Central Oregon Living - March 2015 by Western Communications, Inc.

Conducting

DREAMS Michael Gesmeâ&#x20AC;&#x2122;s lifelong love of music.

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Central Oregon Living | Spring 2015 | 3

Central Oregon Living

FEATURES HIGH DESERT LIFESTYLES

5 6 10 12 16 18 21 26

SPRING 2015

editor’s note true harmony at breedlove for whom the belfry tolls conducting dreams simply made, simply asian behind the scenes at 4 peaks youth choir of central oregon madras performing arts center

Conducting Dreams

HOUSE & HOME 24 30

True Harmony

sound planning central oregon subdivision list

Behind the Scenes at 4 Peaks

IN THE GARDEN 28

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Central Oregon Living Spring 2015 is a product of The Bulletin’s Special Projects Division, 1777 SW Chandler Ave., Bend OR 97702. All content is the property of The Bulletin/Western Communications Inc., and may not be reproduced without written consent. Printed by The Bulletin Western Communications Commercial Print Division.

4 | Central Oregon Living | Spring 2015

Story ideas may be submitted to editor Althea Borck for consideration. Contact her at 541-383-0379 or aborck@bendbulletin.com.

Projects Associate Editor, Kevin Prieto, Special Projects Image Coordinator.

Staff members for The Bulletin’s special projects division include: Martha Tiller, Special Projects Manager; Althea Borck, Special Projects Editor; Clint Nye, Graphic Designer; Stacie Oberson, Special Projects Coordinator; Kari Mauser, Special

Cover Photo by Kevin Prieto

Published Saturday, March 7, 2015

EDITOR’S

note

Listen to the Music of Our Lives “Music can name the unnameable and communicate the unknowable.” — Leonard Bernstein, American composer and conductor At any point in life — during any memory, any emotion, any event — there is music. You might not think about it or realize it, but it’s there. After finishing a final exam or ending a presentation at work, a bouncy tune filters into your brain and you start humming happily along. A bad day ends with no resolution, so you turn the iPod on full blast with heavy metal screeching — a chaotic, cathartic symphony. A movie’s thematic score ping-pongs in your brain long after the movie has ended. The first time your child bounces and dances and even sings along to your favorite band is etched in your memory. A first dance at a wedding. Your second-grader’s first ballet recital. Humming

along to a 1960s rock tune as it plays over the PA system at a mall. Life, you see, has a soundtrack all its own. I was quite young when I was introduced to the piano. The moment I learned my first concerto is still embedded within my memory — as is the small recital that culminated my achievement. I still know which piece I played (Haydn’s Piano Concerto in D Major). My piano teacher played the orchestra part on a second piano. And while I complained bitterly about the required one hour of practice time a day, and have long since stopped the weekly lessons, I still turn to the piano when I need a breath of fresh air, to relieve tension, to be myself. When I’m feeling moody, I play a classical piece. If I’m upset, I play an old

favorite. On the days that I’m happy, I just fiddle around with the keys and make up tunes as they come to me. Music is everywhere. It is a universal language that knows no boundaries. It speaks, it communicates, it breathes… it thrives. For that reason, we have dedicated this edition to the music of Central Oregon. And not just the bands and the symphonies and the choirs, but the people behind the scenes — the fans and the entrepreneurs and the directors and conductors and organizers who create the music scene. Because in Central Oregon, music does indeed thrive. There’s Breedlove and its decades of building and designing some of the best guitars and stringed instruments in the world. Or Michael Gesme, the longtime conductor of the Central Oregon Symphony

who has made it his life mission to share music with everyone. Or Beth Basham and the Youth Choir of Central Oregon, teaching youngsters to know their voice and sing with confidence. Think of all the concerts that bring in world-class acts every year. Or the venues that set the stage such as The Belfry in Sisters and the new Madras Performing Arts Center (and that’s just two of the many dotting the area). And don’t even get me started on the amazing array of music festivals (and festivals with music) that delight fans the whole year round. Granted, we couldn’t cover everything that makes this place so musically profound in just one issue. But it is our hope to revisit this topic in future editions. Because music is everywhere. It is the rhythm of Central Oregon. It is who we are. Althea Borck is The Bulletin’s special projects editor.

EDITORIAL CONTRIBUTORS

ANNISSA ANDERSON, a freelance writer and PR consultant, also studied culinary arts and worked as a pastry chef in another life. She now writes regular food and nutrition articles for The Bulletin. When not researching food trends and recipes, she prefers to spend her time with her husband and young son exploring Central Oregon.

KIMBERLY BOWKER grew up in Central Oregon under the shadow of the Cascade Mountains and between the scent of the ponderosa pines. She currently spends her time teaching and writing and discovering how our lives intertwine. You might find her sipping a pint of craft beer at a local pub, or out on the trail strolling beneath the sky.

Writer and singer/ songwriter LAUREL BRAUNS is a regular contributor for The Bulletin, Central Oregon Magazine and Northwest Travel. She specializes in outdoor writing and has published articles about her paddling adventures in Panama, Alaska and the Grand Canyon.

A refugee from Silicon Valley, BONNIE BURNS chose to retire in beautiful, eclectic Bend. She volunteers at the Deschutes County Historical Society and museum where she indulges her passions of history, research, reading and writing.

An avid crocheter and origamist, JOHN CAL worked as a baker, head chef, ukuleleist and Sno-Cat driver before settling into writing. He enjoys filling his time with yoga, postcard writing and collecting bowties. John also collects candy from around the world — he has a 100-plus specimen collection (and counting) — and lives in Bend with his dog, Hank.

A lover of yoga, coffee and nature, LINDY CALLAHAN feels right at home in the Pacific Northwest. Originally from Utah, she fell in love with Oregon and moved here five years ago. When she isn’t writing or devouring a book on the alpaca farm where she lives in Bend, Lindy also enjoys hiking, paddleboarding, snowshoeing, and road tripping.

AMY JO DETWEILER has been working as OSU Extension Horticulture Faculty in Central Oregon for 10 years. She provides education in home horticulture, commercial horticulture, and provides annual training for the local OSU Master Gardener™ Program. She has an MS in Landscape Horticulture from Colorado State University.

After three decades in Seattle, SUE STAFFORD returned home to Oregon to put down roots in Sisters. The “dry side,” with its beauty, weather and slower pace, affords her the opportunity to pursue her gardening, hiking, and movie going.

