SKU: 93434530325
over-seeding lawn with wildflowers

over-seeding lawn with wildflowers Overseeding Mix – Add Wildflowers to Existing Grass Areas

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Description

over-seeding lawn with wildflowers Overseeding Mix – Add Wildflowers to Existing Grass AreasA response to overgrown grass or neglected areas that could use some native wildflowers A system for increasing pollinator and wildlife value in existing grasslands. Lots of folks contact us wondering what to do with overgrown grassy areas that lack native plants. Often this includes areas that are too big, too difficult, or not economically feasible to completely clear of existing vegetation and start from scratch. After several years of testing at

A response to overgrown grass or neglected areas that could use some native wildflowers...A system for increasing pollinator and wildlife value in existing grasslands.

Lots of folks contact us wondering what to do with overgrown grassy areas that lack native plants. Often this includes areas that are too big, too difficult, or not economically feasible to completely clear of existing vegetation and start from scratch.

After several years of testing at multiple sites across the Northwest, we formulated a mix of just wildflowers – specifically the wildflowers we’ve successfully overseeded into existing grass and thatch.

This is a low-cost and low-input option for adding more biological richness to areas such as:

  • Old fields
  • Roadside ditches and embankments
  • Vacant lots
  • Post-industrial sites
  • Marginal areas previously disturbed by encampments, logging, or construction
  • Retired hayfields and pastures (note: this isn’t a mix for livestock)
  • Abandoned or overgrown lawns

For best success, and for accurate expectations, please note the following:

1. This is a mix for full sun, or a mix of full sun and partial/dappled shade.

2. No inert material needs to be added before sowing. These are relatively dense, heavy seeds that can work their way down through some thatch to reach and settle upon the soil surface.

3. Progress with overseeding wildflowers into grassy areas can be slow. We recommend repeating the process annually, or at least every few years, if possible. This, combined with optimal installation and management (see below) can slowly change the plant community, adding color, diversity, and biological richness.

4. Overseeding into diverse grass populations (e.g. mixtures of timothy, orchard grass, lawn fescues, sweet vernal grass, etc.) will typically result in more success than overseeding solid monocultures of invasive grasses (e.g. reed canary grass or rat tail fescue).

Installation and Management: Seed should be hand-scattered or mechanically broadcast over the existing grass sward in late summer through early winter.

Initial Site Preparation may consist of the following approaches:

1. OKAY: Seed can be simply scattered into existing grass in late summer. This approach will work best with repeated annual overseeding

2. BETTER: Mow the site with a thatching lawn mower blade in mid-summer to finely chop-up the clippings. Repeated mowing at the lowest possible height is ideal to both break down the clippings and thatch as much as possible, and to open up more bare ground between the existing grass. Then, in late-summer, the site can be overseeded.

3. BEST: Mow the site as low as possible in early fall with a bagging mower, or cut the field for hay, and remove the bagged clippings or hay bales to compost them away from the meadow. Then, overseed the area before significant grass re-growth occurs.

Following the initial first-year seeding, you should perform active ongoing-management of the meadow for best performance:

1. OKAY: Actively watch for and remove aggressive weed invaders such as Canada thistle and blackberry. Continue to overseed the meadow in late summer every year if possible, or at least every few years. Consider adding yellow rattle at a rate of 1-2 packets per 100-sqft to further reduce grass vigor and increase wildflowers.

2. BETTER: Actively watch for and remove aggressive weed invaders such as Canada thistle and blackberry. Mow the site with a thatching lawn mower blade in early fall to finely chop-up the clippings. Repeated mowing at the lowest possible height is ideal to both break down the clippings and thatch as much as possible, and to open up more bare ground between the existing grass. Continue to overseed the meadow immediately after mowing every year if possible, or at least every few years. Consider adding yellow rattle at a rate of 1-2 packets per 100-sqft to further reduce grass vigor and increase wildflowers.

3. BEST: Actively watch for and remove aggressive weed invaders such as Canada thistle and blackberry. Mow the site as low as possible in early fall with a bagging mower, or cut the field for hay, and remove the bagged clippings or hay bales to compost them away from the meadow (composting will allow any viable insect eggs or larva to emerge). Continue to overseed the meadow immediately after mowing every year if possible, or at least every few years. Consider adding yellow rattle at a rate of 1-2 packets per 100-sqft to further reduce grass vigor and increase wildflowers.

