish that resembles a bubble-like textured surface. They were trendy from the late 1960s to the mid-1990s. This is why homeowners who have had difficulty removing carpet and green tiles in the kitchen now want stucco removal.

Steps to Remove Popcorn Ceilings

The most effective way to remove a textured popcorn ceiling is to use a large paint scraper. However, if you do not follow the correct procedure and do not know the nuances, you can end up with a huge mess.

Here are some practical tips that you can use to remove popcorn ceilings from your home:

  1. Determine if your popcorn ceiling contains asbestos. If you built your home before 1980, there is a chance that your popcorn ceiling contains asbestos. This is a dangerous material that can cause serious health problems. To do this, buy a special test kit or hire a professional.
  2. Gather the right tools. To remove a popcorn ceiling, you will need a scraper, an aerosol can, a ladder, and safety equipment (goggles, gloves, and a respirator).
  3. Clear the space. Make sure the room is empty before removing a textured ceiling. Cover large items that you cannot take out with a heavy-duty tarp.
  4. Disconnect ceiling lights. This will reduce the risk of accidental damage. Secure electrical wires with special wire nuts to prevent electric shock while working.
  5. Protect electrical outlets and light fixtures. Cover them with plastic wrap and masking tape. This blockage will prevent water from entering the outlet and reduce the risk of short circuits.
  6. Protect floors, doors, and windows. Cover all surfaces with a heavy tarpaulin mat and secure it with masking tape.
  7. Wet the ceiling. Fill a spray bottle with warm water and a few drops of detergent and spray the ceiling.
  8. Scrape off the popcorn texture. You can use a wide putty knife for this. Use smooth, even movements to remove the material effectively. You can add more water to make the process easier. Wait 24 hours for the ceiling to dry before moving on to the next step.
  9. Apply a sanding coat and sand. This will help you fill in any gaps and provide a smooth surface. Let the mixture dry, and then sand again to remove uneven areas.

After this, you can prime and paint the ceiling as desired.

Finally, you can remove the mat, put the lamps and fans back, remove the socket covers, and arrange the furniture.

Removing the popcorn ceiling is quite problematic. This process requires special tools and skills. The main problem with removing popcorn texture is the colossal mess it creates. Only professionals can remove popcorn ceilings without dust and dirt. If you’re intimidated by cleaning or need more time, hiring professionals is a great way to solve the problem.

How to simplify the process of removing popcorn ceilings?

If you want to simplify removing popcorn ceiling as much as possible, use the services of professionals from Renovated-Home. Experienced craftsmen will help transform your home into the place of your dreams. Renovated-Home craftsmen use leading technologies to remove textured ceilings. The surface is removed without dust and mess.

The Renovated-Home team works in Toronto and provides the highest professional services. Сraftsmens have extensive experience leveling ceilings, so you will not have to wait long. They will perfectly level the surface and clean up everything after themselves, leaving a clean space in your home.

If you have questions about the cost, request a consultation. Managers will contact you and calculate the cost of work individually, considering the area, ceiling height, and the presence of furniture. Get a free consultation right now. For the Silo, Kristina Rigina.

Reviews

New Doc About A Pioneer Of Modern Design

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Architect Eliot Noyes was one of the leading pioneers of modern design during the mid-century, post-war boom in the United States. Educated by Walter Gropius at Harvard, Noyes did more than anyone to align the Modernist design ethos to the needs of ascendant corporate America. His impact on companies like IBM and Mobil Oil paved the way for Apple and many of the other design-conscious brands we know today.