Central Oregon Living | Spring 2015 | 5

TRUE HARMONY

The pieces, the design, the sound: When all are in place, Breedlove’s guitars sing. by Kimberly Bowker, for The Bulletin Special Projects photos by Kevin Prieto

Machines buzz and sanders vibrate as craftsmen instill life into Bend’s legendary Breedlove guitars. Inside the factory where these acoustic instruments are assembled, the smell of fresh wood pervades as artisans maneuver bare hands to build individual pieces of the instrument. These elements then tenderly fit together into a balanced whole, just like within the company of Two Old Hippies Stringed Instruments. “It is the harmony of how all these things work together,” said Colin Besancon, Breedlove Stringed Instruments USA brand manager. Besancon is referring to the instruments and their distinct sound, but he could just as easily be discussing the company and its evolution from a single dream to a world-renown reputation. Breedlove celebrates its 25th anniversary this year, commemorating the milestone with a limited edition guitar modeled after the first Breedlove built in 1990. The roots of this company, though, began years before.

Roots of Artistry

Kim Breedlove was surfing the beaches of Mexico in 1974, when he decided to begin building guitars. 6 | Central Oregon Living | Spring 2015

Breedlove’s crew, from left: Colin Besancon, Devin Percell, Erika Mohr, Angela Christensen, Dod Mohr, Ryan Fish, Terri Hensley, Aaron Adams, Gary Flaherty and Kim Breedlove

The artisan always loved to work with his hands, and he ran in the same San Diego social circles as Taylor and Goodall guitar founders. Kim Breedlove underwent a tutelage learning how to build banjos and guitars, and continues his guitar-building artistry as master luthier and designer for Breedlove. Founded by Kim’s younger brother, Larry Breedlove, and friend, Steve Henderson, Breedlove officially launched in 1990. The company entered the scene building high-quality and custom guitars, and today continues to hone that credibility through multiple lines of both mandolins and guitars. Breedlove first set up shop in Tumalo, an ideal location to build instruments, said Besancon, with a dry climate and proximity to different kinds of woods. And as the company evolved, so have the facilities. The factory moved to Northwest Crossing, and then to its current and expanding workspace in Southeast Bend. In 2010, Breedlove joined Two Old Hippies Stringed Instruments, which today also consists of Bedell Guitars and Weber Fine Acoustic Instruments. The “head hippies” are Tom and Molly Bedell, and their employees are referred to as “co-hippies.” The company, true to its spirit, promotes an attitude of peace and

connection, complete with a soul-searching mentality. “The No. 1 belief we have is the golden rule, in building these instruments and working as a company,” said Besancon. That underlying foundation is to embody a sense of compassion for one another, for the world, for the products, and for the environment.

‘Woodstock’

In the factory, it is difficult to miss “Woodstock,” a room with bookshelves of raw wood sustainable harvested from around the world. Dirt clings to some planks, possibly cut by a family who gathers fallen trees in Alaska, or perhaps myrtlewood collected from the Oregon coast. It is in Woodstock that the “wood librarian,” Joel Chaney, carefully selects the resources that will make up the contour of the instrument’s body. Wood choice is one of many factors that make Breedlove guitars so unique. There is rosewood from Brazil, Sitka spruce from Alaska, and Koa from Hawaii — all of which determine the tonal character of the guitar. “Every piece of the process is done on purpose to create specific sound,” said Sami Mulher, marketing services and artist relations.

The captivating sound of Breedlove is defined by the instrument’s note to note clarity and balance, said Besancon. It is the balance of all the pieces coming together that forms harmony, both in the guitar and in the process of constructing it. “It’s individual craftsmen that do their part in making it collective,” he explained. The craftsmen work intently, efficiently and with focus at individual stations, listening to a dusty boom box adhered to the wall with sawdust resting on the factory floor. Art, passion and science intertwine to create the sturdy grace of a Breedlove guitar. Science, such as wood densities and Euclidean geometry that determines projections of angles across planes, collides with art and passion, and ultimately innovation. These ingredients seamlessly combine, so the strings that vibrate resonate with a clear and balanced frequency. If anything, the emotion a guitar evokes should be pleasure, said Besancon.

Breedlove & Musicians

Breedlove guitars are played by all types of artists, and in all types of venues. The instruments may be heard anywhere from an open mic night at Strictly OrCentral Oregon Living | Spring 2015 | 7

ganic, to the stage at the Tower Theatre, to the Sasquatch Music Festival at the Gorge. Franchot Tone, a local singer and songwriter, walked into Breedlove in 2009. “They took me in as a family member,” he said. They wanted to support him, and help him be successful. When Franchot Tone’s main performance guitar broke while opening for Marc Cohn in Florida, Breedlove quickly sent a loaner guitar free-ofcharge so the musician could continue to play. “What I love is how it feels like a family culture,” he said. “It’s a close relationship with the artists, the employees. It doesn’t feel like a corporate situation. It feels smaller and intimate.” Other artists who play Breedlove instruments include Dallin Bulkley from Larry and His Flask, Chris Funk from The Decemberists, country singer Craig Morgan, and “The Voice” contestant Luke Wade.

Many such artists play on custom guitars, a process that is a famous Breedlove practice and harkens back to the company’s roots. Patrons can choose the wood, shape and inlays on the guitar’s neck. “It can be more than an object,” said inlay artist Jason Chinchen, about the guitars. He helps customers design ideas, from sketchbook to finished inlays, creating images on the instrument’s neck. “It’s tapping into people’s stories and what they hold dear,” he said. Whether it is a custom instrument, an Oregon series guitar made from Northwest wood, or a contemporary-designed mandolin, Breedlove continues to grow and evolve. The company has a definite plan for the future, and for the production of these beautiful pieces of art, always made in harmony. “The future plan is more of the same,” said Besancon. “Keep innovation alive, balance science with an artistic approach, keep the passion alive, and speak to the people.”

