Lifestyle
15 best native plants to grow in your yard if you also want fragrant bouquets
Attention, anyone who thinks native blooms are brilliant in the wild — or our yards — but don’t work in bouquets.
Boy, are we wrong.
This isn’t an invitation to trample wildflower fields to pick bouquets — our precious wildflowers need to stay unpicked so their seeds will produce blooms in the future — but it is notice that native plant gardeners don’t have to rely on grocery-store bouquets to grace our tables.
With the right preparation and care, you can grow and assemble stunning, long-lasting bouquets for your home while building habitat in your yard or patio, said Linda Prendergast, crew chief and lead designer for the California Botanic Garden’s floral volunteer group known as Native Designs.
Susan Spradley is surrounded with containers of hydrating yellow blooms for her sunny native plant bouquet.
(Dania Maxwell / Los Angeles Times)
Prendergast had a career working in flower shops and then wholesale nurseries when she was younger, and she still appreciates traditional ornamental bouquets, but over the years her environmental awareness has cooled her delight in traditional ornamentals.
Grocery store bouquets “are lovely and I buy them. But they have also been grown with lots of fertilizer and imported from South America. They’re flown in using lots of jet fuel that’s bad for our air,” she wrote in a text message.
The pink airy flowers of coral bells rise like clouds above the native plant’s bright green foliage. They thrive under oak trees and in other shady areas.
(Dania Maxwell / Los Angeles Times)
“By contrast, native flowers are lovely in your garden or flower beds; they generally use less water than other varieties and most importantly, they are food sources for pollinators. Our precious bees and butterflies rely on natives as a food source.”
So these days, Prendergast and her group of about 32 merry volunteers put their floral design skills to work arranging flowers cut from and for events at California Botanic Garden, the state’s largest botanic garden devoted to native plants.
After an afternoon watching Prendergast, Susan Spradley and Carol Petty create cheerfully gorgeous arrangements, I can personally vouch for the variety and beauty of their bouquets, as well as their longevity. Petty’s graceful arrangement of coral bells (Heuchera sanguinea ‘Coral Bells’), white sage (Salvia apiana), fragrant pitcher sage (Lepechinia fragrans), hollyleaf cherry (Prunus ilicifolia) and sugar bush (Rhus ovata) still looked fresh and lovely on my dining room table a week after it was made.
A bouquet by Carol Petty of white sage, coral bells, Catalina currant, sugar bush, hollyleaf cherry and fragrant pitcher sage. (Dania Maxwell/Los Angeles Times)
Petty’s native plant arrangement, still looking fresh a week later. (Jeannette Marantos/Los Angeles Times)
There are a few important tricks for creating native bouquets, Prendergast said.
- Cut your flowers and foliage early in the day, and immediately plunge the cuttings into warm — not hot — water.
- Look for interesting branches and berries as well as flowers to add color and fullness to your display.
- Don’t snip helter skelter. Make sure you cut your branches near the base of the plant to maintain its shape and integrity.
- Leave the cut flowers and foliage in warm water mixed with a floral food (Prendergast uses a product called FloraLife Crystal Clear available in packets or bulk) for at least 12 to 24 hours.
- If you use white sage foliage, hydrate it in a separate bucket since the plant gives off an oil that is unpleasant for the other flowers.
- Most native plants are heavy drinkers once they’re cut, so they’ll do better in a vase instead of floral foam. And some, like California poppies, don’t have stems hard enough to push into foam and get the hydration they need, she said.
- If you must use a shallow container to arrange your flowers, try using a crumpled ball of chicken wire to hold the stems instead of foam blocks. Those foam blocks grow fungus so they shouldn’t get reused and they can’t be recycled, Prendergast said, so they just add to landfill waste. Chicken wire, however, can be washed and reused. Just be sure your foliage covers the base so it doesn’t show.
- Prendergast also recommends using waterproof floral tape in green or clear to create a grid over the top of your container to further support your flowers and foliage and ensure your design stays in place.
- Snip the ends of your stems as you add them to your container to improve water absorption.
- Some branches are heavy, so make sure you have enough weight in your container, like pebbles or glass rocks, to keep it from tipping over.
- Start with the largest or showiest flowers first and add from there. Keep turning the container to make sure you’re filling in gaps.
- Change the water in your display daily to keep the flowers fresh.
Pick your native flowers early in the morning and immediately put them in warm water with floral food to let them hydrate for 12 to 24 hours before making your bouquet.
(Dania Maxwell / Los Angeles Times)
Not all native flowers and foliage are great in bouquets, Prendergast said. The silvery green foliage of white sage makes for great accents in bouquets during cooler winter months, but come spring, when the plant is starting to bloom, the leaves tend to soften up and go limp, she said, making them sad choices for arrangements.