A Note on Expectations: Neglected and overgrown grassy areas may have decades of dormant viable grass and weed seed in the soil (hundreds of pounds per acre). Reintroducing native wildflowers into such spaces is a process, not a magic switch. The more active weeding, annual mowing, and overseeding invested in such sites, the more success you will have. Although results can take several years to become increasingly visible – with active weeding, annual mowing, and late season overseeding – most grasslands can be improved.

Seed Mix Contents:

Annual Wildflowers: Farewell to Spring (Clarkia amoena), Spanish Clover (Acmispon americanus), Foothill Clover (Trifolium ciliolatum), White Meadowfoam (Limnanthes alba)

Perennial Wildflowers: Western Yarrow (Achillea millefolium), Great Camas (Camassia leichtlinii), Common Camas (Camassia quamash), Blue Eyed Grass (Sisyrinchium idahoensis), Big Leaf Lupine (Lupinus polyphyllus), Riverbank Lupine (Lupinus rivularis), Selfheal (Prunella vulgaris), American Vetch (Vicia americana), Oregon Sunshine (Eriophyllum lanatum)

Quantity: 1 lb. (enough for 1000 square feet, formulated at 80-seeds per square foot).

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SKU: 93434530325

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4.9 ★★★★★
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Lana
Houston, US
★★★★★ 5
Good
Good
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Reviewed in the United States on January 22, 2026
D
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dra
Lowell, US
★★★★★ 5
Fractured pop art masterpiece
Walker (Lee Marvin) and Mal Reese (John Vernon) stage a robbery, stealing a bag of cash from some crooks conducting a delivery by helicopter in deserted Alcatraz. Reese double crosses Walker and leaves him for dead, taking off with the cash and Walker's wife. Walker survives, escapes from the island, and comes after Reese, and all the rest of his criminal organisation, with the mantra, "I want my $93,000." On this third or fourth viewing, I was struck less by what an exemplary action film this is (Marvin, the hardest man in the history of the movies, was at least as mean and relentless in The Killers), and more by how deeply artiness is infused into its structure and design. The recurrent flashing back and forward in time, especially at the start between the planning - not in the traditional meticulous heist film set up, just a series of fractured, barely linked brief meetings and conversations - and the robbery, but also Walker's thoughts returning to his betrayal, feed the predominant critical interpretation that Walker was fatally wounded on Alcatraz, and the whole film is his trying to process this and his fantasy of revenge. Boorman addresses this directly in the commentary, to the extent that he refuses to commit and says it's intended to be ambiguous. I'm now firmly in the dying-flashback camp, because of Walker's almost magical powers. (On reflection, it's like the question of whether Deckard is a replicant - you can enjoy debating it and looking for clues, but in the end the answer is yes.) He appears in new scenes and locations with no evidence of having travelled, and generally in a spiffy new outfit (more of this later) despite carrying nothing but his revolver, and, particularly in the central sequence, he evades being apprehended either by coincidence (the lift he's in opens and closes while the baddies waiting for the same lift are distracted by a commotion) or by the sheer application of cool (waiting immobile but scarcely invisible in an underground car park while his pursuer is gunned down by police). He also has an advisor/mentor, played by Keenan Wynn, who pops up in scenes like a cartoon character (he looks like a sort of dome shaped, bristle headed man in a suit who might appear in Ren and Stimpy) and gives Walker his next mission, while the two of them assiduously avoid eye contact as if one or both aren't really there. From Walker's re-emergence in the first of a series of natty suits, Point Blank is constructed as a series of set pieces. The first is the oddest, continuing the flashbacks and playing with chronology. Walker is seen striding intently down a corridor, and we hear the sound of his footsteps over a series of scenes of his meeting his wife, and the two of them sharing innocent good times with Reese. He confronts his wife, fires six shots into her bed before realising Reese isn't there. A scene later, she's dead after an apparent overdose. A scene after that, the body is gone, the apartment is bare, and Walker has boarded himself inside. Did Walker even see his wife? Had she died already? A messenger arrives from whom Walker extracts a name, and he's off chasing the next link. Walker meets care dealer Big John, whose yard has enormous signs in a jazzy '50s font. He asks for a test drive, buckles his seatbelt, and smashes the car between pillars (c.f. The Driver) until John spills the next name. The most self-consciously art-directed scene follows, in which Walker visits a nightclub which features both a bikini-clad go-go