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Floral Depot

Order flowers and gifts from Floral Depot located in Cando ND for a birthday, anniversary, graduation or a funeral service. The address of the flower shop is 420 Main Street P.O. Box 27, Cando North Dakota 58324 Zip. The phone number is (701) 968-4020. We are committed to offer the most accurate information about Floral Depot in Cando ND. Please contact us if this listing needs to be updated. Floral Depot delivers fresh flowers – order today.

Business name:
Floral Depot
420 Main Street P.O. Box 27
North Dakota
Zip Code:
Phone number:
(701) 968-4020
if this is your business: ( update info) (delete this listing)
Express you love, friendship, thanks, support - or all of the above - with beautiful flowers & gifts!

Find Floral Depot directions to 420 Main Street P.O. Box 27 in Cando, ND (Zip 58324) on the Map. It's latitude and longitude coordinates are 48.4898679445798, -99.2048316253719 respectively.

Florists in Cando ND and Nearby Cities

125 Main St W
Leeds, ND 58346
(17.18 Miles from Floral Depot)

Flowers and Gifts News

Apr 13, 2017

Domenica in fiore con lo Street Flowers Eventi a Parma

Emilia Romagna, azalee e rododendri di vivai friulani, o tra gli alberelli di agrumi della Liguria.Attendere un istante: stiamo caricando la mappa del posto... (Parma Today - ParmaToday)

Feb 3, 2017

Obitauries for Friday, Feb. 3, 2017

Island Mortuary, Ltd. Marcial Balbin Gray Marcial Balbin Gray of Hanamaulu passed away at home on Jan. 18, 2017, at the age of 78. He was born in Candon, Ilocos Sur, Philippines, on June 27, 1938, and was a mill operator with Lihue Sugar Plantation. Preceded in death by his parents, Melecio and Antera Gray; brother, Ernesto Gray Sr.; and sister, Hilda Lagmay. Marcial is survived by his wife, Francisca Gray of Hanamaulu; daughter, Justina (Sam) Bombay of Las Vegas; three sons, George Gray, Reynald Gray, Alfred Gray; three grandchildren; brother, Jose (Virginia) Gray; sister-in-law, Gloria Gray; and numerous nieces, nephews and cousins. A celebration of his life will be held on Saturday, Feb. 25, 2017, at Immaculate Conception Church with viewing from 8 a.m. and mass celebrated at 10 a.m. Burial will follow at Kauai Memorial Gardens. Kauai Memorial Gardens & Funeral Home assisted the Gray family with arrangements. © 2017 All rights reserved. This material may not be published, broadcast, rewritten or redistributed. (

May 18, 2016

Beefs and Bouquets, Friday, May 13, 2016

Puntledge. We are a group of people with diverse-abilities who are trying to make money and serve the community The bins are clearly labelled "CANDO" and if they are seen or found please call the number which is also clearly marked on the bins. BOUQUETS to Saratoga Speedway on opening night 2016 and the spectacular fireworks display. WONDERFUL BOUQUET to Ross. My mother Edna was at Lewis Park on Thursday. Her scooter broke down, dead battery. Ross being a very nice man came to her rescue. He called her home and called her family, he stayed with her for over an hour and a half, for us to arrive with help. But he did not stop there. We had no easy way to get the scooter home. So he, and my husband, lifted it ito the back of his pick-up truck and delivered it to her home. WOW!! Ross, thank you. We wish many blessings to you. A HEART-FELT THANK YOU to all who worked to put on the Anzac service. From a Kiwi who had his first chance since living in Canada to attend a service. It brought back many memories of attending the dawn service in Auckland with my father, who served in the desert and later in Italy in WW II. A special thanks to Mr. Bartholomew who organized this event and the Canadian vets who attended. There was a good attendance and I am sure all the Aussies and Kiwis are grateful to all who put on this event. It was obvious that a lot of care and pride went in to it. Thank you to all who spoke, it really made it a special time. Also to the people who served coffee, cookies, and, of course, Anzac biscuits. I will certainly be attending next year. HUGE BOUQUET and heart shaped box of chocolates to the McDonalds on Ryan Rd.  I ordered fries with no salt and that is exactly what they gave me!  Not a speck of salt anywhere!  Thanks for taking the care you did.  I've never received absolutely no salt before.  You people are the best, thank you. JUNE WILL BE A SAD, sad month in Comox. Judy, one of my two favourite posties is retiring and the post office will never be the same again. She has worked there for something like 33 years, starting at the age of 13, I believe. We will all miss her. I particularly, will miss her winning smile, beautiful hair and her flirty flirty eyes. i think the very least Comox could do, would be to fly all flags at half mast on the day she retires. WCG SERVICES and the ServiceAbility Courtenay program would like to send a big bouquet and many thanks to all of the local employers who have and are continuing to support the participants in our program. What a great community! ONE OF THE SPECIAL PERKS in the Comox Valley is wonderful places to eat like Locals in Courtenay and Twisted Dishes in Comox.  Both use quality,  locally sourced products.  I know I will get wonderful food and great service at both.  At Twisted Dishes, they even bake their own bread, cookies, and other special treats.  And now, Twisted Dishes too is open 7 days a week, with breakfast available all day on the weekend. ROSY RETIREMENT BOUQUET to Judy from Comox Ave Post... (Comox Valley Echo)

