Joshua Tree Voice - May 2024

Thank you to our advisory board whose talents, insights, and passions contribute to the quality of this publication

Jacqueline Guevara

Executive Director, Joshua Tree National Park Association

Barnett English

Festival Founder and Director, Joshua Tree Music Festival

Dave Catching

Owner, Rancho De La Luna Recording Studio & Rancho De La Luna Mezcal, Musician, Producer

Mario Lalli

Musician, Fatso Jetson, Yawning Man, Mario Lalli and the Snake Charmers

Bobby Furst

Owner/Creator of FurstWurld, Artist

OUR TEAM:

Graphic Design Wizard: Jeff Day

Cover Design: Lisa Lynn Morgan

Web & Marketing: Pointed Services

Staff Photographer: Sandra Goodin

Art Writer: Katie Nartonis

Angeles: Poetry Corner Creator

Owner/Publisher: Lisa Lynn Morgan

Owner/Principal: Ray Rodriguez

Bruce Fessier

Monique A. LeBleu

Rebecca French

Jacqueline Guevara

Raymond Rodriguez

Lisa Lynn Morgan

Rex Edhlund

Monique A. LeBleu

Natasha Agrama

Penelope Valentine

Jeff Fasano

Bruce Fessier

Jacobine Van Der Meer

Evi Klett Bonnie Hawthorn

Bruce Squires

L. Gerber

J. Bajsel

Ian Ferris

Elissa Kline

WE WOULD NOT BE HERE without our amazing team, the love of this diverse and colorful, supportive community, and the businesses that have partnered with us through advertising. Please, whenever you can, show them some love – lots of it!

If you would like to partner with Joshua Tree Voice through digital and print marketing, please contact us at (760) 237-0124.

ABOUT THE COVER:

Renowned, Grammy nominated, singer-songwriter and multi-instrumentalist Louise Goffin has embarked on a musical journey since the age of 8. Goffin embodies a legacy deeply entrenched in exceptional songwriting and production. From her early days contributing vocals to iconic tracks like Cheech and Chong’s “Basketball Jones” and Carole King’s “Really Rosie” soundtrack, to her debut album “Kid Blue” at age 19, Goffin has navigated a remarkable career across major labels and her independent Majority of One label, and that’s just scratching the surface. She is playing it all forward right here in Joshua Tree.

Cover Photo by Jeff Fasano

NOTE FROM THE PUBLISHER:

To some, it might not seem like a significant milestone, but for us, it’s monumental – WE ARE GROWING - AGAIN! From our humble beginnings of 18,000 printed copies with 44 pages, to 22, 000 and 48 PAGES! We can’t help but reflect on the early days when we shared our vision for Joshua Tree Voice with friends and colleagues beyond the hi-desert communities. Their initial question was, “Is there enough content for a monthly magazine there?” We were confident there was, but little did we know the abundance of wonderful stories, important topics, and beautiful photos that would fill our pages. Since day one, we’ve relied on advertising partners to keep JTV free for the community and to those who drive into it. This year, we’ve been overwhelmed by the incredible influx of partners making long-term commitments due to our successful partnerships.

Even with 48 pages, some stories had to be pushed to the June issue. We’re committed to growing our partnerships further so we can accommodate all the relevant and amazing stories and information.

Here’s how you can help us keep growing:

Visit our partners and express our community’s gratitude for their support. Explore their websites and follow their links. Support their businesses!

If you come across a copy of Joshua Tree Voice at one of our distribution points, snap a photo with the magazine at the location and tag us on social media. We’ll share it on our channels.

We owe everything to the love and encouragement of this community. Thank you for giving Joshua Tree Voice a voice.

LOUISE GOFFIN Charting her own path

By Lisa Lynn Morgan

Renowned musician Louise Goffin has been immersed in the world of music since the tender age of 8, when she wrote her first song. Originating from Brooklyn, New York, she carries within her a rich musical heritage steeped in exceptional songwriting and production. From her early childhood vocals on iconic tracks like Cheech and Chong’s “Basketball Jones” and Carole King’s “Really Rosie” soundtrack, her debut at the Troubadour opening for Jackson Browne at 17, to her groundbreaking debut album “Kid Blue” at the age of 19, Goffin has traversed a remarkable career path spanning major labels and her independent venture, Majority of One label, all while paying homage to her musical roots.

Goffin has released ten solo albums. In addition, she wrote the original songs and produced her mother’s Grammy-nominated first holiday album, A Holiday Carole. She has toured with Tears for Fears, and famously sang alongside her mother on the theme song of “Gilmore Girls.” Notably, Goffin’s infectious track “Uptown Boys” became a highlight of the cult classic “Fast Times At Ridgemont High” soundtrack, marking her as the youngest artist featured. Today, Goffin is regularly “playing” it forward.

Mil-Tree, a veteran-focused nonprofit located in Joshua Tree, proudly announces a complimentary singer/songwriter workshop led by Goffin. Scheduled from May 31st to June 2nd at Furstwurld in Joshua Tree, this workshop extends a warm invitation to veterans and community members, regardless of their musical background. Attendees will have the invaluable opportunity to learn from Goffin, a seasoned troubadour with an extensive repertoire, offering a treasure trove of insights and expertise in songwriting.

Goffin’s artistic endeavors extend beyond music, as she is also the Founder and Creative Director of the Goffin & King Foundation. This organization champions aspiring songwriters through retreats and educational opportunities to help them find their voice, irrespective of background. Currently, the foundation is embarking on a pop-up tour titled, Songs and Stories. Goffin is joined by special guests, Therese Curatolo and Ashaine White, who Goffin met at the Goffin & King Foundation’s inaugural songwriters retreat at the Joshua Tree Retreat Center, October 2023. Her dedication to nurturing emerging talent is evident in her ongoing efforts to provide platforms for artistic expression. “It’s important to give emerging artists an opportunity to connect with other creatives and learn how to protect and nurture

Photo by Jeff Fasano

themselves from the inside out, when so many of the cultural and industry messages are working in the opposite direction,” Goffin shares.

As a storyteller, Goffin curates and hosts Song Chronicles, a podcast delving into the intricacies of songwriting and music production. Featuring intimate conversations with industry luminaries, the podcast offers listeners a behind-the-scenes look at the creative process. Goffin’s commitment to preserving musical legacies and fostering creativity underscores her enduring impact on the music community. She has triumphed by doing what she loves.

Joshua Tree Voice had the pleasure of speaking with Goffin who graciously gave her time in between flights during her tour:

JTV: “What were your earliest influences on the path to finding your voice?”

Goffin: “My maternal grandmother celebrated my self-expression with the message that I could create anything I wanted, and it would be fun. Also, my mother. She did not see gender lines. She believed she had a voice worth expressing, and nobody would keep her from doing what she loved.”

“I had a cheap record player in my bedroom in New Jersey when I was seven. The two records I remember coveting the most were The Monkees Headquarters and

Leopold Stokowski’s Fantasia with the Philadelphia Orchestra. I became interested in the Beatles when Rubber Soul came out…staring at the photos on the back cover and imagining recording in London.”

“There was my parents’ songwriting in the house too, and the music they listened to. There was a lot of soul and music by black artists of the time.”

“I was also influenced by the perceived isolation of my insecurities - our house felt too big. My parents would often drive into New York and leave us girls with a babysitter, and I wanted to be where the action was. When we moved to LA, I would lose myself in the sounds and smells of Laurel Canyon, a sweet dry mustiness along with dreams of the world when I’d hike in the Hollywood hills. I spent a lot of time relying on my

fantasy life. My songs and stories and the little movies I’d make on a super 8 camera became my way of creating safety when the times I grew up in felt predatory. My mom was always supportive and a genuine fan of what I’d do, which continues to be a blessing.”

JTV: “Any upcoming releases or projects we can watch for?”

Goffin: “I have a single I’m still putting finishing touches on before releasing, called ‘Backseat,’ which I’m so excited about! I came up with a line driving up the coast: ’I’m never ever gonna be driving in the back seat of my own car.’ I brought the idea to my son, Elijah Wells, and in his Highland Park studio, he built this wonderful track around it. A series of fortuitous accidents happened in the recording process after I took the session away that included me changing the tempo accidentally. Then when writing with a young artist, Salomé Monroig, I played her the song to see if it would be a good fit for her. She riffed melodies and lyrics in a few takes but didn’t want to do anything else with it. It stayed on my hard drive for a year until I opened the session and thought, “Damn, this is great. I’m gonna finish this one!”

JTV: “What is it like to have a common voice between three generations of artists?”

Goffin: “I think we all share a common language when it comes to vulnerability and emotion, each with our different ways of expressing it musically. My lyric writing is influenced greatly by my father’s songwriting. The act of writing a song was more than a job and a craft, though it certainly was modeled to me as both those things. Like my father, I needed to write my way through to understand the emotions I couldn’t process. Lyrics became a refuge, and the page became a place of renewal where I could get right with myself.”

JTV: “Your best advice for any aspiring songwriter?”

Goffin: “Don’t get caught up in songwriting strategies. Your muse is the greatest inspiration is there for you whether you choose to use it or not. Sometimes the solitary treasure hunt is lonely and alleviated by others, but when that takes us away from the voice that whispers directions to a curious road leading to somewhere only you can travel, make time to listen. I try to stay clear from people on the sidelines telling me what to do with unsolicited commentary. I don’t relate to strategies like, ‘You should write one like so and so,’ or ‘You could have a really big hit if you just...’ The truth is, no one knows you like you, so treat your heart like it’s your north star.”

“Start with yourself and remember to be both the parent and the child. Remember to tell the child he or she is doing a great job. Doubt the doubters. You decide. It’s your right, your life! That’s how I am. Everyone can find their own way, but the important thing is to not give up on yourself.”

