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Home In Progress

Dan Hansen/RepcoLite Paints

Welcome to Home in Progress—the weekly show from RepcoLite Paints where we dig into the projects and little fixes that make home life better. Paint colors, design tricks, flooring, plumbing, yard work—you name it. If it happens at home, we’ll talk about it. Think of it as helpful advice with a sense of humor, always leaving you with something useful and a smile.

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#474
Thursday · 40 min
Hoosier Cabinets: The 1900s Kitchen Storage Genius That Still Works
Original Air Date: 8/29/26 Episode Number: 474 Episode Summary Dan opens with a vacation story about swimmer's itch, a chatty store clerk, and a deeply awkward attempt to warn strangers on a dock -- with one actually useful tip at the end. Then the main event: Hoosier cabinets. Dan covers what they are, why they were brilliant, how they spread into one in ten American kitchens in the early 1900s, where the name came from, why they eventually disappeared, and why people are hunting them down again today. The episode closes with four design principles pulled straight out of the Hoosier cabinet that apply to any storage or organization project in your home. Timestamps [00:00] -- Back From Vacation [00:41] -- Swimmer's Itch Explained [02:36] -- Itch Attack at the Store [05:16] -- Awkward Dock Warning [12:20] -- Vaseline Hack and Aftermath [13:24] -- Hoosier Cabinets Teaser [14:01] -- Hoosier Cabinet Features [16:25] -- Why They Became Popular [17:37] -- Why Hoosiers Worked [19:11] -- Sponsor Break [19:27] -- Cabinet Layout Tour [21:37] -- Ingenious Built-In Features [25:11] -- Where the Name Came From [27:24] -- Why They Disappeared [28:42] -- Modern Resurgence [30:53] -- Design Principles for Any Space [31:41] -- Four Rules in Practice [39:21] -- Final Takeaways and Sign Off Swimmer's Itch and the Dock Incident [00:41] Swimmer's itch is an itchy skin rash caused by an allergic reaction to microscopic parasites in the water. On most years at Burt Lake -- about 20 minutes south of Mackinaw City, where the Hansen family vacations -- it amounts to maybe 10 or 15 small dots on the legs after a week of swimming. Manageable. Scrubbing off with a towel and showering after swimming keeps it in check. Spraying legs with waterproof sunscreen before going in also seems to help. This year, Dan skipped the sunscreen and ended up with the worst case he's ever had. His legs felt like they were on fire -- not pain, just relentless itching -- and he drove to the nearest store and bought $60 worth of anti-itch creams, sprays, calamine lotion, witch hazel, and Epsom salts. The store clerk was a very enthusiastic talker who wanted to discuss each item, share the story of his childhood poison ivy, and price-check several things by shouting across the store. It was a long checkout. After a couple of hours of applying everything he bought, the itching started to calm down. By that evening he was mostly fine. The Vaseline tip. Coating your legs with Vaseline before swimming creates a barrier that makes it harder for the parasites to reach your skin. It feels strange but not as strange as you'd expect. Dan used it for the rest of the trip and nobody in his family got swimmer's itch after that. He tried to share this tip with two new families he saw swimming in the shallowest part of the lake the next day. The attempt to warn them on a narrow dock involved an unexplained leg-lift, the phrase "I have a message for you," and a display of the spots on his leg that left both men frozen and blinking for an extended period. The warning eventually got through. Dan walked back to the cabin. The Vaseline tip is real. The social execution was not. What Is a Hoosier Cabinet? [14:01] Hoosier cabinets are freestanding kitchen storage units that were made primarily in Indiana from the late 1800s through the 1930s. They are, by most measures, one of the most cleverly designed pieces of kitchen furniture ever made -- and most people today have never heard of them. The basic structure: about four feet wide and six feet tall. Lower cabinets on casters, a work surface in the middle, and shallower upper cabinets above. That much sounds simple. The details are what make them worth talking about. The pull-out counter. The work surface can slide out toward you, adding six to eight inches of workspace when you need it. When you're done, you push it back. But here's what makes it genuinely clever: the drawers directly underneath the counter travel with it. When you pull the counter out, those drawers come with it, so everything you need is still within reach -- not stranded behind where you're standing. The flour bin. Behind one of the upper cabinet doors, many Hoosier cabinets had a large built-in flour storage bin with a sifter and dispenser at the bottom. You slide your bowl underneath, turn a crank, and sifted flour drops right into the bowl. No hauling out a bag, no digging around with a scoop. A separate sugar bin often worked the same way on the other side. The doors. Not an inch of space goes unused. The backs of the cabinet doors are fully utilized -- spice racks, cookbook holders, pie tin racks, hooks, and in some models, baking charts printed directly onto the door interior showing measurements and oven times. The lower cabinet. When you open the lower doors, many models have a shelf that slides or rolls out automatically -- not something you have to dig around in the back of with a flashlight. Pan storage made accessible. The roll-top section. Above the pull-out counter, between the counter surface and the upper cabinets, many models had a small roll-top section that kept counter-level items behind a slatted door when not in use. Counter-level storage, completely hidden when you don't want to look at it. The countertop surface itself was typically porcelain enamel or zinc -- durable, easy to clean, built for heavy daily use. All of that packed into four feet of wall space, on wheels. Why Hoosier Cabinets Caught On [16:25] Here's the context most people don't know: for most of American history, kitchens were nearly empty rooms. Not the way we think of a kitchen today. You had a work table, a sink, maybe a few open shelves. Built-in cabinetry existed but required hiring a skilled carpenter to build directly into the house, and most people couldn't afford it. Built-in cabinets didn't become a standard feature in American kitchens until the late 1920s. That meant the flour was in the pantry. The sugar was in the pantry. The bowls were on a shelf across the room. Every time you baked, you walked to the pantry for flour, back to the table, across the room for a bowl, back to the pantry because you forgot the baking powder. Over and over. Hoosier cabinets were marketed as saving you 1,000 steps. Pull up a chair and don't get up again. Everything you needed for daily baking -- flour, sugar, spices, rolling pins, cutting boards, bread knives, bowls -- was concentrated in one workstation, with a surface to work on included. The number 1,000 may have been marketing, but the concept was real. These cabinets genuinely changed how work happened in a kitchen. About 130 companies eventually made versions of them, most based in Indiana, and at their peak one in ten American kitchens had one. Where the Name Came From [25:11] The origin of the Hoosier cabinet is harder to pin down than you'd expect. Kitchen cabinet patents go back to around 1885, and what seems to have happened is that multiple Indiana furniture companies landed on the same basic idea around the same time. According to the museum in Nappanee, Indiana -- which has one of the best collections of these cabinets in the country -- no one person and no one company gets the credit for inventing them. The name most likely came from one of two sources. The Hoosier Manufacturing Company of New Castle, Indiana was the largest producer and the loudest advertiser. Their brand may have become the generic name for the whole category, the same way Kleenex became the word for any facial tissue. The other argument is simpler: most of these cabinets were made in Indiana, home of the Hoosiers, so they became Hoosier cabinets by geography. Either way, the name stuck and became the universal term for the whole category. Why Hoosier Cabinets Disappeared [27:24] Built-in cabinets. By the late 1920s, houses were being built with real cabinetry integrated into the walls, continuous countertops, proper storage from floor to ceiling. A four-foot freestanding cabinet couldn't compete with a whole wall of built-ins. The fact that Hoosier cabinets sat on legs also became a problem. Dust, grease, and crumbs collected in the space underneath, and that gap was harder to clean than a sealed cabinet base that met the floor. Built-ins were simply easier to maintain. Manufacturers tried to fight the decline with prettier patterns and brighter colors. One company offered a Mediterranean-styled version. None of it worked. By 1935, the Hoosier cabinet was considered old-fashioned. The Hoosier Manufacturing Company was sold and eventually liquidated in 1942. The Modern Resurgence [28:42] Hoosier cabinets are showing up again. People are finding them at antique stores and estate sales, and the market for them is real. A rough-condition oak cabinet in need of work can sometimes be found for a few hundred dollars. Fully restored examples -- cleaned up, refinished, hardware sorted out -- start around $1,100 and average closer to $1,800. If you want to build your own, plans are available online, including from Popular Woodworking and similar sources. Dan recommends searching for Hoosier cabinet videos as a starting point. There's a 12-minute walkthrough in the show notes at repcolite.com from a woman who just remodeled her entire kitchen and says her Hoosier cabinet is still the single best-functioning area in it. Four Design Principles From the Hoosier Cabinet [31:41] These apply to any storage or organization project in your home -- garage, laundry room, bathroom, closet, kitchen, workbench, the cupboard under the sink. 1. Name the one job the space is supposed to do, and let that job do the cutting. The Hoosier cabinet wasn't a kitchen. It didn't try to be. It was a baking and prep station. It didn't hold the good china or the roasting pan you use twice a year. That was the pantry's job. The cabinet knew its purpose, and everything inside served it. The homeowner version: stuff drifts into rooms over time. Someone sets something down, it gets pushed to a shelf, that becomes where the thing lives, and nobody ever questions it. Go stand in your laundry room and look at the shelves. Or check the garage storage. Or the cleaning cupboard. There's probably things there that have nothing to do with what the space is for -- they just arrived and never left. Before you buy more storage bins or add more shelving, name what the space is actually for and move out everything that doesn't belong. It costs nothing and often frees up meaningful room. 2. Get everything the job needs within reach of one spot. The Hoosier cabinet's whole pitch was this: pull up a chair and don't get up again. Flour to the left, sugar to the right, spices on the door, bowls at your feet. The job gets done without walking anywhere. Count your steps tonight while making dinner. Every time you leave the counter you're working at to get something you need -- the pantry, the far drawer, the cabinet over the fridge -- that's a potential design problem. It may be fixable. Not always, but often. And if you're designing or remodeling a space, keep this in the front of your mind when deciding where things go. Put items near where you'll actually use them, not where the drawer happens to be empty. 3. Use the space you've got creatively. Every interior door surface on a Hoosier cabinet is doing work. Spice racks, cookbook holders, racks for pie tins, printed measurement charts. Not a square inch is wasted. Most storage problems aren't really about square footage -- they're about using only part of the available space. Open a kitchen cabinet with spice bottles in it. That shelf is probably set at cereal-box height. Above those three-inch bottles, there may be eight inches of dead air. Is there a way to capture that space without losing access? Could a rack mounted to the inside of the door replace the dead-air shelf and give you more capacity in the same footprint? These questions are worth asking in any space in your home. 4. Borrow the space, then give it back. The pull-out counter on a Hoosier cabinet is the clearest version of this idea. When you need more work surface, you pull it out. When you'd rather have the walkway, you push it back. The space doesn't disappear when you're not using it -- you just return it. Ask yourself where you're short on space only sometimes. A dedicated folding area in a laundry room is one of the most common examples. You need a large flat surface to fold clothes for about 20 minutes a few times a week. The rest of the time, you need to be able to walk through the room. A fold-down surface hinged to the wall above the washer and dryer solves this for around $40 and an afternoon of work. A fold-up workbench along a garage wall works the same way. The Hoosier cabinet managed an enormous amount of storage and function in four feet of wall space. Lack of space is a constraint, not a dead end. Constraints produce the best solutions when you tackle them directly. Resources Hoosier cabinet video walkthrough Museum collection: Nappanee, Indiana Build-your-own plans: Popular Woodworking and similar sites All past episodes: repcolite.com -- On the Radio tab, or search Home In Progress on any podcast platform or YouTube Home In Progress | RepcoLite Paints | Sponsored by Benjamin Moore
#473
August 20 · 37 min
The Craftsman Home: History, Architecture, and Color; Plus 3 Vacation Lessons That Apply to Home Projects
Original Air Date: 08-23-2025 Episode Number: 473 Episode Summary Dan opens with three lessons from the Hansen family cottage vacation -- each one stretched into home improvement territory. Then the back half of the show kicks off a new recurring series on American architectural styles, starting with the Craftsman home. Dan covers what makes a Craftsman a Craftsman, how the style began in Victorian-era England and spread across America through a furniture maker's magazine and a Sears catalog, the architects who took it to its highest form, and how to think about color if you own one. Timestamps [00:00] -- Welcome and Preview [00:33] -- Vacation Lessons Setup [01:50] -- Lesson One: The Space Invader [06:53] -- Lesson Two: Test Before You Commit [08:53] -- Paint, Stain, and Tool Testing Tips [11:41] -- Lesson Three: Communication Matters [14:08] -- Contractor Communication Checklist [17:02] -- Architectural Styles Series Intro [19:13] -- What Makes a Craftsman [20:16] -- Arts and Crafts Origins [24:19] -- American Craftsman Takes Off [27:40] -- Greene and Greene Masterpieces [29:11] -- Why Craftsman Endures [31:40] -- Craftsman Color Palette [35:08] -- Wrap Up and Where to Listen Vacation Lesson 1: Know Your Space Invader [01:50] Every family has one. The person who materializes in the exact spot you're trying to occupy. You walk into the kitchen, scan the room, see that nobody is standing by the coffee maker. Perfect. You set down your book, start walking over -- and by the time you get there, a child has appeared out of nowhere needing a banana or a spoon or anything that requires standing in your exact location. You go left, they pivot. You go right, they cut off the exit. Dan spent ten days at the cottage watching this happen in real time. The home improvement version: this person is a nightmare to paint with. You're rolling a wall with an extension pole and you turn around and catch them in the stomach with the handle. You reach for the paint bucket and they're already dipping their brush in it. You try to cut in the corner and they're cutting in the same corner from the other side. Dan's advice: identify this person before the project starts, and give them a different job. Send them for supplies. Send them for coffee. Let them help from a comfortable distance. This isn't exclusion -- it's project management. Vacation Lesson 2: Test Before You Commit [06:53] Dan arrived at the cottage with a brand-new swimsuit he had never tried on. It was alarmingly short. The elastic gripped him in ways that should not be legal. His family will apparently be telling that story for generations. The home improvement version of this is exactly what you'd expect, but it's worth saying plainly. Sample your paint colors. A swatch under store lighting is not a paint job. Grab a Benjamin Moore color sample -- about $5-6 for a half pint -- and put it on the actual wall or on a foam board you can move around the room. Look at it at different times of day, and especially at the time of day you're in that space most. A small roller like the Wooster Jumbo Coder works well for this; feather out the edges and you can paint right over it later when you're ready. Test your stain on your actual wood. RepcoLite does stain matching well -- other shops send customers here for it. But even a great match needs to be tested on the underside or backside of your specific material before you go all in. The same color formula can look very different depending on how a particular piece of wood absorbs it. Bring a sample of your actual wood when you come in for the match. Hold the brush before you buy. Paintbrushes look similar hanging on a rack but the handles are different -- some more square, some rounded, some heavier, some thinner. Pick it up and hold it the way you'd actually use it. If it doesn't feel right in the store, two hours into cutting in a ceiling isn't going to improve things. Vacation Lesson 3: Talking Is Not the Same as Communicating [11:41] Dan announced the dinner plan -- grilled chicken, salad, mashed potatoes, vegetables, 5:00 to 5:30 -- in clear language, to a room full of people who all nodded. Two hours later someone was pulling burritos out of the microwave. "Nobody told me." The contractor version is just as predictable. You assumed prep work was included. They meant something different by prep. You assumed two coats was standard. The quote was for one. Nobody asked. Nobody confirmed. Now you're having the burrito conversation halfway through the project. A few things to clarify before work starts: Ask what prep includes. "Prep work" on a quote can mean caulking and patching, or it can mean wiping down a surface. Find out specifically what's covered. Ask about coats. Is the quote for one finish coat or two? For most interior and exterior paint jobs, two coats is the right answer. Make sure you're both talking about the same job. Look beyond the price. When you met the contractor, did they listen during the walkthrough? Did they explain their process clearly? How someone communicates during the estimate is usually a preview of how they communicate during the job. Specify the products. You get to choose what goes on your walls. If you want a specific product -- Scuff-X, a specific Benjamin Moore line, anything -- say so upfront. The labor cost to apply cheap paint and good paint is roughly the same. The difference shows up on the walls. Follow up on references. A quick call to a past client tells you more than the quote will. The Craftsman Home: Launching a New Series [17:02] Dan is starting a recurring segment on American architectural styles -- not just what they look like, but the history, the architects, and how to think about color if you own one. The series starts with the Craftsman, one of the most widely recognized and widely loved styles in American residential design. What Makes a Craftsman Home [19:13] If you've had a hard time pinning down exactly what a Craftsman looks like, here's the picture: Low, gently sloping roof with wide eaves that extend out from the house -- you can often see the exposed rafter tails or decorative brackets underneath. A broad, deep front porch supported by thick tapered columns, usually sitting on a stone or brick base. The whole structure feels horizontal, grounded, almost hugging the earth. Materials are natural: wood, stone, brick. Colors are earthy. Inside, you'll typically find a central fireplace and built-in elements -- bookcases, benches, cabinetry. Warm. Solid. Welcoming. Dan admits he spent a year and a half nodding along when his former co-host talked about her Craftsman home without actually knowing what she meant. This segment is for everyone who has been doing the same thing. Where Craftsman Came From: Arts and Crafts Origins [20:16] The story starts in England in the mid-1800s, during the height of the Industrial Revolution. Factories were cranking out furniture and decorative goods in the dominant Victorian style: heavily ornamented, elaborately carved on the surface, but mass-produced underneath -- machine-stamped decoration glued onto flat boards, pieces nailed together quickly. The interiors to match were dense. Patterned wallpaper stacked on patterned carpets, lace, fringe, knick-knacks on every surface. By the 1860s, a group of designers started pushing back. The most influential was William Morris -- known today for his textile and wallpaper designs -- who believed that objects in a home should be honest and functional, made from real materials by real craftspeople. His guiding principle: "Have nothing in your home that you don't know to be useful or believe to be beautiful." That philosophy became the Arts and Crafts movement, which spread across England and arrived in the United States by the late 1800s. The American Craftsman Takes Off [24:19] Americans were equally done with Victorian fussiness and wanted something simpler, more natural, and more affordable. Two forces helped the Craftsman style spread quickly. Gustav Stickley was a furniture maker who deeply believed in Arts and Crafts ideals. In 1901 he launched a magazine called The Craftsman -- and put house plans inside it. For the cost of a magazine, ordinary families could find real architectural plans they could hand directly to a builder. Stickley's magazine ran until 1916 and essentially gave the American middle class a catalog of what a simpler, more honest home could look like. Sears, Roebuck and Co. started selling complete house kits through their catalog beginning in 1908. Pre-cut lumber, nails, shingles, windows, doors, and flooring all arrived by rail car, and a local crew -- or sometimes the homeowners themselves -- could assemble the house in a matter of weeks. Dan records at a studio in Holland, Michigan, and can see one of these catalog-era homes out the window every time he comes in. Quick side note: Craftsman tools, the Sears brand that launched around 1927, share the same catalog but have no actual connection to the architectural style. Completely independent naming. One of those odd coincidences of history. Selling house plans through magazines and catalogs made the Craftsman style accessible well beyond the wealthy -- the growing middle class could have one. That's a big part of why the homes spread so fast. Greene and Greene: The High End of Craftsman [27:40] The most elaborate Craftsman homes -- sometimes called "ultimate bungalows" -- were primarily the work of two brothers: architects Charles and Henry Greene, based in Pasadena, California. Their most famous project is the Gamble House, built in 1908 for the Procter & Gamble family. Rich wood interiors, exceptional joinery, Japanese-influenced details, custom furniture designed specifically to match the house. Worth looking up if you haven't seen it. The Blackburn House and Thorsen House are other examples. Each one blends architecture, furniture, and landscape into a single unified presentation. The Craftsman style spans from affordable Sears bungalow kits to these high-end works. Both fall under the same umbrella, and that range is part of what makes the style so interesting. Why Craftsman Homes Still Hold Up [29:11] By the 1930s, the Great Depression slowed home building, and newer styles -- Colonial Revival, Tudor, Art Deco, Modernism -- took center stage. The Craftsman faded from production but never disappeared. Today these homes are highly sought after, and it's worth understanding why the style caught on in the first place. Practical. The bungalow was an affordable, comfortable home sized for the middle class. Simple to build, simple to maintain. Philosophical. At a time when cities were expanding rapidly and daily life was becoming more mechanical and impersonal, people wanted a home that felt real. The Craftsman wasn't about impressing guests with ornate detail -- it was a quieter statement about valuing simplicity, family, and a connection to the natural world. Beautiful. Natural materials, earthy colors, and handcrafted details gave these homes a warmth that Victorian interiors, for all their grandeur, often lacked. A lot of what today gets called sustainable design or slow living echoes the same ideas these homes were built around more than a century ago. Craftsman Color Palette [31:40] Craftsman homes were designed to blend with the landscape, and the paint colors reflected that. Exterior colors were drawn from nature: earthy greens, warm browns, deep russets, muted golds, soft grays. Trim was typically a darker contrasting shade to highlight the exposed beams, brackets, and porch columns. Three or four coordinated colors were common -- one for siding, one for trim, a darker accent on windows or doors. Interior colors followed the same philosophy: warm, natural tones like olive, terracotta, tan, and cream, chosen to pair well with the oak or mahogany millwork and built-in furniture typical of these homes. None of this locks you in if you own a Craftsman. Color is personal and nothing is off limits. But your home already has an architectural style, and when you work with it -- even loosely -- things tend to feel cohesive faster than when you're fighting against it. RepcoLite can help sort out what works. There's also a full blog post at repcolite.com with a curated list of historically appropriate Benjamin Moore options for Craftsman homes. Products Mentioned Benjamin Moore color samples -- Half pint, approximately $5-6; the right way to test a color before buying gallons Wooster Jumbo Coder -- Small roller for applying paint samples to a wall or foam board; feather the edges and it's easy to paint over later Wooster Sherlock extension poles -- Mentioned for rolling walls; even a short extension makes the work easier Scuff-X -- Mentioned as an example of specifying the product you want from your contractor RepcoLite stain matching -- Available in store; bring a sample of your actual wood for the best result Resources Craftsman home color blog post with Benjamin Moore color recommendations All past episodes: repcolite.com -- On the Radio tab, or search Home In Progress on any podcast platform or YouTube Home In Progress | RepcoLite Paints | Sponsored by Benjamin Moore
#472
August 13 · 38 min
Is Your Deck Safe? A Simple Inspection Guide -- Plus Basement Efflorescence and Paint Colors for West-Facing Rooms