Feb 3, 2016

How Joan Didion the Writer Became Joan Didion the Legend

I want you to understand exactly what you are getting.” I suppose I’m operating under a similar set of impulses—a mixture of candor, self-justification and self-dramatization, the dread of being misapprehended coupled with the certainty that misapprehension is inevitable (Didion’s style is catching, but not so much as her habit of thought)—when I tell you I’m scared of her. Before I get into why, I need to clarify something I said. Or, rather, something I didn’t say and won’t say, but which I’m anxious you’re going to think I said: that Didion isn’t a brilliant writer. She is a brilliant writer—sentence for sentence, among the best this country’s ever produced. And I’m not disputing her status as cultural icon either. As large as she looms now, she’ll loom larger as time passes—I’d bet money on it. In fact, I don’t want to diminish or assault her in any way. What I do want to do is get her right. And over the past 11 years, since 2005, when she published the first of her two loss memoirs, one about Dunne, the other about Quintana, her daughter, she’s been gotten wrong. And not just wrong, egregiously wrong, wrong to the point of blasphemy. I’m talking about the canonization of Didion, Didion as St. Joan, Didion as Our Mother of Sorrows. Didion is not, let me repeat, not a holy figure, nor is she a maternal one. She’s cool-eyed and cold-blooded, and that coolness and coldness—chilling, of course, but also bracing—is the source of her fascination as much as her artistry is; the source of her glamour too, and her seductiveness, because she is seductive, deeply. What she is is a femme fatale, and irresistible. She’s our kiss of death, yet we open our mouths, kiss back. The subject of this piece, though, is not just a who, Didion, but a what, Hollywood. So to bring them together, which is where they belong, a natural pairing, this: I think that Didion, along with Andy Warhol, her spiritual twin as well as her artistic, created L.A.—that is, modern L.A., contemporary L.A., the L.A. that is synonymous with Hollywood. And I think that Didion alone was the vehicle—or possibly the agent—of L.A.’s destruction... (Vanity Fair)

Jan 8, 2016

Chiefs try to shrug away ghosts of 2014 and that awful playoff loss at ...

