Washington bans sale of a common plant, deems it noxious weed
The sale of a common plant will soon be illegal in Washington.
Washington added Common (English) Ivy and Atlantic/Boston Ivy to its list of noxious weeds, which prohibits the sale and distribution of the plants, according to the Washington State Department of Agriculture's (WSDA) website.
The weed threatens trees by taking away sunlight, Susan Hutton, executive director of the Whatcom Million Trees Project, told The Bellingham Herald.
'English ivy is kind of an equal opportunity creeper,' Hutton said, according to the media outlet. 'It will come to a tree and it will start to climb it, and as it climbs the tree, it starts to compete with the tree's leaves for sunlight, and in the process, it gradually weakens the tree. Once ivy gets up into the crown of a tree, it's almost certain to kill the tree in a short period of time.'
Ivy also increases the risk of trees falling in storms, as the vines add extra weight, King County stated on its website.
Common and Atlantic Ivy can outgrow native plants on the forest floor, shrub layer, and canopy.
'When ivy takes over, it reduces animal foraging habitat,' King County wrote on its website. 'It makes it difficult for understory plants to grow and kills understory and overstory trees by shading them out.'
The sap of ivy stems can also cause skin irritation for some people. Although the plant is quite a nuisance, it stemmed an idea to solve another annoying issue.
A few years ago, former KIRO Newsradio host Dave Ross had the idea to use ivy to prevent graffiti.
'I noticed that along I-5 downtown, the areas with no graffiti have one thing in common: ivy. Ivy has spilled over the top of the retaining wall! Vandals want a clear canvas, and the ivy ruins that. So what we need is to cover everything with ivy,' Ross wrote on MyNorthwest.
The idea stuck with KIRO Newsradio Traffic Reporter Chris Sullivan, who brought it to the Washington State Department of Transportation (WSDOT) last year.
He found out the City of Tacoma tried installing fake ivy in a handful of spots to combat graffiti.
'We had what we call the panels, which are a one-by-one foot panel of ivy, and then we have individual strands of it as well,' Rae Bailey, a Public Works Division Manager in Tacoma, said. 'We tried both of them in various areas throughout the city to mixed reviews.'
Unfortunately, the panels didn't work well, but the individual strands of the fake plant did.
'We've had a couple of the strand areas get tagged in the last year or two, but for the most part, everything that we put up by the strands is doing its job,' Bailey said.
Tacoma was planning to continue the fake ivy project, but then the pandemic hit, and it was no longer a top priority. The city was looking to start the project again, but the vendor went out of business, and unfortunately, the material was too expensive to install in large sections.
As for the real plant, the ban will go into effect on Aug. 9.
Contributing: Chris Sullivan, KIRO Newsradio
Follow Julia Dallas on X. Read her stories here. Submit news tips here.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


E&E News
12 hours ago
- E&E News
Whale entanglements decline but still threaten survival
Sixty-four large whales became entangled in fishing gear in 2023, according to new NOAA data, slightly fewer than the prior year and below the 16-year average of 72. But entanglements remain a major cause of injury and death to whales off both the Pacific and Atlantic coasts, including federally endangered North Atlantic right whales whose populations are believed to be around 370 individuals. 'Entanglements in fishing gear or marine debris represent a continued threat to the welfare and recovery of many whale species. This includes species that are endangered and approaching extinction,' NOAA said in a press release. Advertisement The latest findings do not reflect all whale injuries or deaths due to human causes in 2023. Vessel strikes are also a significant cause of mortality for large whales, particularly in busy shipping corridors and fishing grounds off the U.S. East Coast where right whales are particularly vulnerable.