Original Air Date: August 16, 2025 Re-Air Date: August 15, 2026 Episode Number: 471 Episode Summary Four topics this week. Dan opens with a segment on AI, the trades, and why professional painters are on the safe list of jobs that technology won't replace. Then a deck safety segment covering what actually causes collapses and a quick inspection checklist you can run through today. After that, a breakdown of efflorescence -- the white powdery stuff on basement walls that looks like mold but isn't -- including what causes it, why painting over it doesn't work, and how to actually fix it. The episode closes out a multi-week series on room exposures with a full guide to choosing paint colors for west-facing rooms, including eight to nine specific Benjamin Moore recommendations. Timestamps [00:00] -- Welcome and Preview [00:50] -- AI and the Trades [03:07] -- Why Painting Matters [07:11] -- Deck Safety Basics [10:03] -- Deck Failure Causes [14:08] -- Quick Deck Inspection [18:41] -- Basement White Powder [19:33] -- Efflorescence Explained [21:19] -- Fix Moisture and Repaint [24:47] -- West-Facing Color Guide [34:05] -- Best Colors and Samples [38:06] -- Wrap Up AI and the Trades [00:50] Dan opens with a Microsoft study ranking the top 40 jobs most at risk from AI and the top 40 considered safest. The at-risk list included customer service reps, writers, paralegals, web developers, and some programming roles. The safe list: caregivers, cleaners, roofers, pipe fitters, plumbers, plasterers -- and right in the middle of the mix, professional painters. The common thread across all the safe jobs is that they require hands-on work, real skill, human judgment, and a physical presence on site. No matter how capable the technology gets, it can't paint a house. Dan talks about his son Andrew, now in his second summer on a painting crew. He came in with no experience. Within a few weeks he was confidently working off extension ladders. By the end of that first summer he could handle almost anything thrown at him. What struck Dan wasn't just the skill -- it was something Andrew said about how satisfying it is to finish a job and stand back and see the actual before and after. A faded house that looks good again. That's different from the kind of satisfaction Dan gets at work, where some days it feels like moving digital ideas from one folder to another. The broader point: trades are going to keep requiring real people. Dan thinks the human touch is only going to become more valuable as more of the world goes digital. AI might help a plumber or electrician diagnose a complex issue, but somebody still has to show up and do the work. What Causes Deck Collapses [10:03] Deck collapses are genuinely rare -- the US Consumer Product Safety Commission estimates around 6,000 injuries per year tied to deck, porch, stair, and balcony failures. But because decks are elevated, when something does give way, injuries are almost guaranteed. One of the most well-known incidents was a 2003 Chicago collapse where a third-story wooden deck gave way under a group of people. The weight brought two lower decks down with it. Thirteen people died and 57 were injured. The most common failure point is the ledger board -- the board that connects the deck directly to the house. If flashing wasn't installed correctly or has failed over time, water gets behind the ledger and starts rotting the rim joist it's fastened to. Once the rim joist softens, the bolts anchoring the ledger can pull free. The ledger can look completely solid from the outside while the wood it's bolted into is already compromised. In older decks -- especially those built before building codes were updated in the early 2000s following the Chicago collapse -- the ledger board may have been fastened with plain nails rather than bolts or lag screws. Over time those nails can loosen or rust, leaving a deck looking solid while hiding a serious structural weakness. Other common failure points: Railings that aren't fastened into proper framing -- these tend to fail when someone leans their full weight against them Posts that are buried directly in soil rather than resting on concrete footings, where they can rot from below without showing any visible sign Metal connectors -- joist hangers, bolts, screws -- that are rusted, missing, or weren't installed correctly A deck that looks perfectly fine on the surface can be hiding significant problems underneath all of these. Quick Deck Inspection Checklist [14:08] This takes 10 to 15 minutes and is worth doing today if you haven't done it recently. Ideally it's an annual spring task, but any time works. Walk the deck surface. Pay attention to how it feels underfoot. Do boards bounce or feel springy? Are any warped, uneven, or soft? Test the railing. Give it a firm push -- don't lean your full weight on it as the test, but put enough pressure to check whether it's solid. Wobbling or creaking means it needs attention. Check the ledger board. If you can get safely underneath the deck, look where it connects to the house. Is the flashing intact? Are there signs of rot, water damage, or staining on the house wall or the ledger itself? And look at how it's attached -- if you see only nails and no bolts or lag screws, that connection should be reinforced. Probe suspicious wood. A screwdriver or small awl pressed into any wood that looks questionable -- joists, posts, the ledger -- will tell you a lot. If the tip sinks in a quarter inch or more with light pressure, that indicates rot and warrants further investigation. Check the posts. Make sure they're sitting on concrete footings, not buried directly in soil. Look for cracking, shifting, or movement at the base. Inspect the hardware. Look for rusted or missing screws, nails, or joist hangers. Anything corroded should be tightened or replaced with corrosion-resistant hardware. If the deck is over 15 to 20 years old, or was built before the 2003 code updates, or if anything in the inspection looks questionable, bring in a licensed contractor for a closer look. And if the deck just needs a refresh -- cleaning and a coat of wood protector -- stop into any RepcoLite and they'll walk you through the right products. Efflorescence: The White Powder on Your Basement Walls [19:33] If you've noticed white chalky streaks or fuzzy white buildup on your basement's concrete block or poured concrete walls, it probably startled you a bit. It looks like something is growing. It's not mold. It's efflorescence, and it's actually pretty common. What it is. Efflorescence is salt deposits forming on masonry surfaces. Water moves through the wall, picks up mineral salts from the concrete or block as it travels, and when it reaches the surface and evaporates, it leaves those salts behind. Sometimes it's a light dusting. Other times it's streaks or crusty fuzzy buildup that looks pretty alarming. What causes it. Moisture. If you have efflorescence, there is a moisture issue somewhere. It could be coming from outside -- poor drainage, clogged gutters, improper grading around the foundation. It could be coming from inside -- vapor movement through the space. Wherever it's coming from, the moisture has to be addressed or the efflorescence will keep coming back. Dan's own situation: his house had no gutters, so rainwater poured straight off the roof at the foundation. Once he installed gutters, the moisture problem went away and the efflorescence stopped. How to clean it. A stiff brush and plain water handles mild cases. For stubborn buildup, a diluted solution of white vinegar or a masonry cleaner specifically formulated for efflorescence will get it off. Follow the label directions and wear protective gear -- some of these cleaners are acidic. The critical mistake to avoid. Cleaning is only treating the symptom. If you paint over active efflorescence without fixing the moisture source, the moisture and salt will continue working toward the surface and will bring the paint with them. Blistering, peeling, paint failure. Dan learned this firsthand -- he painted over it the first time thinking it might solve things. It did not. He had to deal with peeling paint on top of the original problem. The right sequence. Fix the moisture source first. Then clean the efflorescence completely. Then let everything dry thoroughly. Then repaint. For bare, never-painted concrete or block walls: WaterBlock from Insl-X is worth knowing about. It's a water-blocking product that, when applied to unpainted masonry under the right conditions, can prevent a certain level of moisture from working through the wall. Stop into RepcoLite and ask about it -- there are specific application conditions that have to be met for it to work correctly. Choosing Paint Colors for West-Facing Rooms [24:47] This is the final installment of a series on how room orientation affects paint color. Previous episodes covered north-facing, south-facing, and east-facing rooms. The challenge with west-facing rooms. They're cool, shaded, and a little flat in the morning -- the sun is rising on the opposite side of the house. By mid-afternoon and into early evening, dramatic warm golden light pours in, carrying strong amber and orange undertones. That subtle beige you loved at noon might look orange by 5pm. The soft gray you chose can suddenly read pink as the afternoon deepens. It's a lighting personality shift that makes color selection genuinely tricky. The two questions that matter most. When do you use the room most, and what kind of feeling do you want to create there? Since you can't always find one color that works beautifully at every hour, focus on making it right for when you're actually in the space -- and just make sure it's livable the rest of the day. If you use the room mostly in the morning: West-facing rooms are at their flattest and coolest early in the day. To counteract that, a little warmth in the color helps -- a gentle warm beige, a soft taupe, a warm greige. Not Tuscan-sunset-level warm, because that will feel overwhelming when afternoon light arrives. Cooler colors also work for morning rooms; just avoid anything too gray. Lighting matters here: bulbs in the 2700K to 3000K range add a soft natural warmth that makes a shaded morning space feel inviting. Daylight bulbs sound appealing but tend to read too white or stark. If you use the room mostly in the afternoon: This is when western light is at its boldest -- warm, direct, full of amber and orange. The goal is balance. Cooler tones (blues, greens, purples, neutrals with cool undertones) help calm the intensity without making the room feel cold. If you prefer warmer colors, choose ones with a neutral or gray base rather than anything golden or saturated. Soft putties, earthy blushes, colors with muted depth are good candidates. Dan's example from his own home: a yellow with cooler undertones in a west-facing room. They picked it without even thinking about the exposure. It works perfectly because the cool base keeps the color from getting overwhelming when afternoon light warms it up -- it lands exactly where it should rather than turning garish. Test samples at different times of day. Benjamin Moore color samples (half pint, around $5-6) make this easy. Paint it on the wall or on foam board you can move around the space. Look at it at 9am, noon, 3pm, and 6pm. Choose the color that's right when you're most often in the room and acceptable the rest of the time. Benjamin Moore Color Recommendations for West-Facing Rooms [34:05] All of these are also available in a blog post at repcolite.com. Cooler tones -- for calming afternoon warmth: Moonshine -- barely-there gray with quiet coolness Silver Chain -- more richness without feeling heavy White Heron -- soft white with cool undertones; won't yellow in golden light White Wisp -- similar to White Heron; soft white, cool undertones Warmer tones -- for brightening flat morning light: Edgecomb Gray -- warm but not too golden; one of Dan's favorites Pale Oak -- subtle creamy look; great for shaded spaces Hazy Skies -- walks the line between warm and cool with a soft earthy base Bold and dramatic -- especially for evening use: Silvery Blue -- fresh and clean as afternoon sun comes in Catalina Blue -- similar feel; fresh and clean Casbah -- rich earthy blue that grounds a room and absorbs light beautifully Trim and ceiling (works with all of the above): Chantilly Lace -- clean, bright, perfectly neutral Products Mentioned WaterBlock from Insl-X -- Water-blocking product for bare, unpainted concrete/block basement walls; specific application conditions required; available at RepcoLite Masonry cleaner for efflorescence -- Available at RepcoLite; ask in store for the right option Benjamin Moore color samples -- Half pint, approximately $5-6; the right way to test colors before committing Wood protector / deck stain -- For decks that pass inspection but need a refresh; ask at any RepcoLite Resources West-facing room color blog post: repcolite.com Blog posts on north, south, and east-facing rooms also available at repcolite.com Find the Show Episodes available anytime at repcolite.com -- click the On the Radio tab. Home In Progress | RepcoLite Paints | Sponsored by Benjamin Moore
#471
August 6 · 43 min
Old House, Real Problems: Pet Odors, Pest Damage, and Learning to Paint for the First Time
Original Air Date: 08/08/26 Episode Number: 471 Episode Summary Dan's son Caleb stopped in to pick up primer and ended up on the radio. He bought his first house -- a 1901-era fixer-upper -- and has spent the past several months dealing with cat smells in a crawl space, a squirrel that chewed through wiring, a dead possum under the floorboards, and the humbling experience of learning to cut in a straight line for the first time. The back half of the conversation covers paint choices, color coverage, the trades versus college, and what it's actually like to be six years into a career as an electrician. Timestamps [00:00] -- Meet Caleb the Guest [01:33] -- First Walkthrough Shock [03:04] -- Cat Smells and the Crawl Space [04:21] -- Enzyme Cleaner Fiasco [07:02] -- Sealing Odor Hotspots [09:26] -- Squirrel in the Ceiling [12:54] -- Dead Possum Discovery [15:22] -- First Time Painting Lessons [19:27] -- Color Choices and Coverage [22:13] -- Choosing the Wall Color [23:06] -- One Coat vs. Two [23:47] -- Ceiling Paint Lessons [25:50] -- Vanity Makeover Plan [27:16] -- DIY Confidence Tips [30:27] -- Trades Talk Break [31:09] -- Back in Studio [31:36] -- Living With Messes [34:05] -- Skipping College [37:24] -- Why Trades Work [40:39] -- Trade Life Humor [42:27] -- Wrap Up The House [01:33] Built somewhere around 1901 -- "early 1901" on the listing, which Caleb says basically means they don't really know. Good news on move-in day: the electrical had already been updated, which mattered a lot to an electrician who knew exactly what that job would have cost him. The first thing visible when you walked through the door was a dining room painted in the brightest Barbie pink either of them had ever seen. Online listing photos had made it look like a warm sunset. In person it looked like Pepto-Bismol. That was the cosmetic problem. The real problem was the smell. Cat Smells and the Crawl Space [03:04] Three confirmed cats, possibly four, had been using the dirt crawl space as a litter box for three or four years. The crawl space starts at about two feet of clearance and drops to six to eight inches near the outer walls -- full belly-crawl territory. Caleb suited up with a respirator, goggles, a painter's suit, and a child's garden rake with four metal prongs that he says will remain in a place of honor in the basement indefinitely. It goes with him before the fishing poles if there's ever a fire. He went through the crawl space with enzymatic cleaner -- but the first jug he bought was formulated for outdoor use, and it didn't make a dent on the smell. He went back to the store, found a cat-specific enzymatic formula, and ended up buying about eight small spray bottles to fill a pressurized sprayer. That worked. A dehumidifier finished the job on the residual musty smell -- now when you open the basement door, it just smells like a normal old stone basement. On enzymatic cleaners: Use a formula specifically designed for the type of odor you're dealing with. Outdoor or general-purpose formulas may not be strong enough for concentrated pet waste. Cat-specific formulas are made for exactly this situation. On crawl space odors: Garden lime thrown down on a dirt crawl space can help neutralize pH and absorb lingering smells after the source is removed. Sealing Odor Hotspots [07:02] There was a small alcove near the stairs where foam gym flooring had soaked up years of cat urine. Caleb pulled it up and needed to seal the subfloor underneath before putting anything new down. The right product for this kind of situation is a shellac-based primer like BIN -- it seals odors and dries fast. Dan didn't have any shellac on hand, but he did have an old can of oil-based polyurethane that tested out fine, and for a clear coat application it worked well. The key advantage of a clear coat over a pigmented primer in odor situations: pigment can leave microscopic paths for odor to work through. A clear film seals more completely. Caleb put new subfloor down over the top and sealed that too. Squirrel in the Ceiling [09:26] The home inspection had flagged a squirrel living above the breezeway entry. The smell coming out of that space was serious enough that Dan wasn't sure it would ever clear up. Caleb got the squirrel out, sealed the entry point, and eventually pulled down the ceiling to assess the damage -- and found something more significant than anyone expected. The squirrel had chewed through the outer jacket on two sets of wires, exposing bare copper hot, neutral, and ground conductors. There was visible charring around the wiring. The breaker had tripped on one of Dan's early walkthroughs; at the time nobody knew why. The wiring had apparently been in this condition long enough that it's surprising no fire resulted. Caleb rewired the affected circuits and closed everything up properly. Point worth keeping: if animals get into a wall or ceiling space and stay there, wiring damage is a real possibility. It's not just a smell and mess problem. If you know or suspect animals have been living in a structural space, the wiring in that area is worth checking before you close it back up. Dead Possum Under the Floor [12:54] After the squirrel situation was resolved, the entry still smelled. As the weather warmed up, it got worse. Caleb pulled up a damaged section of subfloor near the breezeway door, expecting to find the water damage he'd spotted -- and found a dead, decomposing possum that had apparently gotten in through the same entry point as the squirrel and not gotten back out. He called his best friend, who arrived with a square shovel and leather gloves. The possum got a burial in the backyard. The subfloor was treated with enzymatic cleaner, the entry point sealed, and the floor rebuilt. Dan's contribution to the discovery call: asking whether Caleb was sure it was dead, and suggesting he try touching its eye to confirm. Caleb reported there was no eye. Dan agreed that was probably a reliable indicator. First Time Painting [15:22] Caleb had essentially never painted before -- Dan had handed him a brush with no paint on it as a kid and sent him into another room. This house was his real introduction. The biggest struggle was cutting in at the ceiling line without tape. He and his brother Andrew started by eye on the first room and the difference in their speed was immediate and obvious -- Andrew was moving at several times Caleb's pace, and Caleb's edges were rough. The key things Caleb took away from the experience: A good brush matters more than most people realize going in. People often reach for tiny brushes thinking more control, but a quality full-size brush is easier to work with, not harder. Practice builds speed and confidence faster than expected -- Andrew went from nervous to confident within a month of his first exterior painting summer. And the work itself is harder than it looks when someone skilled does it in front of you. Andrew ended up painting most of the house -- the kitchen, dining room, living room, and upstairs. Caleb handled a fair amount of the cutting in and ceiling work. Color Choices and Coverage [19:27] Caleb's fiancée Melanie handled all the interior color selections, which Caleb describes as a great decision. Dan had expected conservative colors based on Caleb's personality and was surprised to get a list of deep, saturated choices -- a near-teal green, dark forest tones, rich colors throughout. His instinct was that deep colors would require multiple coats to cover the lighter existing walls. They used RepcoLite Optima, and the coverage surprised Dan enough that he brought it up on air. Deep colors don't naturally hide better just because they have more pigment -- the colorant system and the base paint matter. Optima's combination of formula and colorant system delivered coverage close to what you'd hope for after one coat, and two coats finished the job cleanly. The favorite room is the living room, painted in Yorktown Green -- a deep blue-green Benjamin Moore color that reads almost like a rich teal. They had originally planned a different color and switched at the last minute. It turned out to be everyone's favorite. One Coat vs. Two [23:06] Even when one coat coverage looks surprisingly good -- and in this case it did -- two coats is always the right call. The second coat evens out color uniformity, improves sheen consistency, eliminates lap marks and differences between brushed and rolled areas, and builds the film thickness the paint was designed to have. Durability depends on having enough coating on the surface. Ceiling Paint Lesson [23:47] Caleb chose a creamy, slightly warm off-white for the ceilings rather than straight white. Dan went with bright white on his own ceiling at home and regrets it -- it reads as plasticky and a little harsh compared to a softer white. The warmer ceiling tone makes the rooms feel finished rather than clinical. Dan says he's living with it but won't make that choice again. Painting angled ceilings with a hip roof is harder than flat ceilings. The angles create back strain and make it difficult to track where you've been. On flat ceilings, working in a consistent grid pattern and watching for the shine of wet paint to see where you've covered is the practical method. Vanity Project and Ebonizing [25:50] Caleb is in the store today to pick up primer for a bathroom vanity he's painting. He had tried ebonizing the wood first -- a technique where you soak steel wool in vinegar for two days and brush the resulting solution onto bare wood. On raw oak it reacts with the tannins and can turn the wood dramatically dark almost instantly. Dan confirmed it works well on bare, unfinished oak. The problem: Caleb's vanity drawers had an existing finish on them. He tried sanding it off but couldn't get enough removed for the reaction to work. The project got shelved for a couple of months. Now he's going with paint in a warmer brown tone -- color TBD pending a conversation with Melanie. DIY Confidence and Watching the Whole Video [27:16] Caleb's advice for first-time homeowners going into projects they've never done: do your research, ask people who've done it before, and then just start. The confidence builds faster than you expect once you're in it. Dan adds one specific lesson from his own experience: watch the entire YouTube tutorial before you start, not just the section that seems to cover your specific problem. Step six often contains something that makes steps one through five make sense. The urge to find just the relevant part and skip ahead is strong and frequently costs time later. Trades: Skipping College [34:05] Caleb went straight from high school into an electrical apprenticeship, now six years in and working for Walters Electric. The decision wasn't difficult. He didn't want to sit in a classroom for four more years and wanted to be doing something physical and practical. A childhood memory of wearing his grandfather's tool belt -- Dan's father had worked at an electrical supply store -- pointed him toward electrical specifically. No college debt. He's had to learn to save money like everyone does, but without the loan payments that come with a four-year degree, he's been building toward things like the house from the start. Why Trades Work [37:24] The electrical field keeps changing -- new switches, new systems, new technology -- which means there's always something to learn and the monotony problem most people worry about going in doesn't really materialize. The physical nature of the work pays off in a different way than a desk job. Caleb notes his brother Andrew came into his first summer of exterior painting as a lean kid and by the end of that summer was moving extension ladders in ways that seemed physically improbable. Working in the trades also means regular contact with people from plumbing, HVAC, and other skilled fields -- which gave Caleb knowledgeable people to call when the toilet in his new house turned out to have never been properly secured to the flange, and when the squirrel's wiring damage needed a second set of eyes. Thick skin helps. Being one of the shorter guys on a crew means someone is going to notice when you need a second ladder to reach the first ladder on top of the van. Products Mentioned Enzymatic cleaner (cat-specific formula) -- For concentrated pet odor; cat-specific formulas significantly outperform general or outdoor versions; available at pet supply stores Garden lime -- For neutralizing pH and absorbing odors in dirt crawl spaces Dehumidifier -- For residual basement moisture and musty odor Oil-based polyurethane (clear coat) -- Used to seal subfloor against pet odor; clear coat seals more completely than pigmented primers BIN Shellac-Based Primer -- Dan's preferred product for sealing odors into subfloors and wood; dries fast, seals well RepcoLite Optima -- Interior paint used throughout the house; strong coverage on deep and saturated colors Vinegar + steel wool (ebonizing solution) -- DIY wood treatment; works well on bare, unfinished oak; does not work on finished or sealed surfaces Find the Show Episodes available anytime at repcolite.com -- click the On the Radio tab. Home In Progress | RepcoLite Paints | Sponsored by Benjamin Moore
#470
July 30 · 40 min
Cleaning Moss and Lichen Off Your Roof (Without Wrecking It) -- Plus a Plain-English Guide to Urethane
Original Air Date: 8/1/2026 Episode Number: 470 Episode Summary Three topics this week. Dan opens with a paint science segment answering a listener question about urethane and enamel -- two words that appear constantly on paint labels and mean different things than most people assume. Then a full two-segment deep dive on moss and lichen: first, how to safely remove them from different types of siding, and then a step-by-step walkthrough of how Dan cleaned his own roof, what products he used, and what the warnings are. He closes with a quick listener question about painting over old glossy trim in a pre-1978 home. Timestamps [00:00] -- Show Intro and Promises [02:28] -- Paint Science: Urethane vs. Enamel [07:38] -- Choosing the Right Paint [09:56] -- Moss and Lichen Overview [10:35] -- Siding Segment Setup [11:06] -- What Moss and Lichen Are [12:43] -- Cleaning Brick and Masonry [15:09] -- Cleaning Wood Safely [16:56] -- Vinyl, Stucco, and Pressure Tips [18:27] -- Protecting Plants [19:22] -- Roof Segment Begins [20:02] -- Why Remove Roof Growth [20:14] -- Roof Damage Explained [21:52] -- Dan's Roof Wake-Up Call [23:48] -- Kill It, Don't Scrape It [24:12] -- Hire Out or DIY? [25:03] -- Best Cleaners Compared [29:20] -- Prep and Protect Plants [30:53] -- Rinse, Brush, and Apply [33:58] -- Results and Safety Warnings [36:41] -- Listener Q: Glossy Trim [37:57] -- Lead, Adhesion, and Primer [39:40] -- Wrap Up Urethane vs. Enamel: A Plain-English Explanation [02:28] A listener wrote in puzzled by the word urethane showing up everywhere -- waterborne urethanes, urethane-modified acrylics, polyurethanes -- and wanted to know whether it means something specific or just marketing. He also asked which is more durable, urethane or enamel, and which he should be reaching for. The short answer: urethane and enamel are not competing terms. They describe different things entirely. Paint basics. Every can contains pigment (color and hiding), liquid (what lets you apply it), and resin -- the binder. As paint dries and the liquid leaves, the resin and pigment form the paint film. The resin has enormous influence over how the finished coating behaves: hardness, flexibility, adhesion, resistance to moisture, cleaning, and abrasion. What urethane means. Urethane isn't an extra scoop of durability added to the can. It's a type of chemical connection that can be built into the resin structure itself. When a resin contains many of those connections, it's called a polyurethane. That chemistry is associated with toughness, abrasion resistance, and resistance to cleaners -- which is why you see the word on products for cabinets, doors, railings, and floors. What enamel means. Traditionally, enamel meant an oil-based product with a hard, smooth, glossy finish -- the go-to for doors, trim, and metal. Today it's used more broadly. You can buy acrylic enamels, waterborne enamels, and urethane enamels. An enamel can absolutely use urethane chemistry. They're not opposites. The analogy. Asking which is more durable, a urethane or an enamel, is like asking whether a pickup truck is better than a diesel engine. One describes the vehicle type. The other describes the technology inside. You can have a diesel pickup, just like you can have a urethane enamel. The practical takeaway. For an ordinary bedroom wall, don't hunt for urethane -- just get good washability and the right sheen. For cabinets, doors, or railings, an enamel built for those surfaces makes sense, and it may well use urethane chemistry. For a wood floor, get a polyurethane specifically designed for foot traffic. For exterior siding, hardness isn't even the main priority -- flexibility, adhesion, and weather resistance matter more. The product's intended use matters more than the words on the label. Stop into any RepcoLite, tell them what you're painting and what kind of abuse it'll take, and they'll sort it out. Moss vs. Lichen: What You're Actually Looking At [11:06] Before cleaning anything, it helps to know what you're dealing with, because moss and lichen behave differently from the algae and mildew covered last week -- and they have to be handled differently as a result. Moss is the green fuzzy stuff -- little soft pillows of growth, kinda charming, definitely not good for your house or roof. It grips whatever it's growing on and holds moisture against the surface. Lichen is stranger and tougher. It looks almost painted or glued on -- flat, crusty patches or small leafy, ruffled growths. It can be gray-green, orange, chalky white. Lichen is actually two organisms living together: a fungus that builds the structure and grips the surface, and an algae that makes the food. Together they can live almost anywhere and attach with a grip that's very hard to break. That's the core reason they need their own conversation -- algae and mildew are essentially films sitting on the surface. Moss and lichen are anchored into the surface, into the pores of brick, the grain of wood, down into mortar. Removing them incorrectly can cause more damage than leaving them. Cleaning Moss and Lichen Off Siding [12:43] Brick and masonry. Gently knock off the thickest mounded moss first -- but gently is the word. Plastic scraper, wooden edge, or a stiff-but-not-metal brush. No wire brushes on brick, especially older or softer brick. Nothing mounted on a power tool. Working through the harder outer face of the brick exposes the softer material underneath, which holds moisture longer and becomes even more vulnerable to freeze-thaw