SKU: 19882934543
ragan and massey 75322 herbicide

ragan and massey 75322 herbicide Ragan & Massey Compare-N-Save Concentrate Grass and Weed Killer 41% Glyphosate - Du Bois, PA

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Description

ragan and massey 75322 herbicide Ragan & Massey Compare-N-Save Concentrate Grass and Weed Killer 41% Glyphosate - Du Bois, PAGet to the root and kill grass and weeds with Compare N Save 41 percent Glyphosate Concentrate Grass and Weed Killer. Use for lawn or garden replacement, on patios, walkways, or in and around fences and gardens to remove unwanted grass and weeds. Visible results in as little as 2 to 4 days. Kills all grass and weeds. Rainproof in 2 hours Contains 41 percent glyphosate For Best Results: For best results, apply on a warm sunny day when daytime

Get to the root and kill grass and weeds with Compare-N-Save 41-percent Glyphosate Concentrate Grass and Weed Killer. Use for lawn or garden replacement, on patios, walkways, or in and around fences and gardens to remove unwanted grass and weeds. 

  • Visible results in as little as 2 to 4 days.
  • Kills all grass and weeds.
  • Rainproof in 2 hours
  • Contains 41-percent glyphosate

For Best Results: For best results, apply on a warm sunny day when daytime temperature is above 60°F and no rainfall is forecast for 24 hours. Because this herbicide will kill all green plants including lawn grass it is not recommended for spot spraying in lawns.

Kills To The Root: Be sure to spray the foliage of the treated plants and avoid any spray mist drifting to plants you do not wish to treat. Glyphosate is absorbed through the foliage and travels to the root to kill the plant.

Mixes Easily With Water: Use 1.5 ounces (3 tablespoons) of concentrate in 1 gallon of water for general weed control. For tougher weed control of perennials or brush, mix 2.5 ounces (5 tablespoons) in 1 gallon of water. One gallon of ready-to-use equivalent will cover 300 square feet.

No Residual Activity: Glyphosate is a post-emergent herbicide. It will not prevent new or future growth. Treated areas can be replanted in as little as one day in ornamental areas. See the label for a complete list of when to replant fruits and vegetables.

WHERE TO USE:

Around farm buildings and barns Driveways Agricultural uncultivated areas
Ornamental gardens Gravel paths For establishment and maintenance of wildlife openings.
Roadsides Along fences Walkways
Parking areas Farmyards Mulch beds
Vacant lots Lawn replacement

 

WHEN TO USE:

Use any time weeds are actively growing. Most treated weeds show initial symptoms in 2 to 4 days and complete kill in 1 to 2 weeks. Larger more established weeds may take up to 4 weeks for complete kill.

For best results, apply on a warm, sunny day when daytime temperature is above 60°F and no rainfall is forecast for 24 hours. Warm, sunny weather will speed up weed control.

Apply only when air is calm. If necessary, use cardboard or plastic to shield desirable plants.

Reapply if it rains within 2 hours after application. Rainfall or watering 2 hours after application will not wash away effectiveness.

HOW TO USE:

To apply this product, use

  • Plastic, aluminum or stainless steel tank sprayer
  • Other hose-end sprayer recommended for weed killers
  • Hand-trigger sprayer

Do not use or store solutions of this product in galvanized steel or unlined steel sprayers, or apply through any type of irrigation system or with a sprinkling can.

Rinse sprayer and flush all sprayer components with water 3 times after use. Spray rinse water on bare soil or gravel. After very thorough cleaning, sprayer may be used to apply other products. Close cap tightly after use.

General Weed Control

Use along fences, paths, patios, sidewalks, driveways and in brick and gravel walkways, around trees, shrubs, ornamental plantings and flower beds, and around buildings. Use to trim and edge landscape areas.

Spot Spraying

Use on actively growing weeds in and around flower beds, ornamental trees, fruit and nut trees, grapevines, shrubs, fences, driveways and walkways. Make sure Concentrate Grass & Weed Killer 41% Glyphosate does not contact the leaves, green stems or exposed roots of plants you don’t want to kill. Concentrate Grass & Weed Killer 41% Glyphosate will not move in or on the soil to untreated plants. If used to control weeds around fruit or nut trees or grapevines, allow 21 days before eating the fruit or nuts.