Eater
17 hours ago
- Eater
The Easiest Way to Add Whimsy to Your Tablescape Is Through Chopstick Rests
Verdant green okra, golden brown croissants, glossy dango, roasted fish: No, this isn't a farmer's market or a boulangerie or a Japanese night market or a themeless dinner party; it's a peek into Namiko Hirasawa Chen's kitchen drawer, dedicated to her meticulously organized collection of hashi oki, or chopstick rests. 'I've liked miniature hashi okis since my childhood,' says Chen. 'I've been collecting them since college and my mom has a beautiful collection. Whenever we travel in Japan on family trips, we always stop by a local ceramic store to buy hashi oki.' Chen's collection, collected over nearly 30 years of cooking and traveling back and forth to Japan, is as vast as it is eclectic, a summation of her journey as the cook behind JustOneCookbook, the internet's largest English-language Japanese cooking site. It's also an inheritance, in more ways than one, from her mother — the original hashi oki collector in the family. If you peruse the hundreds of recipes that Chen has tablescaped on her website, you'll notice her photos include pieces from her collection — some of which she found, some she inherited from her mother — from the tiny ceramic eggplant she staged for her miso-glazed eggplant recipe to the shiitake mushroom hashi oki seen in her sukiyakidon recipe. For Chen, hashi okis are an unsung yet essential supporting player in Japanese tablescaping, and an easy, affordable, and meaningful way for hosts to elevate their dining tables. 'I think it's one of the most inexpensive investments out of all of the tableware that people can make,' Chen explains. While statement tableware pieces can run a pretty penny, hashi okis are remarkably affordable and approachable, with many priced around $10 in the United States — and even less in Japan, due to favorable exchange rates. 'Ever since I started blogging, I'm always thinking about how I can match my hashi oki with the dish based on the color, season, or food,' Chen says. 'It's a small thing that makes a huge difference in the presentation of a meal.' While the cutlery rests you see in restaurants and food editorial spreads typically adopt a sterile, brutalist aesthetic designed with function and minimalism in mind, hashi okis are, in contrast, delightfully whimsical. They are usually handmade by craftsmen in Japan and are endlessly varied in form, function, setting and origin. Occasionally, they are maximalist for the sake of being maximalist, despite serving a simple, sanitary function: to hold the tips of your used chopsticks. In an era of laissez-faire, anything-goes tablescaping, hashi okis are a perfect outlet for self-expression and experimentation. For the most part, Chen likes to match her hashi okis with the ingredients in the dishes she makes, but she also likes mixing it up, letting her intuition guide her. Namiko Hirasawa Chen 'Hashi okis are definitely necessary for a proper set up,' Chen says. 'I pick things that bring me joy. For summer, I'll use a hashi oki shaped like a fan or made of clear glass, but if I'm serving a vegetable-based dish, I'll use a vegetable hashi oki.' Her absolute favorites are hashi okis shaped like Mount Fuji. Chen's husband and business partner, Shen Chen, has his own preference. 'My favorite is the iron tea kettle hashi oki, the tetsubin, that can match a set-up that involves tea,' he says. 'There's an indescribable happiness that comes with matching hashi oki with a meal. Hashi oki really completes the story of the meal.' While hashi okis can be an endless outlet for creative tablescaping, there are limits towhat constitutes a traditional Japanese tablescape, Chen says. For example, your chopsticks and hashi oki should never be positioned vertically in your set-up ('That's a big no no,' says Chen) but instead placed 'between yourself and the plate horizontally.' Part of this is etiquette ('it's rude to point the dirty tips of your chopstick to someone else,' Chen explains) and context ('When chopsticks are vertical, it's used for a funeral in Japan'), but there's also a deeper history at play, one that dates back to hashi oki's origins as a ceremonial tool in 7th century Japan. Long before they arrived on dining room tables, chopstick rests were originally used by members of the clergy of Shinto shrines as a way to maintain the purity of their chopsticks when offering sacred food to the gods. Called mimikaware (耳土器), these clay rests were unglazed and, like their namesake, ear-shaped, and used in a horizontal orientation with chopsticks to signify a sacred boundary between the divine realm of nature and the impure human world. While mimikaware evolved and in the Heian period became hashi oki for aristocrats and the imperial family, this sensibility lived on as chopstick rests arrived at dining tables for the general public during the Meiji period with the introduction of western-style communal dining to Japan. Today, when Japanese people say 'itadakimasu' before a meal and lift their chopsticks from their hashi oki, they invoke a piece of this history, breaking a symbolic barrier with the impure to consume a sacred gift from the divine: food. It's this ethos — that dining and table settings are deeply intentional acts, loaded with history, meaning, and, yes, beauty — that Chen inherited from her mother, and one that she hopes to impart to diners looking to shape their own tablescapes with hashi oki, whether it's found online or at tableware stores across Japan. This sensibility is a large part of the reason why hashi okis are a prominent featured category on the Chens' tableware store, JOC Goods, which they launched last September after visiting 15 kilns across Japan. The process of starting the business, along with a trip they made to kilns in the Aichi prefecture last February, furthered their appreciation for the craftsmanship and deep history behind something as simple and small as a hashi oki. Jason Leung for Just One Cookbook 'In Japan, there are different regions and different regions have different clay, which leads to different styles of ceramics and craftsmanship,' explains Chen. 