dancer and a trio playing something between jazz and James Brown. Tipped off by a flirtatious waitress that he's being followed, he ducks behind the stage, and fights two baddies while giant faces are projected on a huge screen behind him. In a moment that suggests Tarantino watched this while writing Inglourious Basterds, Walker pulls down a rack of celluloid canisters to trap one pursuer, and then returns things to some kind of action movie orthodoxy by subduing the other one with a haymaker to the groin. In the centrepiece, Walker meets his sister-in-law Chris (Angie Dickinson). Grief and his mission of revenge don't mean he misses the chance to share her bed, and emerge, manhood serenely unthreatened, in her borrowed yellow shortie robe. The colour scheme gets turned up to 11 at this stage, with Walker in a mustard shirt-sports jacket combo (his outfits get truly creative whenever he's bedded Angie - later, he sports a shirt somewhere between salmon and ruby grapefruit - which I guess is the wardrobe equivalent of Joseph Gordon Levitt's post-coital dance routine in (500) Days of Summer), Angie in a rockin' yellow shift dress and matching '60s mid-length coat (let down soon after by wearing something striped like a bee), and Reese in a light tan, crushed velour t-shirt that might be the least flattering male garment in cinema until Borat's mankini. Walker even finds a sightseeing telescope painted lemon yellow, which he casually dislocates from its moorings to scope out Reese's penthouse lair. Once Reese is dealt with, the movie shifts into an early example of crime-as-big-business. Reese's boss is Carter, whose sleek Mad Men-style office and threads are matched by his resemblance to that series' Ted. According to IMDb, Lloyd Bochner, who plays Carter, was doing voice-over work from age eleven, and between him, Vernon's baritone (you know how it sounds - like Dean Wormer: "Fat, drunk and stupid is no way to go through life, son."), and Marvin's basso profundo, there's a meeting of male voices unmatched until, say, Brideshead Revisited. Around this point the architecture of LA attracts more and more focus, both modernist glass towers and the concrete culvert of the LA River, where a sniper lurks who might have inspired the climactic shooter in Get Carter. The commentary is conducted as a dialogue between Boorman and Soderbergh, who, if you've seen this, early Nic Roeg (Performance and Don't Look Now), and were already acquainted with the colour yellow, seems less original than he otherwise might. He has the decency to open by talking about how many times he's stolen from Point Blank. He's not the only one though. Point Blank deconstructs and toys with the action film as knowingly as anything in the 45+ years since, up to and including Archer and the entire oeuvre of Shane Black. Just when it's in danger of becoming too clever to be satisfying as a genre piece, it gets your attention with a pistol whipping, a punch to the groin, or the rarely-shown actual end result of the villain-takes-a-long-fall thing. And of course there's Marvin, who, whether dressed like a dandy, wearing a robe, or looking baffled when the next corporate criminal explains that they just don't have $93,000 to hand over, can't be beat. Seriously, you're not obliged to love it, but you have to see it at least once.
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Reviewed in the United States on May 3, 2014
J
Verified Purchase
J. H. Haley
Fort Morgan, US
★★★★★ 4
Lee Marvin's best
Finally it's in dvd. Been looking for it for years. Point Blank is Lee Marvin's best movie, the best character for him, and has his best tag line. I'll leave that for you to find. (It has to with seat belts.) The movie is aptly named. The plot is steam-roller direct, but the director uses some arty time-lapse devices that either distract by conflicting with the directness of the character and the plot, or enhance by providing depth and interest, I can't decide. But they do jarr a little and seem dated. I suppose I do like the uniqueness they add. It's a really good Lee Marvin movie, and Angie Dickinson to boot. Who remembers her answer when Johnny Carson asked her whether she dressed to please herself or others? Memorable.
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Reviewed in the United States on September 25, 2007
M
Verified Purchase
mojo_navigator
Louisville, US
★★★★★ 5
Excellent Blu-Ray Transfer - Big Improvement to the DVD