damage. You can create next year's problem while cleaning up this year's. After removing loose material, treat remaining moss and lichen with a cleaner labeled for both the growth type and the surface. Wet & Forget is a popular spray-and-leave option -- apply it, leave it alone, and rain carries away the dead material over weeks or months. Make sure whatever you use is designed to kill moss and lichen, not just clean the surface. Wood. Be careful with straight chlorine bleach on bare or weathered wood -- it breaks down lignin, the natural binder in the wood fibers, and can leave cedar blotchy and damaged in ways that don't reverse. Sodium percarbonate (oxygenated bleach -- essentially OxiClean) is gentler on wood and on nearby plants. Soft brush, go with the grain, low pressure, no wire brush. Vinyl and aluminum. More forgiving -- growth doesn't anchor as deep on non-porous surfaces. Soft nylon brush or cloth with a cleaner labeled for that siding type, let it sit, gentle scrub, rinse. Don't spray upward under the laps. Fiber cement. Check the manufacturer's guidance. Keep it gentle and low pressure. Stucco and EIFS. Porous and on the brittle side -- soft wash, right cleaner, low pressure. Older synthetic stucco (EIFS) is especially risky; aggressive washing can force water behind cracks and joints. If the surface is already cracked or failing, call a professional. Plants. Wet down all landscaping before starting. Cover sensitive plants with light plastic, but get it off quickly -- they'll cook under it. Rinse everything again when you're done. Why You Can't Leave Roof Moss and Lichen Alone [20:02] Moss growing thicker around the edges of shingles interferes with drainage and can cause shingles to lift or deteriorate -- creating openings for water to get in. That alone is a good enough reason to deal with it. Lichen is worse on a roof than on siding because it attaches directly to the protective granules on the shingles and can cause irreversible damage as it grips and eventually pulls them loose. There's also a curb appeal issue: moss and lichen-covered roofs read as neglected or failing, whether or not that's actually true. Dan put off dealing with his own roof growth for a couple of years, telling himself it wasn't a big deal. A roofer from Sheriff Goslin Roofing -- who came out to assess the roof's lifespan -- pointed out that the moss and lichen were actively taking years off the roof by pulling granules and giving moisture more places to work. That's what finally prompted action. Hire Out or DIY? [24:12] Before getting into the process, Dan makes the case for hiring it out -- because for a lot of people, that's the right answer. There are companies that specialize in roof and exterior cleaning. If the roof is steep, high, difficult to access, or if heights aren't your thing, hiring a professional is absolutely the right call. A fall is a lot worse than a moss problem. If you're still planning to do it yourself, read on. Cleaner Options for Moss and Lichen on Roofs [25:03] Wet & Forget. Apply per label directions and leave it. The treatment kills growth over time, and rain carries the dead material away over the following weeks and months. No rinsing, no aggressive follow-up. Depending on your roof pitch and setup, you may be able to apply most of it from a ladder or even the ground -- though you have to be very careful not to force water up under shingles at the wrong angle. Dan's roofer confirmed his customers have had good results with it. Oxygenated bleach / sodium percarbonate (essentially OxiClean). This is what Dan used. Mix approximately one pound of oxygenated bleach per two gallons of water. Apply with a pump-up garden sprayer. This is gentler on plants and on the roof surface than chlorine bleach, and it worked well for him. Chlorine bleach solution. Many asphalt shingle manufacturers recommend this for algae, moss, and lichen. A common starting range is roughly one and a half to three and a half cups of household chlorine bleach per two gallons of water -- some guides go closer to a 50/50 mix. Check your specific shingle manufacturer's recommendations before using. Note: all of these mix ratios will also be in the show notes at repcolite.com. Whatever product you choose, test a small inconspicuous area first to make sure there's no unexpected reaction with your specific roof material. Dan's Step-by-Step Roof Process [30:53] This is the process Dan used with oxygenated bleach. Adapt it for whatever cleaner and roof material you're working with. 1. Protect plants and ground. Rinse all landscaping, decking, and anything below the roof with plain water before starting. Cover sensitive plants with light plastic, get it off quickly after, and rinse everything again when you're done. 2. Initial rinse. Wet the roof surface with a garden hose on low pressure. Dan went up on his low-pitch roof and sprayed downward; wet roofs are slippery, so move deliberately. Don't drag the hose across shingles and don't force water up under them. 3. Remove loose moss. Soft-bristled brush, top to bottom, very light pressure. Don't scrub hard or use a stiff brush -- you don't want to pull granules off the shingles. Get what comes off easily and let the cleaner handle the rest. 4. Apply the cleaner. Dan used a pump-up garden sprayer to mist the oxygenated bleach solution across the roof. Let it sit 15 to 20 minutes. Keep it wet -- reapply if needed so it doesn't dry out before doing its job. 5. Rinse thoroughly. Garden hose, low pressure, top to bottom. Don't push water up under the shingles. 6. Final soft pass. Dan ran a soft-bristle broom over the roof one more time after rinsing. A lot of moss that had already started dying let go with very light contact. Results. Lichen began turning to powder and blowing away over the following weeks. Within three to four weeks the roof looked new. Damage spots from the growth were still visible, but the active deterioration was stopped. Safety Warnings [33:58] Never use a pressure washer on a roof. It strips granules, drives water under shingles, can damage the roof deck, and can void your warranty. Garden hose only, low pressure. Don't leave bleach solution on longer than about 30 minutes without rinsing. Eye protection, gloves, proper footwear. Bleach irritates skin and eyes. A wet roof is slippery. Not optional. Rinse landscaping before and after. You are using something designed to kill biological growth. Plants qualify. One treatment may not be enough. Be patient, repeat if needed. Two treatments handles most severe cases. Listener Q: Painting Over Old Glossy Trim [36:41] A listener bought an older house where all the doors, baseboard, and window trim are covered in smooth, glossy paint. They want to know whether they can clean and paint directly over it with water-based paint, or if sanding and priming are required. First question: how old is the house? If it was built before 1978, there's a realistic chance that one of the older layers on that trim contains lead. You don't know for certain without testing, but you shouldn't start sanding anything aggressively until you do. Pick up a lead paint test kit, and if it comes back positive, call RepcoLite before proceeding with anything. Do not sand lead paint without understanding what that involves. If lead isn't a concern, the next issue is adhesion. New paint doesn't stick well to dirty, greasy, or glossy surfaces. Start by washing everything thoroughly with TSP or Dawn dish soap, rinse well, and let everything dry completely. Then scuff-sand with 220-grit -- not to strip the old paint, just to dull the shine and give the new paint something to grip. Wipe down the dust with a damp cloth, let it dry, and apply a quality bonding primer. Stix from Insl-X is Dan's recommendation for this situation -- it bonds to just about everything, including slick or difficult surfaces. Once that primer is dry, you can top coat with any good water-based trim paint. Products Mentioned Wet & Forget -- Spray-and-leave treatment for moss and lichen on siding and roofs; kills growth and lets rain carry away dead material over time OxiClean / sodium percarbonate / oxygenated bleach -- Mix 1 lb per 2 gallons of water for roof treatment; gentler on plants and surfaces than chlorine bleach; available at grocery and hardware stores Chlorine bleach solution -- 1.5 to 3.5 cups per 2 gallons of water for roof use; check your shingle manufacturer's guidance for the right ratio Lead paint test kit -- For homes built before 1978; available at hardware stores TSP (Trisodium Phosphate) -- Heavy-duty cleaner for washing glossy trim surfaces before painting Stix from Insl-X -- Bonding primer that adheres to glossy, slick, and difficult surfaces; the right primer before painting old trim Find the Show Mix ratios for all cleaners mentioned on air are in the show notes at repcolite.com -- click the On the Radio tab on the homepage. Home In Progress | RepcoLite Paints | Sponsored by Benjamin Moore
#469
July 23 · 40 min
How to Paint Aluminum Siding -- Plus Removing Algae, Mold, and Mildew from Exterior Siding
Original Air Date: 07/25/26 Episode Number: 469 Episode Summary A listener question about painting aluminum siding kicks off the show, and Dan splits the answer across two segments with a detour in the middle: a full conversation on how to identify and safely clean biological growth off the exterior of your home -- algae, mold, mildew, moss, and lichen. The aluminum siding answer wraps up at the end with product recommendations and a strong case for always doing two coats. Moss and lichen get their own episode next week. Timestamps [00:00] -- Show Kickoff [00:30] -- Listener Question: Aluminum Siding [01:44] -- Oxidation and Prep Basics [03:58] -- Wash, Scrub, Rinse [05:42] -- Hand Test and Inspection [07:21] -- Primer or Not [08:11] -- Switch to Algae Topic [08:53] -- Brick Recap and What Triggered This [12:20] -- What Growth Is It? [13:32] -- Algae, Moss, Lichen, Mold [16:16] -- Efflorescence Sidebar [17:29] -- Moisture Causes First [19:01] -- Cleaning Safely Tease [20:01] -- Moss vs. Mold Distinction [21:00] -- Golden Rule: Gentle Cleaning [22:47] -- Pick the Right Cleaner [25:50] -- Prep Before Repainting [27:09] -- Hose, Not Pressure Washer [29:53] -- Why Not Straight Bleach [31:22] -- Protect Plants from Runoff [32:41] -- Fix the Moisture Root Cause [33:56] -- Aluminum Siding Paint Picks [34:45] -- Two Coats Really Matters [36:33] -- Best Benjamin Moore Options [38:54] -- Temperature and Wrap Up Listener Question: Aluminum Siding [00:30] A listener wrote in asking about painting their tan aluminum-sided house a darker blue. They wanted to know what prep was involved, whether one-coat coverage was possible, and what products to use. Dan splits the answer into two segments. The short version on the one-coat question: two coats, always. The longer version on everything else follows below. Oxidation and Prep Basics [01:44] The single most important thing to understand about painting aluminum siding is oxidation. If you've ever rubbed your hand across older aluminum and ended up with white chalky powder on your palm, that's the original factory finish breaking down from years of sun, rain, and weather. That chalk has to come off before any paint goes on. Paint bonds to a surface. If that surface is a loose layer of chalk sitting on top of old factory finish, the paint is bonding to the chalk -- not to the siding. When the chalk lets go, the new paint goes with it. This is the most common reason aluminum siding paint jobs fail, and it's entirely avoidable. A pressure washer alone won't get you there. It'll knock off dirt and cobwebs, but it doesn't automatically remove oxidation. Dan compares it to washing your car with only a pressure washer after an entire Michigan summer of construction zones and dirt roads -- you'll get some of it, but you won't get all of it. Wash, Scrub, Rinse [03:58] Start with a good exterior house cleaner that's built to break down dirt, grime, mildew, and oxidized residue. Apply it, and then physically scrub the surface -- a soft-bristle siding brush on an extension pole makes this manageable. Work in sections so you can scrub and rinse before the cleaner dries on the siding. You can use a pressure washer for rinsing, but keep the pressure reasonable and always direct the spray downward the way rain would naturally hit the siding. Shooting water upward beneath the panel laps can drive moisture into the wall. The pressure washer is a rinsing and help-with-cleaning tool. The scrubbing still has to happen. Hand Test and Inspection [05:42] Once the siding is dry, perform the hand test: rub your palm firmly across the surface. If it comes away clean, you're good to move on. If there's still a chalky residue on your hand, keep cleaning. The surface doesn't need to be microscopically perfect, but you should not be able to casually wipe your hand across it and look like you've been handling powdered sugar. While you're working your way around the house, inspect as you go. Look for peeling paint, corrosion, bare aluminum, dents, damaged panels, and failed caulk around windows, doors, and penetrations. Bare or corroded areas may need spot priming before finish paint -- bring photos into RepcoLite and they'll point you toward the right primer. Loose paint should be scraped away and edges feather-sanded so they don't telegraph through the new finish. Primer or Not [07:21] If the original factory finish is clean, intact, and firmly bonded, you do not need to prime the whole house. No matter what you read online. A high-quality exterior acrylic straight over a clean, sound factory finish is the right call. Primer is for bare spots and problem areas only. Biological Growth: What Are You Actually Looking At? [12:20] Dan took a walk around his own house after mentioning offhand on last week's show that brick doesn't need much maintenance -- "every now and then you clean the algae off." That comment nagged at him all week until he went and looked. His back wall, under two old maple trees, was covered in green growth on both the brick and the vinyl siding on the addition. This week's middle segment covers what to do about it. Before you clean anything, figure out what you're actually dealing with. The growth type matters, and the surface it's on matters just as much. Algae is the most common. Thin, flat, greenish film, usually on shaded or damp areas. Feels slick when wet. Spreads across the surface rather than growing in clumps. Moss is thicker and softer -- you know what it looks like. It holds moisture against the wall, which creates problems depending on what the wall is made of. On vinyl it's mainly a staining and maintenance issue since vinyl doesn't rot, but on wood siding or shingles it can contribute to paint peeling, decay, and eventually rot. On brick, stucco, or stone it keeps mortar joints and damaged areas wetter longer than they should be. Lichen is crusty and firmly attached -- it can be gray, yellow, pale green, orange, or black. It's the toughest of the group to remove because it grips the surface aggressively. On soft brick or old mortar, scraping it off can pull part of the surface along with it. Lichen on roofs gets its own conversation next week. Mold and mildew tend to appear darker, blotchy, fuzzy, or powdery. Efflorescence -- the white, fuzzy stuff sometimes seen on brick or concrete -- looks biological but isn't. It's salt deposits left behind by moisture moving through the masonry. Address the moisture source; don't just clean it off and move on. Dan is covering algae, mold, and mildew this week. Moss and lichen get their own episode next week, including how to deal with them on the roof. Fix the Moisture Problem First [17:29] Cleaning is not a permanent fix if you don't address why the growth is there. Moisture is the cause of all of it. Before mixing any cleaner, look at what's creating the damp conditions: overflowing gutters, a downspout dumping water next to the wall, a sprinkler hitting the siding, shrubs growing too tight against the house and blocking airflow, mulch or soil piled high against the brick, or heavy shade from tree canopy keeping the wall from drying out. If you clean the wall and leave the moisture problem in place, the growth is going to come back -- sometimes pretty quickly. Cleaning Safely: JoeMax [22:47] Start with the gentlest method that will get the job done. Don't reach for the strongest chemical available or fire up the pressure washer first. Inspect the surface before you do anything. On brick, check the mortar joints -- is it solid or loose and powdery? On siding, look for loose panels, open caulk joints, peeling paint, or damaged edges. The condition of the surface determines how carefully you have to work. Also confirm you're actually dealing with biological growth and not just dirt or pollen. If it's just a surface film of grime, mild dish soap, a scrub brush, and a hose will probably handle it without any specialty product. If it's actual biological growth, the product Dan recommends is JoeMax House Cleaner and Mildew Killer. It's a concentrate that combines a mildewcide, bleach activator, and detergents. You mix it with household bleach and water. It kills mold and mildew and lifts dirt and staining at the same time, and it's rated for virtually every surface on the outside of a house -- vinyl, aluminum, painted or stained wood, trim, fences, stucco, concrete, and brick. One product covers everything. For Dan's situation with both brick and vinyl on the same house, that matters. Using it is straightforward: mix per the label, spray on, give it about five minutes to work, and rinse off. Most smooth surfaces won't need scrubbing. Textured surfaces like brick may need a light scrub. Mix only what you'll use in the next few hours -- once bleach is added, it's only good for a short time and can't be saved. Why Not Just Use Straight Bleach? [29:53] Bleach is not a great cleaner on its own. It beads up and runs off rather than wetting the surface and lifting residue. It also flashes off quickly -- it can lighten a mildew stain and evaporate before it actually kills the growth, so the problem comes right back. JoeMax has detergents that let it wet the surface, carry the contamination away, and stay active long enough to do the job properly. Hose, Not Pressure Washer [27:09] For the actual cleaning, a garden hose with a soft-bristle brush is usually the right tool. Natural bristle on brick, soft nylon or cloth on vinyl. High-pressure washing on brick can erode weak mortar, etch the surface, and drive water into the wall. On vinyl, water sprayed upward beneath the laps can get inside -- vinyl is built to shed rain coming downward, not a concentrated jet coming from below. Protect Your Plants [31:22] Don't skip this. Water plants thoroughly before you start -- wet the leaves and soak the soil so the roots aren't sitting dry and ready to absorb runoff. Cover anything especially delicate while you apply the cleaner, but don't leave plastic sheeting over plants in direct sun or you'll cook them fast. Get it off as soon as you can. Work on a calm day to minimize drift. Keep a second hose nearby to rinse accidental overspray immediately. Don't let runoff pool at plant bases or drain into a storm drain, pond, stream, or rain garden. If You're Repainting, You Still Have to Kill It [25:50] If the surface you're cleaning is going to be painted afterward, don't skip the mildewcide step. A mildewcide in your paint prevents new mold from forming -- it does not stop existing growth from working its way back through from underneath. Clean it, kill it, rinse it thoroughly, let it dry completely, then prime and paint. JoeMax handles all the prep steps you need before paint goes on. Aluminum Siding Paint Picks [36:33] Back to the listener question. For aluminum siding with clean, sound factory finish, you want a high-quality exterior acrylic. Two coats, no exceptions. The first coat hides the original color. After one coat you might think you're done -- and on a calm day standing close to the wall, it might look fine. But in afternoon sun, or when you step back, thin areas and lap marks and variations between brushed and rolled sections become obvious. The second coat evens out the color, improves sheen uniformity, and -- most importantly -- builds the film thickness the paint was designed to have. Durability comes from having enough coating on the surface. One coat might change the color; two coats creates the protective film. Benjamin Moore Aura Exterior is the premium recommendation, especially for a significant color change like tan to a rich dark blue. It hides exceptionally well, holds color long-term, and handles strong, deep colors better than most products. Benjamin Moore Regal Select Exterior is a high-quality option with excellent application properties and long-term durability. A strong all-around choice for a full repaint. Benjamin Moore Element Guard is worth knowing about if there's any weather uncertainty. It only needs about an hour before it can handle rain or heavy dew, which matters in Michigan's shoulder seasons when the forecast can change while you're opening the can. Less relevant in peak summer, but a smart pick in spring or fall. All three use Benjamin Moore's Gen X colorant system, which is formulated to work with the paint rather than weakening the base the way traditional universal colorants can. Better hiding, better durability, stronger color performance in deep tones. RepcoLite Endura uses a similar premium colorant approach and will likely offer a price advantage while still delivering strong performance. One final note on aluminum siding specifically: watch the surface temperature, not just the air temperature. Aluminum, especially in a darker original color, heats up fast in direct sun. The temperature range on the can or the tech data sheet applies to the surface you're painting on, not the air around it. Work within that range or you risk adhesion and application problems. Coming Next Week Moss and lichen -- how to remove them safely from brick, wood, stucco, stone, and roofing without damaging the surface. Dan promises it's better info than it sounds. Products Mentioned JoeMax House Cleaner and Mildew Killer -- Concentrate; mix with bleach and water; rated for vinyl, aluminum, wood, brick, stucco, concrete; available at RepcoLite Benjamin Moore Aura Exterior -- Premium exterior acrylic; excellent for deep color changes; available at RepcoLite Benjamin Moore Regal Select Exterior -- High-quality, durable exterior acrylic; available at RepcoLite Benjamin Moore Element Guard -- Rain-ready in about an hour; great for unpredictable weather; available at RepcoLite RepcoLite Endura -- Premium exterior paint with strong colorants; available at RepcoLite Roma Bio Limewash / Roma Bio Mineral Paint -- Mentioned briefly as the right products for painting brick (covered in detail last week); available at RepcoLite Find the Show Episodes available anytime at repcolite.com -- click the On the Radio tab. Home In Progress | RepcoLite Paints | Sponsored by Benjamin Moore
#468
July 16 · 39 min
Points of No Return: The Exterior Surfaces You Can't Unpaint
Original Air Date: July 18, 2026 Episode Number: 468 Episode Summary Some exterior surfaces are one-way doors. You can paint them -- but once you do, something changes permanently, or close enough to it that you should know what you're signing up for before you start. Dan opens with a story about a pair of jeans he turned into extremely short shorts without measuring first, and uses it to frame a conversation about five exterior surfaces where the same logic applies: brick, foundation, natural stone, decks, and vinyl siding. Timestamps [00:00] -- Points of No Return [00:56] -- Jorts Origin Story [02:31] -- Cut Once, Regret [06:06] -- Neighbor Catches You [07:30] -- Painting One-Way Doors [10:40] -- Brick Painting Reality [14:03] -- Brick Breathability and Options [15:17] -- Foundation Paint Tradeoffs [17:00] -- Moisture and Cracks Warning [18:54] -- Natural Stone Teaser [19:38] -- Natural Stone Risks [21:33] -- Updating Dated Stone [22:40] -- Resale Impact Warning [24:04] -- Why Deck Paint Fails [25:18] -- Stain vs. Paint [27:32] -- Removing Deck Paint [28:57] -- Vinyl Siding Setup [31:58] -- Color, Heat, and Warping [35:04] -- Vinyl Safe Colors [36:41] -- Best Practice Checklist [37:28] -- Get Expert Help [38:21] -- Car Show Wrap Up The Jorts Story [00:56] Dan had a pair of blown-out jeans he decided to cut into work shorts. He eyeballed the cut instead of measuring. Part of his brain told him not to. He ignored it. The resulting shorts were dramatically too short -- Daisy Dukes, his word -- and he wore them up a ladder in the backyard because there was no other option. His neighbor appeared, smirked, and delivered the full measure-twice-cut-once speech. No photos exist. Brick [10:40] Painted brick is permanent for all practical purposes. Stripping paint off brick is expensive and usually damages the face. That means when you paint brick, you're not just picking a color -- you're becoming a painted brick house, likely forever. Two other things to keep in mind: you're creating maintenance that didn't exist before (a painted surface will need refreshing every 5-10 years), and you need the right product. Standard paint can trap moisture inside the masonry, and in Michigan winters, freeze-thaw cycles can cause spalling -- the face of the brick literally flaking off. For a better option, RepcoLite carries Roma Bio Limewash and Roma Bio Mineral Paint. Both are breathable and bond with the brick rather than sitting on top of it. They create a great old-world look and mostly sidestep the moisture problems. Still a point of no return, but a much lower-maintenance one. Foundation [15:17] Same logic as brick. Concrete block and poured concrete are porous and move moisture. Once you paint them, you're on a maintenance cycle. Before painting, address any efflorescence (white, fuzzy salt deposits), persistent peeling, or visible water intrusion -- paint won't fix those, it'll just cover the symptoms. And don't paint over foundation cracks without understanding what caused them. Ayers Basement Systems can evaluate for free in most cases. Natural Stone [19:38] What makes natural stone beautiful is the variation -- every piece is different, the light catches the texture differently, it has depth. Painting it covers all of that. The texture stays, but the richness is gone. Sometimes painted stone looks great. Sometimes it ends up looking a little fake. Worth thinking about before you open the can. If the stone is genuinely dated and you want to update it, a solid color is a reasonable fix -- but if you're planning to sell the house soon, be cautious. There's a portion of buyers who will see painted-over fieldstone as a problem. Since getting that paint back off is essentially the same story as brick, it's their problem too. Decks [24:04] A deck is one of the harshest environments on a property. Rain, snow, sun, foot traffic, patio furniture -- it's brutal on a film-forming coating like paint. When deck paint eventually fails, it chips, cracks, and peels, and refreshing it means scraping and sanding before you can recoat. It's a much harder maintenance cycle than most people expect going in. For most decks, a quality deck stain is a better answer. It wears out by fading, and when it's time to refresh, you clean and recoat. For decks in rough enough shape that you need solid coverage, look at WoodLux or RepcoLite WoodMaster -- both deliver an opaque look but form a thinner, more breathable coating than paint that handles the wood's expansion and contraction better. If you've already got paint on a deck and need to remove it, RepcoLite rents a floor sander that's built for the job. It's still not fun, but it's the best option available. Vinyl Siding [28:57] The point of no return here is color. Darker colors absorb more heat. If the new color you choose is significantly darker than the original vinyl color, the panels can absorb enough heat to expand beyond what they're designed for -- causing warping, buckling, or sagging. Once that happens, it's permanent. Repainting lighter can slow or stop it from getting worse, but won't undo what's already warped. This is not rare. Look at houses in your neighborhood and you'll find examples. Benjamin Moore has a collection of about 75 vinyl safe colors formulated with pigments that reflect more infrared heat, so a darker-looking color doesn't absorb heat the same way a standard formula would. These are a real step forward -- but they're not a blank check. The quality and thickness of your vinyl, your sun exposure, and whether you're using the right paint product all factor in. Vinyl safe colors are intended for use in Regal Select, Aura, or Element Guard specifically. Dan's checklist: check your vinyl manufacturer's repainting recommendations, use a Benjamin Moore vinyl safe color, use it in Regal Select, Aura, or Element Guard, and don't push dramatically darker than the original color if you can help it. Bottom Line [37:28] For any of these surfaces, stop into any RepcoLite before you start. Bring pictures, bring samples, bring whatever you've got. The staff can help you work through the right product, the right color, and the right approach so you're not finding out what you didn't know on the back end of a project you can't undo. Events Car show at Lakewood RepcoLite -- July 18, 11 a.m. to 2 p.m. Classic cars, trucks, motorcycles, and the Corvette Club. Free admission, Hudsonville ice cream while it lasts. Some construction out front but you can get through. Dan will be there. Products Mentioned Roma Bio Limewash -- Breathable masonry finish for brick; available at RepcoLite Roma Bio Mineral Paint -- Breathable mineral-based option for brick; available at RepcoLite Ayers Basement Systems -- Foundation crack evaluation (typically free) WoodLux -- Solid color deck stain; available at RepcoLite RepcoLite WoodMaster -- Solid color deck stain; available at RepcoLite RepcoLite floor sander rental -- For removing deck paint; ask in store Benjamin Moore vinyl safe color collection -- ~75 colors formulated for vinyl siding; available at RepcoLite Benjamin Moore Regal Select, Aura, Element Guard -- Products where vinyl safe formulations are available Find the Show Episodes available anytime at repcolite.com -- click the On the Radio tab. Home In Progress | RepcoLite Paints | Sponsored by Benjamin Moore