Modernism, Inc. follows Noyes’ career up to a time when disruptive designers of the early ’70s began pushing back against the Modernist view of progress. As he did in Eames: The Architect and the Painter (co-directed with Bill Jersey), filmmaker Jason Cohn uses the story of a mid-century icon to raise contemporary questions about the role of a designer in today’s world.
Jason Cohn will appear in person at both the New York and Los Angeles openings.
“Well-researched, well-crafted and fascinating.
Noyes created and forged some of the most respected, meaningful, and influential industrial design programs in the United States. The rise and attraction of modernism on the heels of the postwar economic boom birthed contemporary design and philosophy that continue to exist and flourish today, influencing mega businesses, including Apple. The idea of beauty with utility, which was generated from the Bauhaus art movement, continues to remain vital today, and for this, we thank Noyes.”
-Sabina Dana Plassa, Film Threat

“Noyes held the belief that design was not an afterthought, but rather something that needed to be infused into every aspect of a company’s thought process. The result helped IBM become the technical design juggernaut of the early personal computing era—and paved the way for companies like Apple to design products for the 21st century. Interviews with those who worked with him, as well as those in his family who knew him intimately, paint the picture of a man who was truly ahead of his time.”-Sara Harowitz, The Georgia Straight
MODERNISM, INC. Directed by Jason Cohn 79 minutes | color | In English | 2023
CREDITS

Jason Andrew Cohn  Writer and Director
Camille Servan-Schreiber  Producer Kevin Jones and Jason Cohn  Editors Steven Emerson  Music Composer Sebastian Roché  Narrator Talia Mindich  Associate Producer
Talia Mindich, Andrei Valladolid, Nina Goodby  Assistant Editors

© 2023 Bread & Butter Films
For the Silo, Kelly Hargraves.
Reviews

1975 Psycho From Texas Bluray is Drive-In Worthy

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NOTE- this article has adult themes and language.

A backyard movie night with one of those Blu-rays that are courteous enough to program a drive-in style evening, featuring two movies with an intermission.

The first film, PSYCHO FROM TEXAS (1975), was new to me. It’s about a criminal drifter named Wheeler who arrives in small town Arkansas to take on a kidnap/ransom job. The victim turns out to be the very same kindly old man who treated Wheeler earlier that day to a free Coke *and* a cup of coffee.

But we immediately find out that Wheeler is as cold as they come, and he doesn’t care what the old man did for him, he is actually looking forward to killing him once the money comes through. It turns out Wheeler’s Texas psychopathy stems from having a shitty mom who would beat him in between getting fucked by random dudes who pay her in stockings.

Filmmaking-wise, this is total amateur hour, featuring clumsy transitions and mostly bad acting, even the music suddenly changes back & forth between scenes. After the first half-hour, it meanders with an endless foot chase that is alternately funny and tiresome.

There are also whiplash-inducing shifts in tone, going from dumb good ‘ol boy comedy (complete with country bumpkin music) to ultra-grimy sleaze (Linnea Quigley appears in this, and I don’t think her visual discomfort is all acting, either).

But I can’t deny that I found the overall story kinda intriguing, and the filmmakers sure as hell knew how to end a movie on a high note. I’ve been re-reading the Parker novels recently, and Wheeler reminded me of one of those despicable sadists that Parker occasionally worked with (and who usually ended up fucking over Parker and his partners).

Plus, I’m a sucker for regional drive-in fare; I always felt these movies were better representations of their time & place than bigger budget fare. Probably because they couldn’t afford sets and back-lots. There’s a scene where a sheriff is explaining how a young boy found a very important piece of evidence; the boy is Black, and the sheriff begins to say “You know that young n-” and the print suddenly jump-cuts a couple seconds ahead to “…boy from so-and-so found…”, sparing us that very real Arkansas-in-the-1970s moment. I had to laugh.

Also, Wheeler drives a pretty sweet Dodge Dart Swinger 340, which is something I thought you would appreciate, if you were me.

