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Archives for September 4, 2016

Herb Garden Design Ideas

After a long day of knowing, kids are generally prepared for a yummy after school snack. While it’s enjoyable to eat cookies or cake, it’s much more fun to create the desserts yourself. Starting March 7th, the city of Brentwood will host a class at the Brentwood Entertainment Complex for kids ages 10 to 16, who wish to use their imaginative skills in the kitchen.

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As with any water system, cleaning up ways staying away from hazardous chemicals. Strong cleaning agents should be used in the right way. If you overuse them, they will be filtered into the drain and will kill particular important bacteria strains and the drain will not have the ability to break down solids. Steer clear of motor oil, thinners, varnish and other dangerous chemicals.

There are many sites on the internet that are providing at no charge site templates. Just visit these sites and choose the design template that you like. Fill the design template with you own content and upload it on your server.

If you want registering your kid for Kids’ Crazy Cakes Cookies, call 314-963-8689 to learn more and referral course number 745001.

Don’t if you have doubts about their performance level. Naturally, they cannot contend without a doubt with the audio quality of a high performing audio system or to the house theater experience. But they sound pretty well. Rock planters and speakers are suggested to please the ear while they do not bug the eye. The significant advantage is they come close to you, and you do not need to play them that loud. Because you are offering a back yard celebration, this way you won’t keep the next-door neighbors up at night just.

However simply make sure that you have actually seen the companies’ print samples so you wouldn’t have any issues with the print quality, especially when you have actually settled with the business which has the much better offer.

Proceed and launch the site, even if there are whole pieces missing. State you still have to finish enlivening the copy, or have a couple of more pages to add. Even if you have not linked your newsletter subscription or your shopping cart yet, just go ahead and launch the website – it will assist you bring in more business while you’re completing your website job. A site that’s out worldwide does you a lot more great than a site that’s resting on your computer system, stuck in development.

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Quinta Mazatlán to host Creative Garden Design workshop

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Join us on Saturday, Sept. 10 from 9 a.m. to noon at the Creative Garden Design class at Quinta Mazatlan. Register in advance and send Quinta Mazatlan a photo of an area of your lawn that you’d want to turn into a native garden. Five experts at the workshop will share information on beautiful natives for a small yard like the beautiful Coral Bean accent tree and Turk’s Cap, shown in the photo of a RGV home.

Posted: Sunday, September 4, 2016 6:00 am

Quinta Mazatlán to host Creative Garden Design workshop

Special to the Star

Valley Morning Star

Join us for a morning garden workshop designed to help you create a small native garden at your home or business on Saturday, Sept. 10, 9 a.m. to noon at Quinta Mazatlan. Five experts in the field will lead the Creative Garden Design class that will provide attendees with a personalized dialogue on how to best convert a small area of your home or business landscape into a stunning, water-conserving, wildlife-supporting native plant garden.

Landscape architect, Andrew Heffner will lend his expertise in the design components of creating a praiseworthy horticultural landscape.

We encourage you to send us a couple photos of your garden to be assessed and discussed with the purpose of providing personalized suggestions from an expert ( Environmental program supervisor, Carol Goolsby will be elucidating the environmental concerns of our region and delve into the importance of establishing wildlife corridors in the form of native plant gardens. Quinta Mazatlán program coordinator and botanist, Christopher Munoz will lead a native plant walk through the native gardens at Quinta Mazatlan. Christopher will provide in-depth look at some of our native flora and highlighting native plant species that exhibit both horticultural and ecological potential.

In addition, a selection of native plants will be made available for purchase as provided by native plant grower Betty Perez.

Urban development has reduced and subdivided large areas of habitat rendering our urban infrastructure an impassable sea of development for animals seeking refuge.

How do we reconcile continuing urbanization with the need for biological conservation?

Gardens that are primarily composed of native vegetation serve as wildlife corridors for the fauna that characterize our region as they travel through our communities on route to and from habitats that have the capacity to sustain their populations.

The Creative Garden Design Workshop will provide attendees with a personalized dialogue on how to best convert your home or business landscape into a stunning, water-conserving, wildlife-supporting native plant garden.

Most home landscapes in south Texas are dominated by non-native lawns, such as St. Augustine grass, which provides no food or shelter for wildlife all while requiring substantial amounts of water.

This workshop will illustrate the most effective and rewarding ways to transform a lifeless lawn into a beautiful native garden that truly contributes to the conservation of our wildlife.

Call in advance to reserve your place in the Creative Garden Design Workshop for a fee of $10.

For reservations please call 956-681-3370 and visit for more information.

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Sunday, September 4, 2016 6:00 am.

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Village asking Huntley Outlet Center to maintain, find best use for mall property

Liquidation sale signs hang in the windows of soon-to-be empty stores in the mall, which was sold in April and had been losing tenants for more than a year.

There are only a handful of businesses left, Huntley Village Manager Dave Johnson said, and the mall is expected to be cleared out by early 2017, at the latest. Many of the stores aren’t looking to relocate in the village, he said.

“I think there’s a lot of discussion that needs to take place with the owners yet of the highest and best use for the property,” Johnson said.

The property was bought by Huntley Investment Partners LLC, which consists of California-based Craig Realty Group, Chicago’s Prime Group Inc. and Elgin’s Capital Realty and Development.

Simon Property Group previously owned the parcel that was developed by Prime Group Inc. in 1994.

Although suggestions for the property have been proposed by developers, the village has asked them to go back to the drawing board, Johnson said.

He said he hopes “sooner rather than later” there will be a concept for the property, which is falling into disrepair, that can be discussed at the village board meetings.

“Having that property in its current condition at the front door to our community is far from ideal,” Johnson said of the site that sits at the northeast corner of Route 47 and I-90.

In February 2016, the village filed an ordinance complaint regarding the property, citing concerns including damaged sidewalks and parking lots, rusted light poles, crumbled brick and unmaintained landscaping, according to a document provided by Village Attorney John Cowlin.

“When you get into the issues of public safety, that’s the prime concern for the village, is to make sure that the public is protected,” Cowlin said.

He said the problems will likely be resolved at a hearing in October.

Rich Turasky, president of Capital Companies, LLC, and Lake in the Hills resident, brought together the group of property owners who bought the property in April.

“We’ve met with the village several times to find out from them what they would like to see happen there, so we’re doing a lot of due diligence and investigating a lot of uses that would go well there,” Turasky said.

Previously he has said a hotel or industrial use was considered for the 77-acre property.