#467
July 9 · 40 min
Painting in the Heat, Dealing with Cigarette Smoke Smell, and Why the Trades Matter More Than Ever
Episode Title Original Air Date: 07/08/26 Episode Number: 467 Episode Summary A full episode this week. Dan picks up the smoke smell series with fabric, carpet, upholstery, and the full cigarette smoke remediation process -- including the right primer and why it's step four, not step one. Then a long segment on painting in summer heat: surface temps vs. air temps, when to start, when to quit, how to chase the cool shade, bees on ladders, and the best products for the job. He closes with a cement truck taking out his power line, his electrician son saving the day, and a case for encouraging the next generation toward the trades. In This Episode [00:00] -- Show Intro and Teaser [01:16] -- Microwave Fire Story [04:27] -- Wash Smoke Out of Fabrics [06:22] -- Carpet and Upholstery Deodorizing [09:47] -- Cigarette Smoke Reality Check [11:15] -- Deep Clean and Remove Odors [15:00] -- Prime and Repaint Correctly [18:53] -- Heat Weather Painting Setup [19:28] -- Heat Lovers and Painting Risks [21:13] -- Heat Painting Is Fine [21:39] -- Air vs. Surface Temp [23:10] -- Hot Surface Failures [24:01] -- Start Early, Plan Your Walls [25:13] -- Chase the Cool Shade [26:34] -- Infrared Thermometer Hack [27:35] -- Quit Before the Dew [28:16] -- Heat Safety and Breaks [29:11] -- Bees and Ladder Panic [32:47] -- Treat Your Crew Right [33:46] -- Best Paint for Heat [35:27] -- Power Pole Chaos Story [37:32] -- Why Trades Matter [39:41] -- Wrap Up and Events Microwave Fire Story [01:16] Dan circles back to the microwave fire story from a couple weeks ago. His daughter put a cherry pit heating bag -- the kind you warm up in the microwave, no cords, homemade, probably acquired at a flea market in Shipshewana -- in for 20 minutes instead of two. Flames ensued. He hauled the microwave outside in his underwear at bedtime. Kids still love that story. He covered getting the smell off hard surfaces in episode 465 (find it at repcolite.com). Today he's picking up what he didn't have time for then: getting smoke smell out of fabrics. Wash Smoke Out of Fabrics [04:27] Fabrics act like odor sponges. After any kind of kitchen fire or smoke event, the first step is getting everything washable off the walls and into the machine -- curtains, slipcovers, throw blankets, pillows, towels, rugs if possible. No special detergent required. Start with regular laundry detergent and the warmest water the fabric can handle. Don't cram everything into one load -- the fabric needs room to move so the soap and water can actually pull the smoke residue out. The important rule before the dryer: do the sniff test. If it still smells smoky, wash it again. Don't dry it yet. Dryer heat can lock odors in and make them significantly harder to remove. Once it smells clean, then dry it. Carpet and Upholstery Deodorizing [06:22] For things that can't go in the washing machine, start by vacuuming thoroughly. Smoke leaves behind particles and residue that are physically sitting in the fibers. Vacuuming first gives you a better starting point before adding anything wet. From there, baking soda -- plain, unscented -- can help absorb and reduce odors. Sprinkle it on, let it sit overnight, then vacuum it up completely. Dan is cautious about the heavily scented carpet deodorizers because they can mask the problem rather than solve it. For tougher situations, OdoBan (O-D-O-B-A-N) markets products specifically for smoke odors that can be misted onto carpet and upholstery. It neutralizes rather than masks. Follow the label carefully, test a hidden spot first, and don't soak anything. If the smoke smell is light, baking soda or a fabric-safe neutralizer may be enough. If it's strong, actual carpet or upholstery cleaning may be necessary. And if the odor has gotten into the carpet pad or foam backing, surface treatments may only mask things temporarily -- in those cases, replacement may be the only real fix. Cigarette Smoke Reality Check [09:47] Cigarette smoke is the same problem as kitchen smoke, just dramatically worse. Instead of one event, you're dealing with months or years of buildup. Nicotine and tar accumulate on walls, ceilings, in carpet, drapes, cabinets, ductwork, insulation, and unfinished wood. It yellows paint. It gets into everything. It's a big job, and it has to be treated like one. Deep Clean and Remove Odors [11:15] Step 1: Remove what you can. Old curtains, old carpet, old blinds -- anything soft that's holding the odor. If it's reasonable to just pull it out and start fresh, that's usually the easier path. Don't try to rescue things that aren't worth the effort. Step 2: Wash everything down. Everything. Walls, ceilings, trim, doors, cabinets, closets, inside drawers, light fixtures, fan blades, switch plates, outlet covers. Anywhere smoke residue could have settled over years. The choice of cleaner depends on the goal. If you're trying to preserve the existing paint and avoid repainting, start mild -- warm water with Dawn dish soap, gentle enough not to damage the finish. Don't scrub aggressively. Don't soak the walls. Test anything stronger in a hidden spot first. If the odor is coming back after a mild wash, or if you've already decided to repaint, then you're not trying to save the old paint anymore. At that point, a degreaser or TSP substitute can come in. Still: follow the label, protect nearby surfaces, rinse thoroughly, and let everything dry completely before priming. Cleaner residue can cause problems just like smoke residue. Step 3: Replace HVAC filters. If the smell is heavy, it may be worth calling a duct cleaning company and asking specifically about their process for smoke-affected systems. Some use deodorizers or neutralizers after cleaning -- worth asking about before assuming they're not needed. Prime and Repaint Correctly [15:00] This is where most people go wrong. After cleaning, they roll on new paint and it looks and smells fine -- for a week. Then the stain and odor start coming back through. For cigarette smoke and nicotine, you need a true stain-blocking or odor-blocking primer after cleaning and before painting. A shellac-based primer like BIN is a reliable choice. RepcoLite Zip Prime is an oil-based option that will block smoke stains and water stains effectively. It cleans up with mineral spirits, but it gets the job done. It's on sale this month at RepcoLite and is available in spray cans -- which makes it a handy fix if you've got a few water damage spots on a ceiling you want to seal without breaking out brushes and rollers. Dan's caution on water-based stain blockers: they can work in some situations, but with heavy cigarette smoke and persistent odor, don't cut corners. Ventilate well and use the shellac or oil-based products that are built for this kind of problem. The full sequence for cigarette smoke: Remove what's holding the odor Ventilate and filter the air Wash and rinse all surfaces Prime with the right product Paint Primer is step four, not step one. A lot of people skip straight to it and wonder why the smell keeps coming back. When to call a professional: if there was an actual fire (not just a small appliance incident), if there's visible soot beyond one small area, or if smoke got deep into the HVAC system, a restoration company may be the right call rather than DIY. Heat Painting Is Fine -- With the Right Approach [21:13] People ask constantly whether they can paint outside in summer heat. The answer is yes -- with conditions. The problems come from working like it's a 75-degree day in May when it's not. Air vs. Surface Temp [21:39] The most common mistake in hot-weather painting: looking at the weather app, seeing 88 degrees, checking the paint can and seeing a range up to 100 degrees, and assuming everything is fine. The number on the app is air temperature. Paint doesn't care about just air temperature -- it cares about the surface it's going onto. A wall or siding that's been baking in direct sun can run 15 to 20 degrees hotter than the surrounding air. The app says 88, the south wall could easily be 105 or 110. That's the number that matters. Hot Surface Failures [23:10] Paint applied to an overheated surface dries almost the instant it touches. That sounds fast and convenient. It's not. You can't blend edges before they set, so you get lap marks -- visible streaks where one pass overlaps the next. The paint can bubble or blister. And the bigger problem: it doesn't get the chance to bond properly to the surface. A job that looks fine in July can start letting go within a year or two, or faster, because the adhesion was compromised from the start. Start Early, Plan Your Walls [24:01] In extreme heat, start early -- but not before the dew has burned off. A damp surface is a problem too. The rule: start early, but only after the surface is fully dry. Once you start, be strategic. If one side of the house is going to get hit by sun first, and it's still cool, that may be the place to begin -- get to it before it turns into a griddle. If the sun's already on a wall and the surface is heating up, skip it and come back later in the shade. Chase the Cool Shade [25:13] Following the shade around the house sounds straightforward, but the important word is cool shade. A wall that's been in direct sun for three or four hours holds onto that heat even after the shade arrives. Just because a wall is shaded doesn't mean it's ready. Work on surfaces that are dry, shaded, and not overheated. Sometimes that means painting a side of the house before the sun gets there. Sometimes it means waiting until the sun has been gone long enough for the surface to cool down. Sometimes you're jumping around the house and not finishing things in neat sequence. Whatever you have to do -- just finish each section before moving on. Infrared Thermometer Hack [26:34] If you want to take all the guesswork out of surface temperatures, pick up an inexpensive infrared thermometer. They run around $19, and you point them at a surface, pull the trigger, and get the temperature. Dan notes you'll also spend a surprising amount of time scanning random objects around the house just to see how hot they are. Worth it. No more guessing whether the wall is workable. Quit Before the Dew [27:35] At the end of the day, surfaces cool as the sun goes down, and dew can form on fresh paint before it's had time to properly set. Don't paint right up until dark. Give yourself a few hours of daylight after you finish so the paint can firm up before the evening moisture rolls in. Heat Safety and Breaks [28:16] Heat is hard on the painter, not just the paint. Drink more water than you think you need. Wear a hat, sunscreen, and something breathable. Take breaks in the shade. Quick tip when you take a break: drape a damp cloth over your paint tray or bucket. It keeps a skin from forming on the paint and keeps bugs and debris out of it while you're resting. Bees and Ladder Panic [29:11] Working outside in summer means bees. Hornets. All of those things. Dan's son Andrew paints exteriors professionally, and he reports that his entire crew swore bees didn't bother them during the hiring interview, and then spent the summer routinely running around the house screaming and swatting. It happens to everyone. Two important points: if you're allergic, be prepared or hire it out. And if you're on a ladder when bees show up, remember where you are before you react. A full-on freak-out 20 feet off the ground is a problem the bees didn't cause but you will. Work your way calmly down the ladder first. Dan's mother, for reference, would jump. Do not be Dan's mother in this situation. Treat Your Crew Right [32:47] If you've hired painters and they're working in this heat, a cooler of cold water or pop goes a long way. Andrew's crew recently got sent home from a job with drinks for the road. He used a root beer for a float that night while watching the Tigers and was very pleased. The homeowner probably has no idea how much goodwill that created. Best Paint for Heat [33:46] In hot weather especially, the product underneath all of it matters. Good options for exterior work in summer conditions: Benjamin Moore Aura Exterior -- strong coverage and color retention Benjamin Moore Regal Select Exterior -- durable, top-tier performance Benjamin Moore Element Guard -- rain-ready in about an hour, great for unpredictable summer afternoons with pop-up showers RepcoLite Endura Exterior -- excellent color retention, a strong all-around choice Questions on the right product for your situation? Stop in at any RepcoLite and they'll sort it out. Power Pole Chaos Story [35:27] Tuesday morning Dan left for work at 6:30. A cement truck and crew were working across the street. A couple hours later, a text from the neighbor: the cement truck had hit a power pole, ripped the power line off Dan's house, and bent the mast -- the metal pipe that carries the line into the house. He came home to power lines in the yard, a bent mast, a damaged boot, melting ice cream, and a series of calls to the power company, insurance, the cement company, and an electrician. When the power company arrived and said they couldn't reconnect until an electrician fixed the mast, Dan's son -- who is an electrician -- pulled into the driveway at roughly that moment. He repaired it while the power company waited. Power was back on about an hour and a half later. Ice cream survived. Why Trades Matter [37:32] Dan's takeaway from the whole situation -- and really from a pattern of situations over the years: when a skilled tradesperson shows up and knows exactly what to do, the stress level drops immediately. Plumbers, electricians, painters, roofers, car techs. People who can walk into something that's blowing your mind and offer a solution. When Dan was in school, the trades were not exactly encouraged. College was the path, and the trades were treated as the lesser option. He's changed his view on that considerably. In Michigan, the state projects over 520,000 skilled trades jobs with around 45,000 openings per year through 2030. The trades are going to need people, and they're good careers. If you've got kids, grandkids, nieces, or nephews approaching college age and they're not sure what they want to do -- worth having the conversation. Wrap Up and Events [39:41] Car show at Lakewood RepcoLite: Saturday, July 18, 11 a.m. to 2 p.m. Classic cars, trucks, motorcycles, and the Corvette Club. Free admission, free ice cream while supplies last. More info on the RepcoLite Facebook page or call the Lakewood store at 616-393-0025. Resources and Products Mentioned OdoBan -- Odor neutralizer for fabric, carpet, and upholstery; available online BIN Shellac-Based Primer -- For blocking smoke odors and stains before repainting RepcoLite Zip Prime -- Oil-based stain-blocking primer; on sale this month at RepcoLite; available in spray cans (good for water stain spots too) Infrared thermometer -- For reading surface temperatures before painting; around $19 Benjamin Moore Aura Exterior -- Premium exterior paint; available at RepcoLite Benjamin Moore Regal Select Exterior -- Available at RepcoLite Benjamin Moore Element Guard -- Rain-ready in about an hour; available at RepcoLite RepcoLite Endura Exterior -- Available at RepcoLite Find the Show Home In Progress is on the air every weekend and available anytime at repcolite.com -- click the On the Radio tab on the homepage. Dan also posts episode content on Facebook and Instagram throughout the week. About Our Sponsor Home In Progress is brought to you by RepcoLite Paints and Benjamin Moore. People often think of paint as just another line item on the supply list. But everything you do, every hour of prep, every stroke of the brush, comes down to the quality of what goes on the wall. The paint is the project. Make sure it's the best. Home In Progress | RepcoLite Paints | Sponsored by Benjamin Moore
#466
July 2 · 39 min
The Liberty Bell, Colonial Front Doors, and the Real Story of Betsy Ross
Original Air Date: July 4, 2026 Episode Number: 466 Episode Summary It's the annual Home In Progress Fourth of July Extravaganza. This year Dan covers three topics connected to the Revolutionary era: the Liberty Bell, and how almost everything most people think they know about it is a little off; colonial curb appeal, what colors those front doors actually were, and why any of that matters for your house today; and the real story of Betsy Ross -- not the polished legend, but the full picture of a feisty, independent tradeswoman who kept getting knocked down and kept getting back up. Better than the myth. More American, too. In This Episode [00:00] -- Fourth of July Kickoff [00:34] -- Liberty Bell Origins [01:45] -- Revolution Myths Debunked [03:09] -- The Bell Was a Lemon [04:44] -- How It Got Its Name [05:41] -- Break [06:39] -- Colonial Curb Appeal [08:07] -- Real Colonial House Colors [10:02] -- Paint Forensics Explained [13:23] -- Classic Door Color Palette [16:55] -- Why Door Color Still Matters [18:38] -- Paint Project Payoff [19:23] -- Betsy Ross Legend Setup [19:59] -- 1776 Flag Shop Scene [23:59] -- Meet Elizabeth Griscom [24:38] -- Trade Skills and Elopement [29:16] -- Widowhood and Resilience [31:57] -- Washington Bed Hangings Proof [34:29] -- Did She Make the First Flag [35:51] -- Why the Myth Spread [37:34] -- Real Betsy Ross Legacy [39:31] -- Fourth of July Signoff THE LIBERTY BELL Liberty Bell Origins [00:34] Most people can picture the Liberty Bell -- big bronze bell, long jagged crack running up the side. Most people also have the story at least a little wrong. The bell was not made for the Revolution. It was ordered in 1751, a full 25 years before the Declaration of Independence, for the Pennsylvania State House. The most likely occasion was the 50th anniversary of Pennsylvania's original constitution, a document called the Charter of Privileges, written by William Penn in 1701. It happened to be in the Pennsylvania State House -- the building we now call Independence Hall -- when the Declaration of Independence was debated and adopted. It was there. So was dirt. Nobody's made a monument out of that either. Revolution Myths Debunked [01:45] There's a story that the Liberty Bell rang out to call people to the first public reading of the Declaration of Independence. Dan loves that story. Historians do not. No evidence supports it, and the general conclusion is that it was made up. The Bell Was a Lemon [03:09] The bell was ordered from a London foundry, shipped to Philadelphia, unpacked, and rung for the first time. On that first ring, it cracked. Two Philadelphia metalworkers -- John Pass and John Stow -- offered to fix it. They melted it down and cast a new one. That one didn't sound right. They melted it down again and cast another. The bell we know today is that second attempt. Three tries, two complete restarts. How It Got Its Name [04:44] For most of its existence, the bell was called the State House Bell or the Bell in the Steeple. The name Liberty Bell first appeared not during the Revolution but in abolitionist circles in the 1830s. People fighting to end slavery noticed a verse from Leviticus engraved on the bell: "Proclaim liberty throughout all the land unto all inhabitants thereof." They claimed it as their symbol and renamed it the Liberty Bell. The name eventually stuck. The Liberty Bell, in other words, is named for a fight that came decades after the Revolution ended. COLONIAL FRONT DOORS Colonial Curb Appeal [06:39] In late 1700s New England, a lot of homeowners put their money, skill, and creativity almost exclusively into the front of the house. The face you showed the road. That side got clapboard siding, embellishments around the windows and doors, and paint. The sides and the back were often covered in rougher shingles and left to weather -- going gray, brown, silver in the salt air, depending on the climate. Nobody who mattered was looking at the back of the house. That's where the family went. The important people came to the front. Real Colonial House Colors [08:07] Most people picture colonial houses as white. White is part of the story but not the whole story. In the late 1700s, a clapboard house might be white or off-white if the owner had money, but it might just as easily be red-brown, yellow ochre, gray, or tan -- or just left to weather, particularly on simpler rural homes. The one place that almost always got paint, even when the rest of the house didn't, was the front door. It was the place to make a statement without the expense of painting an entire house. That was true 250 years ago and it's still true today. Paint Forensics Explained [10:02] How do we actually know what colors colonial houses were painted? The original paint is buried under 20 coats applied over two centuries, and old paintings of the buildings can't be trusted -- the artist may have taken liberties, and the pigments in the paintings fade over time. The answer is cross-section microscopy. A conservator finds a protected spot where old paint survived -- behind a shutter hinge, under a piece of molding -- and takes a sample smaller than the head of a pin. That sample gets set in clear resin, polished down, and examined from the side under a microscope. Every coat of paint the building ever wore shows up as its own distinct layer. Count down to the very first one, identify the pigments, adjust for yellowing and fading, and you know the original color. The man who pioneered this in America is Frank Welsh. He's read the paint on Independence Hall, the White House, and Grand Central Terminal, and saved over 50,000 samples in his career. In the 1980s and '90s, Colonial Williamsburg brought him in to study their historic buildings -- and what he found turned everything upside down. For decades, people assumed colonial colors were soft, muted, grayed down. Turns out that look was just old, dirty, faded paint. The real colors were bolder, brighter, and more saturated than anyone believed. Williamsburg has gone back and repainted buildings to match what the science found. The colonists liked color a lot more than we gave them credit for. Classic Door Color Palette [13:23] If you were walking through a New England town in the late 1770s, these are the door colors you'd have likely seen: Deep red-brown. Iron in the soil -- the same stuff that makes rust red -- produced a family of dull, brick-red earth colors. One common version was called Spanish brown. Dirt cheap, in the most literal sense of the phrase, and very common on doors and trim. Deep green. A dark, earthy green was a popular choice for doors and shutters. The classic colonial green door has roots going back to this period, which is part of why it still reads as traditional today. Black. More common as you move into the early 1800s. It looked formal, looked sharp, looked especially good against a pale house. White and off-white. These came from white lead, which was expensive. A crisp white door was a quiet declaration that there was money in the house. What looks like an understated choice today was a statement then. Prussian blue. A rich, deep, slightly greenish blue that arrived as a new pigment in the early 1700s and became a sensation. A blue door said you could afford something special. Vermilion red. The most expensive of all. A brilliant, clean fire-engine red that came from a pigment worth nearly its weight in gold at certain points in history. A truly bright red door was the loudest possible way to tell the world you had money. Why Door Color Still Matters [16:55] When Dan pictures colonial America, he pictures parchment tones -- old paper, brown wood, gray stone, candlelight. Even the red, white, and blue of the flag feels muted in his mental image. But these people cared about color. They cared about curb appeal, they just didn't have the phrase for it. The front door was where homeowners made that statement without the expense of painting the whole house. Two hundred and fifty years later, people still stand in front of the paint display and agonize over a quart of paint for the same reason. The front door speaks before anyone inside gets a chance to. That was true in 1775 and it's still true now. Paint Project Payoff [18:38] If you're looking for a summer weekend project, Dan's case is simple: look at your front door. What is it saying to the world? What is it saying to you? If the message needs to change, stop into any RepcoLite location and they'll help find the right color. It's a quart of paint and about four hours of work. The payoff is big. THE REAL BETSY ROSS Betsy Ross Legend Setup [19:23] Dan sets up the Betsy Ross segment by acknowledging that most people know some version of the legend. Before getting into whether it's true, he wants to introduce the real woman -- because she's considerably more interesting than the simplified version most of us grew up with. 1776 Flag Shop Scene [19:59] Philadelphia, June 1776. A secret committee including George Washington walks into a small upholstery shop, pulls the blinds, and spreads a rough sketch on the table -- 13 stripes, 13 six-pointed stars. The seamstress, Betsy Ross, suggests switching to five-pointed stars, demonstrates with a single scissor snip, and agrees to make the flag. Most people know some version of that scene. The question is whether any of it actually happened. Meet Elizabeth Griscom [23:59] Before answering that question, Dan introduces the real woman. Elizabeth Griscom was born on New Year's Day, 1752, in Philadelphia -- the eighth of 17 children, raised Quaker. Unusually for the time, her father had her trained in a skilled trade rather than just married off. She was apprenticed to a Philadelphia upholsterer named William Webster. Upholstery in the 1700s was the interior design business of its era -- one of the most prestigious and lucrative craft trades going. Upholsterers dressed the finest rooms, made the curtains, furniture, and bedding, imported high-end fabrics, and often worked in the client's home. Betsy Ross was not a humble seamstress. She was trained in the high-end decorating trade. Trade Skills and Elopement [24:38] At 21, Betsy fell in love with a fellow apprentice named John Ross -- the son of an Episcopal minister and completely unacceptable to the Quaker congregation. Betsy crossed the river to New Jersey anyway and married him at a tavern. She was expelled from the congregation and cut off from her family. The trade-off: she and John both knew the upholstery business, so they opened their own shop. At 21, she was in business for herself. That was uncommon for women in 1773. Widowhood and Resilience [29:16] John Ross died in 1775, two years in, leaving Betsy a widow at 24 running the shop alone. She remarried in 1777. Her second husband, Joseph Ashburn, was captured by the British and died in an English prison in 1782. The man who came to deliver that news was a fellow prisoner named John Claypoole. Eventually she married him too. That marriage lasted 34 years and produced five daughters. Through all of it, Betsy kept the business running. Dan's favorite description of her: "a hard-nosed, snuff-loving businesswoman who was fond of storytelling. She wasn't this mild-mannered seamstress just waiting to do some domestic work." Washington Bed Hangings Proof [31:57] In 1774 -- two years before the supposed flag visit -- George Washington commissioned three sets of bed hangings for Mount Vernon from the Ross upholstery shop. Cotton chintz, purple floral prints, edged in green. He paid a down payment in gold coins. Mount Vernon curators confirmed it in 2014 from Washington's own cash records. A fully dressed bed was often the single most expensive piece of furniture in a home. This was high-end prestige work, documented, real, and pre-dating any flag story. During the war, Betsy kept the shop going by taking whatever came in -- mending uniforms, sewing tents and blankets, rolling paper cartridges packed with musket balls for the Continental Army. Did She Make the First Flag [34:29] Betsy Ross made flags. That's documented. A Pennsylvania State Navy Board record from May 29, 1777 shows Elizabeth Ross was paid 14 pounds, 12 shillings, 2 pence for making ship's colors. From the early 1800s there are government contracts for US flags from her shop, including large garrison flags -- 18 by 24 feet, over 100,000 stitches each -- for US arsenals around 1810 to 1811. She made flags for more than 50 years. But the specific legend -- the secret committee, the six-pointed stars, the single scissor snip -- didn't surface until 1870, thirty-four years after Betsy died. Her grandson William Canby presented the account to the Historical Society of Pennsylvania, saying he'd heard it from an aunt in 1857. Historians have been through the diaries, the letters, and the records of the Continental Congress. Nothing. No flag committee. No 1776 meeting. No documentation from the time period at all. The conclusion: the first flag story is almost certainly invented. Why the Myth Spread [35:51] The story took hold largely because of timing. The 1876 centennial was approaching and would be held in Philadelphia. The country was hungry for Revolutionary War stories, especially ones that gave women a heroic role. Betsy was the right symbol at exactly the right moment. She was promoted as a patriotic role model for girls and the story spread quickly. It's still commonly accepted today. Real Betsy Ross Legacy [37:34] The legend turned a complicated woman into a sweet, quiet seamstress stitching stars by the window. That version is much smaller than the real person. The real Betsy Ross got thrown out of her church for marrying the man she loved. She buried a husband at 24, then a second, then a third. Every time she got back up, kept her shop open, and kept her family going. She was a tradeswoman in the most respected craft of her day. She decorated George Washington's bedroom. When the country went to war, she became a defense contractor -- flags, uniforms, musket cartridges. She ran her own business for 50 years and handed it to her daughters, granddaughters, and nieces. She didn't need the flag legend. She made herself matter with her own hands over a whole lifetime. Dan's closing point: that's the better Fourth of July story. A skilled, stubborn woman who got knocked down again and again and just kept going. Find the Show Home In Progress is on the air every weekend and available anytime at repcolite.com -- click the On the Radio tab on the homepage. Dan also posts episode content on Facebook and Instagram throughout the week. About Our Sponsor Home In Progress is brought to you by RepcoLite Paints and Benjamin Moore. People often think of paint as just another line item on the supply list. But everything you do, every hour of prep, every stroke of the brush, comes down to the quality of what goes on the wall. The paint is the project. Make sure it's the best. Home In Progress | RepcoLite Paints | Sponsored by Benjamin Moore