There was a 13-minute intermission with classic snack bar ads and trailers for movies like COP KILLERS and THE GRIM REAPER (U.S. cut of ANTHROPOPHAGOUS), before moving on to the second feature, THE GATES OF HELL (1980) which is the U.S. cut of Fulci’s CITY OF THE LIVING DEAD. There are much better-looking versions available under the original title, but I appreciated the grind house charm of this scratched up print (I’m pretty sure this was the same print I’ve seen at various all-night marathons).

https://youtu.be/06c1xXYlu5Y

I’ve rambled about this one before; it’s not my favorite Fulci, but it’s good times all the same and it was fun to watch it outside at night, wondering if the creepy sounds I heard behind me were possums, gatos, or some evil zombie priest who wants to bring about the end of the world. (And yet, despite the bleeding eyeballs and puked-up entrails and living dead walking around, that priest *still* refuses to acknowledge his colleagues molesting the altar boys behind closed doors.) For the Silo, E.F. Contentment.

Reviews

ODDBALL CINEMA: CONVOY

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Errrr breaker one. This here’s the Rubber Duck.

CONVOY (1978): Maybe because I knew that director Sam Peckinpah was pretty much reaching new depths of being an irresponsible drug-addled drunk during production, that I figured maybe it would show in this movie, and maybe that’s why I’ve avoided it for so long.


I mean, it’s one thing to have that kind of thing seep into your films about violent assholes defeated-by/defiant-at life, but it seems like something that would fuck up what should otherwise be a fun movie about truckers outrunning the law — based on a fuckin’ hit novelty song, of all things.


And yet, that’s not really the case here. It is a fun movie about truckers outrunning the law, with just the right amount of Peckinpah’s cynical boozy edge to make this stand-out from other similar joints playing at the drive-in around this time. Occasionally, I’d be surprised as I felt the edge poke me, and it was pretty sharp too, with its attitudes towards The Law and the dangers of being Black in America.

But they were welcome surprises.


Of the truckers, Franklyn Ajaye’s “Spider Mike” gets the worst of it from Johnny Pig, on account of his dark skin; Ajaye, by the way, is known mostly as a comedian, and he’s one of those dudes who I’m sure is living well, but I feel should be/should’ve been much bigger. I’m guessing he’s one of those “comedian’s comedian” types, in that he’s super-respected in his field, if not necessarily recognized by the general public.


I’m sure once he’s dead, he’ll become The Most Popular Comedian In The World on social media and everybody and their mother is going to go on about how great he was, the way everybody and their mother suddenly made Mr. Paul Mooney the most popular comedian in the world on social media after he died.


Kris Kristofferson’s “Rubber Duck” is very much a Peckinpah kind of protagonist, with his own code of conduct that might not make sense to others, but allows him to enter his house justified. He also goes shirtless for what seems like half the running time, which made me imagine if Matthew McConaughey ever considered starring in a remake somewhere along the way.


I don’t believe in heroes, but I suppose if I had to pick one, Mr. Kristofferson wouldn’t be a bad one to emulate: Rhodes Scholar, boxer, Army Ranger. He flew helicopters, swept floors, worked on an oil rig, and wrote some of the greatest goddamn songs in the history of music. He was also “Whistler” in the BLADE movies.


Ernest Borgnine plays such a bastard in this one, “Dirty Lyle” is his name, and he’s an oinker of the worst kind: A corrupt cop who shakes down the truckers unlucky enough to drive down his highway.


In real life, Borgnine revealed in an interview that his secret to long life was that he masturbated a lot; later, he said in another interview that he said that because the interviewer wouldn’t let up with that question, and he figured that answer would shut the dude up. In reality, he said, his long life was probably the result of becoming a vegetarian 35 years prior. Now that’s just disgusting and uncalled for, Ernie, you dirty old man.

Anyway, this was good times, man. I think this movie, SMOKEY AND THE BANDIT, and a six-pack of Coors will cure whatever ails ya.


It’s just so 70s in the best of ways, that old-school vibe with dudes talking to each other on the CB, taking showers together in their underwear. Maybe that’s why Ali MacGraw had short hair in this, to mix in easier with the rest of the dudes. #backyardmovienight For the Silo, E.F. Contentment.