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Knowing how to get rid of mold in showers, and keep it from returning, can save you both time and money. Here are 3 simple ways to remove bathroom mold. Read on!
Image Source: Flickr
Scrub Away
To properly care for your bathroom and remove the mold from tile grout, you will need a good scrub brush and baking soda. To effectively scrub the mold away, treat the grout between tiles and the caulking with a paste made of water and baking soda. Leave on for as long as you need to—for example, very dirty grout can use an hour or two. Spray the tiles with water and use a scrub brush to clean the grout with a brisk back and forth motion. Rinse well and buff dry. Once you have scrubbed the grout, you can prolong your mold-removing efforts so that you do not have to use as much elbow grease next time! If your bathroom is not properly maintained between cleanings, it does not take long for mold to come back. In fact, think of mold prevention like oral care—we have to maintain our teeth to keep plaque away. Source: NaturallySavvy
Vinegar
Put mild white vinegar in a spray bottle without diluting it. Vinegar has a mild acidity, making anywhere you spray it very inhospitable for mold. Do not dilute the vinegar when placing it into the spray bottle; you want to use it at full-strength, not watered-down.
Spray the vinegar onto moldy surfaces and wait for an hour. If possible, let the bathroom air out during this time.
After an hour, wipe the area clean with hot water and dry the surface with a towel. Damp surfaces encourage mold growth, so be sure to wipe the area clean fully. After you have wiped the vinegar away, it should not smell anymore.
Use vinegar to prevent outbreaks of mold before they happen. Vinegar is reported to kill 82% of mold species, making it an exceptionally effective solution for preventing mold from inhabiting your bathroom like it owns the place. Plus, vinegar does not have any toxic fumes (like bleach) and is all-natural.
Hot Water and Baking Soda
You’ll need one teaspoon of washing up liquid, one cup of baking soda, and a few drops of something fragrant (we recommend lavender or citrus oil). Then add water and mix until the solution becomes a viscous paste and you’re done – a natural black mould remover. Source: Cleanipedia
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OSHA’s Toledo (Ohio) Area Office has cited Liqui-Box Corp., a food plastics manufacturer, for three alleged serious and one alleged other-than-serious safety violations. Acting on a complaint received when a worker suffered the partial amputation of his left thumb, inspectors began an investigation on June 28, and found violations of OSHA’s machine safety standards.
It's still hot in New York, though slightly cooler weather is promised for the weekend. In these last days of summer, let's stick with Brazil. How about legendary bossa nova guitarist Roberto Menescal and vocalist Wanda Sa? Here they are performing Roberto's O Barquinho...
Here they are performing Roberto's Telefone...
And here they are on his Rio...
Sometime around 3 p.m. yesterday afternoon, I had a craving for Eumir Deodato, the Brazilian composer-producer and jazz-fusion electric pianist. I have no idea why. Maybe it's the heat or that the light is fading earlier in the day and transitioning to early autumn. Or maybe I just wanted to hear a Fender Rhodes. It happens. Here are four clips of Deodato:
Here's Deodato in 2011 playing Super Strut...
Here's the Deodato Trio playing Carly and Carole...
Here's the Deodato Trio playing Whistle Bump...
And here's the trio playing Steely Dan's Do It Again...
At the dawn of the 1960s, the Beach Boys were a teenage vocal group who bridged elements of West Coast jazz with California pop rock. The fusion wasn't a calculated plan as much it was the result of happenstance. The five singer-musicians had long admired the Four Freshmen and other vocal-harmony groups but were looking for a way update the sound with contemporary songs that would appeal to friends. [Photo above, from left, Brian, Carl and Dennis Wilson in 1961]
When the three Wilson brothers formed the group with cousin Mike Love and friend Al Jardine, they set out to frame their songs with a jazz-pop vocal-harmony approach. Then one day, Dennis Wilson came back from the beach and told the others that surfing was trending. Songs were written by Brian and Mike that combined the new craze with a Four Freshmen-like harmony and rock instruments that Brian arranged. [Photo above of Brian Wilson and Dennis Wilson (partially shown) as the Pendletons in 1961]
Let's jump ahead for a moment. On May 24, 1962, the Beach Boys signed a seven-year contract with Capitol Records, becoming the first rock group signed to the label. Why did Capitol sign the quintet for such a long period of time? The answer can be found on a terrific new two-CD set—Becoming the Beach Boys: The Complete Hite and Dorinda Morgan Sessions (Omnivore). [Photo above, from left, Brian Wilson, Carl Wilson, Dennis Wilson, Al Jardine and Mike Love at the Capitol Tower in 1962]
In 1961, the Morgans ran a Los Angeles recording studio on Melrose Blvd. When the three Wilsons, Love and Jardine showed up in October 1961 as the Pendletones and sang a cover of Sloop John B, a song recorded in '58 by the Kingston Trio, Hite Morgan passed and insisted on an original. The quintet happened to have one based on the beach trend spotted by Dennis. They recorded a demo of Surfin', and Dorinda Hite flipped. The Hites agreed to help turn the demo into a record.