Connect with Louise Goffin: IG @goffin_king_foundation

Photo by Sandra Goodin

Photo by Sandra Goodin

Photo by Elissa Kline Photography

Pictured from left to right: Therese Curatolo, Ysa Fernandez, and Louise Goffin

MAY 24 - 25 - 26

Celebrating Community

FRI. MAY24

7am - noon Chamber Challenge Golf Tournament Hawks Landing Golf Course

Shotgun start 8am - Lunch & Awards 12-1pm

5 - 7pm Kick-Off CHAMBER MIXER– Elks Lodge 2314

Heavy Hors d'oeuvre – Live Music – Prizes - Mix & Mingle - Dance

SAT. MAY 25

10am - 4pm Brehm Park & Boys & Girls Club

Tug O War - Adult & Kid’s Water Slides/Jumpers - Mechanical Bull

Games - Mini Golf - Food Trucks - Grubstake Vendors - Dunk Tank

Car & Motorc ycle Show - Horseshoe Tournament - Beard Contest

NOON / Little Miss & Mr. Miner Personality Contest 1-2pm Lil Red Wagon Parade Grand Marshals Little Miss & Mr Miner Winners

Displays: MCAGCC Marines - SB County Fire & Sheriff - Basin Transit

MB Ambulance - MB Health Care Distric t - CERT Camel Rides - Exotic Petting Zoo

Live Music 11am-1pm Sterling Sylver / 2-4pm Joanie & the Boomers

SUN. MAY 26

“Go for the Gold” GRUBSTAKE DAYS RUN

10k and 5k RUN - 2k WALK Star ts @ Y V High School Pony Express Ride Arrives

HIGH NOON Pioneertown Post Office

Friends of Pioneer town Bake-O ff - Wild West Reenac tors Live Music - Food Trucks

POINTED

Theater 29 is a Desert Gem

By Lisa Lynn Morgan

There is a general assumption that local theater is a few bars above a high school production, and therefore rarely competes with the many other entertainment options available to communities. With limited budgets, casting limitations, and productions that depend on a large, invested crew of volunteers, it is by no means an easy task for any theater house to produce the kind of buzz larger theaters enjoy in the metro.

I am proud to say that Theater 29, in 29 Palms, is a wonderful antithesis to this scenario, and is absolutely one hundred percent buzz-worthy.

Having recently experienced the two-actor performance of Daddy Long Legs, Theater 29 is the little theater that could, does, and will deeply inspire our community with our support.

Led by award-winning director, Ian Ferris, the musical play, based on the book by John Caird, Daddy Long Legs, was an unforgettable indelibly inspiring production. Set in the early 1900s, it tells the heartwarming story of Jerusha Abbott, the “Oldest Orphan in the John Grier Home,” as she receives an unexpected opportunity to attend college thanks to a mysterious benefactor and embarks on an extraordinary adventure that will change her life forever. The catch? Jerusha must correspond with her unnamed benefactor through monthly letters without any expectation of a response. In a whimsical twist based on the only characteristic she glimpsed; she invents a persona for him – Daddy Long Legs. However, an unforeseen revelation awaits her, promising an extra layer of intrigue to her already captivating journey.

This charming 2-person show was double cast, with Eliana Hicks and Liyan McNeltier bringing their talents to the role of Jerusha Abbott. Graham Cooley and

Jericho McNeltier take on the character of Jervis Pendleton (Daddy Long Legs).

Let me preface my review of this lovely experience with a little bit of my background. I am by no means a “critic” or expert in the field worthy of judging anything or anyone. However, being blessed with the good fortune of a benevolent “aunt” who would take me to the Dorthy Chandler and Pantages Theaters in Los Angeles often, my pallet for theater is fairly well developed. We enjoyed everything from Sweeny Todd, The Sound of Music, Annie, Elephant Man, Pirates of Penzance, Phantom of the Opera, and more. These experiences led to my role as a professional musician, and a unique lens from which performances like this are viewed. Having seen and heard some of the best, these performers had me rivetted to the palm of their hand minutes into the first scene. It transported me out of my head and caused me to be deeply invested in the story and its characters. From the comedic timing, the vocal prowess, the lighting touches, the movement and placements on stage, the music flow, and the ownership of the characters with an incredibly extensive script, the entire audience was enraptured. There were belly laughs, soft sobs, and angst; it had it all. By intermission, I could not wait to get back to the characters that I knew and loved.

The little girl in me who found awe and wonder in theater was revived, and I could not be more grateful – or astonished. How, in our little hi-desert world, was this possible?

Double casting this production was an intelligent move. The physical feat of two people carrying an entire show’s worth of dialogue on multiple nights would be taxing on the voice, but they also sang beautiful and challenging pieces. Sitting next to a friend who had seen both teams of actors, I asked if there was a difference between the casts - if she favored one over the other. She shook her said, “No. Each of them have their own ways of delivering the lines and songs, but I absolutely love them both!” That left me scratching my head; clearly, we are a small community by comparison, but we are drenched with talent. It was if the actors were made for these characters.

Though the characters’ strong performances were pivotal in making this show a wonderful success, there were many others behind the scenes making the magic happen. The music, for lack of a full orchestra, was perfectly streamed behind the actors without a single hiccup. For much of it, I wondered if they didn’t have a couple of live musicians tucked backstage. The lighting crew, flawless as well - they accentuated warmth and feel as well as deepen the story line. For example, as Jerusha looks through the window and sees a car pull up, you literally see lights move through the window perfectly immolating a car coming into the driveway at night. It was an effect that laid the foundation for the moment Jerusha sees the silhouette of “Daddy Long Legs” for the first time. There in that moment, you catch yourself leaning in to see who was coming.

The artistic direction was on point, to say the least. The small set was adorned with a tall bookcase that helped add to the “tallness” of Daddy Long Legs, and it was adorned with items from cast and crew that had deep meaning to them. For instance, an antique Singer Featherweight sewing machine belonged to costume designer, Tera Bottorff. It was handed down to her by her Grandma Jo who taught her to sew, and who, like Jerusha, was a young lady in the early 1900s. The idea born from director Ferris underscored the warmth and sense of unity that this crew’s energy flowed with.

This is just one of the many plays and performances that Theater 29 has provided for our community. I strongly urge any of you who have yet to see or support the efforts of this brilliant little theater group to charge yourself to do so.

Considering that many of our programs for kids in our schools have not returned since the Covid-19 lockdowns, they need this opportunity more than ever. The theater offers a summer program for kids and workshops for all ages.

Like this play, this little theater that could, can, and does, deserves our enthusiastic support so they may continued to thrive.

To learn more and contribute to this wonderful institution of the arts, go to https://theatre29.org/

Photo by Ian Ferris

Joshua Tree Music Festival Q.Varo & Cactus Wine Experience

By Lisa Lynn Morgan

Q.Varo, born from the creative fusion of Gabriella Evaro and drummer, Tyler Saraca (aka Ty Beats), are set to deliver another mesmerizing musical journey for attendees at the Joshua Tree Spring Music Festival. Multi-instrumentalist and vocalist, Gabriella, rooted in the Mojave Desert’s Joshua Tree, brings forth multi-faceted sounds and compelling lyrics, while Tyler infuses his love for psychedelic rock, hip hop, and funk. Together, they weave harmonious melodies by looping guitar, bass, vocals, and beats, crafting a distinctive soundscape that transports listeners on a mysterious and sultry voyage.

This cohesive alchemy of sound has been weaved into a cascading storm of creativity built on an eerie intuitiveness between the two musicians. From angelic yet sultry vocals to the alluring rhythmic climaxes and hot dance grooves, Q.varo creates a mesmerizing sonic sound experience that blends perfectly in the bohemian-esque atmosphere of the festival grounds. While Gabriella has performed at the festival 20+ times since 2008 in one creative capacity or another, Q.Varo’s performances as Q.Varo have regularly Pide-Pipered masses of fans new and old, including the wild support of fellow JTMF performers.

Cactus Wine Experience: Gabriella Evaro carries a rich musical heritage as a fifth-generation artist from the renowned Evaro family. Despite her familial ties to music, Gabriella initially pursued other passions, including painting, dance, and theater. Inspired by experiences like the LIB

Tickets On Sale Now!

Festival, she envisioned combining her love for the Wild West, burlesque, blues music, and visual arts into captivating performances. The culmination of her artistic vision led to the creation of the Cactus Wine Experience, a fan-favorite spectacle blending music, dance, and theater. The musically theatrical ensemble has even been featured at the world renown Pappy + Harriet’s.

Attendees at this year’s JTMF will be treated to both of Gabriella’s passion projects. As Q.Varo prepares to celebrate their music at the Joshua Tree Music Festival, the return of the Cactus Wine Experience promises to be equally electrifying, showcasing

the wild west burlesque and dirty blues. Both are a testament to Gabriella’s enduring creativity and wizardly ability to collaborate with talented fellow creatives.

The Spring Joshua Tree Music Festival: Other artist set to perform include Fantastic Negrito, Moon Hooch, Steve Poltz, Funk You, Telmary & HabanaSana, and more. Named the number one festival in the nation by USA Today, JTMF has earned a reputation as a vibrant celebration of music, art, and community, attracting both local residents and visitors from around the world.

Known for its laid-back atmosphere and inclusive spirit as well as its eclectic line up of music, the festival also features interactive art installations, workshops, yoga sessions, engaging children’s activities, and the opportunity for creative expression.

Whether dancing under the desert starts, lounging in hammocks, or exploring the art installations scattered throughout the venue, the Joshua Tree Music Festival provides a unique and memorable experience that celebrates the intersection of music, art, and nature, with an emphasis on kindness, love, and acceptance.