'We want people to know that when you see hashi oki, someone put care into making this, forming the clay, painting it, glazing it, baking it in the kiln, and inspecting it. So much is put into it compared to something that is mass produced.' If you're looking to buy hashi oki of your own, Chen recommends collecting individual pieces slowly over time, whether that be on your travels or browsing online. She believes that intentionality is key to the joy of hashi oki, and that your collection should reflect your personal tastes and experiences. 'I always pick things I feel connected to,' she says. 'If you have hashi oki you like, just using that every day, just stopping and looking at it, that can give you so much joy.' For the Chens, each hashi oki is a memory and a place; a reminder to pause, slow down, and appreciate the sacred in everyday life, whether that be a meal or a trip. There's the rustic, flat lotus root hashi oki they bought during an eye-opening 2023 trip to the Imbe township in the Okayama prefecture, the birthplace of the millennium-old craft of Bizen pottery known for its earthy red-brown tone and texture. There are the countless variations of ceramic hashi okis that they've found in stores across the Japanese countryside on summer family trips. And then, there are the hashi okis that started it all: the ones that Chen grew up setting on the table for her mother and carried with her halfway across the world in suitcases to the United States, where they now sit in her kitchen drawer, reminding her of how far she's come. Dining In With Eater at Home Highlighting the people, products, and trends inspiring how we cook now Email (required) Sign Up By submitting your email, you agree to our Terms and Privacy Notice . This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply.


Hamilton Spectator
20 hours ago
- Hamilton Spectator
6 sealift containers from 2023 Iqaluit spill still underwater
Six shipping containers that fell into the water near Iqaluit close to two years ago are still submerged and will be recovered in the coming months, says the head of a sealift company. NEAS CEO Daniel Dagenais says his company will resume efforts next month to locate and recover six sealift containers that have been underwater since Oct. 27, 2023. (File photo by Jeff Pelletier) The sea cans were among 23 that spilled over in an Oct. 27, 2023, incident as a NEAS sealift ship was unloading freight onto a barge in Frobisher Bay. One NEAS worker was injured , but has since recovered. 'In August, we'll have a boat out there doing the survey and the final localization of the containers so that we can physically confirm the presence,' said Daniel Dagenais, CEO of NEAS, in an interview. 'We'll bring in divers and we will just attach our barge and lifting equipment to the containers, and then lift them out.' NEAS attempted to recover the containers in the immediate follow-up to the spill. However, it was unable to recover seven of them, and the cans spent the winter underwater. Last year, NEAS hired an Iqaluit company to survey the ocean floor to find the seven missing containers. They were only able to recover one. Dagenais said the others were 'not exactly' where the company was 'expecting them to be.' This time, NEAS is bringing in Quebec company Urgence Portuaire (Port Emergency in English) to conduct a new survey of the bay with hopes to bring the remaining six containers to the surface. 'We need to remove them because they are naturally not supposed to be in water, in there in the bay,' Dagenais said. The containers — which he estimates sit at a depth of around 33 metres — hold beer, food, porcelain toilets, floorboards and construction materials. There are also some 'non-regulated' chemical compounds in the containers. Dagenais said data sheets he has for them don't 'show any specific toxicity level that is of concern.' He said the sea containers themselves stand up well to the elements. The one they recovered last year was still sealed. 'These containers are designed to withstand a long period of immersion,' he said. 'They're not rotting away.' Dagenais thanked the Iqaluit community for coming to NEAS's aid in the aftermath of the incident. Efforts by rescuers and first responders assured the NEAS employee who was hurt didn't suffer permanent injuries, he said. The Transportation Safety Board of Canada is investigating the incident, which it describes as a 'class 3″ occurrence. According to its website, that means a small number of safety issues are examined, possibly resulting in the safety board releasing recommendations for change. For this type of incident, the board says it aims to release reports within 450 days — a timeline it has missed. 'These timelines may be exceeded due to the complexity of the investigation, delays that may be encountered during the various related activities, and delays that may arise due to the need for investigative resources to support new reported occurrences and investigations,' said Hugo Fontaine, a safety board spokesperson, in an email. Error! Sorry, there was an error processing your request. There was a problem with the recaptcha. Please try again. You may unsubscribe at any time. By signing up, you agree to our terms of use and privacy policy . This site is protected by reCAPTCHA and the Google privacy policy and terms of service apply. Want more of the latest from us? Sign up for more at our newsletter page .