A month later, when Surfin' was released on the local Candix Records, the group was listed as "Beach Boys," a name Russ Regan, the label's promotion executive, had come up with to match the song's theme. Weeks after its release, Surfin' became something of a sensation in Los Angeles, selling 40,000 copies and reaching #75 on Billboard's pop chart—remarkable for a regional label. (The band would, of course, record the song again at Capitol.)
A handful of new singles recorded at the Hites' studio followed, including Surfin' Safari, Surfer Girl, Judy and Beach Boy Stomp. A reel was assembled in April 1962, and by May, the Beach Boys were Capitol recording artists, roughly a year and a half before the label began releasing records by a group called the Beatles, who in June '62 had recorded for the first time for EMI, Capitol's parent company. [Photo above, clockwise from bottom left, Mike Love, Brian Wilson, Dennis Wilson, Al Jardine and Carl Wilson]
These pre-Capitol recordings by the Beach Boys are a fascinating document. There are only nine songs on the two CDs, but we hear multiple takes of each one as the group keeps polishing the song until they get it right. The CD reflects Brian's early musical vision as well as Love's lyrics. [Photo above, Hite and Dorinda Morgan]
If you love the Beach Boys, this set captures an innocent moment in time after the culture had begun shifting away from traditional adult pop and before the Beatles arrived in the States and the two bands began competing.
JazzWax tracks: You'll find Becoming the Beach Boys: The Complete Hite and Dorinda Morgan Sessions (Omnivore) here.
JazzWax clip: Here's Lavender, a song written by Dorinda Morgan, with vocals arranged by Brian Wilson and recorded by the Beach Boys in the style of the Four Freshmen. I emailed the track to a few friends, who had no clue who the group was but were convinced it was an early Four Freshmen outtake...
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OSHA has cited D.R. Horton and Garcia Carpentry for fall protection violations at an Ocala, Fla. job site.
Inspectors observed employees installing roofing sheathing without fall protection, leading to five safety violations. The inspection was part of the OSHA's Regional Emphasis Program on falls in construction.
The agency issued D.R. Horton one repeated citation for failing to ensure subcontractor employees were protected with a fall protection system when working from heights up to 25 feet.
Rudy Van Gelder, a New Jersey optometrist who in the late 1940s extended his passion for ocular precision to professional recording and wound up becoming one of jazz's finest and most enigmatic studio engineers, died on Aug. 25. He was 91.
When Rudy started recording at his parents Hackensack, N.J., home (above), he knew virtually nothing about jazz. And throughout his career, he never developed much of a passion for it, despite being an ear-witness to some of jazz greatest studio performances. Rudy simply didn't have the time or the wherewithal given how much he had to get right with the studio's technology. As Rudy put it, he didn't have the luxury of listening for enjoyment. Nevertheless, he had deep respect for the extraordinary talent that came to record at the Van Gelder residence and, later, his own home-studio in Englewood Cliffs.
Being immersed in the unfolding of modern jazz in the 1950s, Rudy was inspired to experiment with his equipment in the studio. His efforts were motivated by his determination to preserve the music as he heard it and provide record buyers with the same experience. In effect, Rudy invented techniques to reproduce jazz's salon intimacy on vinyl.