Joshua Tree Spring Music Festival: May 16-19, 2024 Tickets On Sale Now

JoshuaTreeMusicFestival.com

Photo by Lisa Lynn Morgan

All photos by Penelope Valentine unless otherwise credited

Greater Joshua Tree ART ROUNDUP

By Katie Nartonis

La Matadora

Joshua Tree

Through May 5th, “Idol/Idle/Idyll Worship” features the work of Dianne Bennett, Jill Emery, Michael Page, Tamara Page, and Wendy Gadzuk. The show features the work of five artists working in various medium, capturing idyllic moments of the holy and mundane, the sacred and profane, using iconic imagery and humble materials.

On May 11th, La Matadora Gallery will celebrate its 7-year anniversary with its next-door neighbor Beauty Bubble Hair Museum with an 80s MTV karaoke party from 6-9pm. Also opening, is the “Fake Band Names” show (“Who cares about the music?! It’s all about the merch!”) with 17+ artists and designers, as well as “DEFILED: Part Six, “a continuing show of altered thrifted art in the back room of the gallery space.

La Matadora is located at 61857 Highway 62 in Joshua Tree. For more information, contact Colleena lamatadoragallery@gmail.com or IG: la.matadora.gallery

Photo credits: Beth Allen “Sand Witch” in Fake Band Names show. La Matadora

Space Truckin

Yucca Valley

On May 18th, 5-9pm, Space Truckin gallery will be hosting its second annual, “Put a Joshua Tree on It” art show. The exhibit will include the work of over 100 artists, all showing art featuring our iconic desert tree. The gallery encourages the “wacky, weird, funny, shiny and spiky,” and organizers are excited to see everyone’s unique interpretation of the theme. The show promises to be a fresh look from new and returning artists on the subject of our beloved Joshua Tree.

Space Truckin is located at 55940 29 Palms Hwy suite 2, Yucca Valley, CA 92284.

Photo: Juan Thorp’s work for Put a Joshua Tree On It show, Space Truckin Gallery

Compound YV

Yucca Valley

Open thru June 9th, the Yucca Valley based artist, Ethan Primason is featured in a show of metal sculpture “needles on the ocean floor.” The exhibit features pieces crafted from steel and the gallery notes are “focused on balance and weight as reflected in both material and compostion.” Primason describes his own approach to form as “influenced by a dedication to repetition, labor, and creatively surrendering to generative compulsion” – and the Primason notes that they are a natural progression from the daily work in his studio.

Compound YV is located at 55379 29 Palms Highway, Yucca Valley, CA 92284. The Gallery is open Friday, Saturday and Sunday 12-5pm.

Hey There Projects!

Joshua Tree

Open through May 9th, “Void Solutions” features silk screen prints and other works by artist Nathaniel Russell. The show features a collection of over 70 of Russell’s prints – examples that have been pulled from the last 15 years of his art practice. The artist describes these works as an exploration of “graphic language of the poster or flier and how to advertise ideas of approaches rather than a product… As I was collecting the work for this exhibition, it began to function as a rough survey of my work in the print and poster medium, and I was able to see how the ideas and imagery fit together through the years.”

These very livable works convey a mix of a pleasing mid-century graphic feel with fresh modern imagery and text.

On May 11th, Hey There! projects will feature the work of Melissa Monroe and Adam Shrewsbury and their show runs thru June 6th.

HeyThere Projects is located at 61675 Twentynine Palms Highway, Joshua Tree, CA 92252.

Katie Nartonis is a writer, curator, film maker, and specialist in art and design. Her current exhibition (and documentary film) opened during 2024 Palm Springs Modernism Week: “Jack Rogers Hopkins: California Design Maverick” and is open through September 28th at the historic Sam Maloof Foundation. Look for her upcoming book, “Glimpses of the Joshua Tree Dream.”

Hi-Desert Nature Museum

Yucca Valley

Through May 11th, “Metamorphosis: A Recycled Art Exhibition” is on view. The show features art created by Morongo Basin artists and tackles the idea of recycling and repurposing materials. The Museum notes that the artists work in “assemblage, fabric arts, mosaic, found art and more!”

The show is designed to encourage folks to rethink our throw away culture. The museum is open Wednesday through Saturday, 10:00am – 5:00pm. More information at hidesertnaturemuseum.org

Hi- Desert Nature Museum is located at 57090 29 Palms Highway, Yucca Valley, CA 92284.

Enchantment Valley

Morongo Valley

New Gallery Alert!

Matt Elson and his wife, Chakra Khan, are opening Enchantment Valley, an experiential art venue in Morongo Valley. The gallery will have a soft opening on May 5th and will undertake a fuller celebration and a grand opening in the Fall. More information is available on their website.

The gallery will feature Elson’s Infinity Boxes which are fun and playful artworks. The artist notes with the Voice that the Boxes “explore human perception and the psychology of social connection while providing opportunities of taking surreally beautiful photos of people.” Matt trained as a fine artist at Pratt Institute and after graduating in 1982 discovered the budding field of computer graphics which he worked in and explored for over 25 years before returning to making fine art. The Infinity Boxes evolved out of his experiences at Burning Man and fused his interests in physical experience, making art and exploring the psychology of perception. Elson noted in our chat that, “This will be the world’s largest collection of Infinity Boxes on exhibition. I’m excited to bring them all together in one place to allow people to deep dive and experience each other through them. This is your mind on mirrors!”

Enchantment Valley is located at 49700 Twentynine Palms Highway, Morongo Valley, CA 92256

www EnchantmentValley com

Photo:

Ethan Primason, Needles on the Ocean Floor Opening Reception, Compound YV

The Wizardly Mojave Desert Tortoise Uplisted to ENDANGERED

by Kelly Herbinson, Mojave Desert Land Trust, Executive Director

Humans have paid homage to tortoises and turtles as far back as we have recorded history. Many cultures have held beliefs that the world rests on a turtle’s back. If you’ve seen a desert tortoise, you can see why. We often speak of them as ambassadors, icons, or keystone species, but none of those terms capture the degree to which tortoises resemble wizards. I remember the first time I saw one as a field biologist in Barstow. A tortoise plodded out of a burrow and swung her head to match an eye with mine. It was one of the more magical experiences of my life and led me to dedicate the next few decades to working with them.

Turtles and tortoises are the second most imperiled group of vertebrates on the planet, second only to nonhuman primates. Despite their hard shells, they’re fragile and often sensitive to environmental change.

The Mojave Desert tortoise (Gopherus agassizii) is no exception. Our tortoise lives throughout the California and Nevada deserts, and into Arizona and Utah, but severe habitat loss and degradation, over-predation by ravens and coyotes, vehicle strikes, disease, and drought have caused severe population decline. The species was listed as Threatened under the Endangered Species Act in 1990. Recent data shows their status is not improving. Desert tortoise population density and abundance declined by 38% in just the last 20 years. This continued decline prompted a review of the species’ status.

On April 18, 2024 the California Fish and Game Commission voted to uplist the Mojave Desert tortoise to Endangered.

What do we do now? When a species is listed under the Endangered Species Act, its most critical habitat is identified for increased protection. For the desert tortoise, much of that habitat is on federally owned and managed land. The significance of the continued decline prompted an interagency collaboration between the Bureau of Land Management, the Department of Defense, the US Fish and Wildlife Service, and the National Fish and Wildlife Foundation known as the Desert Tortoise Recovery and Sustainment Partnership (RASP). The RASP is designed to coordinate a bolder strategy for increased, targeted conservation activities with the goal of ultimately recovering the desert tortoise.

The Mojave Desert Land Trust (MDLT) was honored to be chosen as one of the largest grant recipients in the programs’ inaugural year, receiving more than $1 million to restore and protect critical desert tortoise habitat northeast of Barstow over the next three years. In 2023, the first year of the grant, MDLT staff traveled to this remote region for initial ground assessments of tortoise activity and established restoration plans for the focal areas. Recent tortoise scat was discovered during these field assessments—a promising sign! Our three-year goal is to carry out the interagency strategy of establishing large, intact expanses of habitat by clearly delineating and signing legal travel routes in the area, and halting and restoring unauthorized cross-country off-highway vehicle activity and route proliferation that has occurred in this region for several years.

The resulting intact habitat, free from unauthorized vehicle impacts, will support recovery of the desert tortoise populations that historically thrived in this region. Eventually, visitors to these public lands will benefit from clear route signage and confidence that their recreational activities follow the Bureau of Land Management’s land management plans.

We are grateful to the National Fish and Wildlife Foundation for the generous funding as we continue working with our agency and NGO partners in creating innovative solutions to the complex conservation challenges our California desert wildlife continue to face.

How can I help? We are thrilled to have generous grant funding to support this work, however it doesn’t cover all our costs. Donations from members and donors like you provide crucial operating resources that enable us to undertake important conservation programs like this one. If you are interested in strategic conservation of the Mojave Desert tortoise, please consider donating today. We’re just getting started and we need your help.

Blog and photos published with permission from Mojave Desert Land Trust

Photo by Bruce Squires

International Experience, Local Expertise

[Joshua Tree, CA] – Bryan Wynwood, broker/owner of Joshua Tree Modern, has been prominently featured in a recent edition of The Wall Street Journal as an unequivocal and insightful source on the local oneof-a-kind high desert real estate market.

The Wall Street Journal, one of the world’s most respected financial publications, contacted Wynwood for his perspective on what appears for many to be an unexpected drop in market values in the Joshua Tree communities of Yucca Valley, 29 Palms, Landers and Joshua Tree. The article, titled “Joshua Tree Was California’s Hottest Housing Market. What Happened?,” uses Wynwood’s cut-and-dried evaluation of the downfall of unsustainable pandemic housing prices to substantiate the change that much of the real estate community didn’t see coming.