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Murrieta’s Downtown Plan takes shape

Brian Mooney with Rick Engineering Company explains parts of Murrieta’s Downtown plan to residents who gathered at the Saturday, Aug. 20, community workshop held for interested community members. Jose Escobar photo

More than 50 people gathered inside Centerpoint Community Church Saturday, Aug. 16, to learn about Murrieta’s Downtown Plan and give their input to city and planning officials during the city’s second workshop on the planned improvements.

The plan reflects a variety of ideas to revitalize the downtown area between Kalmia and Ivy east and west and Jefferson and Hayes south and north making it a tourist and shopping designation for the city. The original vision for the downtown area in 2011 was to “Create a vibrant, prosperous Historic Downtown that serves as a community center and provides a variety of quality shopping and dining experiences.”

Those in attendance were able to review and provide input on the potential concepts for the development of the city’s historic downtown area.

Televisions show an aerial view of Murrieta’s Downtown plan at a workshop held at Centerpoint Community Church Saturday, Aug. 20. The workshop was the second one held by the city to gather community input on the proposed plan to revitalize Murrieta’s historic downtown. Jose Escobar photo

This artist rendering shows the area along Washington Avenue (in yellow) that could potentially be changed under the proposed plan. Courtesy photo

Representatives from Rick Engineering’s multidisciplinary Community Planning and Sustainable Development Division, which holds the contract to provide consulting and planning services to the city, were on hand to give a presentation outlining the plans and feedback from the city’s workshop held June 4.

Brian Mooney, Rick’s Community Planning and Sustainable Design Principal for the project, gave a presentation outlining the plan which includes green building practices, such as the use of solar on new construction, drought tolerant landscaping and best practices for stormwater management. The plan will also limit impacts to sensitive habitats that surround Murrieta Creek. Setbacks from the creek will ensure minimal disturbance to the area while also providing a public open space amenity.

Also included will be a transportation network that provides multiple choices for residents, employees and visitors to safely get around. Complete streets will create a balanced network of opportunities for walking, biking and automobile use. Parking management strategies will address issues related to mobility and parking as the downtown grows.

Murrieta’s downtown will include “attractive residential neighborhoods that will contribute to the increased activity and economic vibrancy of the area,” according to the study. Housing options, ranging from single family to multifamily to mixed use units, will be encouraged as well.

The area will have an abundance of amenities, such as parks, gathering spaces, community events and schools that contribute to a high-quality of life for all who live there, according to the presentation.

“Downtown has unique, historic significance to Murrieta,” Mooney said. “It is important that the area maintains an element of its historic character and encourages architecture that is compatible.”

Murrieta City Council is expected to hold a workshop on the plan in late September or early October with public hearings and adoption of the plan expected before the end of the year.

To give input on the Murrieta Downtown Plan, visit, click on city services, then planning and Downtown Plan Update and take the online survey.

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20 Questions with Harvey Reid and Joyce Andersen – Eagle

Here’s 20 questions with Harvey Reid and Joyce Andersen, who will be playing at Me Thee Coffeehouse in Marblehead Friday.

1. You’re on an airplane and strike up a conversation with your seat mate, How you do you describe what you do, what your music is all about?

HARVEY: After smilingly dodging the question of “What band are you in?” I usually use my standard line of “I play unpopular music; un-pop for short.” Joyce and I are modern troubadours, which for some reason is hard for some people to understand, presumably because it doesn’t scale up in size that well. Troubadours who get famous tend to dance around and tour with bands a lot, which to my mind dilutes the art form. It’s hard for average people to realize how many highly skilled troubadours are operating under the radar of show business. There are not a lot of basketball players better than NBA stars plying their trade quietly in out of the way places. Essentially all the musicians that really interest me, and that I would go out of my way to see, are little-known, and play for small audiences, and drive their own cars and tune their own guitars.

JOYCE: I’m an solo electro-acoustic violin troubadour. Also a songwriter and a guitar player. But I found a way to perform compelling concert shows with voice and violin and I enjoy making live loops, layering them, sometimes really altering the sound of the violin and also celebrating the pure violin sound. I play a variety of covers, folk, rock and swing lots original music, too. I can certainly joke around, but music making is a chance to really move people and connect to something sacred. I’m not just ear candy with one sound. I cover a lot of territory and enjoy taking folks on a bit of a ride if they are open to it. Where they feel me getting free and it inspires them somehow.

2. How did you two meet and fall in love?

HARVEY: Joyce came to one of my concerts around 1990, and we started bumping into each other at open mikes around that time in Portsmouth. We both had other people in our lives, and it took about 10 years for us to get it together and become a couple. I’m a very lucky man to have her in my life.

JOYCE: I met Harvey when he was playing in Portsmouth at the Press Room with Pat Donahue. The next week I ran into him at the Press Room bar and it was the same week I was starting to dust off my violin and play the Irish session there. I was getting his advice on who to listen to and that was the beginning of me falling in love with him. I can’t really imagine my musical path without him. And then finally, 10 years after that Christmas season of 1990 when we really connected for the first time, we finally cleared the decks in 2000 and the chasm of experience was small enough that we could build a bridge and make a real go of it. Marrying Harvey, having children together, growing musically together, and giving each other space as artists in our own right has been a beautiful and challenging life that I feel very grateful for.

3. The way to success these days is to do many things, have many ‘pokers in the fire’ – you seemed to recognize that decades before others with the music (performances and CD), penning books, and developing and championing the partial capo. Did that occur organically or was a conscious decision? What’s your take on spreading your seed in a wide, wide field?

HARVEY: I’ve never been that interested in just playing the styles and genre game— music becomes theater pretty quickly when you just adopt costumes, mannerisms and musical ideas developed by others. I’ve never been interested in theater, and I’m lousy at it, though I both respect its power and resent how much it has intruded into music. I don’t think either Joyce or I has ever been comfortable sticking to that a stylistic kind of musical structure, though it is easier to market. She’s played in bluegrass, celtic, rock, folk, country, jazz, and pretty much every kind of band imaginable, I guess because she is good and the violin is so versatile and valuable. I have always been interested in more than one style of guitar, and in playing other stringed instruments. As versatile as the guitar is, there are a lot of songs I can’t seem to get going unless I play them on a mandolin of some kind, or my autoharp. I’m also in the idea of playing intense instrumental music as well as being very deeply involved in lyrics, songwriting, arranging and harmony singing. And now that people don’t buy recorded music much anymore, Im getting newly interested in guitar education, so I have made a lot of books to try to turn my knowledge into food for my kids. I’ve discovered some exciting new things in the guitar and am spending a chunk of my energies trying to show the world what I have found. Parenting shuffles one’s priorities around a lot too.