Ceanothus blooms also don’t last much longer than a day once they’re cut, and manzanitas, large shrubs with reddish limbs and dainty bell-shaped flowers, “are just too precious” to potentially damage by cutting, she said. The slow-growing trees are increasingly hard to find in the wild because of development, and at least two varieties have been listed as endangered in California, presidio manzanita (Arctostaphylos montana ssp. ravenii) and pallid manzanita (Arctostaphylos pallida).
But there are lots of other choices for flowers, foliage, berries and sculptural stems in a huge number of colors and shapes. Here are some of Prendergast’s top picks for native plants that work in home gardens and bouquets:
Apricot mallow.
(Jeannette Marantos / Los Angeles Times)
Apricot mallow (Sphaeralcea ambigua var. rugosa) and its cultivars have pink- to apricot-colored bowl-shaped flowers on tall stalks that contrast nicely with the silvery green foliage.
Red-flowered buckwheat.
(Marie Astrid Gonzalez)
Buckwheats (Eriogonums) are varied in color and shape, but Prendergast says her favorites are St. Catherine’s lace (Eriogonum giganteum) with bouquet-like sprays of white to pinkish-white flowers (a favorite with pollinators too, but it can get very big, up to 9 feet tall), red-flowered buckwheat (Eriogonum grande var. rubescens), a low-growing plant with red pom-pom type blooms on tall stems, and sulphur buckwheat (Eriogonum umbellatum) with tall, pom-pom blooms in yellow or white.
California buttercups.
(Dania Maxwell / Los Angeles Times)
California buttercup (Ranunculus californicus) is a cheerful, reseeding addition to any garden with brilliant yellow flowers and bright green foliage.
Coral bells (Heuchera sanguinea ‘Coral Bells’).
(Dania Maxwell / Los Angeles Times)
Coral bells (Heuchera sanguinea ‘Coral Bells’) has spring blooms that look like tiny clouds of exquisite pink fairy flowers, a perfect centerpiece flower against dark green foliage. These are great plants to add to shady areas in your yard.
Coulter’s matilija poppy.
(Anne Cusack / Los Angeles Times)
Coulter’s matilija poppy (Romneya coulteri) is sometimes known as the “fried egg plant” for its huge white crepe-papery petals and yolk-yellow center. It makes an excellent cut flower, Prendergast says, but this is another native plant that doesn’t always play well with others. Once established it can take over a garden space. This is a great plant for slopes, because it grows exuberantly tall and wide, with lots of showstopping blooms.
Desert marigold.
(Dania Maxwell / Los Angeles Times)
Desert marigold, a.k.a. wild marigold (Baileya multiradiata), are golden-yellow open-faced wildflowers with bare stems that just beg to be picked. These also reseed in sunny, well-drained garden spots.
Fragrant pitcher sage.
(Dania Maxwell / Los Angeles Times)
Fragrant pitcher sage (Lepechinia fragrans) definitely lives up to its name, with soft gray-green foliage, twisty stems and tubular pale violet flowers that actually look more blue than purple.
Hollyleaf cherry’s glossy green, serrated leaves add interest to native plant bouquets.
(Dania Maxwell / Los Angeles Times)
Hollyleaf cherry (Prunus ilicifolia) has underwhelming sprays of white flowers; it’s the deep green, serrated foliage that you’re after, a dramatic filler against the lighter-colored greens of so many other native plants.
Sanddune wallflowers.
(Dania Maxwell / Los Angeles Times)
Sanddune wallflower (Erysimum capitatum) grows in clusters of sunny yellow or tangerine-colored flowers that look like small bouquets on straight stalks about a foot tall. Some wallflowers also have red, white or purple blooms, and the plants will reseed to grow back in the spring.
Sugar bush
(Dania Maxwell / Los Angeles Times)
Sugar bush (Rhus ovata) comes with a proviso: It is a dramatic, fast-growing evergreen shrub/small tree with glossy green leaves, showy red blooms and berries that birds love. But this plant gets big, over 10 feet wide and tall, so be sure you put it in a spot where it won’t crowd out other plants. Calscape notes: “Sugar Bush hybridizes often with Lemonade Berry (Rhus integrifolia). A good rule of thumb for landscaping applications is: Within 5-10 miles of the coast, Lemonade Berry is a better choice. More inland, Sugar Bush does better.”
White sage.
(Dania Maxwell / Los Angeles Times)
White sage (Salvia apiana) foliage (only in cooler months when the leaves stay firm). White sage flowers are tall and dramatic, so be sure you have a container large enough to hold them.