Wynwood is also quoted in the article attesting to his belief that the market will continue to drop in the near term for mid-range priced housing as a result of saturation of local inventory and limited buyer demand due to high interest rates.

The article was published April 3rd, just a few months shy of two years after the Wall Street Journal posted a very different article about the Joshua Tree market on July 3rd, 2022, titled “Joshua Tree, Once Quiet and Quirky, Is California’s Hottest Real-Estate Market” — which also quoted Wynwood, sharing early insights about the market already beginning to slow.

Wynwood’s honor of being a singular and reliable source of local expertise for the Wall Street Journal is the result of his visionary leadership in the high desert community. As broker of Joshua Tree Modern, he’s amassed an international staff educated at some of the world’s most prestigious universities that continues the agency’s commitment to excellence with entertainment industry experience and multilingual services in Spanish, Portuguese, Vietnamese and more.

JTM is dedicated to leading the real estate market with pragmatism, transparency – and prides itself on servicing clients from first-time buyers to industry titans with the same privacy and down-to-earth attitude.

SELLING JOSHUA TREE REALTY FOR 20-YEARS

For more information please visit https://joshuatreemodern.com/

Goat Mountain Co. is California Made

by Rebecca French

Reaching a business milestone is an achievement worth celebrating! It represents success, growth, and spotlights the dedication and hard work put into a venture. This holds especially true for the very special gift shop Goat Mountain Co. Besides their kids, it’s husband and wife of almost 25 years, Erin CampbellAlvarez, and Joe Alvarez’s ultimate joint venture. And it’s Goat Mountain’s third anniversary!

Goat Mountain’s so authentic and delightful, you’re always bound to find one-of-a-kind, often handmade, gifts for friends and yourself. But Erin and Joe aren’t into celebrating themselves. They aim to do what they always do this third anniversary: celebrate life, love, art – and most importantly – local area artists. “Every month’s a party!”, says Joe, laughing. He’s talking about the curated monthly art show Goat Mountain holds in their gallery space lovingly dubbed the “TEENY WEENY WALL”. It’s part of the Yucca Valley 3rd Saturday Art Walk.

Over the years, Erin and Joe have worked nonstop to showcase hundreds of talented local artists and their amazing work done in every medium and mode imaginable. “We are super blessed to be a part of such a beautiful artist community. We constantly make opportunities to bring in local artists and love showing their work”, says Erin.

“There is so much talent out here. Wow.” Joe agrees.

Past themed shows have included “Homage to Wes Anderson”, “Anthropomorphic Fantasy”, and “Flower

Power Super Bloom”. This month’s show is guaranteed to pop and is entitled “L U C H A !” after Lucha libre (i.e., free fighting), Mexican freestyle wrestling. Joe and Erin put out the call for artists to submit two Luchadores enmascarados (masked wrestlers) archetypes to the show; one rudo (villain) and one technico (good guy).

Maybe a metaphor for the perennial struggle of life – good vs. evil. Maybe symbolic of the good and notso-good in us all. A dualistic oeuvre seems to come naturally to gifted artist Joe, as he often adopts alter egos in his multimedia work, such as a clown – the embodiment of hope in a foolish world. Erin herself is a talented creator, who’s been lauded with acclaim for her lovely clothing collection Lover Dovers.

But what of the dual nature of being artists and also store owners? “We love meeting people and hearing all their stories.”, says Erin.

“Everyone has a story. And they’re worth listening to.”, shares Joe. “Sometimes, I feel like a therapist.”, laughs Joe.

“Joe has several aliases!”, cheers Erin.

You can now count filmmaker among Joe’s monikers as on Saturday, May 18th, 5-9 PM, he and Erin will host a special viewing at Goat Mountain of a short, highdesert, fantasy art film: “Cichano Moises vs. La Bruja”. This is in tandem with their Lucha libre art show and in conjunction with Space Truckin Gallery (right next door to Goat Mountain Co.). Expect an appearance by the Hi-Desert Lucha Troop, who’ll sign autographs!

So, with all this amazing creativity flowing, gratitude sharing, and relationship building, what possibly could the next three years hold for Goat Mountain?

“These last three years have shown us there’s a lot of love in the community. We would love to expand into a bigger space.”, shares Erin. “We’d also love to see the art scene here continue to grow and flourish.”

Amidst Goat Mountain’s colorful stacks of earrings, socks, t-shirts, and objects d’art, mostly made in California, you can find Joe in his workspace actively sewing handmade appliques to bespoke jackets, shirts, and tote bags.

“Yeah, we want to extend our gratitude and appreciation to everyone.”, adds Joe. “And a sofa! I want to get one of those big Chesterfield sofas for our shop. Sitting in those things is like riding in a Cadillac!”.

So next time you’re in the heart of Yucca Valley, come visit one of the heartbeats of Yucca Valley. Get some friendly licks from Buttons, Joe and Erin’s sweet cattle dog, and their eternal employee of the month. Also, say hello to Nelly the cow!

Goat Mountain Co., 55940 Twentynine Palms Hwy, Suite # 7 in Yucca Valley.

Open Thurs, Fri, Sat, 12-5 pm.

Rebecca French lives in Twentynine Palms. She started her career on the business end of publishing at The Washington Monthly, Newsweek, and Businessweek magazines. She’s done mostly behind-the-scenes writing and editing for years.

Renewal

I hadn’t been to Joshua Tree National Park in a long time. Weekends crowded. But it was a weekday afternoon. Clear, crisp, not cold after much rain. Hiking boots, a dress for the night’s performance, sunscreen, old straw hat, walking stick, sketch book, and water. I wander towards a mountain of boulders. Desert plants ready to burst into color. Joshua Trees pregnant with giant flowers. Sage scent. Arriving at the base of the boulders, stacked in a balancing act, I ask for a pathway to enter the shadows. I sense an opening. Boot prints engrave the sand and mark a narrow passage. I greet the spindly plants. Avoid spikes and needles. Climbing a boulder, I stand in a cove. Then lie down with my back sinking into rough granite. The stone cradles me in tenderness. No wind. Eyes closed. A breeze picks up my long, gray hair. Plays with my tresses. My hair dances and floats. Muscles relax. I remember these ancient, volcanic boulders once healed my spasms. I open my eyes to the shock of blue sky. Birds skitter. This land can be harsh, directionless. Demands respect. But welcomes my authentic self. I sit up visioning long horizons that reset my soul. The vastness encourages me to rest and to explore. Recalibrate. Breathe. Renewal.

Cindy Rinne creates fiber art, poetry, and zines in San Bernardino, CA. Her poems have appeared in literary journals, anthologies, art exhibits, and dance performances. Author of: Dancing Through the Fire Door (Nauset Press), Today on Two Planets (Written by Veterans), and more. www.fiberverse.com IG: @fiberverse

Author photo Credit: Alice Jones

Artwork: Drawn by Cindy Rinne on loca:on where she had the experience shared in her poem

To have your poetry published in our Poetry Corner, submit your piece (300 words max). If you like (please know, it’s not mandatory), include a short three-line bio introducing yourself, a photo of your inspira:on, and/or a photo of yourself along with your composi:on to PoetryCorner@JoshuaTreeVoice.com Please understand that submiNng does not guarantee publica:on.

Spaghetti Western’s, “Saloon Salon”

By now most High Desert residents and visitors have eaten at (or at least heard of) Spaghetti Western Saloon in Morongo Valley. In its first year of existence it’s become known as a premier eatery, as well as a fabulous music venue in the Morongo Basin.

What some have been missing is that, along with dining and live music, one can also see the work of iconic desert artists in Spaghetti Western’s “Saloon Salon.”

The Salon is an intriguing gallery space that has new exhibits every two months. So far, there have been eight shows featuring eleven artists, working in a variety of media ranging from paintings and photographs to rust and nails.

The gallery space is in keeping with the community-minded spirit of owners, Jasmine Tommaso and Lorenzo Grassi. But since running a new restaurant and music venue can be all-consuming, they enlisted the help of local residents Timothy and Judy Hearsum to organize and curate the Salon.

Timothy’s background as a Curator at the Santa Barbara Museum of Art, plus the couple’s involvement in the art and music scenes, made them a good choice for this task. Timothy was an active member of Joshua Tree Art Gallery for several years and both Timothy and Judy serve on the Board for the Joshua Tree Highlands Artist Residency. They had also hosted house concerts (prepandemic) at which Jasmine and Lorenzo were frequent performers.

To help establish gallery procedures, Timothy had the first official show in February-March 2023. While he is mostly known for the large-scale photographs he showed then, he is also a superb watercolorist and will present pieces of his watercolor work in the gallery throughout May-June 2024.

Hearsum has been a High Desert resident since 2015 and, while this is the first exhibition featuring his watercolors, his photographic work is known internationally through numerous exhibits, public, private and corporate collections and Getty Images. He has also published several books.

Exhibiting along with Hearsum is artist Joanna Fodczuk-Garcia. Originally from Poland, Fodczuk has exhibited extensively in the U.S., Poland, Germany, Mexico and South Korea and has lived in the High Desert since 2014. She and her husband, singer/songwriter/ guitarist Joe ‹City› Garcia (Urban Desert Cabaret), were drawn into the vibrant desert scene after her solo exhibition at Joshua Tree›s Beatnik Lounge in November of 2013 A fierce abstract painter in oil, acrylic and watercolor, Fodczuk explores shape, light and color with a raw abandon. Her art reflects a deep connection with the arid magic of the high desert landscape.

The show is titled “With Water.” Both artists rely on the delicate usage of water in their process, allowing water and paint to reveal the terrain of their work. They bear witness to their art as it happens, interrupting as little as possible.