4. What artists were early influences on you?

JOYCE: 4. I’m not sure. I discovered some of the greats on their ’80s pop CDs. Eric Clapton’s August. Steve Winwood’s Highlife. Tina Turner’s Private Dancer. Then much later the doorway opened to Ralph Stanley, Billie Holiday, Stephane Grapelli, Stuff Smith, Stuart Duncan, Gillian Welch, Barbara Dane. Right now Nina Simone is my ultimate musical heroine.

HARVEY: I was surrounded by the folk boom and pop music in the ’60s, much of which has turned out to be some of the greatest music ever made. I also began digging as a teenager into what they call “roots” music now, and by the time I was 21 or so I was pretty familiar with most of the important artists in the evolution of folk, bluegrass, country, blues, old-time and most of all, American acoustic guitar music. I used to go to libraries and read every book I could on bluegrass, blues, etc., and I’ve always been a student of American music. I’ve never modeled myself after anyone. Leo Kottke Doc Watson were early prominent influences on my guitar, and I was a fan of Eric Andersen, Dylan, Jesse Winchester, Gordon Lightfoot and Paul Simon when I started out. I’ve also always been a huge fan of John Fogerty and Chuck Berry. Nowadays, I’m intrigued with guys like Michael Jerome Browne and Mike Dowling.

5. When did you know that music was the career for you?

HARVEY: By age 18 I had no time for anything else. I went from playing at parties to street music then to bar gigs. I never had a job in my life except as a lifeguard when I was 17. I played music all day every day as a teenager, and there was no time for anything else. I quit school at age 20 and that was it for non-music.

JOYCE: It was the first time I had the feeling of falling in love without it being directed toward a crush. I remember deciding while at a post college year at Berklee that I would follow the musical muse wherever it took me. I was hooked. Kind of late, really. And yet too naive to really think it through or have any kind of plan.

6. What was your first paid gig?

HARVEY: Do you count street music? I basically still play street music, since the American people still put money in my guitar case by buying tickets to come see me play. A bar in DC paid me some money around 1975, but I think I had some gigs at parties and plahying with bands before that. I played Dobro with Buzz Busby at a bluegrass gig for $15 in about 1974 or 75. I was horribly unprepared for gigs back then, since I did not know that you were supposed to know a certain group of “standards” and I just knew what I liked or wrote and wasn’t trying to outfit myself with the skills and tools to survive in the bar-gig world. Luckily I knew enough songs by well-known people that I survived. I never could sound like any well-known artists, and probably survived by sheer chutzpah, energy and attitude and by playing slide guitar, which keeps a lot of people from hating you who otherwise might.

JOYCE: I was bit by the fiddle bug right before I left for a year abroad in Denmark. I spent time “woodshedding” in public out on the streets of Elsinore, Denmark, my case open in the shadow of Hamlet’s castle…playing for drunken Swedes who had taken the ferry over to Denmark to buy cheap liquor. They had heavy Danish change in their pockets they generously got rid of in my case before heading back to Sweden.

7. How fulfilling is playing the coffee house scene?

HARVEY: I love it and always have. It’s kind of amazing that it has gone on for decades, without either exploding in popularity or withering away. It’s kid of a utopian musical world.

JOYCE: Playing street music teaches you that playing music is about going inward and connecting with something beyond yourself. You open your eyes and a crowd has gathered. But if you get cocky or get in your head the crowd disperses. In bars it’s hard to get people to stop talking and listen, and ignore their phones. After a lifetime of learning how to cast deep musical spells, and at a time in history when the torrential digital river of soundbites and tweets photos threatens to distract us at every turn, the New England coffee house scene is a rare and beautiful island where musicians can show up and play for audiences that still believe in making time for showing up and sitting and listening to live music. Everyone wants to feel valuable and the coffee house scene helps concert folk musicians feel that way.

8. If you had to narrow down just one highlight of your musical career, what would that be?

HARVEY: Probably when Doc Watson invited Joyce and me to come play at Merlefest, and then he and his wife Rosa Lee came to every one of our 4 or 5 shows for 3 days, and actually sat on the corner of stage and listened to every song we played. Doc took us out to lunch and asked me questions about how I play certain things on some of my albums. Nothing anyone ever says or does will ever mean as much to me as that. He’s always been my all-time hero. That was like getting 6 Grammys and a couple Oscars and Olympic medals.

9. What’s in CD player or on your computer play list now?

HARVEY: Have been listening to the Harry Fox Anthology of Folk Music collection. I’m newly intrigued with what was going on in American music before the music business began in the 1920s. I’m wondering if the music business as it unwinds and devolves might start looking more like it did before there was a music business. Food is heading in that direction, with the massive new emphasis on organic and local. I wish music could go the same way.

JOYCE: Nina Simone. and Harvey’s amazing and eclectic playlists in iTunes. I do notice that I crave folk after too much blues, for instance. Or the other way around. We are a pretty eclectic household, but I’m looking forward to being aware of new bands that I like. Counting on my kids. I get pretty bored pretty quick with a lot of the young bands, the acoustic ones, that don’t have much experience. I’m not listening to many young artists these days. I got hot on Sarah Jaroz for a minute. I look forward to hearing what she’s up to in 10 years.

10. What musicians or bands excite you and give you hope for the future of live music?

HARVEY: I’m a troubadour, which sort of means that I can sit in your kitchen and play music or you that is complete and valuable. I have been dismayed at the fact that when the recording industry began in the 1920’s, there were a lot of solo artists just playing music (think of the bluesmen), and people bought their records. But over the 90 years or so of evolution of the recording and music industries, it’s as if it was outlawed for a major artist to release a recording where they just played the way they would in your kitchen. Sanity has gradually returned after the rampage of Beatles, Zappa and Steely Dan -inspired overdubbing and endless 48-track overproduction of nearly everything. I noticed that the Stones always recorded live, and gradually bands like the Cowboy Junkies and Son Volt and even U2 realized that you lost something vital when you didn’t just perform the music as you recorded it. The closest thing I can find to a hit song anywhere in 90 years of pop charts where the music sounds like a person playing a song was Adele’s “Someone Like You.” She didn’t play the piano, and she cheated and added a harmony overdub on the last chorus, but it’s indicative of a healthy trend. Rap might have been the beginning of the introduction of a powerful individual artist at the center of the music, and it’s possible that I owe Snoop Dogg and Dr. Dre some thanks. Of the top 10 grossing artists now only Coldplay is a band, and the troubadours like Taylor Swift, Ed Sheeran, Bob Dylan, and even Toby Keith, Elton John, Katy Perry and a lot of new young artists are individuals and not bands, and music is getting more human. I’m so glad to see that personal music energy at the core of modern music at last. I’ve never understood the power of music built on electronica and inhuman computer drumbeats pounding like industrial machinery.