At a time when setting up microphones in recording studios was fairly standard and engineers were there merely to make sure everything was plugged in and that nothing went awry with equipment or recording levels, Rudy quickly became an improviser. For Rudy, microphones had distinct characteristics and properties, and when they were placed in unusual places or wrapped in strange ways, they could produce a cozier, more realistic result. [Max Roach at Rudy Van Gelder's Hackensack, N.J., studio in the 1950s]
To Rudy's credit, he always remained himself—a quiet, nerdy technician fussing with dials and wires. He never became a hipster, like so many in the jazz business did, and musicians respected his eccentricity, even when Rudy chastised them for touching or adjusting his gear. Shocked at first, they could respect that, since they, too, were guarded owners of delicate instruments. In Rudy's studio, microphones could be touched only by the sounds emanating from instruments.
Relentlessly employed by major jazz labels throughout his career, Rudy became a cult figure among record buyers and musicians. An album engineered by Rudy sounded luxurious in an understated way, as if all of the musicians had recorded in a small storage closet lined with suede. No one sounded distant, while session leaders were distinct but never overwhelming. As Rudy told me during my 2012 visit to his famed Englewood Cliffs, N.J., home/studio, where he had moved with his wife in 1959, he was constantly striving for a natural sound.
Today, I'm going to do something a little different. I know many of you cannot access WSJ.com. So below is my complete profile of Rudy for the WSJ in 2012, when I visited with him at his studio. As we ate chicken-salad sandwiches and potato chips at a tall table in the middle of his studio space, we talked for two hours about his house and all of the jazz history that was created and recorded there [photo above of Rudy Van Gelder and Marc Myers in February 2012]:
(c) Marc Myers
By Marc Myers
February 7, 2012
Englewood Cliffs, N.J.
Rudy Van Gelder warned his guest not to trip over the thick cables snaking along the floor as we made our way through a forest of microphone stands at the far corner of his famed recording studio. "Here it is," he said, tugging a gray plastic cover off a Hammond organ. "Nearly every organist I've recorded—Jimmy Smith, Ray Charles, Jack McDuff, Charles Earland and others—used this instrument. Many people would probably be surprised to learn that it's actually a C-3 model, not a B-3."
Mr. Van Gelder is still a stickler for details. Since 1952, the 87-year-old engineer has recorded thousands of jazz albums—first at his parents' home in Hackensack, N.J., and then here. The lengthy list includes Miles Davis's "Workin'," Sonny Rollins's "Saxophone Colossus," Art Blakey's "Moanin'," John Coltrane's "A Love Supreme," Wayne Shorter's "Speak No Evil" and Freddie Hubbard's "Red Clay."
On Saturday, the National Academy of Recording Arts and Sciences will honor Mr. Van Gelder with a Trustees Award—a Grammy that recognizes his lifelong contribution to jazz recording. As an engineer, Mr. Van Gelder is credited with revolutionizing the sound of music in the LP era—capturing the distinct textures of each instrument and giving jazz albums a warm, natural tone.
From the outside, the building that houses Mr. Van Gelder's studio looks like any chocolate-brown suburban home—except there are no windows. Inside, the butterscotch-hued, cathedral-like space features a vaulted ceiling made of laminated Douglas-fir arches and cedar planks, giving the room a Scandinavian feel. Snap your fingers or talk, and the sound appears to hang in the air momentarily, as if the rafters were evaluating the sonic quality before letting it go.
Mr. Van Gelder is notorious for stonewalling questions about his recording techniques. "But I'll tell you this," he said, seated in his studio's long control room. "I used Neumann Condenser mikes before anyone else did. I bought one of the first ones sold here. They were extremely sensitive and warm-sounding."
When asked about the creative ways he placed microphones near instruments—in one case reportedly wrapping a mike in foam and sticking it into the piano's tone hole—Mr. Van Gelder channeled his inner Sphinx. "All I'll say is nothing is simple, everything is complex."
Born in Jersey City, N.J., Mr. Van Gelder began listening to jazz on the family radio. At age 12, he ordered a home recording device that came with a turntable and blank discs. "I tried playing trumpet in my high-school marching band but I was soon demoted to ticket-taker at football games," he said.