An artists’ reception will be held on Saturday, May 4 from 5 - 7 p.m. in the Saloon Salon. Following the reception from 7 - 9 p.m. there will be live music on the Spaghetti Western Stage from Urban Desert Cabaret—Joe ‘City’ Garcia, along with the musical wizardry of Bobby Furgo and Gar Robertson.

“With Water” runs from May 2-June 23 and can be viewed anytime during regular restaurant hours (ThursdaysSundays 11 a.m. - 10 p.m.) Come for the art, stay for dinner and music – all at Spaghetti Western Saloon, 50048 29 Palms Highway, Morongo Valley.

Joanna Fodczuk-Garcia

Timothy Hearsum

Joanna Fodczuk-Garcia

Timothy Hearsum

SATURDAY MAY 4 TH at 29 Palms Art Gallery

The 29 Palms Art Gallery will host an art reception on Saturday, May 4, to celebrate the May exhibition. The gallery will be open all day, and reception hospitality will be served on the gallery patio from 4-6 p.m. The public is invited to attend and meet the artists. Admission is free.

Artists’ Guild members will display a variety of new works in the Members Room this month.

The exhibition will be on display at the gallery May 3-26, open Friday through Sunday, 11 a.m. to 3 p.m.

The historic 29 Palms Art Gallery is located at 74055 Cottonwood Drive at the corner of National Park Drive, in Twentynine Palms, CA. For more information, visit www.29palmsartgallery.com.

MOHAVE METAL AND FIBER

Featured in the West Wing in May is “Mohave Metal and Fiber” by Morongo Basin artists Karin Skiba, Kathi Klopfenstein and Holly Rae Wind, three artists who create fine art but use methods that were historically considered craft techniques. All these techniques date back to ancient times with fiber, weaving, and metal, yet basketry becomes sculptures with twist and energy, weaving uses photos beads and other media to form collages, and jewelry has morphed into steel and copper wall adornments.

East Gallery features Yucca Valley artist Hiroko Momii’s vibrant and harmonious abstract paintings and drawings titled “My Journey to Freedom: Search for Self”. These works are her contemplation on freedom from the limitations she grew up with as a result of childhood trauma. This has turned into a spiritual quest and painting is a meditation to reach the deepest, silent space of vast consciousness. She hopes the paintings help the viewer on their own journey.

MY JOURNEY TO FREEDOM: SEARCH FOR SELF

The

On my way to the sun - Kathi Klopfenstein

Golden Ocean of Love - Hiroko Momi

My Journey to Freedom - Hiroko Momii Opening - Hiroko Momii

Hiding in the grasses - Holly Rae Wind Night Owl - Karin Skiba

A Story of Courage, Community, and Culinary Success in Palm Springs

Farm l The Front Porch l Clandestino l Tac/Quila

By Lisa Lynn Morgan

Liz’s story is one of courage, resilience, and unwavering determination. It’s a narrative that echoes the dreams of many who yearn to break free from the confines of convention and pursue their true passions.

“When I was young,” Liz recalls, “I always wanted to do something creative, but the fear of financial instability held me back. So, I chose the safe path and went to law school. I became a lawyer, but deep down, I knew it wasn’t where my heart belonged.”

It took two decades and a pivotal moment of encouragement from her husband, Mark, for Liz to realize that she didn’t have to continue down a path that didn’t fulfill her. “You don’t have to do this anymore,” Mark told her. “You can do something else now.”

That “something else” presented itself unexpectedly during a casual visit to Farm, an endearing and successful restaurant nestled in downtown Palm Springs. Over a cup of coffee, the owner expressed her desire to move on and entrusted Liz with the future of the establishment. “I think you are supposed to have it,” she said.

With Mark’s unwavering support and a leap of faith, Liz and her team took over Farm on April 24, 2016, with just eight employees. Fast forward to today, and Liz stands at the helm of not just one, but four thriving restaurants – Farm, The Front Porch, Tac/Quila, and Clandestino –employing a dedicated staff of 300 individuals.

Their journey wasn’t without its challenges. The onset of the pandemic in 2020 threatened to derail their progress, but Liz and her team refused to back down. They pivoted, adapted, and most importantly, prioritized the well-being of their employees. “We kept as many employees as possible, especially those who were vulnerable,” Liz emphasizes. “Our employees aren’t just colleagues; they’re family.”

All photos from Farm

Central to Liz’s vision is the creation of unforgettable dining experiences. Each of their restaurants is a sensory delight, meticulously designed to captivate patrons from the moment they step through the door. From vibrant colors to vintage art and lush greenery, every detail is crafted to cultivate a sense of warmth and belonging.

Take, for instance, Clandestino, with its mesmerizing 18-foot mural titled “Eyes Are On You,” or Tac/Quila, where Mid-Century Mexican art from the ‘50s and ‘60s sets the stage for a one-of-a-kind dining adventure. Farm and Front Porch restaurants envelop guests in the nostalgic charm of early California plein air art dating back to the 1930s. This art complements the historical ambiance of the structure itself, built in 1939.

Tac/Quila was honored by being listed in the 2022 Michelin Guide stating, “Amidst the hacienda-inspired elegance of this popular venue, you may find yourself flanked by suit-clad business types quaffing top-shelf tequila on one side, and on the other, poolside-tanned tourists with clothes thrown over their bathing suits as they sip from margarita flights— and everyone seems perfectly at ease. Likewise, the sizeable menu offers room for both street tacos with typical fillings like carne asada or al pastor, as well as more upscale options like lobster and seared ahi tuna. In all cases, the tortillas are made in house, the flavors are lively, and the portions are generous. Cheery service will help you select from a bountiful list of agave spirits, and a nudge to finish with a churro ice cream sandwich is wisely heeded.”

As Liz prepares to be honored with the Business Leader of the Year award by Women Who Lead, her journey serves as a testament to the power of following one’s passion and the transformative impact of building a community united by shared values and a love for exceptional experiences.

On May 23rd, as she steps onto the stage to accept her well-deserved accolade, Liz will undoubtedly be surrounded by the support and admiration of all those whose lives she has touched – a true testament to the remarkable legacy she continues to build.

RESERVATIONS RECOMENDED

farmpalmsprings.com

frontporchpalmsprings.com

clandestinopalmsprings.com tacquila.com

Photos from Tac/Quila

Photos from Clandestino

Photos from The Front Porch

CLAUDIA BUCHER: SOOTHSAYER

By Katie Nartonis

“I had an eclectic and culturally rich childhood growing up surrounded by all sorts of creative types: artists, writers, filmmakers, etc. and had exposure to European cultures through both my father and stepfather.” – Claudia Bucher

Art history of the 20th Century includes, for the first time, the act of artists stepping physically into their own narrative. Performance artists use their corporeal body as a tool to advance and deepen the visceral impact of their artworks.

Now famous early performance artworks include Joseph Beuys’ seminal work, “I Like America and America Likes Me” (1974), where the famed German artist interacted for three days in an empty SOHO gallery space with a pile of straw, a shepherd’s staff, a felt blanket and a wild coyote. On the West Coast, during that same year, Chris Burden conceived and created, “Trans-Fix.” In this work, Burden was ‘crucified’ – as he lay prone, his hands attached with nails to the top of a Volkswagen Beetle. The photos that survive of these two art actions are some of the most powerful art images from their time.

Female artists were key to the early development of performance art. Art Historian, Dr. Wendy Slatkin, Ph.D., notes in Women Artists in History that “during the 1970s, women artists interested in both exploring their gender-defined identities and

in society’s changing attitudes and behavior toward women turned to a totally new art form known as “performance art.” (1) Carolee Schneemann, Hannah Wilke, Ana Mendieta, and Suzanne Lacy are all noted as early performance artists. All have important monographs published on their work.

Claudia Bucher is a multimedia conceptual artist based here in the Hi-Desert who is a part of this rich tradition. Her work puts an emphasis on installation art and durational performance. The artist works in a range of media depending on the project at hand. Bucher shared in an interview with the Joshua Tree Voice that “I tend to work as a project-based artist rather than someone who tinkers daily in the studio. “I like to experiment with synthesizing seemingly unrelated concepts, topics, areas of study, into a hybridized whole,” she shared.

Bucher’s performance piece from 1989, titled “Coleoptera-Cyborg” conjured a mate-seeking beetle cyborg as its focus. Her performance piece, “Lichen Femosa” (2017), suggests the presence of an outer space which is “daydreaming migratory signals” (2). Bucher’s work pre-supposes a future/present world in which she plays a featured oracle, one who sees the future and comments on it, warning mankind of our future selves. Bucher participated in last month’s RUSTFEST at the Simi Dabah Foundation with a striking performative piece.

Her powerful piece F.L.U. Season (F.L.U. standing for Fight Like Ukrainians) is not about Ukrainian women per se. Bucher described the piece in our interview, “It’s expressing generalized female rage through the stylized constraints of a kind of warrior dance.” At the start of the war in Ukraine, the artist revisited the subject of her unknown Ukrainian father. Bucher has confirmed through 3 genetic testing sites that she is half Ukrainian but has not been linked with any close enough relatives to help with identifying who he might be. She notes, “It became very frustrating at the start of the war to not know if I might have relatives who were being impacted.”

“For whatever reason, I had an image come to mind to make a warrior woman headdress. I researched the Ukrainian folk tradition of floral headdresses and I looked at the Swiss folk festival of Silvesterklaus. I wanted to create a mash-up of the Ukrainian tradition that is linked to my unknown father and the Swiss tradition linked to the adoptive father I grew up with, and the natural environment that I currently inhabit. The warrior woman headdress was made with live cactus and other organic matter from the property I live on. I wanted to appear as a kind of floating deity figure, so I crafted a way to be seated off the ground against the wall. The performance aspect was made up of my own organic stylized expressions, gestures, and vocalizations. I performed for four and a half hours.”