Landscaping

Use to prepare areas for planting of ornamentals, trees, shrubs, desert landscapes, rock gardens, flower beds or similar plantings. Treated areas can be replanted 1 day after treatment.

Lawn Renovation

Use to kill existing weeds and grasses including the old lawn. For best results, apply in spring or fall, when daytime temperatures are at least 60°F. See label for complete lawn renovation instructions.

Brush Control

Use when brush is green and growing. If plants are taller than 5 feet, cut back and spray regrowth. Brush sprayed in the fall may not be fully controlled until the following season. Hard-to-control species such as blackberry, kudzu or poison oak may require a second application.

Stump Treatment

Stumps can be treated to prevent regrowth. For best results, treat when the vegetation is actively growing and within 5 minutes of being cut down. See label for further instructions. Treatment will control or suppress many types of woody brush and trees, such as alder, bluegum, eucalyptus, madrone, oak, giant reed, saltcedar, sweetgum and tan oak.

Vine Control

  • If vine is growing up a pole, fences, or mature tree trunk, cut vine to a height of 3 to 4 feet and spray to thoroughly cover remaining vine.
  • If vine is climbing a shrub or immature (green) tree trunk, cut vines at base and spray its regrowth. Shield shrubs and green bark from spray drift with a sheet of cardboard or plastic.

PRECAUTIONS:

Concentrate Grass & Weed Killer 41% Glyphosate is an all-purpose weed and grass killer which will kill almost all plants it contacts. DO NOT use for spot weed control in lawns since Concentrate Grass & Weed Killer 41% Glyphosate kills all green plants, including lawn grass.

If necessary, use cardboard or plastic to shield desirable plants. If plants are accidentally sprayed, rinse off immediately with water. Spray when air is calm. Spray to evenly wet the weed.

ACTIVE INGREDIENTS:

Glyphosate, isopropylamine salt 41.0%
Other Ingredients 59.0%
Total: 100.0%

 

DISCLAIMER:

It is a violation of Federal law to use this product in a manner inconsistent with its labeling. Read the entire label before each use. Use only according to label instructions.

See the complete label for specific use rates and detailed instructions.

Consult the Safety Data Sheet (SDS) for important safety information.