#465
June 25 · 40 min
How to Get Smoke Smell Out of Your House -- Plus Why Your Bathroom Paint Color Is Making You Look Tired
Episode Summary This week on Home In Progress, Dan opens with a story about a flaming microwave, a snowbank, and a pair of whitey tighties -- and turns it into a genuinely useful guide on getting smoke smell out of your home. He's then joined by Jeff Mot, manager of the Lakewood RepcoLite, to talk about a car show and ice cream social coming to that store on July 18. Then Dan picks up where last week's bathroom lighting conversation left off, diving into something almost nobody considers: what the color on your bathroom walls is doing to your face in the mirror every morning. He closes with a Hannah SpaghettiO story that leads directly into the case for handy paint cups and pails -- both on sale through the end of June. In This Episode [00:00] -- Show Preview [00:48] -- Microwave Fire Story [02:56] -- Smoke Smell Fixes [03:47] -- Wash Away the Residue [06:40] -- Car Show Tease [07:06] -- Event Basics: Lakewood Car Show and Ice Cream Social [09:11] -- Why Jeff Loves Cars [10:15] -- What Makes Car Shows Fun [13:08] -- Why RepcoLite Hosts [14:50] -- Family Friendly Details [15:22] -- Directions and Construction Note [16:02] -- Bring Your Classic Ride [17:24] -- Rusty Car Banter [17:38] -- Ice Cream Social Details [18:06] -- Event Details Recap [18:43] -- Bathroom Color Cast [24:04] -- Worst Bathroom Colors [26:53] -- Makeup Gone Wrong [31:15] -- Flattering Color Picks [33:25] -- Sample Testing Tips [35:13] -- Cut-In Bucket Story [38:19] -- Handy Paint Pails Pitch [39:54] -- Wrap Up and Sign Off Microwave Fire Story [00:48] Dan's daughter punched an extra zero into the microwave and walked away. Twenty minutes later, Dan spotted smoke, ran into the kitchen, found something spinning around with actual flames coming out of it, grabbed the microwave, ran outside barefoot in his underwear, and threw it into a snowbank. In Zeeland. Around 10 at night. The kids have loved that story ever since. The aftermath is what the segment is actually about. The smoke smell wouldn't leave. Day after day, it just sat there. If that's happened to you, here's how to actually fix it. Smoke Smell Fixes [02:56] Step 1: Ventilation and filtration. Open windows, run exhaust fans, use box fans to push air out. If the smoke moved through the HVAC system, replace the furnace filter -- smoke particles can get pulled into the return and stay there. A portable air cleaner with a HEPA filter helps pull fine particles out of the air. Do all of this first, but understand that ventilation alone almost never fully solves a smoke smell. Wash Away the Residue [03:47] Step 2: Wash everything. The key thing to understand: smoke isn't just something floating in the air. It's made up of tiny particles and oily residues that land on every surface in the room -- curtains, upholstery, carpet, cabinets, walls, ceilings, clothing, all the little cracks and crevices. That's why airing the place out isn't enough. You have to physically remove the residue. Start at the source. If it was a microwave fire, unplug it, remove everything removable, and wash all of it separately. Then spread out: walls, ceilings, cabinets, doors, trim, light fixtures, switch plates, top of the refrigerator. All the surfaces that don't normally get cleaned. Smoke residue is oily, so one pass usually isn't enough -- clean, rinse, change the water, and go again. Cleaners: A mild Dawn dish soap solution works well on painted surfaces. Krud Kutter and Champion are solid degreasers for non-painted areas. After washing, OdoBan (O-D-O-B-A-N) is a cleaner and heavy-duty odor neutralizer that can knock out what remains. Vinegar, baking soda, and activated charcoal are supporting players -- not substitutes for actually scrubbing everything down. Cigarette smoke is a different conversation -- Dan plans to cover that in a future episode. Lakewood Car Show and Ice Cream Social [07:06] Dan is joined by Jeff Mott, manager of the Lakewood RepcoLite, to talk about a car show and ice cream social coming to the store. Date: Saturday, July 18 Time: 11:00 a.m. to 2:00 p.m. (Note: flyers say 11 to 1 -- it's 11 to 2) Location: Lakewood RepcoLite Jeff has been trying to get Dan to host a car show for roughly five years. He owns a 1966 International Scout and grew up around old cars. The event is part of RepcoLite's Summer Stops program -- different events at different store locations throughout the summer, built around community and getting to know customers and contractors better. The Corvette Club will be there with vehicles ranging from brand-new to 1950s and '60s models. Jeff is also welcoming any old cars, trucks, and motorcycles. The appeal of a show like this, Dan has come to understand, is the stories that come with the vehicles -- the restoration history, cars passed down through families, little museums on easels in the parking lot. That part Dan can actually get into. Admission: Free Ice cream: Free, while supplies last, with toppings Bring a classic vehicle: No registration required -- just show up and they'll direct you. If you want to give them a heads-up, call 616-393-0025. Directions note: Road construction on Lakewood Drive limits access to westbound traffic from 120th. You can get in, you can get out, but plan accordingly. Dan will continue reminding listeners as July 18 gets closer. Bathroom Color Cast [18:43] Last week's show covered bathroom lighting and how a poorly lit mirror can make you look worse than you are. Dan adds a second layer: the color on your bathroom walls. He sets it up with a moment from his own week. Walking through the warehouse where he works, he noticed an entire section had gone pink. Bright pink panels had been moved into a spot where they were catching the sun and reflecting it everywhere. Nothing had actually changed -- it just looked that way. Your bathroom walls do the same thing, every morning, to your face. The color reflects back onto your skin while you're standing at the mirror. Most people have no idea it's happening. Photographers call it color cast. Whatever color surrounds you gets cast onto you. Photography studios often paint their walls flat neutral gray to avoid adding a false tint -- they want the true skin tone, then they warm it up with lighting from there. Makeup artists watch for this constantly. A colored wall, a bright shirt, anything nearby can throw a tint onto a face and change the whole look. Bathrooms are especially susceptible because of the combination: small space (you're close to the walls), you're staring into a mirror, and bathrooms tend to be among the more brightly lit rooms in the house. All of that means more wall color gets bounced back at you. Two jobs, not one. Most of the time, when choosing a paint color, you ask how it will look in the space. In a bathroom, you have to ask a second question: how will I look in it? A moody charcoal or a deep, trendy green can look beautiful on the walls and still make the person standing in the room look a little unwell. The room can be magazine-worthy and the color still be wrong for you. That's a distinction people almost never make. Worst Bathroom Colors [24:04] Yellow and yellow-green. Especially anything with green in it. Reflects a sallow, slightly sickly cast onto skin. Cancels out the natural pink and red tones that make a complexion look healthy and awake. Strong reds. A bold red throws a heavy warm cast over everything, including your face. The stronger the color, the more tint it pushes around. Gray. This one surprises people. Photography studios use gray walls because gray tells the truth -- no invented tint. But without warm lighting aimed at you, that truth isn't always flattering. Gray tends to drain warmth out of a face and leave it looking flat and washed out. Given how long gray has dominated bathroom design, a lot of people may be dealing with this every morning without knowing it. Makeup Gone Wrong [26:53] For anyone who wears makeup, a bad wall color doesn't just affect how you look -- it affects what decisions you make getting ready. If the wall casts a color onto your face while you're applying makeup, you're working with inaccurate information. Say the wall makes you look sallow and tired -- you compensate, adjust your color, add more than you normally would. But you're correcting for a problem the room invented. You walk outside into real daylight with makeup calibrated for a wrong starting point, and nothing looks right. Everyone else sees what's on your face. You were perfectly matched for your bathroom wall. That's the mismatch. Flattering Color Picks [31:15] Soft, warm neutrals. Warm whites, soft peach, muted pink, warm beige. These reflect a gentle warm glow onto skin that flatters nearly everyone. It's like standing in good morning light. Muted nature colors. Soft blush, powder blue, quiet sage. Nothing loud or saturated. Muted is the key word. Powder blue. Works well as a pale, soft tone. Push it darker or cooler and it starts chilling skin down -- you look pale and cold. Keep it soft. Dusty lavender. Often flattering because of the pink component in it. Go too purple and it gets cold fast. Warm earth tones. Terracotta, soft clay. Very forgiving on skin. The lighting reminder. Color and lighting are a team. A warm-ish light on a flattering wall color gives you something close to your actual face rather than the room's version of it. Both elements matter and need to be addressed together. The bottom line on bathroom color: you're choosing for the room AND for yourself. It's about how the space looks and how you look in it. How your makeup turns out. How you feel walking out the door. Sample Testing Tips [33:25] When looking at paint chips for a bathroom, add a second question to the usual one. The first: does this look good in my space? The second, the one most people skip: how am I going to look in this? To answer the second question, test. Benjamin Moore color samples run about six dollars and give you enough paint to brush out a large section on the actual wall. Put it up, stand in front of it, and look at yourself in the mirror. See what the color does to you, not just to the room. Check it morning light, midday, and at night before committing. Cut-In Bucket Story [35:13] Dan's daughter Hannah, around age two or three, had been sitting on his lap after dinner while he finished eating. He poured himself a glass of water from the pitcher on the table. Hannah talked. He drank. At some point he realized he was chewing. He held the glass up and found gray, murky water with things floating in it -- something that looked like a meatball fragment, something that was almost certainly a SpaghettiO. The pitcher handle had small orange handprints on it. The rim had orange lip marks. Hannah had drunk from the pitcher twice. Twice was enough to completely contaminate the water. The paint point: If you cut in by carrying the gallon or quart can and dipping your brush back into it every time, you're doing the same thing. One dip after the brush picks up a spider web, dirt, or debris -- especially outdoors -- and all the paint in the can is now contaminated. You'll find out when you start rolling the big areas and strange things are coming out of the finish. The fix: pour a small amount of paint into something smaller and work from that. If what's in the cup gets contaminated, it's just a cup -- not the whole can. Handy Paint Pails Pitch [38:19] Handy paint cups and handy paint pails are both on sale at RepcoLite through the end of June. Cups -- smaller, less expensive, good for lighter work. Pails -- hold up to about a quart; liners are available for easier cleanup. Both have a comfortable grip -- the pails have a strap, the cups have a handle. Both beat working from a quart or gallon can that wasn't designed to be held while painting. The standout feature: a built-in magnet that holds your brush when you set it down. The brush stays put instead of sliding into the paint. Dan says it doesn't sound like a big deal until you've used one. Stop in at any RepcoLite location, grab a few. Inexpensive, and they solve a real, annoying problem. Resources Mentioned in This Episode Krud Kutter -- Degreaser for smoke residue on non-painted surfaces; available at RepcoLite Champion -- Degreaser; available at RepcoLite OdoBan -- Cleaner and heavy-duty odor neutralizer for persistent smoke smell Benjamin Moore color samples -- About $6; enough to test a large section on your actual wall Handy Paint Cups -- On sale at RepcoLite through end of June Handy Paint Pails -- Hold up to a quart; liners available; built-in brush magnet; on sale through end of June Events Lakewood RepcoLite Car Show and Ice Cream Social Saturday, July 18 -- 11:00 a.m. to 2:00 p.m. Free admission, free ice cream while supplies last Classic cars, trucks, motorcycles welcome -- no registration needed Corvette Club will be in attendance (all years) Questions or to give a heads-up: 616-393-0025 Directions note: access from 120th heading west due to construction on Lakewood Drive Summer Stops -- Events at various RepcoLite locations this summer. Ask in any store for details. Find the Show Home In Progress is on the air every weekend and available anytime at repcolite.com -- click the On the Radio tab on the homepage. Dan also posts episode content on Facebook and Instagram throughout the week. About Our Sponsor Home In Progress is brought to you by RepcoLite Paints and Benjamin Moore. People often think of paint as just another line item on the supply list. But everything you do, every hour of prep, every stroke of the brush, comes down to the quality of what goes on the wall. The paint is the project. Make sure it's the best. Home In Progress | RepcoLite Paints | Sponsored by Benjamin Moore
#464
June 18 · 44 min
Bathroom Remodel Planning: Tub vs. Shower, Lighting, Storage, and How to Paint a Bathroom Right
Episode Summary This week on Home In Progress, Dan dedicates the whole show to bathroom remodels -- why they're trending, and how to think one through before spending anything. He covers the tub-or-shower decision, storage planning, lighting that stops working against you, upgrades worth baking in while walls are open, aging-in-place choices, and a full closing section on painting the bathroom right. A practical episode worth saving if a bathroom is anywhere on your horizon. In This Episode [00:00] -- Bathrooms Are Trending [02:15] -- Start With What Bugs You [05:04] -- Tubs or Showers First [07:45] -- Freestanding Tub Reality Check [10:43] -- Tub to Shower Conversion [13:41] -- Storage That Fits Life [16:15] -- Smart Storage Ideas [18:31] -- Bathroom Lighting Problems [19:25] -- Why Mirrors Make You Cringe [20:22] -- Fixing Harsh Shadows [21:43] -- Layered Lighting Basics [22:14] -- Mirror Task Lighting [23:56] -- Sconce Placement Tips [24:54] -- Shower and Night Lighting [26:02] -- Bulb Temperature Consistency [28:00] -- Remodel Upgrades to Add [30:44] -- Aging in Place Choices [33:52] -- Bathroom Paint Essentials [37:02] -- Paint Cure and Humidity [39:10] -- Prep and Tight Spaces [41:19] -- Ceilings and Caulk [43:05] -- Wrap Up and Store Deals Bathrooms Are Trending [00:00] Bathroom remodels aren't overtaking kitchens -- kitchens are still the most popular project -- but bathrooms are closing the gap. They're smaller, usually less expensive, and more manageable. And the daily impact is bigger than most people give them credit for. If a kitchen remodel feels out of reach right now, a bathroom is worth serious consideration. Start With What Bugs You [02:15] Before looking at tile or faucets, walk through the bathroom you have and write down everything that bothers you. Not what you'd love to have -- what actually annoys you about the space right now. A lot of renovations look great but feel disappointing because they didn't solve the actual problems. New finishes don't fix a bad morning. Start with what the bathroom needs to fix, then work forward from there. Tubs or Showers First [05:04] The shower or tub is the biggest decision in any bathroom remodel and where serious money gets spent. Dan breaks it into two parts: what fits your life better (some people love a bath; others haven't taken one voluntarily in years), and what fits your existing bathroom layout. Getting swept up in a vision without looking honestly at the space is where projects get expensive. Freestanding Tub Reality Check [07:45] A freestanding soaking tub is a popular idea that can get complicated fast. Most existing bathrooms have an alcove setup -- tub against three walls, drain in place, plumbing at one end. Switching to a freestanding tub means relocating the drain, addressing the floor and walls after the old surround comes out, and making sure there's enough clearance around the tub for it to look intentional. The alternative worth knowing about: deeper alcove tubs, drop-in tubs, or soaking tubs designed to fit a traditional footprint. These can deliver the soaking experience without requiring a full redesign. Even replacing an older alcove tub with a newer one in the same footprint can be a meaningful gain. Tub to Shower Conversion [10:43] If baths aren't your thing, converting a tub surround to a walk-in shower is often a practical fit for what most bathrooms already have. Plumbing can often stay in roughly the same location, the footprint works, and the project tends to line up more naturally with the existing space than a freestanding tub would. One thing to stop and think about first: is this the only tub in the house? Families with young kids need one. Pet owners often do too. Future buyers may care. That doesn't mean you keep it -- just means the decision should be deliberate. Storage That Fits Life [13:41] Storage isn't the exciting part of a remodel, but it may be the biggest factor in whether a renovated bathroom still feels good two weeks after the job is done. Before choosing a vanity, go back to your list of annoyances and ask honestly whether storage is on it -- and whether it should be. The practical question isn't what vanity looks good. It's what the vanity needs to do. Drawers let you see what you have; deep cabinets swallow things. A vanity drawer with a built-in outlet keeps hair tools off the counter. Storage that matches how you actually live beats storage that just looks organized in the showroom. Smart Storage Ideas [16:15] If the footprint isn't changing, there are usually more options than it feels like. Going vertical -- tall cabinets, shelving from counter to ceiling, built-in storage above the toilet -- can add meaningful capacity without touching the floor plan. Recessed medicine cabinets don't have to look like the metal box from 1978; modern versions are framed, mirror-faced, and look like part of the room. And awkward spots -- a dead corner, a gap beside the vanity -- are worth a second look. Better storage organization inside existing space also counts: drawer organizers, pull-outs, a bottom drawer for towels or toilet paper. Build the answer in. Don't assume things will find a home after the remodel if they haven't found one yet. Bathroom Lighting [18:31] Bathroom lighting is often bad in ways people don't fully notice. One harsh overhead fixture, or a row of bulbs above the mirror, creates shadows on the face -- under the eyes, under the nose, under the chin -- that make people look older and more tired than they are. If you walk into your bathroom every morning and immediately want to look somewhere else, the lighting may be a bigger factor than you think. Why mirrors make you cringe [19:25] -- Most bathroom lighting is designed to illuminate the room, not the person at the mirror. A ceiling fixture in the middle of the room does the former. It doesn't do the latter well. Fixing harsh shadows [20:22] -- Light from both sides of the mirror is significantly better than light from above. Sconces on either side spread light evenly across the face, cut shadows, and make grooming more accurate. If side lighting isn't possible, a long horizontal fixture above the mirror is better than a single small bulb. Layered lighting [21:43] -- Good bathroom lighting usually comes from more than one source. General light -- ceiling fixture, recessed lights, or both -- makes the room usable. Task lighting at the mirror is where the real work gets done. One fixture can't do both jobs well. Mirror task lighting [22:14] -- The goal is light on your face, from roughly face level. That's what reduces shadows. A fixture above the mirror alone usually can't deliver that. Sconce placement [23:56] -- Height matters. Too low creates the campfire-flashlight effect. Too high brings the shadows back. Aim for face-level illumination, and let the person who needs the most help from the lighting make the call on placement. Shower and night lighting [24:54] -- A shower with walls that block the main room's light probably needs its own fixture. A dark shower feels less clean and less comfortable than it should. Night lighting is the thing people forget: a dimmer, toe-kick lighting, or a softer secondary source lets you use the bathroom at odd hours without switching on every bulb in the room. Bulb temperature consistency [26:02] -- Cool bulbs feel sterile; warm bulbs can make whites and skin tones look strange. A warm neutral bulb is a solid starting point for most bathrooms. More important than the specific temperature is keeping it consistent across all fixtures. Mismatched bulb temperatures can make the room feel off in a way that's hard to identify -- paint reads differently in different spots, tile can shift color. Sort out lighting before finalizing paint colors or any other choices sensitive to light. Remodel Upgrades to Add [28:00] When a bathroom is torn apart, some things are much easier to add than they'll ever be again. Worth at least pricing out: Heated floors -- bathroom square footage is small, and if the old floor is already coming up, now is the time to ask Ventilation -- a weak or struggling fan should be replaced now, not after it causes moisture damage to a freshly renovated room Outlet placement -- if outlets are always in the wrong spot, fix it while walls are open Shower niche -- easier to build in now than to add later Shower lighting -- while the walls are accessible Blocking for grab bars -- you may not want them now, but blocking costs almost nothing during a remodel and makes installation easy whenever you do Aging in Place Choices [30:44] If you plan to be in the home long-term, a remodel is a good moment to make choices that work better as you age. This doesn't have to look like a care facility. Options have improved considerably. A curbless shower can look modern. A wider shower entry feels more open. A shower bench can feel spa-like. A handheld shower is useful for almost everyone. Slip-resistant tile is smart at any age. Comfort-height toilets are common. Grab bars don't have to look institutional -- attractive options exist that look intentional in the room. And if you don't want grab bars now, add the blocking to the walls. Much easier to plan for during the remodel. Bathroom Paint Essentials [33:52] Even without a full remodel, a fresh paint job can change how a bathroom feels. But painting a bathroom has a few considerations that a bedroom or living room doesn't. Paint choice. The standard answer has long been a satin or semi-gloss for moisture resistance. That's still not wrong. But Benjamin Moore Aura Bath and Spa is worth knowing about -- it's a matte finish engineered specifically for high-humidity rooms. You get moisture resistance without the reflective surface that broadcasts every patch and roller mark. For walls, especially when you want a more elegant, finished look, it's a strong option. Satin and higher sheens still make sense in kids' bathrooms, rentals, or spaces that get wiped down constantly. For trim, doors, and cabinets, Dan still likes a satin or semi-gloss. Paint Cure and Humidity [37:02] One of the most common bathroom painting mistakes: putting the room back into full use too quickly. Fresh latex paint hit with high humidity too soon can produce surfactant leaching -- shiny streaks, sticky spots, or brownish marks on the walls. It looks alarming, but it's not damaging the finish. It can be wiped off. It's also completely avoidable. Give the paint time. Keep showers short for the first few days. Run the fan during and for at least 20 minutes after. Open the door as soon as possible. Use another bathroom if you have one. Prep and Tight Spaces [39:10] Bathroom walls collect soap film and hairspray that prevent paint from bonding. Wash down with TSP or a mild Dawn solution, rinse with clean water, and let everything dry completely before painting. Clear the room more than feels necessary. In a small space, every obstacle is a real obstacle. Take down towel bars, hardware, switch plates, outlet covers, hooks, shelves. Tape the mirror carefully if it can't come down. Behind the toilet: you usually don't need to remove it. Take the tank lid off for extra room, then use a small brush or mini roller to get behind the tank. If there's a sliver behind the tank that nothing can reach, leave it. Nobody sees it. For tight areas around faucets and the vanity, an angled brush helps, and a short-handled brush is worth keeping on hand -- you won't constantly be knocking the handle into the opposite wall. RepcoLite stores carry them. Ceilings and Caulk [41:19] Ceilings. The ceiling over a shower takes more abuse than almost any other surface in the house. If there's peeling paint, scrape it, sand the edges, and prime before repainting. If there's mildew, address it before painting. Don't use a cheap flat ceiling paint over a shower. Ask at RepcoLite for the right product for the situation. Caulk. Bathrooms have a lot of caulk, and not all of it is paintable. Painting over cracked, dirty, or silicone caulk can cause peeling, fisheyes, or areas where paint won't stick. Inspect all the caulk before you start. Replace anything that's cracked or moldy. If caulk will be painted over, use a paintable formula -- pure silicone is excellent in wet areas, but paint won't adhere to it. Wrap Up and Store Deals [43:05] Questions about a bathroom repaint or any paint project? Stop in at your closest RepcoLite location. 80 years in the business -- they know paint. Current store deals: RepcoLite Endura Exterior -- on sale at all RepcoLite stores through the end of June. Up to $38 off per gallon. Ask in store. Handy Paint Pails -- cut-in buckets, on sale now. More on these next week. Resources Mentioned in This Episode Benjamin Moore Aura Bath and Spa -- Matte finish for high-humidity rooms; available at RepcoLite TSP -- For washing bathroom walls before painting Short-handled brushes -- For tight bathroom spaces; available at RepcoLite stores RepcoLite Endura Exterior -- On sale through end of June, up to $38 off per gallon Handy Paint Pails -- Cut-in buckets, on sale now at RepcoLite stores Find the Show Home In Progress is on the air every weekend and available anytime at repcolite.com -- click the On the Radio tab on the homepage. Dan also posts episode content on Facebook and Instagram throughout the week. About Our Sponsor Home In Progress is brought to you by RepcoLite Paints and Benjamin Moore. People often think of paint as just another line item on the supply list. But everything you do, every hour of prep, every stroke of the brush, comes down to the quality of what goes on the wall. The paint is the project. Make sure it's the best.