“Keep innovation alive, balance science with an artistic approach, keep the passion alive, and speak to the people.” Breedlove & Two Old Hippies: QUICK FACTS

3,360 guitars expected to be built in 2015 100 instruments produced every week at Two Old Hippies Stringed Instruments

70 Breedlove guitars produced every week

Instruments are shipped all over the world to be sold by dealers in both large stores and boutique shops. Standard lines range from $300 to $6,000. The 25th anniversary edition is worth $10,000. 8 | Central Oregon Living | Spring 2015

Central Oregon Living | Spring 2015 | 9

for whom

TOLLS A historic Sisters church is transformed into a retro concert hall with just the right touch of community spirit. by Lindy Callahan, for The Bulletin Special Projects / photos by Kevin Prieto

The beautiful stained-glass windows and charming little bell tower of The Belfry, a 100-year-old church on Main Street in Sisters, are hard to miss. Built in 1914, during the early days of the small mountain town, The Belfry served as a gathering place for the Sisters Christian Church. But like many old buildings, it was sadly forgotten for a time. The doors were rarely opened, and the community moved on to other pursuits. That is, until the summer of 2012, when Angeline Rhett got a look inside for the first time. Upon entering The Belfry, Rhett’s entrepreneurial instincts took over, and she saw an opportunity to preserve an important piece of the town’s history. “I lived really close, but I had never been inside before,” recalled Rhett. 10 | Central Oregon Living | Spring 2015

“I was always very curious about it though. When the owner offered to give me a look inside, thinking I might be interested, I couldn’t pass up the opportunity.” Rhett said she got the keys to venture inside the historic building, and after entering, she knew she never wanted to give them back. It was clear to her that there was a lot of work to be done, but the possibilities couldn’t be ignored. “I saw so much potential in the place,” said Rhett. “It was built to be a gathering place for the community, and I envisioned how it could become that again, in a new way.” As owner of the popular Angeline’s Bakery in Sisters, Rhett is no stranger to starting a new project. Already familiar with booking mu-

sicians to play at her bakery, Rhett easily envisioned The Belfry as a great place to host music shows and other events. The retro vibe, embodied in the church through the orange upholstered benches, wood paneled walls and hardwood floors, was the perfect starting point to create such a space. Rhett raised money, through an online Kickstarter fundraiser, to make some desired upgrades. Unexpectedly however, the city told her she would have to install a sprinkler system and two additional exits in order to meet safety regulations. This took a big chunk of her Kickstarter budget, but she was still able to install a high-end sound system and turn the bishop’s office into a full kitchen and bar area. Rhett also added furnishings from Habitat for Humanity as well as a big disco ball — all while staying within the boundaries of her budget and emphasizing the retro vibe of the space. “Now we do all kinds of events here,” said Rhett. “We’ve had weddings, fundraisers, club meetings, music events, holiday parties and even high school proms. I want this to be a space for the community to be able to come together. I want people to have a good time and even get to know one another better here.” Today The Belfry is perhaps best known in Central Oregon as a hip music venue, recently hosting artists such as Casey Abrams, Randy McAllister and on March 28, Iris DeMent with Pieta Brown will rock the house. That may be its reputation, but ultimately The Bel-

fry is a great place where locals and visitors alike can come relax, enjoy a local beer and connect with one another. “This is my second time playing here at The Belfry,” said Slaid Cleaves, a folk artist who took the stage on a Friday night in February. “I always feel welcome here, and the people just seem so happy. You always want to come back to a place like this” Cleaves mingled with the crowd at his show, taking requests from fans and even signing autographs and taking pictures during the intermission. He even played his popular song “Whim of Iron,” which sounded like it could have been written about Rhett herself. She tried to buy the old church Before they tore it down Took up a collection All over town She raised a half a million Fixed it up so nice Now there’s actors And dancers And singers Where there used to be rats and mice The crowd went crazy for this song. It resonated so well with the way The Belfry has brought the community together. “Community is important, and we have such a unique and diverse one here in Sis-

ters,” said Rhett. “The Belfry was originally built to be a place for the community to gather and I am happy to see it being used to serve that purpose once again.”

For more information or for a schedule of upcoming events at The Belfry, visit www.belfryevents.com.

Central Oregon Living | Spring 2015 | 11

CONDUCTING

DREAMS Music has never been far from Michael Gesme’s life — and that’s just the way he likes it. by Susan Stafford, for The Bulletin Special Projects photos by Kevin Prieto

“In my junior and senior recitals, I was expected to perform musically. But I only wanted to conduct.”

12 | Central Oregon Living | Spring 2015

“ I’

ve known since I was this tall that music would be a major part of my life,” declared Michael Gesme, as he held his hand three feet from the floor. Gesme’s father took notice as every Sunday his son sat near the organ loft watching as the organist in their Lutheran church played the hymns. “Maybe he’s interested in music,” his father observed. Little did Gary Gesme know his son would grow up to be the accomplished, greatly-loved conductor of the Central Oregon Symphony and the Central Oregon Symphonic Band. Nor did he imagine his son would become professor of Music at Central Oregon Community College and chair of the Department of Fine Arts and Communications. Gesme’s young interest in music blossomed in the small town of Geneseo, nestled in the corn fields of western Illinois, where his dad worked for John Deere. “It was a unique place and I was lucky to be there. … Music was important to the town, and our schools had first-rate music programs,” Gesme recalled. He received an outstanding general music education, beginning piano lessons at 7, singing in both church and

school choirs and ensembles all the way through high school, taking up the trumpet in fifth grade and playing in school and community bands, and playing in the church bell choir until graduating from high school. Living in a town that valued music of all kinds, and surrounded by friends who shared his passion for music, Gesme was literally musically marinating in a town of 5,000 that boasted a professional-level marching band and a sign at the entrance to town that declared Geneseo was the home of the sixtime state music champs. “We had a band shell in the town park where there were concerts in the summer,” Gesme said. “Even if it rained, people would come and sit in their cars to hear the music. That band shell was the first thing rebuilt if a tornado went through town.” After high school it was off to Luther College, a small liberal arts school in Decorah, Iowa, with a great music program. Gesme’s course was certain. He would study to become a choral director. One fortuitous class his freshman year changed that plan when he was introduced to orchestral conducting by his teacher and mentor, Douglas Diamond. “What else can I do to prepare my-

self to conduct?” Gesme asked at the end of that class. “You need to get scores for ensembles I direct and come to rehearsal and watch,” instructed Diamond. Five minutes into the first rehearsal, Gesme’s future was set. “That’s what I want to do,” he decided right then and there.

Moving Forward

From that point forward, the same ambition, stamina, energy and enthusiasm that endears Gesme to his current orchestra members, fueled an exceptional college career in which his love of conducting helped blaze the trail for new programs at Luther College. “In my junior and senior recitals, I was expected to perform musically. But I only wanted to conduct,” he explained. Diamond went to bat for Gesme, got special permission for him to form his own chamber orchestra, and for his recitals he was allowed to conduct. “After I left, the chamber orchestra became part of the music program, run by faculty,” he said. He earned a Masters of Music in orchestral conducting at the University of Missouri at Columbia. It was there he met his future wife, Janet, who was a viola major. Their life of making music

together began there and has continued to this day, now including their son Alex, a high school senior at Summit who plays the oboe, and his daughter Zeta, a junior at Summit and a cellist. “When the kids were young, they always came to practice with us,” he said. Bass trombonist Erik Hoagland remembers Gesme bringing baby Alex to practice and holding him up for everyone to see. “Now we are all at rehearsals together,” Gesme said proudly. Gayle Hoagland, clarinetist and personnel manager of the symphony for 10 years, confirmed Gesme’s pride as a father. “That was a proud moment for Michael — when his kids began playing in the orchestra,” she shared.