JOYCE: I wish I knew more. Not exploring enough, I guess. … I need to feel the artist is deeply connected to something mystical. Virtuosity is by no means enough. and lack thereof can be off-putting, too.

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11. Harvey, I’ve read that you were among the first (if not the first) to start your own record label. How did that happen and what was the reasoning behind that decision? What you have done different?

HARVEY: I trained in bluegrass, and even in 1972 or so when I first started going to festivals, artists in that field were selling records directly to their audiences. I guess the folk people weren’t, and when I tried to get a record label interested in my music in 1980 or so and I didn’t succeed, I wasn’t that daunted by the idea of pressing my own. I was sure I could sell a bunch of them to my audience, and I was right. I made a couple LP’s and cassettes in the early 1980’s, and then made my first CD in 1988. It surprised me how well it did for me. The thing I did that might have been pioneering was to refuse to overdub and to insist on actual performances in my recordings. It never made sense to me to piece things together and to try to be the Beatles. My “documentary” style of recording ensured that people who came to see me in concert heard what they did on my recordings, and vice versa. I think the only thing I would have done differently is to push even harder when I was in the lead. When I made my first CD, radio stations only had a handful of them, and I got a lot of airplay and attention. I was way ahead of the pack of folk people who eventually inundated all music media with their home-made recordings.

12. Are you encouraging your sons Otto and Levi to explore music as a vocation?


HARVEY : Of course, but the party as I know it might be over. I sold a lot of Cd’s and bought a nice house where I can raise my kids, but its unclear if musicians can support themselves in a DIY way these days. Music is still valuable to people, but the way it is monetized is changing wildly. Giant artists are pimping cosmetics and even underwear (Blake Shelton) which indicates that you can’t even support yourself playing music at a very high level in the business. My kids are gifted musically but not yet drawn to it like the moth to the flame that it was for me. The reason they are playing is because I have developed a new way (the Liberty Guitar Method) that allows elementary school kids to play real guitar, but they don’t have all the teen angst yet and hormones that seems to be the fuel of most music we know of. There are not a lot of 2nd-graders singing about their feelings in their concerts, and it is probably too soon for my boys to find their own music as art. And though I wish they could learn to play piano or something while their brains are so elastic, I’m not a fan of the way music is usually taught in our culture, and am anxious for them and their friends to just find their own way musically. Here are some interesting videos I’ve made of them doing their thing.

13. How do you balance the careers and the family?

JOYCE: It’s one big soup. Making our carriage house into our own personal mini-Branson, regular gig was a big step toward balancing both career and family.We are also lucky to have a big house where we have room to escape when we’re working on a song. But we have really let the kids rule our lives more than some would!

HARVEY: It’s very hard. Having your kid wake you up at 5:30 AM when you went to bed at 1 was just the beginning of the problems. We have not had much luck bringing our kids along on the road, or leaving them behind. I’ve greatly neglected my career the last few years, which may be OK and maybe not. My taking a sabbatical from decades of touring to raise a family has coincided with the collapse of the recorded music business and the economy in general. It’s a brave new world now, and the things that used to work aren’t working that well anymore. I’m not sure it makes sense to keep doing things the way I always did them as far as the business of selling recordings or tickets to performances. Joyce and I now have built a concert room in our 1880s barn and (are) happily performing every week there.

14. Harvey, you are credited as being the first (or among the first) to release an “indie” record, the first record direct-to-digital masters, and to embrace the digital music “revolution.” How did these innovations happen?

HARVEY: Because I was only interested in documentary recording, I was able to use the first generation of digital recorders very effectively. The multi-track digital stuff was wildly expensive, and indie artists couldn’t afford that technology. Analog was hard also because you had to rent a studio, and tape cost a fortune, so you couldn’t really do 20 takes of a song if you felt like it. That would have cost hundreds of dollars in black tape alone. But if you were able to record live and direct to 2-track stereo you could make great-sounding recordings easily and anywhere. I made some really interesting recordings at home, in hotels, living rooms, bars— wherever I was- and was able to use battery-powered digital tape recorders no larger than a paperback book. Music is fragile and ephemeral, and when you feel like playing, and tape is cheap, you can record when the moment strikes you. I captured a lot of good moments in my musical life that way, and got a lot of attention at a time when what I was doing was unusual, though it seemed obvious to me. It’s odd, when digital was brand-new, there was no way to edit anything, and you had to do “direct-to-disk” type recordings, with no edits or splices or even tone adjustments. Now that you can go inside the wave forms with any computer and do insane kinds of editing and adjusting, I’ve even managed my make my old recordings sound another level better to me. I’m quite amazed and pleased by a lot of the recordings I made in my career, and am grateful I was able to make all the decisions about how to play, where to put the mikes, and what performances to release. I’m usually not fond of music made by musicians who are mostly chasing markets.

15. How do you feel about fans posting their videos of your performances on social media? Does this hurt or help your career?

JOYCE: I don’t know.

HARVEY: It’s inevitable but I have never liked it that much, though it’s possible they are doing me a favor. I’ve always been a fan of the spell that a good audio recording can weave and I’ve never been attracted to making videos of myself playing or having others do it. I guess I need to learn to make interesting videos I can post myself.

16. How has hosting shows at your place in York gone?

HARVEY: It’s been very successful. We’re drawing consistent and excellent audiences of both our fans and our neighbors, and performing our concert shows with dignity in a great performing environment, and we’re having a blast doing it and enjoying not traveling and being with our kids. We don’t know how big we want it to get or how often we want to do it, but we are thrilled with the results so far.

JOYCE: It’s beautiful. We are committing to our community as well as giving fans from a 2 hour radius and top top notch venue to come see us play. They are just private parties spread by word of mouth. It attracts good people.

17. Joyce, looping opens unlimited doors to your sound. How and why did you embrace this technology? Harvey, do you use this as well?