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After high school, Mr. Van Gelder attended the Pennsylvania College of Optometry in Philadelphia. "I wanted the mental discipline and the prospect of a steady income after college." While there, he visited a network radio station. "A powerful feeling swept over me. The music, the equipment's design, the seriousness of the place—I knew I wanted to spend my career in that type of environment."
Immediately after graduating in 1943, Mr. Van Gelder opened an optometry office in Teaneck, N.J. By day he worked on eyeglasses and in the evening he recorded local artists who wanted a 78rpm record of their efforts. "I was obsessed with microphones," Mr. Van Gelder said. "When I'd see photos of jazz musicians recording or performing, I found myself looking at the mikes, not them."
In 1946, his father decided to build a house in Hackensack, N.J. Mr. Van Gelder asked for a control room with a double glass window next to the living room, which would serve as the studio. His father agreed. "The architect made the living room ceiling higher than the rest of the house, which created ideal acoustics for recording," he said.
Early clients included singer-accordionist Joe Mooney and pianist Billy Taylor. Then in 1952, Gus Statiras, a local producer, brought baritone saxophonist Gil Mellé to Mr. Van Gelder's studio to record. Mellé later played the results for Alfred Lion of Blue Note Records in New York. "Alfred wanted more tracks and went to his engineer at WOR Studios to see if he could duplicate the natural sound," Mr. Van Gelder said. "The guy told him he didn't know how, and urged Alfred to see the person who had recorded the originals. So he did."
Before long, Prestige, Savoy, Vox and other labels began booking studio time for LPs. "To accommodate everyone, I assigned different days of the week to different labels," he said. "But I continued to work as an optometrist, investing everything I made in new recording equipment."
Mr. Van Gelder learned his craft on the job. "Alfred was rigid about how he wanted Blue Note records to sound. But Bob Weinstock of Prestige was more easygoing, so I'd experiment on his dates and use what I learned on the Blue Note sessions."
As the home's driveway filled with cars, Mr. Van Gelder's parents added a separate entrance to their bedroom wing to avoid walking in on the musicians. "My parents and the neighbors never complained," he said. "Only once my mother left me a note asking me to do a better job tidying up."
In 1954, Mr. Van Gelder and his wife, Elva, moved into a nearby apartment. A museum exhibit in New York on Usonian architecture gave the couple an idea. "The image I had in mind was a small concert hall," Mr. Van Gelder said. Then came a meeting with David Henken, a Usonian architect and student of Frank Lloyd Wright. Henken designed plans for Mr. Van Gelder, and Armand Giglio, one of Henken's developers, built the studio on a wooded lot in Englewood Cliffs.
"A crane had to hoist the arches and rafters into place," Mr. Van Gelder said, pointing up at his studio's ceiling. "They were bolted together at the top and joined at the bottom with a steel cable under the floor. This design allowed for the large space to stand unencumbered by columns, which was essential for a studio."
During the 1960s and '70s, Impulse, Verve, A&M, CTI and other labels used the Van Gelder studio. "'A Love Supreme' was recorded right here," Mr. Van Gelder said. "The session was hypnotic, exciting and different. But I didn't realize that until I remastered the tapes many years later. When Coltrane was here, I was too worried about capturing the music."
Before departing, this writer tried once again to pry Mr. Van Gelder's techniques loose. "All I can tell you is that when I achieved what I thought the musicians were trying to do, the sound sort of bloomed. When it's right, everything is beautiful. I was always searching for that point."
I'm going to miss Rudy, who taught all of us that the road to success is to stick to your knitting and to make sure your knitting is better than everyone else's.
JazzWax note: For my multipart JazzWax interview with Rudy Van Gelder, start here.
JazzWax clips: Here's Rudy's first engineered jazz recording in 1949—Joe Mooney's I'll See You in My Dreams...
Here's Four Moons from Rudy's first 10-inch LP recording, Gil Melle's New Faces, New Sounds, featuring Eddie Bert (tb), Gil Melle (ts), Joe Manning (vib), George Wallington (p), Red Mitchell (b) and Max Roach (d)...
And here's Hank Mobley's This I Dig of You from Soul Station (recorded Feb. 7, 1960), with Hank Mobley (ts), Wynton Kelly (p), Paul Chambers (b) and Art Blakey (d). For some reason, this song has always reminded me of Rudy and illustrated why he was special...