Orchestra as Family

The qualities and talent encouraged in his early life have served Gesme well in his professional and personal life. “Michael treats every single person in the orchestra like family,” said Hoagland. “He shows them respect and affection. He even worries about everyone’s health. He has touched so many lives through being himself — his humor, his humanity, his respect for everyone.” As a member of the symphony, long-

Central Oregon Living | Spring 2015 | 13

time teaching colleague Clyde Thompson witnessed first-hand Gesme’s ability to maintain the orchestra at a high level. “He has a combination of great talent, extraordinary stamina for hard work, and a drive to be useful,” said Thompson, who directs the Central Oregon Mastersingers. “At the core of his values, I think, is the idea of devoting one’s life to service,” continued Thompson. “The fact that he has chosen to devote his career to a community college in a small city in Central Oregon speaks volumes. With his talent and energy, he could have gone anywhere he wanted to in pursuit of fame, but he’s not interested in fame.” Gesme’s reason for coming all the way West after college was simple. “I came here because I didn’t have to ‘publish or perish.’ They want good teachers. I get to do what I love to do as well as I can.”

Gesme’s Goal

Gesme’s almost 20 years in Bend have provided opportunities and challenges. “In a big university you generally teach one thing. Here I teach everything at some point in time,” he said. He explained that besides conducting and managing several different orchestras and ensembles, he

14 | Central Oregon Living | Spring 2015

“Michael treats every single person in the orchestra like family.” is also teaching college classes in music theory, ear training, music history and appreciation, and a class on conducting. As of two years ago, he accepted the position as chair of his department and he has two years left to serve. “Something I had stealthily avoided for 17 years,” he confessed. Gesme’s life would exhaust a less energetic man, but his dedication knows no bounds. “For me professionally, it’s a place I’ve been able to grow with. … This place allows me to conduct an orchestra of cultivated amateurs and professionals. I don’t have to recruit musicians. People stay for years,” he explained. Gesme’s goal is to bring music to everyone. Under his direction, the symphony has become an orchestra of almost 100 musicians. Their growing audiences have outgrown facilities and required the addition of a third performance on Monday evenings, with each

series attracting 2,000 patrons. “With the opening of the Madras Performing Arts Center we hope to increase the musical community outreach that the symphony does,” he added. Watching Gesme conduct the orchestra is like watching an interpretive dance. The grace of his hands and arms comes through into the music. His facial expressions signal the orchestra exactly what he is asking for. His animation is infectious and the orchestra responds accordingly. When he is encouraging the bass instruments, his lips pucker out, his brow knits, and his arms make sweeping movements, while he blows out his cheeks. “To see Michael run a rehearsal you see why the musicians respond the way they do,” explained Erik Hoagland. “He has a great ability to work with what he’s got and make it better. He has the patience to get you to do what he wants.” His parents get to see that original musical spark that has become a full-blown flame. They have attended most of his performances during the past 19 years, finally purchasing a townhome in Central Oregon for extended visits around the time of each concert. “And the concerts are a great excuse to see the grandkids,” Gesme said with a laugh.

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simply made

SIMPLY ASIAN

With just a few ingredients and the right noodles, a tasty Asian meal is no longer a scary endeavor.

by Annissa Anderson, for The Bulletin Special Projects / photos by Kari Mauser

Until recently, I found cooking Asian food incredibly intimidating. This unreasonable fear may have originated in being spoiled with real, authentic Asian cooking; a good part of my childhood was spent in Southeast Asia. Put off by the pressure of replicating the perfectly-executed flavors and textures of Asian cuisine here in Central Oregon, I preferred only to indulge my cravings for Korean, Filipino, Thai or Chinese food on occasional visits to cities known for their international food offerings. It was during a meal at a hole-in-the-wall restaurant in Seattle that I realized Asian food could be simply made by anyone, even me. The noodle establishment where I dined, with four others, had a wonderful solution for a wide variety of meals cooked in one very small kitchen. Each patron was given a checklist of ingredients and asked to imagine their own noodle bowl, choosing from the selection of broths, noodles, meats, vegetables and garnishes available. The five of us checked off our preferences, and min16 | Central Oregon Living | Spring 2015

utes later, our individual noodle bowls arrived. With mixand-match noodles from delicate vermicelli to chewy egg noodles (see info box for varieties) and flavorings from braised beef brisket to silky leeks, everyone enjoyed their meal. Five components, five different ways, yielded success for five sets of taste buds. It was then that I realized noodle dishes were the key to easy Asian. Without the need for exotic sauces, hardto-find produce or special order ingredients, noodle dishes from Asia could be as simple to shop for and assemble as basic Italian pasta recipes. Appealing to both the old and young, they can be modified easily to suit everyone. Of course I was not about to offer the entire madeto-order menu at home, but it was the freedom of ingredients, all complimenting one another, that caught my interest. A variety of tasty noodle dishes could be accomplished with just dried noodles, soaked or boiled (a few can be found fresh), combined with cooked meats and vegetables in a simple sauce or broth and finished with

a fresh garnish. Fresh ingredients are the backbone of Asian cooking. Asian greens and other colorful vegetables, cut thinly to release their flavor quickly, are essential to overall flavor. Bok choy and baby bok choy are the most commonly found Asian greens locally, but mustardy tatsoi is also available at local farmer’s markets in spring, by itself or in an Asian mustard greens mix. Thinly sliced onions, scallions or leeks and herb sprigs — used as garnish — also add freshness. Flavoring broth can be as easy as adding garlic and ginger while it simmers. Meat or poultry — often a tertiary ingredient — does not overpower, but simply adds another flavor nuance to the noodles and vegetables. A surprising number of Asian sauces are made from easyto-find ingredients such as soy sauce, sesame oil, rice vinegar or rice wine (mirin) and sugar. Chili sauce is easily added to the dish after cooking, to suit all palates.