JOYCE: Harvey took the boys so I could start working on my violin/vocal record one day. I envisioned it all acoustic. He said I should embrace technology. He brought home an octave pedal that day and it blew my mind. Different sounds inspire different music. One thing led to another! Harvey cheered me on when I thought I must be crazy. It is just so much fun to find ways to pull off songs like “Higher Love” and “Hey Joe” Who knew? I try to make sure that the technology is always in service of the song. A lot of looping out there is pretty boring and unmusical to me. Looping was a tool to enable me to play some wild and improvisational violin in a solo show. Something I hadn’t been able to do very effectively solo before.

HARVEY: I have never been good at looping or interested in it, so I am the polar opposite. I just play the stuff. But Joyce moves me deeply by what she does, and I don’t have a purist attitude toward what I do. Joyce is a brilliant troubadour, but as a fiddle player she was unable to go the places you can go if you play guitar to support and generate the songs.

18. When I try to turn friends on to your music, what is the one song (from each of you) that will hook them?

HARVEY: I never had a hit. People like some of my instrumental pieces like “The Albatross” or “The Scotland Suite”, but they also like my songs like “From Where I Stand” or “Cryin’ Shame” and my versions of trad stuff like Lakes of Pontchartrain or Otto Wood.

JOYCE: Maybe “Yearning” or “We Will Shine”. “Hey Joe” does wow the right person.

19. What are some of your “causes” or charities you are committed to? Hobbies?

HARVEY: I enjoy gardening and landscaping and tinkering with our house, and reading books about American music. We are trying to become part of our local church community, and to build musical and personal community here at home.

JOYCE: We recently started going to UCC church down the street and that is an incredible outlet for committing to all sorts of good things. We started a guitar night to help people play guitar. And I’m really enjoying understanding progressive Christianity as an adult. Where else can one easily go where your family can talk about being more peace loving people, thinking about people of all kinds who need more help, gathering to do cool things like float down the York river, have community dinners, feed the hungry.It’s a bummer that church attendance is way down across the board. It’s very parallel to the coffeehouse audiences. Greying. People don’t have the time, or make the time, to sit down and let someone lead them somewhere deep musically or spiritually in a community setting.

20. Is it fair to describe you two as the Americana’s First Family of Northern New England or Folk Music’s First Family of Northern New England?

JOYCE: We’ll take it!! I didn’t really talk much about our duo show. And many folks find that the most rewarding. The synergy and the energy and the play between two musicians can be greater than the sum of their parts and I think we get there. We love singing harmonies and playing instrumentally off of each other. Getting all three shows, the solo shows and the duo show, makes for quite an evening! And adding Dave Mattacks to the mix…well, folks better hang on to their hats! (ah,hats… )

HARVEY: Sure, why not? I guess we don’t have royal families in this country, but we never came up with a catchy marketing phrase like those to attract people to our music.

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Don’t miss a special program about the Singapore Botanic Gardens

Nigel Taylor, director of the Singapore Botanic Gardens, is on our island touring local gardens and nurseries. He accepted an invitation to give a presentation about the garden and the amazing garden city of Singapore.

Even though the Hawaii Island Palm Society is hosting the program, he will speak about more than palms. Botanic gardens such as those in Singapore and Hawaii have had impact on tropical agriculture and landscaping throughout the world. He will share with us how the exploration, discovery, cultivation and distribution of thousands of species have saved many from extinction. These are not only found in botanical collections, but in our home gardens.

The presentation is slated for 7 p.m. Friday, Sept. 9, at the University of Hawai at Hilo in UCB Room 100. Don’t miss the opportunity to meet and hear Taylor as he takes you on a botanical exploration of Singapore and its famous gardens.

• • •

Hawaii’s special magic has been created with flowering shrubs and trees from around the world. We are famous for our bold tropical flowers and foliage. When folks from other parts of the world think about Hawaiian gardens, they visualize coconut palms, orchids, anthuriums, heliconias, Kona coffee, plumeria, macadamia trees and more.

In recent years, we have added vanilla, cacao and a long list of other tropical taste treats to the list. We are also known for tropical vireya rhododendrons, bamboos and even carnivorous plants. However, almost all that we find in Hawaiian gardens and farms are from some other part of the world. Many have been hybridized or improved by researchers at the University of Hawaii and commercial horticulturists in private business.

One example is that of anthuriums.

During most of the 20th century, these unusual plants were bred by Hawaii’s researchers and growers to produce a myriad of spectacular flowering plants. Today, new varieties and species are being added to the list and can be found at local nurseries and garden shops. Some are noteable for foliage, such as Anthurium cupulispathum, with leaves almost 6 feet long. There are more than 500 species of anthurium. Some are vine-like, and others form a rosette shaped like a bird nest and can reach 8 feet across. We will be seeing many more varieties and species in the future thanks to innovative local growers.

• • •

When it comes to fragrance, the scent of flowers perfumes the air and sets a tropical, romantic mood whether you live mauka or makai. When visitors to our Islands step off the planne or ship, the first thing they notice is the sweet smell of flowers.

By adding more flowering plants to your area, you can combat unpleasant smells such as car exhaust fumes or rubbish cans. There are many good choices for your garden. The scent of orange blossoms and, of course, grapefruit, lime, lemon and tangerine blossoms all have delicious fragrance.

During the longer days of summer, many species of ginger are in full bloom, and in the evening white, yellow and rose flowered angel trumpets make for perfect garden romance.

But there are many other lesser known and more varied plants that we can add to our gardens. All the plants listed below have fragrant flowers. Some of them, such as plumeria, night blooming jasmine, fragrant dracaena, gardenia and mock orange, are equipped with fragrance so potent it can fill every inch of garden air space and drift into the house, too. Others such as the spider lily produce more subtle perfumes that usually won’t travel quite as far and are best appreciated at close range. There are dozens of species of ginger, and let us not forget our native alahe‘e and hoawa available at some nurseries.

There are many kinds of jasmine as well as several other plants called by that name including star jasmine and orange jasmine (mock orange) that are not jasmines at all. There are several true jasmines that bloom with fragrant flowers. Jasminum ilicifolium and Jasminum multifolorum are two shrubs used as foundation plantings. They also can be grown as vines and will bloom more profusely.

Star jasmine (Trachelospermum jasminoides) is a viny shrub. Tie this plant to a post, fence or some other support and it will climb; or pinch out branch tips and it will cover the ground. The clusters of star-shaped, white flowers contrast nicely with shiny dark green leaves. This vine is sometimes referred to as maile jasmine because the leaves resemble maile.