#463
June 11 · 47 min
The Man Who Built Fairy-Tale Houses: Earl Young and the Charlevoix Mushroom Houses
Original Air Date: June 2025 Episode Number: 463 Episode Summary This week on Home In Progress, Dan tells the story of Earl Young -- a self-taught architect from Charlevoix, Michigan who never finished his degree, never drew a blueprint, and never really cared what the architecture establishment thought of him. What he left behind are some of the most unusual homes in the Midwest: curved stone walls, swooping roofs, fireplaces that feel like the center of the universe, and boulders he spent decades hauling out of Lake Michigan. Dan covers the full story -- where Young came from, how he worked, and what eventually happened to the neighborhood he built. Then he takes six design lessons from Young's approach and applies them to homes most of us actually live in. In This Episode [00:00] -- Opening: Rain, Roofs, and a Dead Sprinkler Pump [01:40] -- Charlevoix, Michigan [02:34] -- The Mushroom Houses [05:15] -- Earl Young: Origins [09:05] -- Breaking With the Rules [13:41] -- Vision and Inspirations [16:39] -- No Blueprints [19:31] -- The Boulder Problem [24:24] -- The Weathervane Restaurant and the 9-Ton Boulder [26:26] -- Fireplace as the Heart of the House [28:08] -- Legacy [29:22] -- How to Visit [32:29] -- Six Design Lessons from Earl Young Opening: Rain, Roofs, and a Dead Sprinkler Pump [00:00] Dan opens with the classic split-brain problem of being a homeowner in summer. He's relieved that rain is coming -- the yard needs it. He is not relieved that rain is coming -- the roof has been suspicious lately. Then, one more thing: the sprinkler pump died. Standard summer. He moves on quickly. Charlevoix, Michigan [01:40] Before getting to the houses, Dan sets the scene. Charlevoix sits on a narrow isthmus between Lake Michigan and Lake Charlevoix. It's a resort town -- the kind of place people drive through and immediately start calculating whether they could afford to move there. It's also the kind of place that, if you grew up on its beaches and walked them long enough as a kid, could do something permanent to the way you see the natural world. The Mushroom Houses [02:34] Charlevoix has a neighborhood most people don't know about unless someone tips them off. The houses there don't look like anything else. Curved stone walls. Rooflines that swoop down low to the ground. Windows tucked into stone like they were always meant to be there. The whole feel of the place is fairy-tale -- which is why people have been calling them hobbit houses, gnome houses, and Flintstone houses for decades. They have an official nickname too: the Mushroom Houses. Named for the way the rooflines spread outward from the walls, sort of like a cap on a stem. Once you know that, you can't unsee it. They were all built by the same man. One man, working from dirt sketches and intuition, over most of his adult life. Earl Young: Origins [05:15] Earl Young was born in 1889 in Mancelona, Michigan. He moved to Charlevoix with his family around age 11. His parents divorced -- which wasn't common then -- and Young spent a lot of time on his own, walking the beaches around town. He wasn't doing anything in particular. He was just out there, picking up rocks, watching water, paying attention to the way the land looked. He fell in love with stones. Big ones specifically. The kind of boulders that Lake Michigan just deposits on the shore like it has nowhere else to put them. Most people walk around them. Young was already thinking about what he could do with them. Breaking With the Rules [09:05] Young went to the University of Michigan to study architecture. He lasted about a year. The curriculum was heavy on classical styles -- Victorian, Greek revival, Roman influence -- and Young had no patience for it. He didn't come to school to copy old European buildings. He went home to Charlevoix. For a while he sold insurance and real estate. He wasn't building yet. But he was watching. He kept picking up rocks. He eventually started building. No firm, no staff, no architecture license. Just an eye for stone, an instinct for how a building should sit on a piece of land, and a willingness to take as long as it took to do things the way he wanted them done. Vision and Inspirations [13:41] Dan identifies three things that shaped the way Young approached his work. The first was Frank Lloyd Wright's philosophy -- not Wright's specific style, but the underlying idea that a building should belong to its site. It shouldn't be dropped onto a lot. It should feel like it grew there. Young took that idea and ran with it in his own direction. The second was his rejection of academic architecture. Everything he'd been asked to learn and repeat in school was exactly what he didn't want to do. The rebellion wasn't just aesthetic -- it was personal. The third was the stones. Young's whole sensibility came from what Lake Michigan left on the shore. The materials weren't a choice he made at a building supply store. They were the starting point for everything else. No Blueprints [16:39] Young did not draw blueprints. When he had an idea for a house, he went outside and drew his plan in the dirt with a stick. He'd sketch the layout right there on the ground, work it out, make adjustments, and that was the plan. His wife Irene was an art teacher. At some point she started translating his dirt sketches and descriptions into actual drawings -- not formal blueprints, but enough that a builder could follow them. The designs came from him. She put them on paper. They worked like that for years. The Boulder Problem [19:31] Young didn't just use the rocks he could find lying around. He hunted for specific ones. When he found a boulder he wanted, he'd sometimes bury it in the woods to keep it safe until he needed it. Or he'd sink it in Lake Michigan and come back for it later. Dan compares this to hiding GI Joes as a kid -- the careful stashing of things you intend to retrieve. Except the things Young was hiding weighed several tons. When it was time to retrieve a boulder, he'd bring in teams of workhorses. No machinery, no cranes in the early years. Just horses, ropes, and however many men it took to move something that heavy across however much ground stood between the boulder and the house. The Weathervane Restaurant and the 9-Ton Boulder [24:24] The clearest example of how far Young would go for the right stone is the Weathervane Restaurant in Charlevoix. He built it. And for that building, he had been saving a single boulder -- nine tons -- for 26 years. When they finally set it in place, the floor sank. The supports weren't adequate for a 9-ton rock sitting on them indefinitely. They had to redo the foundation underneath it before they could move on. Young didn't reconsider the rock. He redid the floor. The Weathervane is still there. The boulder is still there too. Fireplace as the Heart of the House [26:26] Young treated the fireplace as the center of everything. Not a feature of the house -- the heart of it. In a lot of cases the fireplace was the first thing he designed, and the rest of the floor plan grew outward from there. The fireplaces in his houses are big and boulder-built, and they feel exactly as permanent as they look. They're not decorative. They're structural in the emotional sense of that word -- the thing the rest of the room organizes itself around. Legacy [28:08] Young built somewhere around 26 to 28 homes and three or four commercial buildings over his career. His last major project was the Castle House, which he worked on from 1970 to 1973. By then he was legally blind. He designed parts of it by touch -- running his hands over stone and timber to make decisions he couldn't make with his eyes anymore. He died in 1975. His last act, reportedly, was directing the placement of a boulder at the entrance to his neighborhood. Not a plaque, not a sign. A rock. In the right spot. How to Visit [29:22] The homes are private property. You can drive through the neighborhood and see them from the street -- people do that all the time and it's welcome. Just don't go up to the windows. They're people's houses. The Weathervane Restaurant is open to the public. You can eat there, walk around, and see the 9-ton boulder up close. Dan recommends it. Website: weathervanerestaurant.com. Earl Young's personal home is available to rent on Airbnb. If you want to actually sleep in one of the houses, that's how you do it. Six Design Lessons from Earl Young [32:29] Dan spends the back half of the episode pulling practical design lessons out of Young's approach. Not abstract principles -- specific things a regular homeowner can actually do. 1. Snag What Speaks to You [32:29] Dan tells a story about a Cleopatra bust he found years ago. Bought it without knowing what he'd do with it. Then built a whole corner of a room around it -- brass candlesticks, an Art Nouveau painting of Cleopatra by a Michigan artist, pieces that fit the theme. The room came from the object, not the other way around. Young did the same thing with rocks. He found something he loved, and let that be the starting point. Most people wait until they have a plan before they start collecting anything. Young's lesson -- and Dan's -- is that sometimes the piece you can't explain wanting is the piece that tells you what to do. 2. Decorate for Yourself, Not for Resale [35:22] One of the most consistent pieces of advice given to homeowners is to play it safe for resale value. Neutral colors, conventional choices, nothing too personal. Young built houses that violated every one of those rules. They also happen to be some of the most beloved homes in Michigan. Dan's point isn't that resale doesn't matter -- it does. It's that optimizing entirely for resale often produces rooms that feel like no one actually lives in them. A home that reflects you is also a home people can feel when they walk in. 3. Work With the Quirks [37:38] Every house has something awkward. A weird corner. A wall that doesn't make sense. A ceiling that drops in the wrong spot. The instinct is usually to fight these things or hide them. Young did the opposite. He treated the awkward elements as the material. The boulders were awkward -- too big, too heavy, inconvenient to move. He made them the point. Dan ties this to a rule he comes back to often: every room needs a focal point. Instead of fighting whatever's strange about a space, try making it the focal point. Give the awkward thing the attention it's clearly asking for, and let the rest of the room settle in around it. 4. Play the Long Game [39:58] Young saved a boulder for 26 years. He didn't rush. He didn't use a different rock because the right one wasn't available yet. Dan applies this to the pressure homeowners put on themselves to finish a room all at once. Buy everything at the same time, get it done in a weekend, have it look complete. The rooms that usually end up feeling the most right are the ones that were assembled slowly, with pieces added when the right thing showed up rather than when a deadline said it was time. Resist the urge to just fill a room. Wait for what belongs in it. 5. Seek Out Meaningful Local Finds [41:54] Young's materials weren't shipped in. They came from the ground and water of the place where he was building. That's part of why his houses feel so rooted. Dan applies this to furnishings and decor. Mass-produced stuff has its place, but a room full of it doesn't have a story. A piece from a local craftsman, a find from an estate sale, something that came from a specific place at a specific time -- those things add up to a room that's actually interesting to be in. The search matters. What you find while searching often matters more than what you were looking for. 6. Trust Your Instincts [43:42] Earl Young designed some of his best work when he could no longer see it. He was running his hands over stone and timber, making decisions by feel. He trusted what he knew, even when he couldn't confirm it with his eyes. Dan doesn't suggest ignoring advice or refusing to learn. But he does push back on the habit of second-guessing an instinct to death. At some point you have to trust yourself. Young did that for most of his life and left behind a neighborhood that's still drawing visitors a half-century after his death. Wrap Up [46:10] Episode 463. Dan wraps with a reminder to subscribe to the podcast and leave a review if you've been enjoying the show. Resources Mentioned in This Episode Weathervane Restaurant, Charlevoix -- Built by Earl Young; the 9-ton boulder is inside. weathervanerestaurant.com Earl Young's Personal Home -- Available to rent on Airbnb; search "Earl Young Mushroom House Charlevoix" Charlevoix Mushroom Houses -- Drive-by viewing from the street is welcomed; homes are private property Find the Show Home In Progress is on the air every weekend and available anytime at repcolite.com -- click the On the Radio tab on the homepage. Dan also posts episode content on Facebook and Instagram throughout the week. About Our Sponsor Home In Progress is brought to you by RepcoLite Paints and Benjamin Moore. People often think of paint as just another line item on the supply list. But everything you do, every hour of prep, every stroke of the brush, comes down to the quality of what goes on the wall. The paint is the project. Make sure it's the best. Home In Progress | RepcoLite Paints | Sponsored by Benjamin Moore Episode 463
#462
June 4 · 40 min
What Color Should I Paint My House? A Step-by-Step Framework for Getting It Right
Note: This episode originally aired in June 2025. The RepcoLite Endura sale mentioned at the end ran through the end of that month. Episode Summary This week on Home In Progress, Dan dedicates the entire show to one topic: choosing exterior paint colors without the stress, the second-guessing, or the Smurf house. He adapts a color training that RepcoLite's own Haley developed for store employees, adds a few of his own thoughts along the way, and walks listeners through everything from basic ground rules to architectural styles to brick homes to how many colors are actually too many. Practical, thorough, and worth saving if you've got an exterior project anywhere on your horizon. In This Episode [00:49] -- Sweet Corn Disaster Story [06:20] -- Why Exterior Color Choices Are So Stressful [08:41] -- The Training Framework from Haley [09:39] -- Three Ground Rules Before You Pick a Single Color [13:27] -- Working With What's Already There [20:00] -- Architectural Styles and Their Traditional Color Palettes [25:53] -- Working With Brick [30:08] -- How Many Colors Does an Exterior Need? [33:29] -- Shutters and Doors [34:42] -- Final Tips and Tools [37:43] -- Picking the Right Paint Opening: The Sweet Corn Incident [00:49] Dan opens with a story from his week that he feels compelled to share and equally compelled to forget. Hot dogs and sweet corn for dinner. A deep-in-thought face while eating. His daughter Hannah catching the whole thing and trying not to laugh. Dan catching her. And then, involuntarily, the entire table getting covered in sweet corn. The family was not pleased. The corn was found in unexpected places for weeks. Dan relates this story on live radio to a large audience, which he acknowledges is exactly the kind of decision that defines him. From there, on to the actual show. Why Exterior Color Choices Are So Stressful [06:20] Dan did some research on how other homeowners describe the experience of choosing exterior paint colors. A few real quotes he pulled: "I cried. A lot, actually." "It was the most stressed I've ever been." One person described the finished result as looking "so childish. It was like a Smurf house, and I couldn't afford to have it repainted." It's not an irrational reaction. The exterior of a home is visible to everyone who drives by. Getting it wrong costs real money and time, and it's on display for the whole neighborhood to see. Getting it right matters. The Training Framework from Haley [08:41] This episode is built around a color training module that Haley -- longtime show co-host, now full-time RepcoLite product and color trainer -- recently developed for store employees. Dan adapted it for the show and gives her full credit throughout. What follows is largely her framework, with Dan's thoughts mixed in. Three Ground Rules Before You Pick a Single Color [09:39] 1. Colors Look Lighter Outside Outdoors, with the sun as the light source, your colors are going to look two to three shades lighter than that same color would look inside the home. This is one of the most common exterior paint mistakes. Someone picks a mid-tone gray, it looks clearly gray on the chip, and then comes back to say it looks almost white on the house. The fix: choose colors a couple shades darker than you want the final result to look. It feels counterintuitive, but it's how it works. 2. Scale Changes Everything The exterior of a home is a huge canvas, and colors gain strength at that scale. The "Smurf house" situation almost always comes from a color that looked good at smaller doses but became overwhelming when it covered the whole exterior. Look for toned colors that have some gray in them. They're easier on the eye, feel more sophisticated, and don't overwhelm at large scale. Good starting places: Benjamin Moore's Affinity Collection, the Historic Collections, and the Williamsburg Collection (144 muted tones inspired by 18th century colonial homes). These fan decks are safe bets that scale beautifully on big surfaces. 3. Sample on the Actual Surface Benjamin Moore color samples put real paint in your hands. Use them. Paint a large area -- at least two feet by two feet -- directly on the siding, brick, or whatever surface you're actually painting. Texture affects how color looks, so a smooth foam board won't give you an accurate read. Paint the real surface, then observe it in the morning, at midday, and in the evening before you decide anything. Working With What's Already There [13:27] Before you even open a fan deck, take stock of the materials already on your home that aren't changing. These aren't limitations -- they're clues. Constraints, it turns out, actually help narrow decisions rather than just frustrating them. Research in psychology shows that small obstacles can increase creative problem-solving by nearly 40%. The things that feel like limits are often what give you a direction to push from. Landscaping and Fixed Materials [16:06] Landscaping -- Easy to forget about if you're choosing colors in winter, but it plays a big role. A lot of green in the yard -- hostas, ferns, evergreens -- means you probably don't want a green exterior. The house will disappear into the yard. Lots of white blossoms in spring? Maybe skip white for the body color. Look at the dominant tones in the landscaping and choose colors that complement them, not match or compete with them. Unpainted materials -- Stonework, brick, block foundations all have color. If you're leaving them as-is, they should guide your choices. Dan drives past a house where the stone has a cool bluish tone and the new siding clashes with it. From straight on you don't notice it. From an angle where they meet, it's jarring. Let permanent features inform your palette. Gutters, downspouts, fascia, and soffits -- These can be painted or changed, but if you're not planning to, factor them in. Roof Color [17:36] The biggest and least flexible element on most homes. Roofs don't get replaced often, so their color really matters when you're making paint decisions. As a general rule, the body of the house should be lighter than the roof. Gray or black roof: cooler tones like blues and grays tend to work better. Brown roof: warmer tones like beige, taupe, and red are usually a safer bet. Architectural Styles and Their Traditional Color Palettes [20:00] Style Guides, Not Rules [20:00] Unless you're in a historic district with regulations to follow, you're not locked in to any particular color scheme based on the style of your home. Architecture can guide and suggest. It doesn't have to dictate. Dan's main message going into this section: you've got more freedom than you probably think. Colonial Color Classics [21:30] (Cape Cod, Georgian, Dutch Colonial) Traditional palette: muted classic neutrals for the body -- crisp whites, soft creams, beiges, grays. Usually paired with darker accent colors for doors, shutters, and trim: dark green, black, barn red, or yellow. Victorian Color Freedom [22:07] Lots of options here. More than most people realize. You can go rich jewel tones like emeralds or sapphires, soft pastels, or anything in between. There really aren't many firm rules with Victorian architecture. If you've got a Victorian home, stretch a little and have some fun. Craftsman Earthy Palettes [22:49] (Bungalows, four-squares, Mission-influenced homes) These homes are about warmth, craftsmanship, and natural materials. Traditionally they lean toward earthy, muted colors -- browns, sages, grays. Colors that feel grounded and historically accurate for the style. Mustard and olive accents work particularly well as a way to modernize without losing the character. Ranch and Mid-Century Options [23:53] Mid-century Americana. Earthy tones are most common for the body: beige, taupe, brown, tan. White or brown for the trim. Burgundy or deep green for doors and shutters. That said, ranches in the '50s and '60s could be pretty expressive -- soft pastels on the body with bright doors and shutters wasn't unusual, and it still works on the right house. Working With Brick [25:53] Brick deserves its own section because it shows up across all architectural styles and it's frequently handled wrong. Brick isn't really a single color. It's a texture and a collection of tones that your eye averages into one overall impression. Any painted surface on a brick home -- shutters, trim, doors, foundation -- should take a backseat to the brick. That's the guiding principle. The most common mistake: going straight to white trim. White is too stark against brick. It breaks up the home's natural flow and creates visual tension. The brick is absorbing light while the white trim bounces it back aggressively, and the result just looks wrong. Instead, choose trim colors that recede: dark taupes, browns, blacks, dark blues, teals, greens. These complement the warm orangey-red tones in most brick without competing for attention. The house ends up looking more settled and intentional. If you're committed to lighter trim on a brick home, match the mortar color rather than going white. Mortar is already part of the visual mix that makes up the brick's overall tone, so it works with the pattern rather than against it. How Many Colors Does an Exterior Need? [30:08] No single right answer, but here are some practical guidelines. Two colors -- body plus one accent. Clean and simple. Works well on a ranch or any home where the goal is calm simplicity. Three colors -- body plus two accents. Adds energy and can highlight certain features. Works on most styles. Four or more -- best suited to homes with a lot of architectural detail to highlight, like a Victorian with substantial gingerbread trim. The more colors you add, the more important consistency becomes. Make sure there's enough of any given feature to justify giving it its own color, and then paint all of that feature the same color. Breaking your own pattern looks like a mistake even when it's intentional. One practical note: more colors means more cost and more complexity. It can also make it harder to find a painter willing to tackle all the detail work. Shutters and Doors [33:29] The popular understanding is that shutters and the front door should always match. That's not a rule. It's just a common choice. If you want to simplify and streamline the exterior, painting shutters and door the same color is a solid approach. Or go slightly darker on the shutters while staying in the same color family. Either way gives a clean, pulled-together look. If you want to add some interest or energy to the exterior, vary them -- and don't be afraid to vary them dramatically. Both approaches work. It comes down to what you're going for. Final Tips and Tools [34:42] Don't rush. Nobody makes good color decisions under pressure. Give yourself time to look at samples in different lighting at different times of day. If someone else is pushing you toward a deadline, find a way to slow things down a little. It's worth it. Benjamin Moore Color Portfolio app -- Free, and worth downloading before any paint project. Gives you access to all of Benjamin Moore's fan decks, lets you test colors on stock exterior photos, and you can upload photos of your own home. Even the stock photos are useful for seeing how colors look together and how much lighter they read at exterior scale. Find it wherever you download apps. Limit opinions. If you go to other people for input, pick one or two whose design instincts you genuinely trust. More opinions usually make the decision harder, not easier. RepcoLite staff can help. Every RepcoLite location has people trained and ready to walk through your specific situation. Bring photos, bring samples, bring anything that helps. Picking the Right Paint [37:43] Whatever you decide on for color, make sure the product underneath it is worth the work you put in. Benjamin Moore exterior products: Aura Exterior -- top-of-the-line performance and durability Regal Select Exterior -- also top-tier Element Guard -- rain-safe within an hour of application; a solid option for early spring or late fall painting when weather is unpredictable Gen X colorants -- the colorant system used across Benjamin Moore products; enhances durability and color retention, helps exterior paints resist fading, cracking, and peeling Benjamin Moore color collections mentioned: Affinity Collection Historic Collections Williamsburg Collection (144 muted tones inspired by 18th century colonial homes) RepcoLite Endura Exterior -- Made in Holland. Available in flat, satin sheen, semi-gloss, and a new low luster finish (between flat and satin). Tinted with a high-performance colorant system comparable to Benjamin Moore's Gen X. Find the Show Home In Progress is on the air every weekend and available anytime at repcolite.com -- click the On the Radio tab on the homepage. Dan also posts episode content on Facebook and Instagram throughout the week. About Our Sponsor Home In Progress is brought to you by RepcoLite Paints and Benjamin Moore. People often think of paint as just another line item on the supply list. But everything you do, every hour of prep, every stroke of the brush, comes down to the quality of what goes on the wall. The paint is the project. Make sure it's the best. Home In Progress | RepcoLite Paints | Sponsored by Benjamin Moore Originally aired June 2025
#461
May 28 · 40 min
How to Paint a Front Door the Right Way -- and 6 Tips to Keep Your Renovation on Budget
Episode Summary Dan opens with something that might ruffle a few feathers: gray exterior paint has had a long run, and it's starting to show. He talks about where the design world seems to be heading instead. Then he takes a detour into the surprisingly long and interesting story of how the tape measure came to be. From there, he walks through six practical budgeting tips for anyone with a renovation project on the horizon. And he closes out with a solid how-to on painting a front door, including one trick most people don't know that can save you from a really frustrating result. In This Episode [00:00] -- Is Gray Going Out? Exterior Color Trends Right Now [05:27] -- The Surprisingly Long History of the Tape Measure [18:43] -- Six Budgeting Tips to Keep Your Renovation on Track [34:30] -- How to Paint Your Front Door the Right Way Segment 1: Is Gray Going Out? Exterior Color Trends Right Now [00:00] Why Gray Took Over [00:50] Dan opens with a mild provocation: if you're thinking about painting the exterior of your home this year, gray might not be the move it used to be. Not because it looks bad -- it doesn't -- but because it's become the default. Drive through almost any subdivision built or updated in the last decade and you're looking at gray on gray on gray. When a color gets that ubiquitous, it stops signaling that someone made a deliberate choice. It just signals that someone painted a house. Gray came in as a reaction to the builder-beige era, and when it first appeared it really did look sharp. The modern farmhouse look, black window frames, white trim -- it all worked beautifully together. It still does. But a decade is a long time to run on the same palette, and a lot of homeowners are starting to feel like their neighborhood looks a little sterile. A little samey. What's Taking Its Place [02:42] The shift that's showing up in paint stores and design forecasts is toward colors that feel connected to the natural world around them. Warm greens, muted sage tones, earthy olives, sandy neutrals, warm taupes, creamy whites, and greige (the gray-beige hybrid) are all gaining ground. These aren't colors that scream for attention, but they don't disappear either. They feel settled. They feel like they belong to the land around them -- to wood and stone and brick and landscaping. Importantly, a lot of these same tones are showing up in interior color forecasts too, which makes sense. They're grounded, natural colors that work in a lot of contexts. The short version for anyone thinking about an exterior project this year: the design world is starting to say "maybe try something warmer." Cool, flat gray has had its moment. Dan's first rule of color still applies, though: if you like it, that's pretty much all that matters. Getting Help Choosing an Exterior Color [04:15] Picking a specific exterior color involves a lot of variables -- roof color, brick or stone if you have it, how much sun the house gets, which direction it faces. RepcoLite color consultants can help in store based on photos you bring in. Some will come out to the house for a design fee and make recommendations in person. Stop into any RepcoLite location to start that conversation, or reach Dan directly at radio@repcolite.com and he'll connect you with the right people. Segment 2: The Surprisingly Long History of the Tape Measure [05:27] Measuring Before Tape Measures [06:10] People have needed to measure things for as long as they've been building things. Early on that meant body parts -- hands, feet, fingers. The Egyptians used cubit rods. Surveyors used rods, cords, and chains, including something called Gunter's chain, which turned out to be less exciting than it sounds: a 66-foot chain made of around 100 links, dragged through farmland and over rocks. Useful, but not exactly something you clip to your belt. Tailors had flexible cloth tapes, but those could stretch, wear out, and absorb moisture, making them fine for measuring shoulders and waistlines but not reliable for repeated job site work. The challenge nobody had fully solved yet: how do you build something flexible enough to coil up for portability, accurate enough to trust, and durable enough for real work? James Chesterman and Spring Steel [09:05] Enter James Chesterman, born in England in the 1790s. He started out making powder flasks in London, which led him deep into the world of small spring-loaded mechanisms. He became fascinated with springs, flex, tension, and controlled energy. He later moved to Sheffield, one of Britain's great steel centers, where he became especially skilled with flat wire and spring steel. Spring steel is one of those materials that does remarkable things quietly. You bend it and it wants to come back. You coil it and it stores energy. You release it and it moves. That basic behavior shows up in clocks, doorbells, umbrellas, window blinds, and eventually in measuring tapes. One of Chesterman's applications for spring steel was crinoline frames, the steel-hooped undergarments that gave Victorian women that famous bell-shaped silhouette. Before spring steel frames, achieving that shape meant layers and layers of heavy petticoats. Chesterman's spring steel cage was lightweight, bendable when the wearer sat or moved, and then it would spring back into shape. Fashion application, yes, but also real engineering. The Crinoline Myth and What Actually Happened [11:50] There's a popular story that says Chesterman invented the tape measure because the crinoline craze died out and he was left with warehouses full of flat spring steel wire and needed something to do with it. It's a neat story. Dan admits he started researching this segment specifically because of that story. The problem is the timing doesn't hold up. The steel-frame crinoline became a major fashion item in the 1850s, but records show Chesterman was already working on steel measuring tapes as early as 1829. So the better version of the story is this: Chesterman was deep into spring steel and flat wire well before crinolines became fashionable, and those same skills turned out to be valuable during the crinoline boom. When fashions changed and that market faded, the same flat steel technology was redirected back into tools -- especially longer steel tapes for surveyors and engineers. His steel measuring chain improved on Gunter's design by