Central Oregon Living | Spring 2015 | 17

PICTURE THIS. An open field on a ranch in Tumalo. A crisp June mountain breeze. Tents and awnings dotting the landscape …

Take a trip

BEHIND THE g, Gary Armstron

and Stacy Totland

g Lisa Armstron

he 4 Peaks Music Festival was once a five-person operation, run by a group of four guys who met while following the band Phish in the 1990s, and one recent Colorado transplant, Stacy Totland, who Colorado knew a thing or two about producing shows from working as the Art Director for the Telluride Jazz Festival. Today, Totland directs the festival single-handedly while also juggling motherhood, often working late into the night or during a few free hours while her 8-year-old daughter Stella is in school. She admits her work on the festival is primarily a labor of love and has endless stories of the joy that her connections with the musicians and

18 | Central Oregon Living | Spring 2015

bands have brought to the life of her and her family. “I can go to almost any music festival and I feel like I have an extended family,” she said. “We often host bands for the night here at our house, too, and that has really allowed me to get to know the musicians.” While she shoulders the bulk of the responsibility, some of her helpers include Gregg Morris who spreads the “message” of the festival with copywriting and PR, Kevin Byrne who runs the beverage side of things, and Jason Beard, one of the original partners and front man for Poor Man’s Whiskey who does the majority of the music booking. Gary and Lisa Armstrong rent their Tumalo property as the venue for the

… and hundreds of revelers setting up camp, ready to spend three days jamming, dancing and celebrating music.

SCENES

at 4 Peaks Music Festival by Laurel Brauns, for The Bulletin Special Projects / photos by Kevin Prieto

festival and a small army of volunteers assist with everything from parking to clean up. “I think the fact that we have over 100 volunteers and that the ranch owners are willing to give up their property for a week is a testament to 4 Peaks being a community-spirited event,” said Morris. The idea for a jam-band-centric music festival in Central Oregon was spawned in 2007 by Beard, Eric Walton, Will Nash and Paul Brown. Inspired by their own experiences going to Phish shows and a by a number of similar festivals popping up across the country, they wanted to bring high-caliber bands to this area. The vision was originally not much

grander than a backyard party on Walton’s hobby farm with a few good outof-town acts. But as word spread and momentum grew, the group was serendipitously offered the opportunity by the Armstrongs to host it on the Rockin’ A Ranch, their sprawling property in Tumalo with incredible views of the Cascade Mountains. They registered for a mass gathering permit, and 1,500 people showed up the first year. The group declared it a success despite the fact that they operated at a loss. Totland was brought to the table early on because of her experiences working for many of the festivals in Telluride, but she was also well known in the Bend music community because of her weekly jam band show on KPOV

Photo courtesy of

4 Peaks Music

Festival

Central Oregon Living | Spring 2015 | 19

Photo courtesy 4 Peaks Music Festival

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called “Live Alive,” hosted with Morris. The second year (2008) the festival experienced a similar fate as the first, with great music, people traveling from all over to attend, and lots of “good vibes,” but no profits. Meanwhile Central Oregon’s economy was deteriorating rapidly and the group decided to take a year off with plans to revive the gathering in 2010. Walton and Brown left Bend during the economic crash, and Totland began taking on most of the day-to-day aspects of the festival. She finally decided to buy her partners out in 2013. Since their year off, the festival has grown much more “organically,” starting out with just a few hundred attendees in 2010 and increasing in steady increments to about 1,000 in 2014. “It was hard at first to make decisions by myself, and not have my partners to bounce ideas off of,” Totland said. “But I have other key players now, and they are a huge asset, especially during the weekend of the festival.” Totland believes one of the key selling points of the festival is the “chill, intimate, family-friendly vibe.” Her daughter has grown up at the festival, from being pulled around in a wagon when she was an infant in 2007, to recent years where she is “self-sufficient and runs around with her friends all weekend.” Morris agrees that he never has to worry about his daughter Ella, age 10, during the weekend of 4 Peaks. “We’re never stressed out about where our kid is,” he said. “There are no bad incidents or rule breaking, no bad juju, just a great weekend of fun.” Kevin Byrne, who works as the beverage manager for 4 Peaks, has been with the festival since the beginning and noted that the incremental growth patterns of the last five years has really helped to keep people comfortable.

“It’s become a lot more organized and professional,” he said. “It’s a boutique-style festival with free water, lots of information at the checkpoints. It’s laid out very simply, and food and drinks are reasonably priced. It is also run as sustainably as possible, and we have a zero-waste ethic with the purchase of silly pints encouraged in the beer tent and lots of recycling cans around. Last year we only had one dumpster of trash for the whole weekend.” As the reputation and professionalism of the festival has grown, so has the size of the acts that it attracts. In the beginning there were a few big headliners and mostly locals, but today it is almost all national-caliber acts with a few locals. One band that has performed at the festival since the beginning and continues to do so today is the Bay Area band, Poor Man’s Whiskey, fronted by one of the original partners and present-day booking agent, Beard. For many 4 Peaks fans, the Poor Man’s Whiskey sets have been some of the most memorable. Byrne recalls that last year they played the entire album of Pink Floyd’s “Dark Side of the Moon” and one year did a whole set of just Allman Brothers songs. For Totland, it is the connections that she has made with musicians and bands throughout the country that gives her the drive to continue to produce the festival every year. One of her most treasured moments at 4 Peaks was when one of her favorite bands, Railroad Earth, brought her up on stage and presented her with a glass of champagne before encoring with her favorite song. “It was surreal and amazing that they took time out of their set to acknowledge me as the person putting the festival on,” she said. “It was a wonderful moment in time.”

4 PEAKS MUSIC FESTIVAL

YEARS OF

SONG

The Youth Choir of Central Oregon is where kids of all ages go to hone their vocal skills. by Bonnie Burns, for The Bulletin Special Projects / photos by Kevin Prieto Break time was over in the music room, a borrowed space used by a school band during the day. A swarm of kids rushed through the doors. There was chatter and laughter; the sound level grew as the room filled with excited voices. From the front of the room came a snap and clapping that turned into a “hand-jive.” One by one, the kids joined in the rhythm until the final clap and all were silent. Beth Basham had beckoned her brood into attention, with arms at their sides, ready for their musical cue. And so began the final rehearsal for the Winter Concert 2015 of the Youth Choir of Central Oregon (YCCO). “I believe music makes a difference in the lives of all people, but particularly in the lives of children and teenagers,” said Basham, the creative director

and founder of the YCCO. “In 1990, I was approached by the Cascade Festival of Music to organize a children’s choir,” explained Basham. “It began with about 60 students, and they were known as the Cascade Festival Children’s Choir. The singers were young, but as they grew older, they didn’t want it to end. ‘Where do we go from here?’ they asked.” Because of the passion the children’s choir evoked in these young singers, Basham was inspired to create something more, to build on the music and performance opportunities for the area’s youth. With the help of a dedicated group of volunteers, and riding on the artistic reputation the children’s choir had achieved in its first four years, Basham filed for and was granted nonprofit status for her program. Central Oregon Living | Spring 2015 | 21