Mock orange (Murraya paniculata), or orange jasmine, is a member of the citrus family and is an attractive evergreen shrub or small tree with glossy green pinnately compound leaves. The white, very fragrant flowers are produced at intervals throughout the year, followed by clusters of red ovoid fruit. It is a vigorous grower and can be used as a small tree, an informal high hedge or screen or can be trimmed to a formal shape.

Night blooming jasmine (Cestrum nocturnum) produces flowers with a powerful scent. A single plant per garden should be plenty. These evergreen shrubs grow 6 to 8 feet tall or more and bloom off and on throughout the year.

The ever popular plumeria should be found in most gardens, but a close relative is rare. It is known as tabernaemontana or cinnamon gardenia and was originally introduced by Paul Weissich in 1960 from Africa. Flowers are produced all during the year and have a cinnamon fragrance. The odor is delicate, but one or two flowers perfume the whole garden. Close relatives are ervatamia (crepe jasmine), cerbera, stemmadenia and oleander.

And don’t forget, many of the wonderful plant materials that make up our Hawaiian gardens came from the efforts of plant explorers and botanic gardens that saved them from possible extinction.

For other home garden questions, call the University of Hawaii College of Tropical Agriculture and Human Resources Master Gardener helpline in Hilo and Kona.

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In Cornish, Trees Are Root Issue

Cornish — Ask John Dryfhout, a retired former superintendent of Saint-Gaudens National Historic Site, about the state’s plans to improve a short section of Saint-Gaudens Road, and he’ll express his anger in all sorts of colorful and indelicate ways.

“It shows you the shallowness of the people that are working for them now,” he said during a phone interview on Thursday. “They have no artistic appreciation.”

Then, just a few minutes later: “These silly boobs in 2016 are letting anybody do what they want!”

Followed by: “I don’t want to interfere with their activities like this, but when they (mess) up like this, somebody has to do it.”

What has Dryfhout so upset?

Trees, specifically white pines. Dryfhout’s high emotion isn’t surprising in light of the fact that people have been battling over New Hampshire’s stock of the towering species for more than 200 years.

This time around, Dryfhout and other Cornish residents are angry that a federally funded, state-managed plan to reconstruct the 3,600 feet of cracked blacktop between Route 12A and the national site’s visitors center would remove 14 trees, including some white pines.

The project is budgeted at $587,000, including $35,000 in preliminary engineering costs and about $2,000 to gain right-of-way easements, according to Keith Cota, chief project manager for the New Hampshire Department of Transportation.

The state-maintained road has had recurring drainage problems that have led to exaggerated frost heaves; updating and modernizing the road should alleviate those problems, but it will require the removal of some trees that project leaders say are unsafe or in the way.

Dryfhout says the tree removal violates the spirit of the National Park Service, which manages the 148-acre site, and the legacy of Augustus Saint-Gaudens, the sculptor whose founding of the Cornish Art Colony attracted scores of celebrated and elevated artists to the nucleus of his stately mansion, studios and grounds.

The NHDOT held a public hearing about the road project in early August, but there’s general agreement that it wasn’t well-publicized, which left Dryfhout and others, who found out about the hearing only after it had been held, feeling like their voices hadn’t been heard.

The lack of public participation is what really bothers Charles A. Platt, an architect and Cornish homeowner who sits on the Saint-Gaudens Memorial board of trustees.

“I don’t know what’s being proposed,” he said.

While project designs are posted on the DOT website and ribbons mark the trees that would be removed, Platt and Dryfhout both said there still is a great deal of confusion about the details.

“I’ve seen two different maps showing the removal of trees and they don’t seem to be exactly the same, so I’m not sure what trees are being removed,” Platt said. “They have been marked, but it’s difficult to see them from the car.”

Dryfhout said some of the ribbons are on branches that stand a good distance from the trunk, which makes it difficult to determine which trees are marked.

Steve Walasewicz, who has been facility manager for the site for 25 years, said that the majority of the trees in question are not actually white pines at all — depending on whether one counts a double-stemmed pine near the bottom of the hill as one or two trees, there are five or six white pines slated for removal, of which three or four are, in his estimation, over 100 years old.

Of the other trees, a 20-inch diameter basswood and a roughly 2-foot diameter sugar maple also are near that age range, with the remainder a mix of younger basswood, hemlock, white ash and black birch.

Dryfhout maintains that seven or eight of the trees set for removal are an estimated 150 years old.

The NHDOT website also describes a proposed guardrail that would replace the current cable-and-post system that runs along the old country road.

“My concern is the guardrail …, which I think is perfectly terrible and will change the feeling and nature of that entire stretch of the road,” Platt said.

An overview on the project website says the design of the guardrail, called “NU-Guard,” is in keeping with the look of guardrails on the Scenic Highway portion of Route 12A.

Rick Kendall, the current superintendent of the Saint-Gaudens site, said that while he had input into the parameters of the road project, he has not weighed in on whether the current DOT plan is acceptable.

Trees never came into the pre-design discussions, he said.

“We have been very specific about what we would like to see,” he said. “We don’t want the roadway to be widened. We don’t want to see the big shiny guardrails.”

Former state Sen. Peter Burling, D-Cornish, said he contacted the DOT and that officials have been receptive to the idea of holding another public hearing to clarify the plans and to get public input. No date has yet been set.

“There is, I think, little consensus in favor of cutting down the trees, and I’m not clear why they want to go ahead and do that,” Burling said. “The most important part is to let folks have a say and let them understand what’s going on.”

Tall Trees, High Emotions

Fights over how to manage New Hampshire’s native stock of white pines — topping out at more than 180 feet, making them the tallest species in the New England forest — have raged, off and on, for centuries.

“They’re our redwoods,” Dryfhout said. “And we should treat them like redwoods.”

A history of the town of Cornish written in 1910 demonstrates how integral the white pines were to the community’s first settlers, who “were attracted by these conditions of the forests. … Many of the trees were of immense size, especially the white pine.” It notes that fires including pine knots were prized for their brightness, while pine distaffs were used to hold wool for spinning, among many other uses.

But the settlers were not allowed unfettered access to the valuable tree, one of many grievances that fed anti-British sentiment.

Cornish’s original charter specified that “all white and other pine trees within the said Township fit for masting our Royal Navy be carefully preserved for that use, and none to be cut or felled without our Special License for so doing.”