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SKU: 19882934543

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4.8 ★★★★★
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Lori T. Sly
Birmingham, US
★★★★★ 4
Helpful, but not as good as "Story" by same author, and it disses certain genres
Format: Hardcover
This book contains a lot of helpful information on how to write dialogue. It's dense with dialogue analysis and insights, tough to take in by just reading it through once. But it is helpful. McKee covers the three dialogue tiers (said, unsaid, unsayable) as well as how dialogue ties into story turning points and scene conflict type. I still have lots of practice ahead of me to figure out how best to do this in my story. I will definitely use his advice as a guide. He understands dialogue at a much deeper level than I do. However, many of McKee's dialogue examples did not speak to me. While I liked reading the dialogue examples for Breaking Bad, 30 Rock, The Sopranos, Frasier, A Raisin in the Sun, and The Great Gatsby, and agreed they were good, I disliked the dialogue from Shakespeare, Elmore Leonard, Sideways, Fraulein Else, and Lost in Translation. McKee says fine dialogue turns the reader/audience into a mind reader; I guess I'm not interested in movies which expect me to be as much of a mind reader as those latter examples did. I totally missed the subtext of the dialogue in those until he explained it to me as an aside. And that's after I already saw most of those movies! If I have to guess what every character means with every line, that's too much work and too little entertainment for me. Maybe mystery lovers liked the dialogue in "Lost in Translation"; I'm not a mystery lover. McKee quoted one novelist as saying that the crux of good writing is to, "Make em laugh, make em cry, make em wait." Lost In Translation and its dialogue did none of that for me. The subtext was so confusing and subtle that I lost interest in the movie. I can't even remember what it was about anymore, only that it won some award and I had no clue why. McKee says that with rare exceptions, a scene should never be outwardly and entirely about what it seems to be about. Dialogue should imply, not explain, its subtext. An ever-present subtext is the guiding principle of realism. Nonrealism, on the other hand, employs on-the-nose dialogue in all its genres and subgenres: myth and fairytale, science fiction and time travel, animation, the musical, the supernatural, Theatre of the Absurd, action/adventure, farce, horror, allegory, magical realism, postmodernism, dieselpunk retrofuturism, and the like. It's a bit unclear how, if at all, anyone writing in any of these "nonreal" genres should take his dialogue advice. It seems to me that even sci fi scenes need some good dialogue with subtext to be engaging. With McKee, all the accolades go to what is implied and unsaid over what is said. I agree that subtext matters, but for me, he's out of proportion with how much it matters to most people and how hard audiences are willing to work to discover the intended subtext. Also, memorable spoken character lines can elevate movie themes and characterization like nothing else. In the end, I think this book is geared more toward writers who want other advanced writers as their audience rather than the average reader or movie watcher. And McKee admits it is definitely not geared toward sci fi, fairytales/myths, action/adventure, horror or allegory. It's almost as if he's saying those genres can't have excellent dialogue. I disagree. But it was still a helpful book to read, and one I will be thinking about and trying to more fully understand for a long time. McKee understands how character's subconscious drives can deepen what they say or avoid saying, and how dialogue interacts with many other aspects of a story to make it all work together.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on December 12, 2019
R
Verified Purchase
Ray Pryor
Whiting, US
★★★★★ 5
Amazing.
Format: Kindle
Just like a good movie, the first 10 pages = mind blown. Wow, such really, really good material here. If you're new, this will help you a ton. If you're experienced, this book will help you realize WHY great dialogue is so great, enabling you to create the magic again and again. I love how McKee covers several medias ( screen, theater, novel ) but still stays true and clear on the concept. A virtual masterclass on the subject. One of the best screenwriting books out there, and Yes, it's well worth all the hype.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on April 18, 2017
K
Verified Purchase
Kindle Customer
Massapequa, US
★★★★★ 5
So to speak
Format: Kindle
Previews did not show the Table of Contents, but it is worth searching the web for. The coverage includes practical techniques as well as case studies. Notes cover titles on topics over several decades. This book has four parts about what dialogue is, how it can mended, and how it can be created and designed. Trialogue, the third thing through which a pair of characters channel conflict in conversation, is an interesting concept because it overlaps social networks or media and comms devices; it is also looked at historically. Dialogue is reportedly the quickest way to fix a narrative text since it appeals to intuition. Those levels of depth are what the book is about. They can be found in first person voice. The approach could easily fill a site on the order of tropes for favorite titles, but for deconstruction and revision, which are also relevant to works in progress. It talks about finding characters in the dark, though not necessarily from the milieu, unless it were compressed and made to transfer meaning like in poetry, but reflexive so that it is symmetrical to the characters or human nature. If there is a boundary to be found, then this method is going to hit the lines to find out what happens then. The impact on the rest of the narrative elements is discussed. This extends back through the early philosophers, through tragedy, the merging of European roots into English, and the study of personalities to contemporary customs. Voice is plot.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on June 12, 2017
C
Verified Purchase
cf otto
Houston, US
★★★★★ 5
ONE OF THE TWO BEST BOOKS ON SCREENWRITING
Format: Hardcover
Probably the best book on screenwriting ever (besides Egri), though there is also much here for the novelist and playwright. I am a professional TV writer, of long-standing (35 years), and I can tell you I used this book to figure out how to fix the problems of a complex pilot I'm writing; the author truly " guided me home." And lest you think I'm a McKee sycophant, I am not. I found little in STORY for me. The only thing I disagree with in DIALOGUE is that the author sells his own work short: it isn't just for those who are "lost" in their writing, like me, and the student, it's for anyone who writes fiction for a living, in any form, no matter how much experience they have. It's that good.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on October 14, 2016
S
Verified Purchase
Seeley James
Dallas, US
★★★★★ 5
McKee’s best
Format: Kindle
More relevant than STORY, more useful on a daily basis. This is the book I recommend to all beginning writers. I’ve now read it three times and will read it at least three more. I learn, relearn, and remember bits and pieces each time. It is one of three books that has made me the greatest writer of all time.* *my opinion, anyway.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on June 5, 2023

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