Woolly bluecurls.
(Dania Maxwell / Los Angeles Times)
Woolly bluecurls (Trichostema lanatum) is a finicky native plant that needs regular water to get established and then none to stay alive, but it pays off beautifully with deep purple stalks of flowers and a swoon-worthy sweet fragrance beloved by pollinators and every person I’ve ever known. Definitely worth the effort.
There are plenty more choices, and you can get a good idea of the diversity in the beautiful book of native floral arrangements that Prendergast helped create, “California in a Vase,” available on Amazon for $50 or at the California Botanic Garden poppy shop window in the admissions kiosk for $30 (but only if purchased in person).
If you want more tips, California Botanic Garden is offering a Wildflower Floral Design class on April 21 from 1 to 3 p.m. that includes all materials for $70 ($60 for members) taught by garden horticulturist Jennifer Chebahtah. And you can apply to become a member of the Native Designs group by applying to become a garden volunteer.
Lifestyle
Richard Pryor’s daughter studies the N-word — a word he used, then disavowed
Comedian Richard Pryor performs on stage at the Los Angeles Hollywood Bowl on Sept. 19, 1977.
Lennox McLendon/Associated Press
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Lennox McLendon/Associated Press
Historian Elizabeth Stordeur Pryor has spent much of her career tracing the N-word through slavery, Jim Crow, the civil rights movement and hip-hop. But what she didn’t tell her audiences was that her father, Richard Pryor, was the comedian who put the word at the center of American comedy in the 1970s.
“I was a scholar of the N-word — and so was he,” Pryor says of her father.
As the child of a white mother and a Black father, Pryor describes her own relationship to the N-word as a “super complicated” one. She remembers teaching a college class in which one of her white students used the word while quoting Blazing Saddles — a film her father co-wrote. Pryor froze: She had vowed never to use the word in her classroom, but suddenly there it was.

“I [was] just kind of like like a deer in the headlights,” Pryor says. “I was really worried about the Black students. … Something I had never considered when I thought about teaching is what happens when the racism that we study and we teach comes in? … How do I work through that in the moment?”
Pryor’s new book, Something We Said: Richard Pryor, A Notorious Word, and Me, is part memoir and part history of one of the most divisive words in the English language. Late in his career, after spending time in Kenya, Richard Pryor vowed never to use the word again.
“One of the things I admire about that moment when he disavows the word is he said, ‘This is for me. I’m not telling you what to do,’” she says. “There is a piece [of him] where he understood that the word had a function in Black culture. He does talk about, though, as an artist, losing control of what the word was doing.”
Interview highlights
On her father’s use of the N-word
[In] one of the first meaningful conversations I ever had with [my dad] as a little girl, he told me, “Don’t let nobody ever call you that.” And then he used it, and then his friends used it. …
I think it’s really important to emphasize that when I’m saying that he used the word that it was in the subversive way, that it was the language of protest, and that he was building on a Black tradition of protest, that Black people had used this word kind of as a slap in the face to white racism. You know, “We know how to take our punches and our knocks, and we’re not afraid of this thing that you’re trying to demean us as.” And so bringing that use, the way that Black people perceived of the N-word, onto stage was really powerful in the 1970s.
On talking about the N-word with her college students
Teaching the word is still incredibly difficult. I have to say, the conversations are always hard, but I feel like it’s important because my students walk away knowing that this is not a conversation, like I said, about free speech. It’s really about how how we interact, how we want to bring as many people as we can to the table. And if we do that, that means that we’re going to be thinking about who we’re sitting at the table with and how things will impact them.
On meeting her dad for the first time when she was 6
We were in Newark, New Jersey, … and my mom is acting kind of … nervous. And we knocked on the door of a hotel room, and he opened in a towel. And I was like, this is my father. Like, not only do I get a father, but I get this guy. What? I just felt like I won. I loved him immediately. Instantly. His eyes were so warm, and he was so handsome. And I just fell head over heels. … I saw my face [in his face]. … He created a bridge immediately between us and invited me to cross over.
On vying for her father’s attention as a kid

I wanted to be smart enough and creative enough, and I would try to show off. I did theater. I did improv. He would come to my plays and come to my performances. [I] tried to get intellectual with him, like when I was in college. And I had a Black awakening and he basically, like, sent me some stuff so I could awake Blackly, I guess. … He sent me the documentary on Malcolm X that had been filmed, I think, in 1972. And then he sent me The Last Poets’ [song] … “N-words are Scared of Revolution,” to listen to. And I did. I felt like he was inviting me into a secret world, and I wanted to go there. …
At the end of his life, when he couldn’t speak anymore, I would go over and read from the narrative of Frederick Douglass to him, and I could see that he was feeling proud … of being read Frederick Douglass by me.