And for this team, it’s still with us, and I don’t think that’s a bad thing.” Smith said this last Sunday in a moment of apparent postgame candor. By Tuesday, he was at least publicly dismissing the idea that anyone was lugging this with them. “This is a completely different team,” he said. “It’s a new challenge, a new year.” That’s all true, of course, just as Smith and Johnson are correct when they say it helps no one to try to channel the weight of the last 22 years going into this year’s playoff opener.   “Every year’s different,” Johnson said. “If you go on the field thinking about what happened a couple years ago, or what happened in the past with the playoff games, you have no chance of going out there and winning the game. Our mind-set is, man, we’ve got blinders on.” But one way or another, the past lurks as part of the franchise DNA — whether as a hangover or inspiration or a lesson or just something that once happened that added to the wretched lore they aim to end. And one way or another, the last one will remain with them until they change the narrative. If siphoned properly, though, it also perhaps could be of service in reversing all this. Of course, there’s a fine line between moping about something like that and examining it critically as something to be learned from or motivated by. That line can be heard in Colquitt in one breath saying the Chiefs need to have flushed that away and in another adding, “It’s something that needs to be fresh in our minds.” That’s why safety Eric Berry watched it repeatedly that offseason, remarking in 2014 that he learned something from it with each viewing. That’s why many Chiefs talked about “finishing” when they began the 2014 season … only not to finish well enough to make the playoffs. But that game also is why they are acutely conscious of finishing now, an emphasis that has to have been bolstered by a 2015 season-long trend of establishing a fine lead and being left barely holding on. “Rather than dwell on it, try to learn from it,” said Reid, who in his first season had revived the Chiefs from a 2-14 2012 to a 9-0 start and that postseason berth.   Some aspects of that defeat, of course, were just cruel quirks of fate. How could it be that the Chiefs could force Donald Brown to fumble … and have it carom to Luck, who gobbled it up and bashed into the end zone as if he were anticipating just that bounce? Why would it be that five Chiefs would be knocked out of that game, including Jamaal Charles, Brandon Flowers and Donnie Avery with concussions and Justin Houston with an injury unspecified at the time? Meanwhile, in the more rational realm, what might have happened had Reid opted to go for it on fourth and goal at the 1-yard line instead of settling for a field goal after Indianapolis zoomed to a touchdown on its first drive of the game? And why couldn’t the Chiefs simply stop Luck, who somehow threw for a career-high 443 yards despite essentially being in obvious passing situations the entire second half? Whatever it is the Chiefs took from that game, virtually to a man they sum up the solution thusly: “You’ve got to finish the game,” Reid said. Added Sutton: “You’ve got to play it all the way to the end, and don’t even look (at the score). You’ve just got to go.” Lest they go and add another infamous chapter to a prologue that seemingly can’t be topped. “No matter how you lose it, it takes your breath away a little bit, you know?” Sutton said, adding that in the playoffs, “There is no next time, there is no next game. There’s nothing, and I think the finality of that … slaps you in the face.” Sometimes worse than others. (Kansas City Star (blog))

Jan 8, 2016

Q &A at UTEP with Dr. Michael Mason – Director, Smithsonian Center for Folk ...

MV: Does Santeria influence your work at the Smithsonian? Mason:  At this time, no it doesn’t. However, a Brazilian version of Santeria known as Candomblé has been shown in several exhibits at the Smithsonian. MV: Why did you pick the University of Texas at El Paso to donate the temple to? Mason: The center decided to donate it to UTEP to really connect the campus to Bhutan seeing how the architecture (here) was inspired by the country. We felt the university was a prime place to put it to show that the relationship between the United States and Bhutan was strong. MV: Was the festival already in existence when you came to work at the Smithsonian? If yes, why did you want to take on the task of directing it? Mason: Yes, the festival had been created prior to my arrival at the Smithsonian. It actually started in 1967. I wanted to take the project under my wing because I am so passionate about working with communities that aren’t afraid to share their culture and knowledge with the rest of the world. MV: How has the Mexican-American culture influenced the Smithsonian? Mason: I believe in the 90’s, don’t hold me to that date, there was a whole program on the borderlands. Not just the United States-Mexico border but the other borders around the world. It was designed to show that the U.S-Mexico border was just one of the hundreds of borderlands and why each one was so important. The Smithsonian also has a “Tradicioñes” music series that showcases traditional music of the Latin culture. MV: Are there specific cultures that are particularly highlighted at the festival? Mason: We love highlighting the diversity of the U.S. so we tend to have more of the cultures that are here in the states. Those include but aren’t limited to Native American, African American, Latino, and Asian American cultures. MV: At the festival, has there ever been an event that made you proud to have put the festival together? Mason: Wow, I guess when it came down to it there were a few significant memories that made me feel that way. At my first festival in 1992, we had a group of Hawaiians that were there to share the revival of their culture. The part of Hawaii where they come from is very dry and lacked flowers so they made these beautiful leis out of shells. They were so intricate and detailed that I was shocked when a man gave me one. I just felt so welcomed into his life that I knew I was doing these people well. Another instance occurred this past summer while I was at a Peruvian music concert. I was introduced before the concert so I stood up and waved to the crowd then enjoyed the concert with my family. When it ended, a Peruvian man approached me and thanked me for bringing his culture to the National Mall for the festival. He was so happy to have his culture showcased in such a proper way and it made me think how amazing it was to provide these people with the appropriate environment for their culture. I have also seen the festival’s impact in my 7-year-old daughter Natalie. She tells me, ‘Daddy I love history!’ which aren’t your average 7-year-old’s thoughts. Seeing how the cultures and peoples at the festival have been able to make an imprint on such a young girl shows how valued and important this festival truly is. MV: Describe a certain struggle you have had to overcome during your career as director. Mason: Unfortunately history, art, and culture are underfunded. We have had to advocate for better funds and representation in recent... (Borderzine)


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