This was carrying on a royal tradition established in 1691, when King William and Queen Mary of England asserted England’s right to the massive white pines, which were the only trees in the known world that could serve as one-piece masts for the navy. Like many royal edicts, the Mast Preservation clause drew ire from local colonists, in this case the sawmill owners and workers who derived their income from the white pines.

In April 1772, those tensions boiled over about 50 miles away from Cornish, where a group of 20 Weare, N.H., residents were immortalized as instigators of “The Pine Tree Riot,” in which they blackened their faces with soot and rushed the inn rooms of a sheriff and deputy who had come to town to enforce the Mast Preservation clause. The lawmen were badly beaten with tree switches and driven out of town. Eight men eventually were arrested, but a sympathetic judge gave them a light fine, according to an account of the riot by the New Hampshire Historical Society.

White pines already were integrated into the landscaping when Saint-Gaudens purchased the federal-style main house in 1885; many were preserved as he developed much of the land into gardens in which he displayed his sculptures. According to Dryfhout, Saint-Gaudens’ wife, Augusta, also went to bat for the property’s white pines around 1919, when electric lines were installed along Cornish’s roadways.

“She prevented the electric company from coming up the road, which is what they did everywhere else in the town,” Dryfhout said. “The people who lived above her on Dingleton Hill were annoyed because the electric wasn’t brought up until this was all hashed out.”

Eventually, the electric company agreed to establish a utility corridor that cannot be seen from the road, he said.

In late 2009, the white pines of Saint-Gaudens were at the center of another dispute, when the National Park Service cut down 20 tall white pines with the intent of restoring the same sweeping view of Mount Ascutney that would have been enjoyed during Saint-Gaudens’ life.

That argument didn’t sit well with many residents, including Dryfhout, who actively lobbied to prevent the agency from cutting down an additional seven trees.

Dealing with the question of whether to cut the seven trees was one of the first public decisions made by Kendall when he took the superintendent job in January 2010.

“The seven nearest the road were ultimately not cut down,” he said, noting that one of those seven was removed in 2012 after being struck by lightning.

History and Modernity

Kendall said he recognizes that the trees that line both sides of the 16-foot-wide road add to its sense of place.

“The approach to the historic site is a very important element to your visit,” he said. “You’re driving up through a large primeval forest with some large and some small trees in various states of forest succession. That feeling, that you’re leaving the open highway and the Connecticut River, you do feel like you’re coming into a specific place.”

The outcry over the proposed removal of what amounts to a very small proportion of the total number of trees along the road is a sign of the tension that exists between two human values — the desire to preserve history as it was, and the desire to take advantage of modern innovations, in this case, a state-of-the art road with improved drainage and drivability.

Burling, the former state senator, said he and others feel a real connection to that specific place, and the natural features that support it.

“Trees — how does one say this without being minimized as just a tree-hugger?” he asked. “These trees have been part of the experience of Saint-Gaudens for at least 60 years. I was 5 years old the first time I went up that hill.”

In recent writings about town history, he said, “I talked about my sense of joy at remembering how things looked the way they do now.”

But Kendall said the need to preserve that atmosphere has to be balanced with the road improvement project.

Of the trees, the project website says that three, including the double-stemmed white pine close to the intersection of Route 12A and Saint-Gaudens Road, should be removed because they are dead, an assertion that Dryfhout disputes.

Walasewicz said there is decay on the double-stemmed pine, but that the crowns are healthy. A third trunk from the same root system was removed a few years ago because of decay, he said.

The other trees are identified in the project description as being in conflict with drainage, offsets, and outlets; one is simply labeled as a “safety hazard.”

And while one of the points of contention is the value of the trees, another is the value of the road project.

Dryfhout said the road did well under his management, when projects were largely limited to the application of a fresh layer of asphalt every five years or so.

“For 90 years it’s been maintained by the state without any trouble, any difficulties. We never had any problem with that road,” he said. “I’m very surprised that this has suddenly become a big deal.”

Walasewicz said there is another way to look at it.

“Applying asphalt every few years is not a way to maintain a cost-effective road,” he said. “That was why the grant application was submitted, to look at a longer-term, more sustainable approach and have it built to more modern standards.”

But Dryfhout said that just because there are some advantages to a project doesn’t mean it’s worth spending $587,000 on it.

“Now, suddenly, because a large sum of money is being made available, a lot more is contemplated than needs to be done,” he said.

That plays into a broader concern about top-down government management of a local treasure.

Burling said he and others in the community still are stung by a federally managed transformation of another natural resource at the same location.

“I want to say this without sounding accusatory at any of the current folks,” Burling said, “but those of us who can remember what Blow-Me-Down Pond looked like before the government got hold of it in 1957 have reason for concern. Everything that’s marsh now was beautiful water. It was a big pond.”

Still, Burling said, he’s keeping an open mind until he learns all the details of what is proposed, and what the alternatives might be.

“If somebody wants to tell me that two or three trees or four of the trees have internal rot and will blow down in the next windstorm, then of course let’s be sensible about it,” he said. “But if the plan is ‘let’s cut down these 100-plus-year-old trees pretty much because we can,’ I think that’s a poor argument.”

Matt Hongoltz-Hetling can be reached at

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Digging it: Alexandria couple love their DIY pond

ALEXANDRIA — When they settled into their brick ranch home in 2007, Cathy and David Sharpe had dreams of installing a backyard pond.

But when the couple received an estimate of $26,000, they decided a do-it-yourself project was in order.

“We did it ourselves for $1,900,” Cathy said.

The Sharpes credit a four-hour DIY class at Cool Ponds, an Indianapolis-based pond design and installation company, with giving them the knowledge and tools they needed to build their own dream pond.

“Basically, you just start out with regular old ground, and then they show you step by step how to plan it out,” David said. “Then all the couples in the class work together as a team to dig it out and build a pond.”

The couple, who both work full time, broke ground on Father’s Day of 2008 and finished the pond by Labor Day that same year.

“It was nights and weekends. And a truckload of rocks at a time,” Cathy recalled. “I’d go down to Stiers (a local gravel pit) and get rocks, and bring them back home and unload them. And go back the next day and get another thousand pounds of rocks.”

The project, however, also had its share of challenges, according to David.

“During the course of digging it out, I discovered the former swimming pool that used to be here,” he said. “On one side, I started scraping metal. Turns out it was the old metal form for the swimming pool that the previous tenants had filled it in.”

The couple also discovered early on that digging the pond by hand was going to take much longer than they anticipated.