On Richard Pryor’s upbringing with a sex worker mother and the first laugh that changed everything.
Oh, my dad. He told me a story about being 5 years old and, I don’t know why, but he’s wearing a little cowboy suit, and he was in front of the house and all the people were there, his grandmother, all the sex workers, and his father and his uncle. And he slipped in dog poop and they just start cracking up. And so he got up and he made himself slip in it again, and they couldn’t stop laughing. And so he did it again and again. And it’s pretty painful to think of the lengths that he felt that he needed to go to get their adoration and attention.
Anna Bauman and Thea Chaloner produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the web.
Lifestyle
Hoover Dam, challenged by drought, now wears a U.S. flag the size of a football field
Nope, it’s not AI. It’s just a really big flag with bright lights, draped on Hoover Dam for the next several weeks.
As a display to mark the 250th anniversary of U.S. independence, the states of Nevada and Arizona and the federal Bureau of Reclamation teamed up to hang and illuminate an enormous American flag on the dam on Memorial Day.
The display, scheduled to be in place through July 4, is visible to anyone crossing between Arizona and Nevada on U.S. Route 93, which goes across the top of the dam. The flag is 150 feet tall and 300 feet long, spread on the south-facing side of the dam and lit by 550 LED lights (powered by dam-generated electricity).
A wider view of the illuminated U.S. flag at Hoover Dam.
(Michael Bittle)
It’s a spectacle that comes at a challenging moment for Hoover Dam, as experts warn that Lake Mead’s dwindling water levels could threaten the dam’s ability to generate hydropower. “Slap a flag on it, that’ll fix it,” suggested one of several Reddit commenters who were moved to snarkiness by the flag image.
The dam, a frequent day-trip destination from Las Vegas, stands 35 miles east of the Las Vegas Strip, about 295 miles northeast of Los Angeles. The site features a visitor center and overlook, and guided and self-guided tours.
Installation of the display involved dozens of riggers and two cranes. The flag, which is roughly the dimensions of a football field, has been previously used for celebrations at Indianapolis Colts and Las Vegas Raiders football games.
Within two days after it was hung, gusts of wind up to 50 mph prompted organizers to lower the flag last Wednesday as the National Weather Service declared a wind advisory for the area. Organizers raised the flag again late Friday.
Strong winds are not uncommon in the area. Organizers said weather “may periodically require the flag to be temporarily lowered.” Updates on the flag’s status can be found on the Hoover Dam Facebook page.
The Las Vegas Convention and Visitors Authority paid for the display. A spokeswoman said the cost, including flag, production, installation costs and six weeks of lighting, will be between $750,000 and $1 million.
The dam, a five-year construction job that was completed in 1936 during the depths of the Great Depression, is often hailed as one of the nation’s most impressive works of infrastructure. Though this is not the first time a flag has been draped on it, organizers have called the display “the most ambitious long-duration installation ever attempted at Hoover Dam.”
Lifestyle
Is your neighborhood riddled with dog poop? : It’s Been a Minute
Is dog poop a scourge in your area?
borisz/simplehappyart/Getty Images/Photo Illustration by NPR
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borisz/simplehappyart/Getty Images/Photo Illustration by NPR
Left-behind dog poop is annoying. But it’s also a sign of anti-sociality.
Spotting unidentified poop outside is an unfortunate and unavoidable part of being alive, but in some cities, there’s a scourge being left behind by some people’s four-legged friends. Manuela López-Restrepo, writer and producer at All Things Considered, couldn’t stop noticing it – and she wondered if it might be a sign of something deeper going on. Paired with dogs popping up in places they maybe shouldn’t be – she wondered: can dogs be a vector for anti-social behavior? And what would it look like for people – and their pets – to share space more harmoniously?
Manuela shares her reporting with Brittany and they get deeper into the story of the dookie.
For more episodes about culture and how we share public space, check out:
The Coldplay kiss cam & moral surveillance
Crime is down. Why don’t people feel safe?
In search of a safe place to cry…
Support Public Media. Join NPR Plus.
Follow Brittany on Instagram: @bmluse
For handpicked podcast recommendations every week, subscribe to NPR’s Pod Club newsletter at npr.org/podclub.
This episode was concepted and reported by Manuela López-Restrepo. It was produced by Liam McBain. It was edited by Neena Pathak. We had engineering support from David Greenburg. Our Supervising Producer is Cher Vincent. Our Executive Producer is Barton Girdwood. Our VP of Programming is Yolanda Sangweni.
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