using flat spring steel tape instead of links, jointed in 20-foot sections, markable with measurements, and rollable into a compact leather case. It was more portable than anything before it. But it still wasn't the modern tape measure. The Tape Measure Becomes What We Know [14:08] The next big leap came in America in 1864 when William Bangs Jr. patented a spring-return tape measure. Pull the tape out, take your measurement, let go, and the spring winds it back into the case. Useful -- and almost certainly the cause of more than a few pinched fingers. A few years after that, Alvin Fellows improved on the idea by adding a spring click that could hold the tape in place. Now it would lock in and stay instead of immediately retracting. Then in 1922, Hiram Ferrand solved one of the last big problems. A flat strip of steel will bend under its own weight the moment you extend it into the air. Ferrand changed the shape of the blade by curving it across its width -- concave on one side, convex on the other. That shallow curve gave the tape stiffness and let it extend several feet without collapsing. Stanley Company took all of these ideas and put them together into what we think of as the modern tape measure. They moved to a flatter, more squared-off case (which made inside measurements much easier), added the floating hook on the end (which slides slightly to compensate for its own thickness -- if your hook looks a little loose, that's intentional, not a defect), and stamped the case length right on the tool so you can push the back of the case against a surface and add that number to your tape reading without bending it into corners. In 1956, Stanley combined the curved blade with a retracting spring, which they describe as the point the first modern coilable and retractable tape measure was born. In 1963 they introduced the PowerLock -- molded case, thumb lock, yellow blade, sliding hook, one-handed convenience -- and when that patent expired, the PowerLock became one of the most copied tape measure designs in history. The one in your junk drawer is almost certainly descended from it. Segment 3: Six Budgeting Tips to Keep Your Renovation on Track [18:43] Home projects have a way of getting away from people. The obvious costs are easy enough to plan for. It's the stuff around the edges -- broken things, things you had to rebuy, delivery fees, disposal, unexpected problems behind the drywall -- that can quietly blow a budget wide open. Dan runs through six tips for thinking about money before the project starts so you're not scrambling once it's underway. Tip 1: Budget for What You Actually Want [20:45] Most people get this backwards. They pick a number first -- "we want to spend $20,000 on the kitchen" -- and then try to force the project into it. Once the work starts, they realize the kitchen they actually want costs $27,000, and now they're stuck making compromises under pressure. Flip it around. Start by being honest about what you actually want: the scope, the materials, the finish level you're expecting. Price that out as realistically as you can. Then work with the number you get. If it's too high, you can still make cuts, but you do it intentionally before the project starts while you can calmly swap out countertops or scale back extras -- not halfway through the job when every cut feels like a loss. Tip 2: Add 20% and Treat It Like It's Already Spent [22:14] Once you have your project number, add 20% to it and mentally put that money in a box. Label it spent. Not because you plan to use it, but because you're being honest about what projects actually cost once real work begins. A $30,000 estimate is an estimate, not a final number. It's based on what's visible before the walls come open. Once work starts you might find damaged wood, outdated wiring, insulation that doesn't meet code, a tool you didn't know you'd need. The 20% is for those costs -- and only for those costs. Not upgrades. Not add-ons. Not a nicer version of something you already chose. Only hidden or underestimated costs that belong to the project you already committed to. For a $30,000 project that means planning for $36,000. For a $15,000 project, $18,000. Uncomfortable, yes. But if the estimate holds, you finish with money left over. If the project costs what projects often do, you're ready for it instead of panicking. Tip 3: Book Contractors Earlier Than You Think You Need To [24:37] People routinely decide in May that they want a major project done in July and then discover that good contractors are already booked solid. The bigger the project, the further out the schedule tends to run. As soon as a project is on your radar, start making calls. Even if it's too early to book, ask when you should reach back out to get on the schedule. That conversation takes five minutes and can save you from being forced into a bad hire later because you ran out of time and options. When people are working against a deadline with no good choices left, they take the first person who calls back, skip checking references, and ignore warning signs. Three bids is still a solid standard -- not necessarily to find the cheapest, but to understand the project better. Three bids will show you what's included, what's missing, and whether one number is suspiciously high or low. If you need a painter, RepcoLite can help. Stop into any location and ask for recommendations, or head to repcolite.com and look for the Find a Painter form about halfway down the homepage. Tip 4: Know Your Home's Age and Adjust [27:35] If your house was built before 1980, add an extra 10% on top of the 20% contingency from tip two. Older plumbing, older wiring, insulation that doesn't meet current code -- these things exist in a lot of older homes, and the odds that opening one wall leads to an unexpected conversation go up meaningfully the older the house gets. Tip 5: Understand Where Quality Matters and Where It Doesn't [28:19] Materials, fixtures, and finishes typically eat up 50% to 60% of a renovation budget. That's where the biggest budget swings happen, and it's also where people are most tempted to cut when money gets tight. Before cutting anything, ask where quality will actually change daily life, where it will reduce maintenance, and where it will help the project last. And then ask where it really won't matter much at all. Those are two different conversations. On paint specifically: in high-traffic areas -- hallways, kitchens, bathrooms, mudrooms, kids' rooms -- buy the most durable product you can afford. The cost of repainting a few years after a renovation because you skimped on paint is a real bummer. A guest bedroom that gets used occasionally is a reasonable place to use something more economical. You don't always need the top of the line everywhere, but don't cut so far that you end up regretting it. Tip 6: Watch Out for Scope Creep [31:39] Scope creep is what happens when a project quietly grows after it starts. You begin with a bathroom repaint. Then the vanity seems like it should be updated. Then the exhaust fan. Then maybe the floor. None of those individual decisions are crazy, but together they can add thousands of dollars to the final bill without you fully realizing it's happening. Before the project starts, decide what's included and what isn't. Write it down. Share that list with your contractor. Then make a rule: any new addition gets priced out separately before you approve it. Not "yeah, go ahead." Not "we'll figure it out later." You get the number first, then you decide. Changes during a project aren't always wrong -- sometimes you see things better once the work is open. But let them stand in front of you with a price tag attached before they get added to the scope. The Honest Bottom Line on Budgets [33:04] Renovation budgets are a starting point, not a finish line. Most people go over, and most people don't regret it because the project was worth it. But there's a real difference between going over because something unexpected happened and going over because there was no real plan. One of those is just how life works. The other one's avoidable. All six tips are in the show notes at repcolite.com -- click the On the Radio tab. Segment 4: How to Paint Your Front Door the Right Way [34:30] Front doors are one of the best small exterior projects you can do. A fresh color changes the look of a house more than most people expect. Not a lot of paint, big impact. But there are a few things worth knowing before you open the can. Prep, Cleaning, and Priming [35:44] Pick a mild, dry day and start early, before the heat sets in. Heat affects how the paint lays out and will show in the finished result. Starting early also gives you plenty of time for the paint to dry before you need to close the door for the night. For most standard repaints, leave the door on the hinges. Taking it off makes sense if you're stripping it down or spraying it, but not for a normal paint job. Chock the door open with a wedge or a block of wood so it stays in place and doesn't swing while you're working. Remove as much hardware as you reasonably can -- handles, deadbolt plates, door knocker, kick plate. Tape what you can't remove. Front doors collect a lot: hand oils, dust, pollen, spider webs, whatever else the outside world throws at them. Wash the door down with a good degreaser, wipe it off, and let it dry completely. Then scrape off any loose paint, sand the surface smooth and dull, and wipe the dust away. If you've got bare wood, bare metal, or spot repairs, prime those areas before you put the finish coat down. Don't skip primer where the situation calls for it. Preventing Door Sticking [36:40] One of the most common front door problems is blocking -- when fresh paint bonds to the weather stripping and then pulls or peels when you open the door. It happens because paint can be dry to the touch but still soft enough underneath that the weather stripping presses into it and bonds overnight. The best fix is to remove the weather stripping if you can. A lot of modern weather stripping sits in a groove around the doorframe and can be carefully pulled out with a painter's five-in-one tool or a putty knife. Work slowly so you don't gouge or stretch it. Pull it out, set it aside, and leave it out for a few days while the paint cures. With nothing pressing against the fresh surface, you dramatically reduce the chance of sticking. If you can't remove it, give the paint as much open time as possible. This is another reason starting early matters. Paint thin coats rather than one heavy coat. And use a product formulated to resist blocking, like Benjamin Moore Exterior Aura or Benjamin Moore Command. Painting Technique and Tools [38:35] On a paneled door, start with the recessed areas and detail work first. Use a good angled brush on the inside edges of the panels, then the flat panel areas, then the rails (the horizontal pieces) and the stiles (the vertical pieces). The idea is to do the fussy work first and then move out to the broader areas so you're always working into a wet edge. Good tool combination for a front door: a quality angled sash brush for the detail work and a small roller system -- Wooster's Jumbo Koter with four-inch covers is a good option -- for the flat sections. Two lighter coats will always look better than one heavy one. For any questions before you start, stop into any RepcoLite location. The staff there can walk you through the project and point you toward the right products for your specific situation. Resources Mentioned in This Episode RepcoLite Color Consultants -- available in store (bring photos) and some offer in-home consultations for a design fee; start the conversation at any RepcoLite location Dan's email for color consultation referrals -- radio@repcolite.com Find a Painter form Benjamin Moore Exterior Aura -- recommended for front door painting; block-resistant Benjamin Moore Command -- also recommended for front door painting; block-resistant Wooster Jumbo Koter -- small four-inch roller system, good for flat sections of a paneled door
#460
May 21 · 39 min
5 Can't-Lose Home Improvement Projects for Your Forever Home
Episode Summary This week on Home In Progress, Dan opens with something a little different -- a look at the animal kingdom's most surprising builders and tool users, and what any of us can take from that. Then he gets into the main topic: the growing number of homeowners who've decided they're staying put, and what that shift in thinking should mean for how you spend renovation dollars. Dan walks through five can't-lose projects for the forever home, including some smaller-scale, paint-friendly versions of each one for when the budget isn't there yet. He closes with four questions that can help you figure out which project is actually the right first move for your specific house. In This Episode [00:00] -- Welcome and Teaser [00:34] -- Animals Using Tools (and What That Has to Do With You) [05:35] -- The Forever Home Mindset [09:59] -- Project 1: Outdoor Living Space [13:21] -- Project 2: Kitchen Refresh [19:25] -- Project 3: Windows, Insulation, and Air Sealing [24:36] -- Project 4: Basement Upgrade [30:50] -- Project 5: Primary Bathroom [33:46] -- Four Questions to Find Your Best First Project [38:53] -- Paint, Final Thoughts, and Wrap-Up Segment 1: Animals Using Tools [00:34] Dan opens with a fun detour into the animal kingdom. Turns out humans aren't the only ones who build things, use tools, and pass down traditions. Termites [01:09] -- Termite mounds can rise more than 20 feet in the air with walls 18 inches thick. Inside, they're honeycombed with tunnels, chambers, and air channels that regulate temperature and humidity like a built-in HVAC system. Architects have actually copied the design. The Eastgate Centre in Zimbabwe, designed by Mike Pearce, uses passive cooling modeled directly on termite mounds and consumes about 90% less energy for ventilation than a comparable conventional building. Sea Otters and Chimps [02:07] -- Otters float on their backs, rest a stone on their belly, and smash open clams and mussels against it. Some otters even have a favorite rock they carry tucked in a pouch of loose skin under their arm so it's always handy. Chimpanzees strip leaves off twigs and use them to fish termites out of mounds. The more interesting part: different chimp communities in the same forest have entirely different tool traditions, passed down like family recipes. In Tanzania, two neighboring groups both fish for termites with sticks, but one group consistently makes their tools wider and longer than the other. In Senegal, one community has invented something no other chimps on earth do -- they make actual spears, sharpening the tips with their teeth and using them to hunt. Crows and Elephants [03:55] -- In a famous Oxford experiment, a crow named Betty was given two pieces of wire, one bent into a hook and one straight. Her cage mate stole the hook. Betty took the straight wire, jammed it into a crack, bent it into a hook on her own, and used it to fish meat out of a tube. She did it nine out of ten times when the scenario was repeated. Asian elephants snap branches off trees, strip them down, and shorten them to just the right length for swatting flies. They're not using whatever's lying around -- they're modifying the tool to fit the job. The Takeaway [04:51] -- If termites with brains the size of a grain of salt can engineer a skyscraper, and crows can fabricate hooks on the fly, and otters are basically one step away from a tool belt, whatever you're telling yourself you can't learn probably isn't as true as you think. Segment 2: The Forever Home Mindset and 5 Can't-Lose Projects [05:35] Why People Are Staying Put [06:10] Dan poses a question to start: if you knew without a doubt you were never moving from the house you're in right now, what would you change first? That question is reshaping how a lot of homeowners think about renovation right now. Homeowner spending on home improvements is projected to hit $518 billion in 2026, and it's not being driven by the luxury market or house flippers. It's regular homeowners who've decided they're staying. According to the Harvard Joint Center for Housing Studies and a 2026 survey from Great Day Improvements, nearly two-thirds of homeowners expect to be in their current home for 11 years or more. And 44% of homeowners now describe where they live as their forever home. If you bought or refinanced around 2020 or 2021 at 3% or lower, you already know why nobody's moving. A 7% mortgage waiting on the other side of a sale has a way of making your current house look a lot better. When that's the context, the renovation calculus changes. You stop asking what a future buyer will want and start asking what will actually make your family's life better for the next decade or more. That shift changes everything about where renovation dollars go. Project 1: Outdoor Living Space [09:59] West Michigan winters get all the complaints, but the springs, summers, and falls are genuinely great. If you're staying in your home, it pays to think about how much of that you're actually using. Dan's honest about his own situation here: his deck has no seating, nobody ever uses it, and they're wasting dozens of evenings out there every year just by not having the space set up. The vision for this project can be as big as a covered pergola, an outdoor kitchen, a hot tub area with weather-safe TV and speakers -- spaces that function as actual rooms. The return on that isn't measured in resale dollars. It's measured in summer evenings with your family. Paint-friendly version: If the bigger build-out isn't in the budget, start smaller. Get the deck cleaned up and restained. Get dedicated seating out there. If you've already got wood or metal chairs that have seen better days, RepcoLite can usually help you get them cleaned up and looking good again. Create a space that actually invites you to sit down. Project 2: Kitchen Refresh [13:21] The kitchen is where most families spend an enormous amount of time, almost all of it either cooking, cleaning, or entertaining. A kitchen that looks good and functions well makes daily life easier in ways that are hard to overstate. Dan talks through what a refresh can include: painting or refacing cabinets, new countertops, updated hardware, a new sink and faucet, new appliances, updated lighting, new floors. Some of those things aren't cheap. But the payoff comes from 300-plus dinners a year in a space that doesn't make you feel bad every time you walk into it. Dan's own kitchen confession [15:33]: '80s oak cabinets he doesn't like, dated hardware, a track light that's a direct import from the same decade with shiny brass everything and two or three working bulbs, Formica counters that have lost most of their original color. He's not proud of it. He knows it drags him down. He also knows it doesn't have to, and that a couple of weeks of work would change most of it. Paint-friendly version: Painting the cabinets and updating the colors is one of the highest-impact, most budget-friendly changes you can make in a kitchen. Pair that with better lighting and some new hardware, and you can dramatically lift the mood of a space without touching the counters or the layout. Project 3: Windows, Insulation, and Air Sealing [19:25] Older homes lose a significant amount of heat through inefficient windows, attics, rim joists, and basement walls. Every year you stay in the house, you're paying for that inefficiency. Replacing outdated windows with modern low-E glass triple-pane units, combined with serious air sealing and insulation in the attic, is one of those projects that starts paying you back the day it's done. The payback isn't just in lower heating bills, though that's real and measurable. It's also in comfort. Eliminating drafts, keeping warm spaces warmer and cool spaces cooler -- that changes how you feel about being inside your own home. Dan is careful not to oversell the financial return. Windows alone don't always pay for themselves quickly in energy savings. Insulation and air sealing tend to give you better bang for your buck on the utility side. But when you're in your forever home and you're not doing the math on resale, the calculation shifts. It becomes less about payback period and more about making the house a more comfortable place to live every single day. Dan also mentions a past show segment on opening painted-shut windows from 2024, and will link to it in the show notes for anyone dealing with that specific problem. Paint-friendly version: You can't make old windows more efficient with paint. But you can improve how they look and feel. Getting painted-shut windows functioning again doesn't cost much and doesn't require much more than some know-how. Dan's got that covered in the 2024 segment linked below. Project 4: Basement Upgrade [24:36] Almost every West Michigan home has a basement. A surprising percentage of them are being used for storage and not much else. A finished basement adds livable square footage without changing the footprint of the house, and it grows with you -- a playroom becomes a teenage hangout space becomes a home gym as the years go by. Dan's current lower level is wall-to-wall paneling, drop ceiling tiles, and carpet, all from the '80s. It works. The kids have used it. It's served its purpose. But there's a lot more potential there. Paint-friendly version: This is one where paint can genuinely transform a space on a fraction of the budget of a full finish-out. Dan tells the story of doing exactly this in his first house -- a dark, dingy Michigan basement that nobody wanted to be in. He cleaned everything up, painted the block walls with RepcoLite's Carefree in a satin sheen (economical and holds up well), painted the floors, brought in some rugs, improved the lighting, and had the old windows replaced with ones that could actually open. The whole project was inexpensive. The result was a space that went from something everyone avoided to the kids' playroom. Dan's daughter Tessa was apparently such a fan that she was down there at 3 in the morning with a flashlight at age three. He puts most of the credit on the paint job. If the full basement renovation isn't in the cards, painting the walls, the floors, and the open ceiling can be a huge win on its own. Project 5: Primary Bathroom Upgrade [30:50] Most people start and end every day in the primary bathroom. It's also usually the room that gets the least renovation attention because it functions fine. Dan's point: fine is a very low bar for a room you use twice a day for the rest of your life. Updated tile, a new shower or tub enclosure, a double vanity if the space allows, good lighting, painted or new cabinets, a new fan, better counters and faucets -- these improvements pay off in making a daily routine feel less like something you're just getting through. The math is simple. Multiply the time you spend in that bathroom each day by 11 years, or 15. It adds up fast, and it makes the case for getting the space right. Paint-friendly version: Painting the vanity cabinets and updating the lighting can change the entire feel of a bathroom without a full renovation. Add some new hardware while you're at it, and it's a meaningful upgrade at a fraction of the cost. Segment 3: Four Questions to Find Your Best First Project [33:46] Even if all five of those projects make sense in theory, you've still got to figure out which one is the right first move for your house. Dan offers four questions that can help narrow it down. Question 1: Where does your house fight you every single day? Not what don't you like -- that's a different question. This is about friction. Where does the house actually push back on your daily life? Not enough counter space in the kitchen? Two people can't get ready at the same time in the bathroom? No place for people to sit in the living room? The spots that create the most daily friction are usually your real pressure points. Question 2: Which room do you avoid, and why? Most homes have a space that quietly stopped getting used. Nobody eats at the dining room table anymore. The back porch furniture has been out there for three years but nobody sits in it. The basement is technically finished but everyone avoids it. When a room gets written off like that, it's worth figuring out why. Sometimes the room you've stopped using is the one that needs the most intentional thought -- not necessarily the most money, just the most honest thinking about what went wrong. Question 3: Are you solving a real problem, or just updating a surface? New countertops on a kitchen with a bad layout is still a bad kitchen. New tile in a bathroom with no storage is still a frustrating bathroom. Before committing to anything, ask honestly: if I fix the thing I'm thinking about fixing, will I actually feel better about the space? Or will I finish the project and still be bothered by the thing underneath it -- and now I've spent money and locked myself into living with the original problem even longer? Question 4: If budget and skill level weren't a factor, what would you change first? Most people self-limit. They draw boundaries for what's possible based on what they can afford or what they think they can handle, and they rarely revisit those assumptions. Strip all of that away for a minute. Spend some time in the hypothetical. What you land on usually tells you something true about what's actually bothering you most. Then reassert reality and look at whether there's a version of that project -- maybe a paint-only version, maybe a phased approach -- that you can actually do now. Final Thought: Paint Can Do More Than You Think [38:53] Dan closes with a reminder that there's no better bang for your buck project than new paint. Even if the bigger renovation is still a few years off, fresh paint in the right space can carry you further than you'd expect, and it might be more than enough to get you by until the time and budget are both there. Resources and Links RepcoLite's Carefree paint -- mentioned as the product Dan used on basement block walls in his first house; satin sheen recommended for durability Opening Painted-Shut Windows (2024 episode) Free Cabinet Painting Guide Find the Show Home In Progress is on the air every weekend and available anytime at repcolite.com -- click the On the Radio tab on the homepage. Dan also posts episode content on Facebook and Instagram throughout the week. About Our Sponsor Home In Progress is brought to you by RepcoLite Paints and Benjamin Moore. People often think of paint as just another line item on the supply list. But everything you do, every hour of prep, every stroke of the brush, comes down to the quality of what goes on the wall. The paint is the project. Make sure it's the best. Home In Progress | RepcoLite Paints | Sponsored by Benjamin Moore
#459
May 16 · 49 min
America's Pettiest Houses, Two-Tone Cabinet Secrets, and Why Your Deck Coating Is Doing It Wrong
Episode Summary This week on Home In Progress, Dan starts off with one of the more entertaining detours the show has taken in a while: spite houses. Real buildings, built by real people, for the sole purpose of making someone else miserable. Then he gets into a deep dive on two-tone kitchen cabinets, answering six questions that almost always come up when people consider taking on that project. And he closes out with deck season, including why most product claims about longevity don't hold up in Michigan, and why RepcoLite's Deck and Dock Wood Protector works differently than most of what's out there. In This Episode [00:00] -- Show Preview [00:54] -- Spite Houses: When Homebuilding Gets Personal [15:26] -- Two-Tone Kitchen Cabinets: Six Common Questions Answered [41:25] -- Deck Season: What You Need to Know Right Now Segment 1: Spite Houses -- When Homebuilding Gets Personal [00:54] Most people who've had a bad run-in with a neighbor or a family member haven't responded by constructing an entire building. But spite houses are real, they show up throughout American history, and they're exactly what they sound like: buildings put up primarily to annoy, block, or inconvenience somebody else. The Tyler Spite House -- Frederick, Maryland [02:27] 112 West Church Street, Frederick, MD In 1814, the city of Frederick decided to extend Record Street straight through a piece of land owned by Dr. John Tyler, a wealthy ophthalmologist who was also credited as the first American-born physician to perform a cataract operation. Tyler fought the decision, lost, went home, and started thinking. He found an old local ordinance that said the city couldn't build a road through a parcel if construction on a substantial building was already underway there. So he hired a crew and overnight, they poured a foundation directly in the path of the road. When the road workers showed up the next morning, they found a hole in the ground, a crew of builders, and Dr. Tyler reportedly sitting in a chair watching the whole thing and looking very pleased with himself. The road was never built. Tyler finished the house. It ended up being a three-story Federal-style mansion with 17 rooms, over 9,000 square feet, 14-foot ceilings, and eight working fireplaces. He never actually lived in it. He already had a house right next door. The whole thing was just a very expensive way to win an argument. The Tyler Spite House still stands at 112 West Church Street in Frederick. It's been a bed and breakfast, been used as offices, and has been on and off the market for well over a million dollars for years. It's also rumored to be haunted, so there's that. The Boston Skinny House [05:57] 44 Hull Street, North End, Boston (along the Freedom Trail, across from Copp's Hill Burying Ground) This four-story wooden house is 10 feet wide at its widest point and tapers down to just over nine feet in the back. At the narrowest spot inside, you can stand in the middle and touch both walls without fully extending your arms. There's no front door. You enter from a side alley. The story that's been passed around for generations goes like this. Two brothers inherited a piece of land from their father. One went off to fight in the Civil War. While he was gone, his brother stayed home and built himself a large, comfortable house on basically all of the inherited land. When the soldier brother came home and saw what happened, he had one thin sliver of land left to his name. So he built the narrowest house he could fit on it and positioned it to block his brother's light and kill his view. Whether that's all historically accurate is a little murky. But the house is real, it's still there, and if spite didn't build it, something at least a lot like spite was probably involved. The Plum Island Pink House [09:47] Newbury, Massachusetts, outside Newburyport near Plum Island A pale pink house with a cupola, sitting completely alone in the middle of a salt marsh. No neighbors, no trees, no context. Just wetlands in every direction. Built around 1925, the story goes that a couple going through a divorce agreed the husband would build his wife an exact replica of the home they had shared in town. The catch was she forgot to specify where it had to be built. So he built it in the middle of an isolated salt marsh, with no fresh water and plumbing hooked up to saltwater. She allegedly took one look and refused to set foot inside. Whether that's true or legend, nobody can say for certain. But the house is still out there if you've ever made it up toward Plum Island. A Note on Exterior Color and Spite [12:43] Dan wraps the segment wondering if some of the truly baffling exterior color schemes you see driving around might have a little spite behind them. If you're going the other direction and want a color scheme that's actually beautiful, RepcoLite and Benjamin Moore can help. And if you do go bold, Benjamin Moore Aura covers beautifully no matter what color you choose. Current sale: Benjamin Moore Aura and many other premium Benjamin Moore exterior paints are 20% off at every RepcoLite location through May 25. Segments 2 and 3: Two-Tone Kitchen Cabinets -- Six Common Questions [15:26] Two-tone kitchen cabinets look great in photos. Then you stand in your own kitchen and try to figure out where the colors go, and suddenly you've got a lot of questions. Dan works through six of the most common ones. Question 1: Where Do the Different Colors Go? [19:17] Stop thinking about color first. Start by looking at your kitchen and finding places where it already naturally changes or transitions. Two-tone cabinets work best when the color shift happens somewhere the eye expects a shift anyway. An island is the most obvious example. It already sits apart from the perimeter cabinets and reads as its own piece, so a different color there makes sense to people right away. But there are other natural breaks to look for too, like a pantry wall, a built-in hutch, a coffee bar or desk area that feels separate from the main kitchen, or a clearly defined wall of cabinets that stands apart from the rest. The most common rule of thumb is lighter colors up high and darker or stronger colors lower or on a focal point. Lighter uppers make the kitchen feel more open. Darker lowers give it some weight and ground the