“We started out hand digging it and ended up renting an excavator,” David said. “It turned what would have been two more months of digging into about 2½ hours. We basically scooped it out and put dirt over to the side and that became the foundation for the waterfall and stream bed.”

In the center of the pond, a resin alligator keeps watch over the goldfish in the water and protects them from would-be predators.

“The alligator scares off the herons,” Cathy said with a laugh. “We’ve had him for four or five years now. Herons just fly on by — they never stop.”

The rest of the Sharpes’ yard is filled with interesting and unusual vintage items, including a gate from Cathy’s childhood (which now serves as a trellis for her clematis), a vintage sewing machine that she purchased for $5, wagon wheels, a large hay hook, an antique wagon and an old water sprinkler meter.

“I’ve collected antiques and junk since I was in my 20s,” said Cathy. “They auctioned off my grandma’s family farm, so I bought my first wagon wheel from the family farm, and it just kind of escalated from there.”

Cathy also credits her grandmother and her mother with passing down their love of gardening.

“I learned from my mom and my grandma,” she said. “My grandma always had beautiful gardens, and her flower decorations were in the 4-H fair – in the adult contest. So you always went to grandmas and played in her flowers.”

These days, the Sharpes’ 3-year-old grandson, Jacob Dawson, enjoys the outdoors with his grandparents, who baby-sit him on weekday evenings.

“I like the fishies,” said Jacob. “When I get in the pond with Papaw, the fishies don’t bite.”

Enjoying the fruits of their labor on cool summer evenings has been especially sweet for the Sharpes.

“The sounds of the pond have a real therapeutic effect when you’re coming home after a day at work, and you want to de-stress,” David said. “You come out here and just sit and listen to the water falling over the rocks. Throw in a few frogs and crickets, and that just adds to the symphony.”

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Garden Tips: Watch for destructive Japanese beetles in Northwest – Tri

It was never a matter of if the Japanese beetle would reach the Northwest, it was a matter of when.

That could be now. Numerous adult beetles have been trapped and found eating on roses and other plants in Portland, according to the Oregon Department of Agriculture (ODA). ODA says that this suggests “a breeding population of the non-native insect has been established.”

This is terrible news for gardeners and growers. A University of Kentucky publication says that “the Japanese beetle is probably the most devastating pest of urban landscape plants in the eastern United States.”

Japanese beetle-damaged plants emit volatile chemicals that bring more beetles to the party.

I am willing to bet that if you came to this area from the eastern part of the U.S., you already know too well why a Japanese beetle infestation is scary. As a pest, this pretty beetle packs a double whammy. Its grubs feed on grass roots and can be damaging to lawns. The extremely voracious adults are omnivorous, feeding on a variety of plant hosts, including roses, ornamentals, trees, shrubs, fruit and vegetables, often devouring the upper sides of plant foliage, leaving only the skeleton of veins and midribs behind.

The Japanese beetle is one of the scarab beetles and could be considered attractive if you like beetles. The adult beetle is almost a half-inch in length, with metallic copper wing covers and clubbed antennae. The head and thorax in front of the abdomen are metallic green. Along the sides of the abdomen are hairy patches that look like white spots.

Like so many insect pests, the Japanese beetle is an alien, coming here from Japan. It was first identified in the eastern U.S. in 1916, and it became established in all the states east of the Mississippi, except for Florida, by 1998.

Besides its rapacious appetite, this beetle’s propensity for aggregating on plants can lead to rapid and complete defoliation of a plant. Japanese beetle-damaged plants emit volatile chemicals that bring more beetles to the party. In addition, the unmated females emit a pheromone to attract more hungry beetles. Once done with one plant, they move onto another.

The Japanese beetle was first identified in the eastern U.S. in 1916, and it became established in all the states east of the Mississippi, except for Florida, by 1998.

Thankfully, there is only one generation of Japanese beetles a year, but with each adult female laying about 40 to 60 eggs, populations can build quickly. Control with pesticide applications is aimed at the adults on plants and their grubs in the soil. You may see Japanese beetle traps advertised for their control, but university research shows that the traps are effective in monitoring for the beetle’s presence, but not for control. In fact, the traps can result in more of the beetles finding your yard and causing damage.

Throughout the years, ODA has been working to contain and eradicate any Japanese beetle infestations. They believe that the origin of these infestations are air cargo carriers flying in through the Portland International Airport. ODA estimates that the infestation has been present for more than a year without detection. Right now, they are trying to pinpoint where the breeding population is so they can treat the infestation next year.

For us in Washington, it is good to know that the Washington State Department of Agriculture has been on the watch for the Japanese beetle and has been conducting trapping each year since the mid-1980s. So far, WSDA has not had to conduct eradication measures yet. I hope it stays that way.

Marianne C. Ophardt is a horticulturist for Washington State University Benton County Extension.

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Garden tips for September

With fall quickly approaching here is a short list of some Fall gardening tips.


Watch for fall specials at garden centers and nurseries since fall is a great time for planting many ornamentals.

Choose spring flowering bulbs as soon as available.

Plant cool-season annuals like pansies, ornamental cabbage or kale, snapdragons and dusty miller when temperatures begin to cool.

Watch for and control any late infestations of tree webworms.

Twig girdler insects should be controlled if large numbers of small branches of elms, pecans, or persimmons are uniformly girdled from the tree and fall to the ground.

Begin to reduce the amount of light on outside tropical houseplants by placing them under shade trees before bringing them indoors for the winter.


You have all of September to plant cool-season vegetables like spinach, leaf lettuce, mustard and radishes, and until the middle of September to plant rutabagas, Swiss chard, garlic and turnips.


Last nitrogen fertilizer application of the year on warm-season grasses should be applied no later than September 15. (HLA-6420)

Winter broadleaf weeds like dandelion will begin to emerge in late September, which is also the best time to control them with a 2, 4-D type herbicide.

If pre-emergent control of winter-annual weeds (henbit, chickweed, annual bluegrass, etc.) is desired in lawns, the application should be completed by the 2nd week of September. (HLA-6421) Note: Do not treat areas that will be seeded in the fall.

Continue bermuda grass spray program with glyphosate products for areas being converted over to tall fescue this fall. (HLA-6421)

Plan to seed bluegrass, fescue or rye grass as needed in shady areas in mid- to late September. Fall is the best time to establish cool-season lawns (HLA-6419).

White grub damage can become visible this month. Apply appropriate soil insecticide if white grubs are a problem (EPP-7306). Water product into soil.

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