F.L.U. Season: Warrior Woman Headdress, 2022, Mojavetia, Yucca Valley, CA FLU photos by Jacobine Van Der Meer

Claudia was born in Trenton, New Jersey, and her biological mother was a student at Douglas College at Rutgers. She was placed for adoption and was adopted at 6 weeks by a couple in their 30s. Her adoptive father was a Swiss art and architectural historian, and her adoptive mother was a nurse who grew up in Minnesota.

Bucher recalls, “We lived outside of Princeton, NJ in an old colonial house, in a town called Millstone, until I was 5. My father took a job at the State University of New York (SUNY) Binghampton in upstate New York in 1970, and we lived there on an old farm for 5 years. My adoptive parents divorced when I was 10. My two younger brothers and I moved with our mother to Stony Brook, New York on Long Island where our stepfather, a physicist, had a job at SUNY Stony Brook. I spent 6th, 7th and 9th grade on Long Island.” 8th grade was spent in Denmark, just outside of Copenhagen where Bucher’s stepfather had a gig at NORDITA (Nordic Institute for Theoretical Physics).

Bucher relates, “I’ve always been plagued by a nature versus nurture conflict when trying to assess my identity as an artist. My biological mother was interested in art in college, but she ended up getting a degree in science (later she earned a master’s in computer science). I grew up in a world of art with art pushed on me at every turn. I was kind of primed to pursue it. What I knew is that I liked to make things, and I liked playing. Adults who were artists seemed to still be playing like kids, so that looked good to me. Later my interests broadened, and I had doubts. I liked building things and thought I should study civil engineering and become an architect. I was also interested in experimental theater and performance art. I tried to find a way to synthesize all my interests and that became my art.”

Bucher started taking college level art classes at Florida State University in what would have been her senior year of high school. She took the G.E.D. after 11th grade, and she officially started college the next year at the Rhode Island School of Design (RISD). She went through the Freshman Foundation program and

started the second year as an architecture major, but later decided that she didn’t want to continue at an art school and wanted a broader university education.

“I took a gap year and went on a six month round the world backpacking trip. I then returned to Tallahassee, Florida and enrolled at Florida State University where I briefly thought I might pursue engineering.” She spent one year in the architecture program at Florida A&M University, but eventually got her bachelor’s in art from FSU. She then went on to graduate school at the Center for Advanced Visual Studies at MIT but dropped out after less than a year due to financial hardship. “I finally got an MFA degree over a decade later from Art Center College of Design in Pasadena.”

In 1985 Bucher co-founded a non-profit art group and art space called Ca Laboratories International. The nonprofit later became known as Ca Chapel when they moved into an old church building. “We functioned a bit like Joshua Tree’s Beatnik lounge but with a lot more punk rock and a younger demographic,” Bucher reminisced. Her first visit to Joshua Tree National Monument happened when she moved to Los Angeles from the East Coast in 1991. During the first decade in LA, she made many trips to the desert and did some impromptu art projects here and there.

She recalls that, “While I was in grad school at Art Center (2001-2003), one of our adjunct professors lived in Pioneertown and a fellow student was commuting in from Landers. The person I was dating at the time, a fellow MFA student, did a project at the Joshua Tree dry lakebed for his thesis project. It was around that time that I became aware of artists moving to the area.”

It wasn’t until 2012 that Bucher had the opportunity to spend more time in the area and start getting to know people. She relates, “It was an acquaintance from Tallahassee days who had moved to LA much later than I had who initiated the process. He had bought a house in Flamingo Heights and asked me to help him with some projects. Between 2012-2016, I came out to the desert as much as I could and got more and more connected to the community and participated in some art shows. At one point, I was able to do a residency connected to the park.”

Bucher’s story of transitioning to the desert is one of the slow gradual ones. “I have always been inspired by the natural world. Even though I lived in the heart of East Hollywood for thirty years, I was still able to spend a lot of time in the natural world through hiking and biking in the wilds around LA. In Los Angeles, it is harder to find opportunities to do outdoor work. Most work is created for interior spaces. However, I was able to produce a few pieces here and there for outdoor installation events during my years in LA. Now that I live in the desert full time, there is more space and freedom to do outdoor pieces, to interact more directly with the natural world, and to utilize organic materials in the work. I look forward to doing more environmental work.”

1: Women Artists in History (5th edition, Cognella) by Wendy Slatkin, PhD. Page 246

2: Claudia Bucher in Five Movements: Extended Sentience (Cambridge University Press, September 1, 2023) By Meiling Cheng. Page 3

Katie Nartonis is a writer, curator, film maker, and specialist in art and design. Her current exhibition (and documentary film) opened during 2024 Palm Springs Modernism Week: “Jack Rogers Hopkins: California Design Maverick” and is open through September 28th at the historic Sam Maloof Foundation. Look for her upcoming book, “Glimpses of the Joshua Tree Dream.”

To the Air Born? 2019, Buckwheat Space, Morongo Valley, CA BucherAir1: Evi Klett

RustWalker, 2024, RustFest at the Simi Dabah Foundation, Joshua Tree, CA BucherRust: Bonnie Hawthorne

CONTACTIN THE DESERT, MAY 30-JUNE 3, 2024

By Rex Edhlund

The world’s leading UFO/UAP conference is a beacon of intellectual discourse dedicated to exploring the frontiers of knowledge in UAP, Artificial Intelligence, the future of technology and space travel, non-human intelligence, spirituality, and health & wellness.”

- Contact in the Desert

Celebrating the 10th Anniversary of this wild event (and yeah, it’s a lot), Contact in the Desert will pretty much be the greatest hits of high strangeness. Its focus is a topic that matches the interests many people in the high desert have in common.

This event continues the long history of UFO Conventions in the high desert. Beginning at Giant Rock in Landers, California on April 4, 1953, the first “Interplanetary Spacecraft Convention” was brought to our planet by George Van Tassel. Though not officially connected to this event, Contact in the Desert is certainly a continuation of the spirit and mission.

Currently convening in Palm Desert (the low desert), it did begin in the higher elevations, at Joshua Tree Retreat Center. Now, because of the increased interest in the fields presented, it had to expand.

Referring to the list of speakers as colorful is an understatement. Even the leader of this troupe arrives with the moniker of Captain. Event co-owner, Captain Ron Janix, shared some thoughts on this unconventional convention.

When asked, “How long have you been involved, and how has your life led up to this endeavor,” Captain Janix replied:

“This event started for me years and years ago after seeing a flyer and just knowing I had to attend. I went out to the Joshua Tree Retreat Center, by myself, and had the time of my life. Through a series of synchronicities, I got to know the producers, and even became involved with the conference for several years. I participated as a host, introducing speakers and helping where I could.”

“After the 2019 show, due to Covid, there were no live shows for a couple years. Then Gordon Pekrul purchased the conference and was kind enough to bring me in. We officially took ownership on Jan 1st of last year and produced the 2023 event with the previous owners helping to guide us.”

“We have 73 different people speaking at the event this

year, so there are a lot of choices. I think it depends a bit on where you are with your knowledge level of the subject and where your interests lie. For me, it all starts with Danny Sheehan, who is one of the most important people in our community and seems to be at the forefront of moving disclosure forward. Next, I think Whitley Strieber is always fantastic and has been one of the most important people in our community starting back with his book, Communion. Richard Dolan is a must see. I feel he is the most aligned with me in how careful and thorough his research is. These guys are all Legend. In fact, this year we are even doing a “Legends” panel which will include Whitley and Richard.”

Getting back to the previous UFO Convention founder, George Van Tassel, you may recognize him as the creator of the Integratron - you know - the device that was given to humanity by Venusians that placed the plans directly into Van Tassel’s mind for a human rejuvenator that would stop aging, and grant humanity immortality? Unfortunately, before completing the task, George suddenly and mysteriously died from cardiac arrest, so the plan never came to fruition. Mankind evolving into beautiful forever people was thwarted by either fatty foods or nefarious forces (read more: sites. rootsweb.com/~vantasselfamilyhistoryhomepage/ GeorgeVT.html)

The Integratron remains there today, very near Giant Rock in Landers and is actually an add-on excursion from the event. It’s a historic tour and sound bath in the remarkable domed structure made without a single metal screw or nail. It is a must-see for anyone into the meta-worlds when visiting the Joshua Tree area. The ultra-relaxing sonic cleansing they provide is sure to extend your life by at least a little.

“We go out to the Integratron, and to Giant Rock,” confirmed Janix. “We also take two buses out into the desert with our favorite astronomer, Marc D’Antonio, who explains different sky anomalies and constellations to the attendees.”

Current consensus is that there is more to this than just simple mechanical spacecraft whizzing around. As our understanding of physics and cosmic structure develops, those studying these associated phenomena are starting to realize the reality of “reality” is far more complex than our current understanding.

“No doubt,” shared Janix. “The entire way of thinking within the UFO community has evolved over the years with many different theories and ideas… It was initially thought to be simply a nuts-and-bolts spacecraft. Now it has evolved with our understanding of the universe. There are theories of these craft being interdimensional. Some even think they could be coming from the future.”

“We are dealing with an unknown…But clearly SOMETHING in happening.” Captain Ron Janix

The distinct possibility that we exist in an actuality teeming with multiple dimensions, on top of the bones of undiscovered ancient civilizations, and riddled with the inexplicable is a bit of a brain melter. It can be a bit much. So, I am personally very pleased with the opportunity to break up the intensity with some comic relief. The Last Podcast on the Left will hold a live taping at the event and will be incredibly fun. Though they are genuine aficionados of the wild world of the paranormal and scientifically mysterious, their irreverent approach helps provide a break from a world of doomscrolling and governmental gaslighting.