Above photos by Lisa Armstrong

“I loved to sing all my life but had never been part of an auditioned ensemble. The first time I went to choir rehearsal and sang with Mrs. Basham, I knew I had found a home.” As a community-based nonprofit, the choir evolved. Under Basham’s direction and guided by a board of directors, the program grew to include three choirs where there was once just one. Now the youngest voices (grades 1-4) find their way in YCCO’s Singers School, where instructor Andrea Black encourages each child to explore their voice and their love of singing. Accompanied by pianist Debbi McMahon, Basham herself teaches children in grades 5-8 in the Debut Choir, and teen choristers in grades 8-12 hone their skills under her direction in the nonprofit’s Premiere Choir. While the youngest singers are never turned away, auditions are required for the Debut and Premiere Choirs. Each member of YCCO is also required to participate in their school’s music program. “It enhances the YCCO experience, and there is a collegial relation to the schools,” Basham explained. “We like to collaborate with the schools.” The choirs have achieved state, national and international recognition and acclaim. Every year, members of the Premiere Choir travel to cities such as New York, Chicago and New Orleans to perform in major venues including Carnegie Hall. The dedicated youth have

even traveled to perform at Canterbury Cathedral in England and this year will join an international choir to sing at St. Peter’s Basilica in Rome. “You can speak a different language and come from a different culture, but music allows you to come together and create something beautiful,” said Basham. “That is really a powerful message for the world right now.” At YCCO, students are encouraged to explore and expand their love of music. They learn their passion for singing is to be cherished and nurtured. “I joined the YCCO in fifth grade,” recalled Kimberly Wilson. “I loved to sing all my life but had never been part of an auditioned ensemble. The first time I went to choir rehearsal and sang with Mrs. Basham, I knew I had found a home. “I learned not only how to sing incredible music but also how to sing properly — blend, shape a vowel, and phrase a line with proper dynamics. Mrs. Basham paid attention to the little details that take a piece from merely pleasing to awe-inspiring.” Wilson graduated high school and moved on from the YCCO in 2005, but

22 | Central Oregon Living | Spring 2015

the passion she discovered while singing with Basham ultimately led her to the American Musical & Dramatic Academy in New York City where she’s studying musical theater. “Mrs. Basham dramatically changes the trajectory of the lives of those she touches,” Wilson said. “Mrs. Basham has been a real inspiration,” agreed McKennah Thornton, who is in her sixth year with YCCO. “I learned how music can do anything.” For McKennah, music is more than notes and words, and she doesn’t sing just to sing, but believes her voice

gives her an opportunity to change people’s lives through music and theater. “When there is a change in the world, it is influenced and defined by music — like the Roaring 20s and the Jazz Age,” she said. One of the longest running choir members, Savannah King, will graduate this year after 11 years of traveling from Redmond to Bend every Monday night for choir. But like those before her, she’ll take the passion and confidence she gained from Basham and YCCO with her on her journey. “Mrs. Basham is my role model,”

Savannah explained. “She has a glow about her that pulls people together and makes them feel special.” For Parker Wild, the choir is not only a place where he feels understood, but a place where he has learned to embrace his passion for music. “It gives me a place for music where it is fun to be in MY world,” he said, laughing. “I learned to sing — out loud!”

With the support of her staff, Basham has expanded numerous children’s minds and musical abilities while showing vast audiences that children’s voices can be sophisticated, profoundly musical and artistically excellent. Her dedication to them comes back in their devotion to her and to the music, to the choir. Rehearsals aren’t a Monday night chore; they’re something each chorister looks forward to. As parents gathered in the hall to

pick up their children at the end of rehearsal, the chatter and laughter that had resonated in the music room earlier, resumed. As first year student in the YCCO’s Singers School, Maya Andrick, came out of the practice room, her mother asked her how it was. The grin on her face said it all. “Really cool,” she exclaimed, adding that she simply loves the sound of musical unison and the social interaction

the choir offers. “It is my pride and joy!” “Mom, tonight we sang like angels,” gushed another student as she headed toward the exit. As the room slowly emptied, Basham was surrounded by lingering students asking questions and soliciting suggestions on how to improve their performance. “I love the kids,” Basham said, laughing affectionately. “They are the happiest part of my life!”

YCCO 25th Anniversary Concert

Saturday, May 23, 7:00 pm Bend Senior High School, 230 NE 6th Street, Bend $10 general admission. Tickets available at the choir office and at the door on the evening of the concert. For more information, photos and forms, visit the YCCO website, their Facebook page, or contact Chris Asher at the choir office, 541-385-0470.

Central Oregon Living | Spring 2015 | 23

SOUND

PLANNING You’ve got your favorite band. You’ve got all the gadgets and gizmos. But how do you combine the two into a great sound system for the home? by John Cal, for The Bulletin Special Projects / photos by Kevin Prieto

e’ve all moved a couch, painted a wall, turned up the thermostat. And it’s amazing, isn’t it? Just a few small tweaks can change the look and feel of a room and entirely affect both its mood and yours. Color, texture, temperature — they’re all within the daily purview of home life. But what about the way a room sounds — its cadence, its reverberation? What if you could affect its acoustics, its echo, to make a party better, to improve your morning puttering, and yes, to hear the crisp vocal stylings of Sam Smith with even more clarity. With today’s sound engineers and home sound systems you can, and these days we don’t have to adapt to the technology. The technology can adapt to us, but like trying to decide what color to paint a wall, it’s our own vision of mood that’s sometimes hard to figure out. “It’s important to find out not only what people are listening to, but how they’re consuming it,” said Jason Gillette, owner and system designer for Premier Home Systems in Bend. “And when you start asking questions, people really begin to think about the sound of their home in ways they haven’t had to before.” “Where do you listen to music in your home?” continued Gillette. “Is it primarily background when you’re cooking dinner? Do you like to entertain? Are there two