space. That's why you see so many kitchens with cream or white perimeter cabinets and a navy or charcoal island. It's a rule of thumb, though, not a hard rule. Dark uppers can work if the kitchen has great natural light, taller ceilings, glass-front cabinet doors, or a mix of open shelving. Context matters. What you want to avoid is a scattered approach where the second color shows up in a random cabinet over here, another section across the room, maybe one upper somewhere else. Even if each individual spot makes some sense on its own, the overall effect reads as unplanned. Keep the color placement logical and intentional. Question 2: Do I Need an Island? [24:47] No. In kitchens without an island, the most straightforward move is light upper cabinets with darker lowers. But you can also pick a defined zone to give a different color to, a pantry wall, a built-in hutch, a coffee bar, a prep area that sits apart from the main run of cabinets. Designers talk about this as giving an area its own identity, treating it more like a piece of furniture than a cabinet that has to match everything else. A deep green pantry wall against off-white perimeter cabinets can look great, for example. One thing to watch in a no-island kitchen: keep it to two cabinet colors. Once you add a third on top of floors, countertops, backsplash, hardware, and appliances, the kitchen starts to feel like a lot very quickly. Question 3: Will Two Colors Make My Kitchen Feel Smaller or Busier? [26:17] It can, but it doesn't have to. In a larger kitchen with good natural light, you've got a lot of room to work with. You can go darker on the lowers, use a bold pantry color, push the contrast further. A smaller kitchen with limited light is a different situation. Two cabinet colors in a tight, low-light space can make the room feel chopped up, and one cabinet color might genuinely be the smarter call there. Dan admits this is the question that probably rules out his own kitchen for the project. That's okay. Not every space is the right fit for it, and it's a lot better to figure that out before you paint everything than after. Question 4: How Do I Choose Two Colors That Actually Work Together? [29:07] One color should do the calming. The other should do the talking. That's the principle. Pick one quiet color and one color with some character. If both are loud, the kitchen becomes visually exhausting to be in. The quiet color is almost always going to be something like a warm white, a cream, or a soft greige. The character color is where the personality comes in: a navy, a sage green, something deeper and moodier. Three Benjamin Moore pairings Dan mentions that work in just about any kitchen: White Dove and Hale Navy -- a warm white paired with a navy that basically acts like a neutral. It's not going to look dated in 10 or more years. About as safe and timeless as it gets. Swiss Coffee and October Mist -- a creamy white with a soft sage green. More muted than the navy option, better for someone who wants to step into color without it being too loud. White Dove and Aegean Teal -- Aegean Teal was Benjamin Moore's Color of the Year back around 2021 and is still going strong. A little more current-feeling than the other two pairings. If you want to go deeper and moodier, colors like Vintage Vogue, Kendall Charcoal, Mysterious, and Silhouette can be beautiful. But they're more demanding. They have complex undertones that shift through the day. What looks like a warm espresso at 10 in the morning can read cool and purple by 4 in the afternoon. Use them carefully, put them somewhere the room can support them, and sample them at multiple times of day before you commit to anything. Benjamin Moore color samples are $5.99. Get enough to put on a real-sized area and live with it for a few days. Question 5: What Else in the Kitchen Needs to Be Considered? [34:16] Before you commit to specific colors, take a hard look at what's staying in the kitchen. Floors -- This is where a lot of kitchen paint regrets start. Warm oak floors (honey oak, red oak, hickory, anything with orange or yellow in it) can clash badly with cool gray cabinets. The cabinets and the floor don't need to match, but they need to get along with each other. Warm floors generally want cabinet colors that can live with warmth: warm whites, creams, soft sages, warm greiges, balanced navies, deeper greens that don't go too cool or icy. Cooler floors can usually handle cooler whites, cleaner blues, charcoals, or cooler greens more easily. Counters and backsplash -- Apply the same warm and cool thinking. If those surfaces are already doing a lot of visual work (busy granite, bold patterned tile, lots going on), the cabinets probably need to settle things down, not add more noise. If those surfaces are simple, you've got more room to bring contrast and personality in through the cabinets. Appliances and hardware -- Stainless steel is basically neutral and works with most things. Matte black appliances push a kitchen cooler and more modern. If you've got existing hardware you're keeping, it's already pulling your cabinet decision one direction or another. Brass wants warmth. Polished nickel and chrome work better with cool tones. Matte black goes with both but leans modern. Lighting -- Color shifts a lot under different light. A navy that looks rich and classic in a bright showroom can look nearly black in a dim kitchen. A white that looks soft in one room can look dingy in another. A green that looks calm in daylight can go muddy at night under the wrong bulbs. Sample the colors in your actual kitchen and look at them in the morning, at midday, and in the evening before you decide anything. Question 6: Is This Going to Look Dated? [37:43] Two-tone cabinets have been around for about a decade now. Roughly one in four homeowners who renovate their kitchens go with contrasting upper and lower cabinets. That's not a flash in the pan. It's an established option at this point. What tends to date a two-tone kitchen isn't having two colors. It's the specific choices: contrast that's too strong, undertones that fight each other, too much going on at once, or a color combination that was copied from a trend photo but never really fit the house in the first place. Pairings that hold up well are the ones that don't announce the year they were done. Warm white with a navy island isn't going to feel embarrassing in five years. Warm white with sage green is not a risky design move. Some dating is unavoidable. Every kitchen eventually shows its era. The goal isn't something that stays timeless forever. It's something you'll be happy with for 10 to 15 years, which is roughly how long a kitchen goes before it gets refreshed anyway. Make calm choices. One quiet color, one character color. Keep the placement logical. Pay attention to the floor and countertops. Don't pile on extra colors. And choose colors you actually like, not just what looked good in a photo you found online last week. Free Cabinet Painting Guide [40:12] Dan put together a free guide with product recommendations, tips, and tricks for painting cabinets. You can get it at repcolite.com/cabinets -- just fill out the form with your name and email and he'll send it over. Segment 4: Deck Season -- What You Need to Know Right Now [41:25] It's spring. Time to talk about decks. Dan covers the realistic expectations for deck coatings in Michigan, why right now is a good time to tackle the project, and what makes RepcoLite's Deck and Dock Wood Protector worth recommending year after year. A Reality Check on Michigan Decks [41:25] Products that advertise three to five years of protection weren't tested in Michigan. Michigan winters, spring rain, and summer heat are hard on deck coatings. Plan on one to two years before you need to redo it. If you're not particularly picky, maybe you push it a little longer. But if you expect it to look good, one to two years is a more realistic number. Why Right Now Is a Good Window [43:36] The weather has been mostly dry for a few weeks and temperatures have been mild. That matters more than it might seem. When it's 90 degrees out and the sun is beating down, deck coatings dry too fast. You can't work the product in properly, you end up with lap marks and streaks, and the coating doesn't get a chance to penetrate deeply into the wood. Cooler temperatures mean a longer open time and a much more forgiving application. As long as the deck has been dry for about 48 hours, this is a good time to work. Don't wait until June or July when you're fighting the heat and the product at the same time. Prep: Clean or Sand? [45:18] You need a clean, dry surface before any product goes down. How you get there depends on what the deck looks like right now. For chemical cleaning, Benjamin Moore has a full system of deck cleaners that covers different situations. Stop into any RepcoLite store with some photos of your deck and they'll help you figure out the right steps. If you'd rather go mechanical, RepcoLite also rents an on-floor sanding machine that can get boards looking almost new again. There's only one available and the rental calendar fills up fast, so ask about it sooner rather than later at any RepcoLite location. What Makes Deck and Dock Different [46:31] Most deck coatings are designed to make water bead up on the surface. You've seen the commercials. Looks impressive. But those beads of water sit on the deck, the sun comes out, and each one of them acts like a tiny magnifying glass focusing sunlight down onto the finish underneath. Over time, that breaks down the coating in small spots all over the deck. Death by a thousand magnifying glasses. RepcoLite's Deck and Dock Wood Protector is formulated differently. Instead of making water bead up, it disperses it and thins it out so it evaporates quickly. No beads, no magnifying glass effect, no premature breakdown. A few other things worth knowing about it: the open time is long, which makes application very forgiving and hard to mess up. And when it does eventually need to be redone, it fades out rather than peeling or flaking. You don't have to strip the old stuff off or fight the previous finish. You clean the deck, let it dry, and recoat. That's it. Both oil-based and water-based versions are available at RepcoLite. Oil-based is the standard recommendation. Water-based is a little easier on cleanup but can be trickier to apply once the weather heats up. Current Sale [48:28] Deck and Dock, both versions, is 20% off at every RepcoLite location through May 25. The weather is right, the pricing is right. Good time to get it done. Resources Mentioned in This Episode RepcoLite Deck and Dock Wood Protector (oil-based and water-based) -- repcolite.com Benjamin Moore Aura Exterior Paint -- 20% off at RepcoLite through May 25 Free Cabinet Painting Guide -- repcolite.com/cabinets Benjamin Moore Color Samples -- $5.99 at any RepcoLite location Benjamin Moore colors mentioned: White Dove, Hale Navy, Swiss Coffee, October Mist, Aegean Teal, Vintage Vogue, Kendall Charcoal, Mysterious, Silhouette RepcoLite On-Floor Sanding Machine Rental -- ask at any RepcoLite location; one unit available, books out quickly Tyler Spite House -- 112 West Church Street, Frederick, MD Boston Skinny House -- 44 Hull Street, North End, Boston Plum Island Pink House -- Newbury, MA, near Plum Island Find the Show Home In Progress is on the air every weekend and available anytime at repcolite.com -- click the On the Radio tab on the homepage. Dan also posts episode content on Facebook and Instagram throughout the week. About Our Sponsor Home In Progress is brought to you by RepcoLite Paints and Benjamin Moore. People often think of paint as just another line item on the supply list. But everything you do, every hour of prep, every stroke of the brush, comes down to the quality of what goes on the wall. The paint is the project. Make sure it's the best. © Home In Progress | RepcoLite Paints | Sponsored by Benjamin Moore
#458
May 9 · 40 min
Dead Animal Smells, Art Deco, and the Secret Life of Paint Finish
Episode Date: 05/09/26 Episode Number: 458 Episode Summary This week on Home In Progress, Dan tackles one of the most dreaded things a homeowner can face — the smell of a dead animal somewhere in the house — and walks you through exactly how to find it, remove it, and get your home smelling normal again. Then he shifts to the practical side of Art Deco: how to bring that bold, geometric style into your own home without going overboard. And finally, Dan makes the case that paint finish is just as important a design decision as color — and shows you some surprisingly elegant tricks you can pull off with nothing more than a change in sheen. In This Episode [01:46] — Dead Animal Smell: How to Find It, Remove It, and Prevent It [19:25] — Art Deco at Home: A Practical Guide [33:26] — Paint Finish as a Design Tool Segments 1 & 2: Dead Animal Smell — Finding It, Removing It, and Preventing It [01:46] Dan's son Caleb bought a house and discovered a smell that turned out to be a dead possum under the floor — frozen all winter, then very much not frozen come spring. Dan uses that story to kick off a practical, no-nonsense guide to dealing with dead animal odors in your home. How bad will it be — and how long will it last? Size of the animal, temperature, humidity, and airflow all determine severity and duration. The rough timeline: Mouse: a few days to about a week Rat or squirrel: a couple of weeks Possum, raccoon, or larger: several weeks — potentially up to two months in a warm, damp, enclosed space How to find the source: Use your nose. Walk slowly, close doors to isolate rooms, and track where the smell intensifies. Check near outlets, baseboards, vents, attic hatches, crawl space doors, and under stairs. Let your pets help — a dog or cat obsessively sniffing one spot is a clue worth following. Watch for blowflies. Large, metallic-looking flies congregating indoors often indicate a nearby carcass. Follow them. Note: the smell often seems to come from vents, but pest pros say the animal is almost never inside the ductwork — it's usually in a wall or attic space near a duct run. The HVAC is just moving the odor around. Once you've found it — how to remove it safely: Wear gloves and a mask, especially in enclosed spaces. Get air moving before you start: open windows, run a fan. Do not sweep or vacuum rodent droppings — that stirs particles into the air and can spread disease. Instead, spray droppings with a disinfectant or a 1:10 bleach-and-water solution, let it soak 5–10 minutes, then wipe with paper towels and mop the area again. Double-bag the carcass and dispose of it per your local regulations. What happens after removal depends on the surface: Hard, non-porous surfaces (concrete, metal, vinyl): Clean promptly, ventilate well, and the smell usually clears quickly. Porous materials (insulation, carpet pad, unfinished wood, drywall, ceiling tile): Decomposition fluids soak in and the smell can linger — or seem to come back on humid days — long after the animal is gone. In these cases, remove the contaminated material, clean with disinfectant, and then apply an enzymatic cleaner to break down any remaining organic residue at the molecular level. This is the step that eliminates the odor rather than masking it. If you can't find or access the source: The intense phase will eventually pass on its own as the carcass dries out. While you wait: Activated charcoal bags — place them as close to the affected area as possible. They trap odor molecules physically rather than adding a scent. Recharge them in sunlight every couple of weeks. Available at most stores for around $10–15 for a multi-pack. Foaming enzymatic cleaners (like BAC-A-Zap) — drill a small hole into the wall cavity, inject the foam, and the enzymes go to work on organic material from the inside. Available online or through pest control suppliers. Use both together for best results — but be honest with yourself: if fluids have soaked into porous materials inside that wall, you may eventually need to open it up. The final step — odor-blocking primer: Once the source is removed and the area is clean and dry, if you're still worried about lingering odor, you can seal hard surfaces with a shellac-based odor-blocking primer like BIN. Important: this is the last step — a lock on a problem already solved — not a first response. Two things worth knowing: Not every mystery smell is a dead animal. Propane and natural gas have a chemical odorant added to them that some people experience as a decay or skunk smell rather than the classic "rotten egg" description. If you can't find a source, the smell isn't fading, or it has a sharp chemical edge, leave the area and call your gas company. The "poison makes them leave the house" idea is a myth. Rodent poisons do not cause mice or rats to go outside searching for water, and they don't dry out the body to eliminate odor. The rodent eats the bait, gets sick over several days, and dies wherever it happens to be — usually inside a wall, under insulation, or behind an appliance. This is one of the reasons pest professionals often recommend snap traps inside the home instead of poison: you know exactly where the animal is. Prevention — sealing entry points: Inspect the exterior of your home for gaps and holes. For small openings: skip foam or caulk alone — rodents chew right through it. Pack the gap first with copper or stainless steel mesh, then seal over it with exterior-grade caulk or pest-blocking foam. For larger openings: use hardware cloth, metal flashing, or other chew-resistant materials. Check chimney caps, vent screens, damaged soffits, loose siding, and gaps around pipes and utility lines. Go into your garage, close the door, turn off the lights. If you can see daylight around the door frame big enough to fit a dime, that's a mouse entry point. Segment 2: Art Deco at Home — A Practical Guide [19:25] Last week Dan covered the history and origins of Art Deco. This week he makes it practical: how do you actually bring Art Deco into a real home without making the space feel like a 1920s movie set? The good news: Art Deco translates surprisingly well into modern interiors — especially when you borrow selectively. You don't need to go all in. Borrowing a few core principles can give any room more elegance, confidence, and visual impact. Three core ingredients of an Art Deco-inspired room: Shape — Art Deco loves geometry, clear lines, and repeated patterns. Think: a mirror with a stepped frame, wallpaper with a fan or geometric motif, a rug with bold linear structure, a light fixture with globes and symmetry, a vanity with fluted details, or a cabinet with curved corners and brass pulls. It's a structured style — not casual. Contrast — Art Deco works best when there's tension in the room: light against dark, gloss against matte, soft upholstery against hard metal, cream walls against black trim, jewel tones against warm metallic finishes. Sheen — Art Deco has always had an affinity for surfaces that reflect light: lacquer, mirrored materials, polished metal, glass, smooth stone, sleek tile. Even if your paint color is quiet and reserved, bumping up the sheen can push a room toward an Art Deco feel without committing to bolder colors. Color: Art Deco isn't just black and gold (though black, ivory, brass, and chrome is certainly one classic palette). The style also works with: Rich jewel tones: emerald green, sapphire blue, deep teal, burgundy, plum Softer palettes: blush pink, dusty rose, pale aqua, warm cream, smoky taupe, elegant gray What matters most is that the color choices feel deliberate — polished and intentional, not random. Two approaches to bringing Art Deco in with paint: Go dramatic: A deep green in a dining room, a rich navy in a bedroom, a charcoal in a powder room — especially when paired with brass lighting, crisp trim, and geometric accents. Go soft and elegant: Warm cream, pale blush, or a light gray-green on the walls, and let black accents, metallic fixtures, and geometric shapes carry the Art Deco energy. This is often the smarter route — the paint creates the atmosphere and the accessories do the style work. The golden rule: make a statement, not ten statements. Art Deco becomes overwhelming when every element is competing for attention. Let one or two things speak. Best rooms to try it: Powder rooms — small, high-impact, and a great place to experiment with darker, glossier choices. A jewel-toned wall, brass sconce, bold mirror, black vanity, and geometric tile can be a knockout. Entryways — Art Deco is great at first impressions. A strong console, a sunburst mirror, and a crisp wall color can make an entrance feel intentional and elegant. Dining rooms — Art Deco has natural ties to entertaining, which fits the dining room perfectly. Great for a room you want to feel more special and elevated. Bedrooms — especially with upholstered shapes, symmetry, and softer Art Deco palettes (dusty rose, muted green, warm ivory). Three questions to ask yourself before you start: Do I want this room to feel dramatic or elegant?Dramatic: lean darker and richer — deep greens, navy, charcoal, black accents, metallic finishes. Let the room have weight. Elegant: lean lighter and softer — cream, pale blush, taupe, muted blue-green, soft gray. Let the accessories do the style work. Where is the geometry going to come from? Pick one or two sources — wallpaper, a mirror, a light fixture, tile, a rug. Not every surface. Intentional pattern reads as Art Deco. Pattern everywhere reads as chaos. Where is the shine going to come from? Brass? Chrome? Glass? A satin or semi-gloss finish on the walls? A glossy vanity? Mirrored furniture? Choose strategically. A little shine goes a long way — too much and the room starts to feel like a hotel lobby. Segment 3: Paint Finish as a Design Tool [33:26] We talk a lot about color. But the finish — the sheen — is a design decision that gets far too little attention, and it can be just as powerful. The core idea: The same color can feel completely different depending on the finish. Flat/matte: absorbs light, reads deeper and softer, hides imperfections — which is why it's standard on ceilings Eggshell: clean and practical Satin: polished and slightly reflective Semi-gloss/high-gloss: dramatic and light-bouncing — but will show every flaw Sheen plays two roles: durability and hiding imperfections (the practical role most people think about) — and a design role that most people never consider. Four finish tricks worth trying: Same color, stepped-up sheen on the trim. Paint walls and trim the exact same color, but go one or two sheens higher on the trim. Matte walls, satin trim. Eggshell walls, semi-gloss trim. The architecture quietly emerges — the trim catches more light, the room feels more considered and custom — without changing the color at all. Use sheen to control where the eye goes. Keep walls soft and quiet (matte or eggshell), then let a satin bookcase, a painted door, or a glossy piece of furniture become the feature. Same color throughout, but the finish tells your eye where to look. The jewel box powder room. Take a small room, paint it a deep saturated color (emerald, navy, burgundy), and use semi-gloss or high gloss on every surface. Light bounces off everything. The color stops being color and starts feeling like a material. You walk in and feel like you stepped into something. The glossy ceiling. One of the great underused tricks in design. Paint a ceiling in a high-sheen finish — even just white — and it reflects the room back at itself, making a low ceiling feel taller and a small space feel bigger. Designers use this in dining rooms, entryways, powder rooms, and small studies regularly. A word of caution on glossy ceilings: this is one of the hardest paint jobs in a house to pull off. A ceiling gets raking light from windows and overhead fixtures, and gloss will broadcast every drywall seam, tape joint, screw pop, roller mark, and brush stroke. Most residential drywall isn't finished to the standard that gloss demands — you'd need skim coating, sanding, priming, and sanding again before the finish coat. If you want to experiment, try a satin sheen first. And if you go full gloss, hire someone who has done it before — and ask to see photos. Resources Mentioned in This Episode Nature's Miracle — enzymatic cleaner for odor elimination (available at pet stores) BAC-A-Zap — foaming enzymatic cleaner for wall voids and enclosed spaces (available online and through pest control suppliers) BIN Shellac-Based Primer — odor-blocking primer, the strongest option for sealing surfaces after odor remediation Activated Charcoal Bags — available widely, ~$10–15 for a multi-pack; recharge in sunlight every few weeks Copper or Stainless Steel Mesh — for packing gaps before sealing with caulk or pest-blocking foam Find the Show 🎙 Home In Progress is on the air every weekend and available anytime at repcolite.com — click the On the Radio tab on the homepage. About Our Sponsor Home In Progress is brought to you by RepcoLite Paints and Benjamin Moore — because the paint isn't just another line item on the supply list. Everything you do — every hour of prep, every stroke of the brush — comes down to the quality of what goes on the wall. The paint is the project. Make sure it's the best. © Home In Progress | RepcoLite Paints | Sponsored by Benjamin Moore
#457
May 2 · 40 min
Household Odor Removal Tips and the Timeless Style of Art Deco
In this episode of Home in Progress, Dan Hansen starts with a look at why smells have such a powerful effect on the way we experience a home. Unlike sights and sounds, odors connect quickly to the emotional and memory centers of the brain, which means a smell can instantly shape how comfortable, clean, or welcoming a house feels. That leads into a real-life odor problem involving Dan’s son’s house, several cats, a squirrel in the attic, and a dead possum under an entryway. From there, Dan lays out the most important rule for dealing with household odors: don’t just cover them up with candles, sprays, or air fresheners. If you want the smell gone, you have to eliminate the source. The segment walks through three practical tools for removing odors at home. First are absorbers and neutralizers, including baking soda, activated charcoal, and white vinegar. Next are enzymatic cleaners, which are especially useful for biological odors like pet urine, but need to be used properly and should not be mixed with bleach or harsh disinfectants. Finally, Dan explains encapsulation, using odor-blocking primers and shellac-based products like BIN or clear shellac to seal in stubborn smells that regular paint will not solve. In the second half of the episode, the conversation shifts to the history and philosophy of Art Deco design. Dan explores where Art Deco came from, how it developed in the 1910s through the 1930s, and why the style felt so fresh and forward-looking after World War I. He covers the importance of the 1925 Paris exposition, the visual traits that define Art Deco, and how the style eventually evolved into the sleeker, more aerodynamic look of Streamline Moderne after 1929. Along the way, Dan explains why Art Deco was more than a decorating style. It was a design philosophy built around modern life, new materials, elegance, technology, and the belief that beauty did not have to come from copying the past. Art Deco found beauty in the present, and that is one reason it still feels stylish nearly a century later. Episode Summary This episode covers two very different but practical home topics: how to eliminate household odors and how to understand Art Deco design. Dan explains why smells are so emotionally powerful, how to stop masking odors and start removing them, and which odor-removal tools actually work. Then he explores the origins, materials, colors, and philosophy of Art Deco, showing how this iconic design movement changed the way people thought about modern homes, buildings, furniture, and everyday beauty.
#456
April 25 · 40 min
Do Air Ducts Really Cause Dust? Plus Painting Tips from the Pros
In this rerun episode of Home in Progress, sponsored by RepcoLite Paints and Benjamin Moore, Dan Hansen opens with a personal update about his golden retriever, Maggie, whose health emergency led to a change in this week’s schedule. From there, the episode revisits a practical homeowner question: does air duct cleaning actually reduce dust in the home? Dan shares listener feedback and real-world experiences with duct cleaning, noting that while some homeowners notice a cleaner smell or short-term improvement, most do not report a dramatic, game-changing reduction in dust. He explains when duct cleaning may be worth considering, especially for allergy sufferers, homes that have recently gone through renovation work, and households with pets that shed heavily. He also offers a simple DIY inspection tip using an inexpensive snake camera so homeowners can see what is actually inside their ducts before spending money on a cleaning service. The second half of the episode features highlights from Dan’s conversation with painter Keegan Summers of Vivid Creative Contracting. Keegan talks about growing up in a fourth-generation painting family, stepping away for college and the Air Force, and eventually finding meaning and purpose in the trades. The conversation covers common DIY painting mistakes, how to fix paint problems, the importance of prep work, and what homeowners often misunderstand about professional painters. Keegan also shares practical advice on cabinet painting, including multi-stage cleaning, sanding, and the amount of prep required for a long-lasting finish. He discusses favorite tools and products, including microfiber rollers and Benjamin Moore Scuff-X, and makes a strong case for young people considering the trades before taking on major college debt. Timestamps 00:00 Welcome and Rerun Announcement 00:33 Maggie’s Health Update 02:33 Why This Week’s Episode Is a Rerun 03:17 Recapping the Dust Problem 04:32 The Reality of Air Duct Cleaning 06:36 Is Duct Cleaning Worth the Money? 07:44 A Simple DIY Duct Inspection Tip 09:08 Meet Painter Keegan Summers 09:56 Growing Up in a Painting Family 11:43 College, the Air Force, and a Career Detour 14:33 Finding Meaning in Trade Work 16:09 Why Purpose Matters in Your Work 19:26 Back from the Break 19:44 What Homeowners Misunderstand About Painters 20:00 Common DIY Painting Mistakes 21:35 How to Fix Paint Problems 23:05 Bats on the Ladder 25:05 Favorite Tools, Rollers, and Paint Products 30:08 Cabinet Painting Prep and Process 34:29 Life Beyond the Job 36:19 Why the Trades Can Beat College Debt 39:12 Wrap-Up and Final Offers
#455
April 18 · 40 min
Best Paint Colors for Mood: How to Choose Colors for Bedrooms, Kitchens, and Living Rooms
In this episode of Home in Progress, Dan Hansen opens with a story about slicing his finger on a new rotary shredder and officially passing cheese-grating duties on to his kids. From there, he wraps up his multi-week series on what the brain wants from the spaces we live in by turning to one of the biggest design decisions of all: color. Dan explains that paint color is not just about personal taste. It also affects us biologically. He explores how color sends signals through the eye and into parts of the brain involved in stress, alertness, and emotional regulation. Along the way, he breaks color down into its three core elements: hue, brightness, and saturation. The episode looks at what research suggests about common color families. Red tends to be stimulating and physiologically activating. Blue is often associated with lower heart rate, lower blood pressure, and better emotional recovery. Green shows especially strong connections to stress reduction and restoration. Dan also explains that saturation works like a volume knob, making colors feel louder or quieter, and notes that very dark spaces can sometimes make us feel more watchful or on edge than mid-range values. Most importantly, he offers a practical framework for choosing paint colors more wisely: do not start with the color itself. Start with the feeling you want the room to create. From there, Dan walks through helpful color guidance for bedrooms, kitchens, living rooms, home offices, and bathrooms. He also reminds listeners that RepcoLite color consultants are available to help homeowners make confident choices. Timestamps 00:00 Welcome and sponsor 00:12 Rotary shredder mishap 01:31 Why color affects us 02:59 The biology of color 07:15 Hue, brightness, and saturation 08:49 What research says about red, blue, and green 14:00 Saturation as a volume knob 16:02 Brightness and hidden stress 18:40 Turning the science into practical advice 19:27 When the deeper point finally clicks 20:28 Why color affects biology, not just preference 21:52 Choose the feeling first 24:32 A living room color regret 26:52 Room-by-room color guidance 28:08 Bedroom colors for calm 30:00 Kitchen colors and controlling warmth 31:10 Flexible color ideas for living rooms 32:47 Home office colors for focus 33:37 Bathroom colors for a reset 36:49 What the feeling of home really means 39:01 Final thoughts and where to get help

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