Janix was quick to agree, “Absolutely. I think we have to walk a very fine line of taking the subject and its study seriously, while not taking ourselves too seriously. Again, we are dealing with an unknown here, so I think it’s important to keep an open mind. Some of this stuff is pretty heavy, so it’s also important to take some of it lightly and certainly to take breaks. We also have Dave Foley at the show doing his podcast live, and we have Tim Crawford doing a 20-minute comedy set about these topics to kick off our Friday night Speaker Meet and Greet party. I really think that besides learning so much, most people’s take away from Contact in the Desert, is actually how much fun they had.”

Much of the information presented seems to be at odds with itself. I mean, I’m not sure how flat-Earthers are able to be cool with hollow-Earthers, or how the guided by angels theorists reconcile with those that claim we are controlled by Reptilians. Either way, it’s going to make for some interesting shopping among the many vendors.

As the “truth” reveals itself to be a wily, amorphous thing, perhaps it is ALL true. According to many

ancient philosophies and an increasing number of modern ones, we are all just “God” experiencing life as individual things. Which would explain how many disparate possibilities could exist all at the same time - test drives.

What Contact in the Desert may best represent is our observance of the cosmos taking a run at the experience of reality after saying, “Hold my beer.” Rex Edhlund

Reality is acting up! Might as well strap in and enjoy it because it looks like it’s gonna get weird.

As of this printing, tickets and livestream passes are still available at https://contactinthedesert.com/

Photos courtesy of Contact in the Desert

About RON JANIX

“Captain” Ron Janix has been immersed in the UFO/ paranormal community for many years. Through reading and listening to experts, working with various conferences, and doing. He began podcasting with the Elevate The Conversation show back in 2014, and the Truth Be Told show with Tony Sweet. He ultimately launched a podcast entitled The Observation Desk, focusing on new theories and discoveries in the areas of Science, Technology, History, and the Paranormal. In April 2021, Ron founded The Observation Deck, an online source for information on speakers and events in and around the UFO community. Ron is the Co-Owner, Producer, and Host of Contact in the Desert, the world’s largest UFO-themed Conference. He is also a member of the Board of Directors of the newly launched Hollywood Disclosure Alliance, headquartered in Los Angeles.

Throw Rag – Legendary Desert Punks on the Road to Vegas

THROW RAG

By Lisa Lynn Morgan

If you know, you know. When it comes to any project Sean Wheeler is involved in, you know you’re in for an unforgettable musical and theatrical experience, especially if it’s with Throw Rag.

Once upon a time, when punk kids had to make and pass out handmade flyers to get other kids to come to their show, before computers and the worldwide interweb, a rebel genre was born that gave birth to mosh pits and creative rage. It was lawless and life altering. Music was an identity, a line drawn in the sand. Here in the desert’s early 90s, we had Throw Rag, known for their energetic live performances and eclectic blend of punk, rockabilly, and surf music. Formed in 1993 by childhood friends in Palm Springs, California, Throw Rag quickly gained a reputation for their raucous shows and charismatic stage presence. They were like nothing we’d ever seen before, and they were rad as hell. Their first 45 (that’s a small vinyl record) was mixed by Mario Caldato Jr. who produced the Beastie Boyz.

Fronted by Wheeler, Throw Rag’s music often features gritty, hard-hitting guitar riffs, driving rhythms, and Wheeler’s distinctive vocal delivery, ranging from gritty growls to soulful crooning. The satirical lyrical themes were even grittier with song titles that ranged from Stink Bug (Mama), Space Hump Me, to Bag of Glue. They even laid down a wicked cover of Merle Haggard’s “Tonight the Bottle Let Me Down.” While they never strayed too far from their punk rock roots, these early releases were mashing genre boxes like a soda fountain suicide decades before it became Beyonce and Coachella cool. Like most punks, their music thrived on hidden (and not so hidden) creative sex, drugs and rock and roll story lines, but Swingset Superman reads like an “other desert cities” punk kid’s diary, making them the voice of the rest of the desert brats who didn’t fit in with the country club set:

I am the captain. Been to the Vatican. I love the losers in this world of sin. In my good white boots, I got them duct tape roots, a desert cat ain’t no denying it. On the corner of Pierson and Palm, Swingset Superman higher than he’s ever been. And we won’t sink with California when it falls into the sea. Welcome to the Love Boat.

I am the captain. One in a million. It’s true that I am danger’s bastard son, tin foil and satellites, a real kid dynamite. Everything’s gonna be alright cause me and small time we’re alright. In the bathroom playing my song, Swingset Superman, higher than he’s ever been. The other desert city’s favorite son.

Over the years, Throw Rag has released several albums including Tee-Tot, produced by Mickey Petralia, (producer for Rage Against the Machine, Peaches, Beck, and Flight of the Conchords.), and Desert, Shores (produced by Tim Kerr of the seminal skate punk band, Big Boys, out of Austin Texas), and 13ft And Rising,

by Cameron Webb (producer for Motorhead, Long Beach Dub Allstars, Puddle of Mudd, Lagwagon). Their records and tour schedule garnered a dedicated following within the punk rock community. They have toured extensively throughout the US and Europe, sharing stages with bands like The Damned, Queens of the Stone Age, Motorhead, Gogol Bordello, Stiff Little Fingers, Circle Jerks, Social Distortion, Flogging Molly, and Reverend Horton Heat, to name a few.

Despite undergoing lineup changes over the years, Throw Rag’s commitment to high-energy, no-holds-barred rock ‘n’ roll remains unwavering. With their infectious energy and devil-may-care attitude, Throw Rag is the raw and real deal, and they continue to captivate audiences who long for authentic punk inspired, gutsy, irreverent rock and roll.

Throw Rag’s tour will land them in Las Vegas on May 24th performing at the Punk Rock Bowling and Music Festival. To follow Throw Rag or for tickets scan the QR Codes.

produced

LIVE ENTERTAINMENT

Open Mic Night Every Sunday. Jasmine & Lorenzo Every Friday

Saturday, May 4th 7-9pm - Urban Desert Cabaret with Joe City Garcia, Bobby Furgo, and Gar Robertson.

Saturday, May 11th 7-9 Jessie Payo

Saturday, May 18th 7-9pm - Wayne Cobham (Jazz trumpet) accompanied by the Spaghetti Western Rhythm Section.

Saturday, May 26th 7-9pm - The Shadow Mountain Band

For event listings, visit: spaghettiwesternsaloon.com

Fridays (except for May 10th): Grey Hill’s Open Mic. Free, 7 pm. Sat., May 4th: “House Of Demeter” record release party featuring performances by House of Demeter, Bombshelter Alley, The Smashing Muffins, and more.. 6-10 pm

Fri and Sat, May 10th & 11th: All Summer’s Eve Desert Rendezvous X: a two day indoor/ outdoor music festival, in its 10th year!

Sat., May 18th: an evening of cirque, burlesque, comedy, cabaret with the award winning “Crash and Ride Cabaret” For

83131 Amboy Rd, Wonder Valley

GIANT ROCK MEETING ROOM

For event listings, visit:

visit: pappyandharriets.com

PUNK

Tequila Mockingbird’s Museum Comes to Joshua Tree

By Monique A. LeBleu

Last month, Musician, Actress, Punk Archivist, and Promoter, Tequila Mockingbird joined forces with graphic artist, Rolo Castillo, and AI artist and Inventor, Phil Bosua, to bring “the past, present, and future of Punk” through the art of AI and the Punk Museum to the Taylor Junction Gallery in Joshua Tree.

According to Mockingbird, she, Castillo and Bosua–the latter two as The AKA–, together provided the art for the exhibit that represents the past, present and future of Punk through the art of AI. Beginning the evening’s vibe was Punk Yoga by Sunshine in the outdoor space, and then later People of Earth, Tequila Mockingbird and the Blond Moondust, and Atomik Kangaroo performed on stage at the free event.

“There’s a lot of pop-up underground art energy going on, truly,” she said of Joshua Tree and its artists and venues.

With years of creating such community-based projects for the Punk Museum in L.A., Mockingbird said she would find a space, often donated, and then “put friends’ art together” where the gallery events often opened with live music–something she has felt has been missing in a city environment filled with corporate art and music.

“Being in this little town in L. A., you know, we’re getting what’s being spoon-fed to us. But we’re not getting the real deliciousness that’s waiting for us out there,” she said. “I think it’s a perfect marriage [with] Rolo’s gallery. It isn’t just dedicated to physical art, but also musical art.”

The artists came to meet when Mockingbird was invited to Taylor Junction by members of the Swords of Fatima and Pop Defect, who recently played at the venue, “And the Joshua Tree Punk Museum chapter was born!”

For the future, the hope is to make it a great trip for people to get away from cities, see the beauty that is the desert, “and maybe get some spiritual enlightenment, punk rock style,” said Mockingbird. “We’re going to be putting together some travel packages, as well, so that people can come out and know where to go in Joshua Tree, where to hang out, and where all the parties are.”

As an extension of the Punk Museum’s work, Mockingbird also currently works with the UCLA Archives where their Library Special Collections Punk Archives features The Janet Cunningham Papers dedicated to her friend and agent, the late Janet Cunningham. It is with the archives that she also produces a podcast called Punkast, where she interviews punk artists past and present.

For Mockingbird’s gallery contributions in this installation, Castillo printed her own AI work directly at his studio in Joshua Tree, where it was installed collectively. Using various AI online applications, she’s re-imagined her own pictures into portraits from different eras in a project that began out of a desire to both reinvent her own destiny and that of black people historically underrepresented in art.