24 | Central Oregon Living | Spring 2015

people in the house or 15? Whether you’re going to sit in a great room and soak in your favorite CD or just listen to NPR while you’re getting ready in the morning will greatly affect what kind of system best fits your home.” “Early on it’s also important to talk about the room specifics,” said Stephen Berhar, owner of Stereo Planet in downtown Bend. There are things that are generally standard, said Berhar, such as speaker height, which is best at ear level. It’s also best for stationary music listening, such as when you’re sitting at your couch enjoying some Rachmaninoff, to place the speakers at an equidistant ratio between each other and you. But even the science of sound can be affected by other unaccounted for factors in the room. “They spent millions of dollars to engineer the acoustics at Lincoln Center in New York City, and they’re still nowhere near as good as the acoustics at Carnegie Hall that just happened by accident,” said Berhar. “It’s both science and art, and really the best thing to do is to be in a room and try things out.” After you’ve considered what you’re listening to, why you’re listening to it, and even some of the details about how you want it to sound, there’s also where you’re sourcing your music from. “We all used to have headphones and a walkman and had to carry around eight tracks, cassettes, or CDs

with us,” continued Gillette, “but now it’s Pandora, iTunes and Spotify.” We’re able to carry our entire musical library in our pockets or stream it over the Internet, but many people don’t know what that means regarding how it affects sound quality. “An LP is still the best way to experience phenomenal recorded music,” added Gillette. “It’s fully analog, analog to analog, not converted to digital to save space. … A CD is still going to get you better quality music than streaming, and when streaming, many people don’t know that services like Pandora have two services: the free service with low quality streaming, but you can get a higher quality streaming service for a monthly fee.” “It’s like driving a high performance sports car with the wrong tire pressure,” continued Gillette. “No matter how great a car engine or sound system is, if another part of the equation is of less quality, you’re not fully experiencing what the system is capable of.” Still, it isn’t completely necessary to have obtrusive, aesthetically unpleasing equipment in the middle of your living room to produce great sound. “Aesthetics versus performance is something that I think is important to talk about early on,” said Berhar. “What can we do to put a speaker in a wall, or to paint it? How can we keep things hidden and unobtrusive

to your lifestyle? In-ceiling speakers are great for filling a room with sound. They have a wide dispersion pattern, but you’re going to get better stationary listening with directionally placed speakers. … Quality of speakers is measured in frequency response — (meaning) how much bass, and efficiency — which is measured in decibels. More efficient speakers require less power to get the same decibels, but most high-end speakers use more power and are usually less efficient. Still, even with all the advances in shrinking speakers, in general, you’re not going to be able to get as good of sound out of a smaller speaker than a larger one.” “In the world of sound, you’re dealing with physics,” said Gillette, “and you can easily fall down the rabbit hole on the way to sonic nirvana.” He suggests that people wanting to do their own acoustic research can check out Dolby Digital’s website or the website of the Home Acoustics Alliance at www.homeacoustics.net. “Their website hasn’t been updated since 2010,” he said with a laugh, “but they certify people, and they have a lot of great information.” “I think the mistake a lot of people make is that they have a friend that says, ‘I did this. It worked for me. That’s what you should do,’” said Gillette. “And it just doesn’t work that way. Each situation is different, and you just have to take it as it comes.” But most surprising when talking to a number of sound engineers a recurring theme was not budget or size of the room, not the physics or technicality of decibels or speak-

“It’s both science and art, and really the best thing to do is to be in a room and try things out.” er placement, but some esoterically emotional version of “What is it that moves you?” Because the most important question to ask when looking into a home sound system is not “What system will make the most high quality sound?” but “Which sound do you most connect with?” “Music is supposed to be about an experience,” said Gillette. “Musicians want to see a crowd react. That’s what we’re trying to recreate in the home. High quality sound is about truly engaging in the experience, hearing every note. ... It wouldn’t be the same if people stopped painting with the color green. What if green wasn’t going to be used in paintings anymore? That’s what it’s like to miss out on the nuance of sound.” But even with that gospel Gillette still believes it still comes down to what you like. “I tell people when you’re happy with your system, stop. If you like it, great. It should never be a case where you come in blindly listening to what the marketing tells you. Find a system that makes you happy, and that’s the right one for you.”

Central Oregon Living | Spring 2015 | 25

A CENTER FOR

CULTURE Decades after the idea was first conceived, the Madras Performing Arts Center opens its doors to musicians, dancers and the community. by John Cal, for The Bulletin Special Projects / photos by Kevin Prieto 26 | Central Oregon Living | Spring 2015

t’s been 50 years in the making, but last December saw the opening of the brand new Madras Performing Arts Center. But it’s more than just a performing arts center. The facility hopes to be a place for community gatherings, a center for culture, and a point of pride. “[Building the center] has been a topic of conversation since they built the high school in 1964,” said Darryl Smith, director of human resources and operations for the Jefferson County School District. “It was talked about again 10 years ago, when we applied for a bond, but it was just too much and wasn’t in the cards, so we promised to put it on the next bond.” What resulted after years of patience is a sleek and modern building engineered from the ground up with both style and technology. The school district and design committee wanted a space that showcased the very best in sound technology. “Acoustic clouds” were installed into the ceiling to help direct sound to the audience. “You don’t need to have a microphone to be heard in the auditorium,” continued Smith. “If someone is talking on stage, you can hear them all the way in the back.” The facility is also equipped with a digital video recording system, LED lights that conserve energy, and even the ability to broadcast. “When I think about it now, it’s actually a little comical how we managed to do it for so many

years,” said Smith. “We used to have all our meetings and performances in the cafeteria of (Madras High School), which has a little stage on one side and a small row of lights for a light bar. ... We’d have to set up and take down folding chairs for each performance so the kids could have lunch the next day.” And while high school performances have moved to the adjacent center, the ultimate goal is to work with the community to get multiple uses out of the facility.

“It was amazing to see it all come together.” “The local dance studio used to go to Prineville or Redmond for their performances,” said Lyle Rehwinkel, school board director. “Now we get to keep those people here in the community. ... It helps our restaurants. It helps our motels. It helps build pride in Madras to have such a state of the art facility here.” The building houses built-in dressing rooms, makeup areas, and separate shower and restroom areas for performers. There’s scene storage, costume storage and instrument storage, but it also has kitchenettes and meeting spaces and conference rooms.

“We also have new locker room facilities for the high school athletes,” said Smith. “This spring the track and field kids will begin to use it as their regular locker rooms. … That really was the whole idea behind it, a community space designed to be a multi-functioning facility. We’re hoping the community wants to use it a lot. It was designed to be used.” A winter gala was the center’s first event last December. Crowds of Madras residents were entertained with music by a community choir, a dance show from a local dance arts studio, and a solo performance by local Madras High School graduate Cristine Keever, who is now an opera singer. “When Cristine was in there practicing, the sound quality was amazing,” said Smith. “It was amazing to see it all come together.” “That’s what this is about,” added Rehwinkel. “When my kids grow up and their kids grow up, that there’s a place for them.” Rehwinkel has a 20-year-old daughter who is a junior at Pacific University, and a son, 16, who is a junior at Madras High School. “I want our kids to have the same opportunities, to know the importance of feeling ownership in the community. … We have a top notch aquatics center, and now a great performing arts center. We’re going to continue to work on our school and our city so that people will continue to be proud to call Madras home.”