I've been a big fan of this movie for many years, long before the advent of DVD let alone Blu-Ray. I used to go and see it at the repertory cinema often - the first time, I was stunned by the quasi-hallucinatory cinematography of it. A totally unique film that's never been replicated before or since (although The Limey was a good attempt) Frankly the story is incidental and not worth summarising or even paying much attention to. The cinematic style of it is what makes it so riveting both then and now - an excellent psychedelic time-capsule of late `60s LA punctuated by stunning performances from the likes of Marvin, Dickinson and others. The DVD was a huge let-down when released. Despite the accolades that it had at the time, it had a "watery" non-filmic quality which made it dull and tiresome to watch even once. Without capturing the garish color and mind-bending trippiness of the film, you were reduced to following the plot which, like I said, is the least interesting aspect of it. The Blu-Ray is MILES superior to the DVD. The integrity of every component in this movie that I've discussed above is perfectly captured; the emotional power of it is all there in bucketloads. The colors are strong and vivid and in true Blu-ray style you notice subtleties that you hadn't noticed before (e.g. the green chairs in the corporate offices, Angie Dickinson's expression after the "what's my last name" exchange). The overall quality is very filmic (no DNR etc) and good grain where appropriate. It looks like a strong 35 mm print that has been run a few times but has plenty of life left. So no Criterion day-it-was-released look but more than satisfactory. Ideally, I would like Criterion to get hold of this as I think they would clearly be able to make an improvement but this is a minor quibble. For fans of `60s cinema and experimental film-making, this Blu-Ray edition will thoroughly satisfy. I no longer feel the need to see this in a movie house anymore unless there's a full restoration of the original 35mm print (which does happen from time to time)
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Reviewed in the United States on September 26, 2014
K
Verified Purchase
KEITH
Chelsea, US
★★★★★ 5
Displeasure And Distance
The movie 'Point Blank' is like staring at a visual of Alcatraz prison from the opposite shore. Meaning accumulates over landmarks when we are suspicious about the details. On such a sound the channel of moving water has a stationary dock. A metal walkway connector bridge glows in unnatural radiances; the sun seems set on it, at dusk. These sea shore implements, at Alcatraz or at another bay denote civility and schedules of operation. When money and it's acquisition exist in our brains as enticements the places become spectrums with loose enthusiasms and burnished red-glows. Walker(Lee Marvin) the anti-hero of the movie 'Point Blank' is a tall, laconic, dark-suited figure. Walker's parted white hair gets swept up in the wind, unstraightened, but his bushy eyebrows are solid supports of displeasure and distance. 'Point Blank' directed by John Boorman is a 1967 classic crime film and is the story of a solo struggle-Walker's-to reconnect and recover the money that was stolen from him by his ex-partner Mal Reese(John Vernon). Walker importunes abandoned places, like an Alcatraz prison cell with questions: "How did it happen?" He is ruminating over incidents that are seen in flashback entries, but these brief remonstrance are also plot points on a scheme of surreal adventuring. Lynne(Sharon Acker), Walker's wife, has reproachments about herself, her 'past', but the enviable story is told. Lynne's monotonous sentiments recall a walk on the pier in the rain, with herself and Walker in mild drunkeness. Lynne's voice is synthesized to a soft, dreamy intercession; another vision from Walker's life, also an evocative impression of a stoic wanderer's accentuated provocateur encounters. In his film direction Boorman takes the novel "The Hunter" written by Donald Westlake and gives weight to a story about the cavorting of a slick, popular, caper anti-hero named Parker (From "The Hunter" , also other serial books written by Hunter under pseudonyms like Richard Stark). This story is recreated by Boorman for Parker of the novel and his hyperbolic lurid situations. 'Point Blank' invests visuals with sensual revelations of mystery. The breaths of relaxed reflection give toxicity to moods and the imagination has righteous experience of titillation. The viewer is invited to understand the whisperings of breezes brushing against one another at random convexes-these are soft exposing indescrepancies. At a reunion, another recounting of Walker being hailed over by Mal Reese is one twist. At another rally, in a room in San Francisco, that is similar, Walker warns his target bluntly: "If you don't, I'll kill you." There is an abrupt appearance, also in a semi-populated venue, of assistance made towards Walker. This inviting frenemy says: "If you're looking for Carter, I may be able to help you." This is Yost played by Keenan Wyn. The themes of thrifty fantasy contrive to bounce off Walker. In sunlit rooms and concrete runs ambush attacks set by Walker realize glib confrontations. One such scene involves Brewster(Carroll O'Connor) in an amorous exchange with Walker that suggests that the veritable energies of excitement between Walker and Brewster were procured and transcribed for 'Point Blank' from other products of fictitious dealings. 'Point Blank' co-stars Angie Dickinson as Chris and Lloyd Bochner as Frederick Carter.
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Reviewed in the United States on July 17, 2025

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