Central Oregon Living | Spring 2015 | 27

GARDEN CALENDAR MARCH

● If you haven’t fertilized your bulbs yet, now is a good time. Use a fertilizer high in phosphorous (the second number on the fertilizer bag) for example, 0-46-0.

● Given our warm, dry winter, now is a good time to give your landscape plants a deep soak if the ground will accept water. This will keep your plants from drying out(desiccating).

MAY

● Order

your seed packets and reserve your fruit trees now. Apples, Asian Pears, and plums are most successful here.

● Mid April through May is the best time in spring to dethatch and aerate your lawn. Rent a dethatcher from the local rental shop. Once you have pulled up and removed the thatch, apply a fertilizer application to stimulate rapid recovery.

● Consider edible landscaping plants such as fruit trees and berry producing shrubs. ● Prune your deciduous trees and shrubs beginning late March and continue pruning throughout the summer. Be careful not to prune flowering trees and shrubs that bloom on last years growth (old wood), for example your lilacs. Wait until these plants are finished blooming and then prune shortly after the flowers die off. ● Conifers should be pruned in late fall to avoid Sequoia Pitch Moth damage.

● Research and plan to add perennials, trees, or shrubs to your landscape in late Spring. ● Purchase/order annual and vegetable garden seeds with 65-80 days to maturity, remember to add 14 days to the maturity date on the packet, this is approximately how long it will take for that plant to mature here in Central Oregon because we have little to no plant growth at night. ● Be sure and sign up for a new year of High Desert Gardening for a color newsletter with local tips and articles on Central Oregon’s landscapes and gardening. It is available electronically or in hard copy. To check out a sample of our newsletter online, go to http://extension. oregonstate.edu/deschutes/sites/default/files/ apr_may10free.pdf or call us at 541-548-6088:

by Amy Jo Detweiler / Special to The Bulletin

a soil temperature of 40 degrees Fahrenheit or above consistently, include beets, carrots, peas, radishes, lettuce, and spinach to name a few. For more information vegetable gardening and when to plant seeds or set out starts check out our website at: http://extension.oregonstate.edu/ deschutes/vegetables-0 ● Check with your local nursery for seeds or check

out the following seed catalogs for hardy varieties: Territorial Seed Company at 541-942-9547 or www.territorialseed.com Johnny’s Selected Seeds at 207-437-4301 or www.johnnyseeds.com Nichols Garden Nursery at 1-800-422-3985 or www.nicholsgardennursery.com

● Now is the time to stock up on row cover and your walls of water. These items help to extend the growing season and protect your plants and crops from frost damage. These products work well for tomatoes, peppers and other sun loving crops. ● If you haven’t started your vegetable seeds, get them going inside to be put outside in the garden in June. Be sure and use a seed start mix soil with any vegetable or flower seeds, regular potting soil may be too heavy for some seeds. ● Cut back any perennials that were left through the winter removing all dead foliage. ● Repair or change your sprinkler system to be

more efficient. ● Prepare garden soil for spring planting by adding organic matter including rotted manures and compost or by planting a cover crop (green manure) such as ryegrass, buckwheat, or barley.

● Use a damp sponge or cloth, cleaning the upper and lower surfaces of the leaves on your houseplants.

● Direct seed your carrots, chard, kohlrabi, and potatoes.

● Now is a good time to repair, clean, sharpen, and maintain garden tools and equipment. Be sure and have your lawnmower blades sharpened before you start mowing the lawn this season.

● Plant asparagus crowns or transplants in mid to late May.

● Plant

seed flats for cole crops including broccoli, cauliflower, cabbage, brussel sprouts

APRIL

● Gather branches of quince, forsythia, and other flowering ornamentals and bring inside to force early bloom

● Continue to prune your deciduous trees and shrubs. See the March entry above.

● Fertilize your shade/ornamental trees, shrubs and perennials with fertilizer mixtures such as 106-4 or 20-10-5. A slow release fertilizer works well for these.

● Direct seed your beets, lettuce, peas, radish, and spinach.

JUNE

● Transplant your broccoli, cabbage, and onions that you may have started from seed. Have frost protection in place using row cover.

● Protect your young vegetables from frost by having row cover (frost cloth) on hand. Place over your crops when needed.

● Plant

a windowsill container garden of herbs

● Use a soil thermometer to help you know when to plant vegetable and flower seeds; cool season vegetables that germinate and grow at

28 | Central Oregon Living | Spring 2015

● Transplant your brussel sprouts, cauliflower,

leeks, or peppers.

● Water your vegetable and flower gardens early in the morning. ● Plant flowers to attract pollinators to your garden (e.g. native plants or flowers that are blue, yellow, red ,or violet) ● Water

your lawn between 4 inches to 6 inches per month, approximately 1.5 inches per week. ● Manage weeds while they are small and actively growing with light cultivation or herbicides. Once the weed has gone to bud, herbicides are less effective. ● Most lawns in Central Oregon are composed of Kentucky bluegrass, fine fescues, and perennial ryegrass and prefer a mowing height of 1.5 inches to 2.5 inches for optimal turfgrass health. You should be mowing between four to six times per month during June and July. ● Container gardening is a great way to grow annuals for the season. Get started on your containers using clean potting soil and annuals

such as sweet potato vine, petunias, or snapdragons. For more information on Container Gardening go to: http://extension.oregonstate. edu/deschutes/sites/default/files/container_gardening.pdf ● Lawns

can be fertilized late June through early July at an application rate of 1 pound nitrogen per 1,000 square feet using soluble or mixed soluble — slow release nitrogen fertilizers. Optimum ratios for N-P-K materials range from 3-1-2 to 6-1-4. You may also choose to use straight nitrogen materials such as ammonium sulfate or complete fertilizers containing N-P-K.

GARDEN EVENTS: For an in-depth listing of all of the OSU Extension Service Garden Classes and community outreach events go to: http://extension.oregonstate. edu/deschutes/garden-classes

Interested in renting a plot at the Hollinshead Community Garden or Northwest Crossing Community Garden in Bend? Contact OSU Master Gardener Volunteer Chris at 541-383-3905 for Hollinshead or John at 541-678-5949 for NorthWest Crossing. March 14 — Living on a Few Acres Workshop in Redmond – 30 classes for small farmers http://extension.oregonstate.edu/deschutes/living-few-acres-conference-0 April 18 — Spring Gardening Seminar and Garden Market in Redmond at the Deschutes County Fair & Expo Center presented by the Central Oregon Chapter of OSU Master Gardeners. Attend several garden classes and a fun garden market. We will soon have more information on our website at: http://extension.oregonstate.edu/deschutes/

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Central Oregon Living | Spring 2015 | 29

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