“Because black people were not in any of the art–of these [that she chose]–it’s really hard to find a Picasso or a Van Gogh or anything that has a black person in it,” she said. “So, I’m taking my destiny and I’m choosing the best artists in the world and having them reconfigure myself as their model so that I can be included in the conversation.”

Throughout the gallery, including in its spacious bathroom, dayglow dominates the exhibit with reprints of dozens of vibrant, 3D/neon-like poster art largely done by Castillo in the ‘90s, with many for Goldenvoice. Castillo began his apprenticeship with graphic artist Richard Duardo where they worked together at Duardo’s studio in the early ‘80s across from The American Hotel in Downtown LA’s Arts District.

According to an interview in Tales of the American, Castillo began his work there in his late teens and while living at The American. In the ‘90s, he would later collaborate with many artists at the 50 Bucks Studio and mixed gallery/music space next door and connected to Al’s Bar at Seventh and Sante Fe, he said.

Busoa, whose work represents the future of punk through AI, depicts several punk icons in fantasy graphics where they occupy a space together that never existed before. His works cover the ceilings and walls in the comfortable front living room-styled lounge space of Taylor Junction–including above several of the vintage pinball machines which animate the lounge.

“He was one of the first who started creating art with AI,” said Castillo, and that Busoa’s work has also included inventions that now change how we program and control colors in LED light systems through our telephones.

The exhibit work is not Bosua’s first intersection into the AI world. He’s also written two books with A I–“God is a Machine: The First Conversation” and “The Great Deception: The Second Conversation”–both of which are published transcripts from a question and answer interview by Bosua with an AI source over a several week period.

With Mockingbird as promoter, booking the musical entertainment which adjoins that of the exhibit, she will merge artists both from LA, Joshua Tree, and the high desert area. The gallery remains a community of work where none of the works in the gallery are for sale, which will likely continue at the gallery as an evolving piece.

“For now, we know that [the Punk Museum installation] will stay there for the Summer,” said Castillo. “But we are thinking of just continuing to add to it.”

On Friday, May 17, 2024, Mockingbird is currently programming a show hosted at Taylor Junction, along with the museum, where she has bands Frightwig, Cult of Helios, and Alien Probe currently scheduled to play. For future shows, she is also talking to artists Gitane Dimone, Paul Rosler from the Screamers, and others where she is keeping “that door open” to include other artists.

Although she is taking a brief hiatus from the project to join Nina

Hagen to sing in Germany during much of May, the installation and additional projects will still continue on in the high desert.

“It’s gonna be a Summer of Punk in Joshua Tree,” she said!

Taylor Junction and the Punk Museum is open Friday through Sunday, 11:00 a.m. to 5 p.m., during its scheduled events, and for Artwalk Nights on the 2nd Saturdays of the month for Joshua Tree Downtown Nights. It is located at 61732 29 Palms Hwy, Joshua Tree, CA 92252 and for more information and on ongoing projects, visit Tequila Mockingbird’s Punk Museum and Taylor Junction on Facebook.

All Photos By Monique A. LeBleu. This story was previously published online at The Los Angeles Beat.

¡Artistas Afuera! ¡Artistas Animados! ¡Artistas Avanzandos!

By Jacqueline Guevara

¡Artistas Afuera! translates to Artists Outside, or more accurately, Artists Outdoors. This exciting new arts program is a monthly Latinx expression of art, culture, and identity presented by Joshua Tree National Park Association, the primary non-profit partner of Joshua Tree National Park. Located at the stunning Cottonwood Amphitheater inside the park, it is funded by a generous grant from Inland Empire Creative Corps and the Inland Empire Community Foundation (IECF), in partnership with esteemed organizations such as the California Arts Council, Arts Connection – The Arts Council of San Bernardino County, Riverside Arts Council, and the California Desert Arts Council.

¡Artistas Afuera! features 5 Latinx artists over a 5-month period, presenting interactive workshops that are free of charge and open to residents of desert communities surrounding Joshua Tree National Park – communities like Coachella, Mecca, Desert Hot Springs, and the entirety of the Morongo Basin. An extension of the park’s beloved Artists Tea, ¡Artistas Afuera! aims to reach members of those communities who may never have visited the park – despite its proximity – or may not have felt welcome or comfortable visiting. Situated at the Cottonwood Campground Amphitheater on the south side of the park, the program also serves to highlight the lesser-known Cottonwood entrance, which is typically not as congested as the park entrances in Joshua Tree and Twentynine Palms.

Another goal of ¡Artistas Afuera! is to employ local talent to run the show. Curator Dez Ramirez is a Mexican-American/Chicana writer, poet and artist based in Yucca Valley. She’s had a long career as a writer, DJ, activist, community organizer, environmental leader, and creator. Videographer Alexis Penunuri is

from Palm Springs and has over 7 years of experience in filming and editing video content for broadcast, web, and social media. Graphic Artist Perla Garcia-Nash is a first- generation Mexican-American who is driven by the quest for knowledge and understanding of those who came before her. Her art practice revolves around her passions like collage, prose, mysticism, nature, and the human experience.

According to Ramirez, whose past work includes a decade in Portland, OR building a diverse and rich body of creative work that touched social justice, environmental causes, race, identity, advocacy, and story, “Engaging diverse communities to recreate and visit our National Park is lifelong, ongoing work. This program is a vehicle that allows organizations like JTNPA to create more inroads for our diverse desert communities to have easier access, more education, and cultural programming that they can feel connected to while experiencing our National Park. Creating art that tells a story about where you’ve been and what you care about is a special gift that can be connective for so many people. When you figure out ways for people to connect on this level out on the land, that’s a really special thing. Creating people-forward projects like this gives communities a breath of fresh air in a really tough world and can inspire at the tiniest level.”

JTNPA’s Director of Education, Dr. Justin Lenzi, oversees the program. He had this to share – “Our educational

programming at Joshua Tree National Park Association works to articulate and animate the rich resources of not only the national park but also the surrounding community of people that make our park unique and diverse. ¡Artistas Afuera! aligns with our efforts to ensure everyone knows this park belongs to them, and more importantly, that local communities of color feel they have a seat at the table, to create, to inspire, to educate, to advocate, to lead, and to help Joshua Tree National Park thrive for years to come.

Community engagement, dialogue, and increasing awareness around conservation is crucial; the arts are one of the best ways to evoke powerful connections to land, life, and restoration. When we involve diverse communities, many of whom have been historically underrepresented in parks programming or conservation leadership, they may feel a stronger sense of belonging in public lands. This kind of engagement and empowerment could help people find careers in conservation or the sciences or become more involved in taking actions toward sustainable tourism or diversifying our public lands. ¡Artistas Afuera! is one small way we can invite artists and community members to engage in thinking critically about the future of Joshua Tree National Park.”

Dr. Lenzi continues, “the ¡Artistas Afuera! event series is an opportunity for Latinx artists to share their histories, lived experience, and art in an incredibly beautiful location. Joshua Tree National Park provides space for us to heal, share, recreate, and learn together. In our efforts to help sustain this place, we need creative stakeholders to guide our growth.” That’s where the participating artists, and the attendees from local communities, come in.

As March artist Nancy Ocegueda says, “What I found so exciting about this program…is that we want to engage and bring in more residents.” Artist Cecelia Romero said in her address to the audience at the inaugural event of the series in February, “I am so honored to influence and uplift our beautiful desert community… with the healing magic of music, color, and creation.”

And it’s working! At each event, the audience is asked if they have ever visited Joshua Tree National Park. Invariably, only one or two hands go up. Of those folks, none so far have been to Cottonwood, which is the closest vehicle-accessible entrance to the Coachella Valley. Each of our participants is seeing a part of the world, of their public lands, that they have never had the chance to experience before. The program is making an even broader impact than introducing people to the park. Fifteen-year-old Jennavecia Hernandez, who attended both the February and March events, shared that her experiences cemented her decision to pursue art as a vocation. “I’m already an artist,” she stated. “But now, I have decided that’s how I want to make my living and make a difference. I can use art to bring awareness to issues and to impact others.” She plans to attend the remaining 3 sessions and has shared the events with friends and family members as well – and will also be taking advantage of the free Joshua Tree park pass she received as a participant of the program for the year to come!

While Jennavecia is aware of the impact this program has had on her personally, what she and her fellow

attendees may not know is that art and the national parks have been intertwined since the very beginning of what would become the National Park Service (NPS). The paintings that artists like Frederick Dellenbaugh and Howard Russell Butler made of places such as Zion Canyon and the Colorado Plateau in the early 1900s, and Thomas Moran’s paintings and sketches of what would become Yosemite, the Grand Canyon, and Yellowstone during the same period, carried the grandeur of these spaces to folks in the Eastern US. Some of these artworks were presented to Congress as evidence of the need to preserve these special lands and assisted in the creation of the NPS! And, artists continue to be inspired by parklands, and to inspire others to visit and care for them, today, through programs like ¡Artistas Afuera! and many others.

Interested in joining in on these celebrations of culture, art, and nature? Learn more at joshuatree.org/artistasafuera. Free shuttles are provided to each event, with pick up locations in Coachella and the Morongo Basin. And, to join us at some of the other JTNPA-supported art programs in and around the park, go to joshuatree. org/the-arts and joshuatree.org/youre-invited. Ven afuera con ¡Artistas Afuera!

If you missed a session, don’t worry! You can still visit the artists on their social media pages and/or websites.

Photos courtesy of Joshua Tree National Park Association

Sky High Pie - A Native Son’s Culinary Chautauqua

By Ray Rodriguez

Good Pizza is a simple joy of modern life.

But great Pizza, in a special place, enjoyed with friends, is a transcendent experience, a blissful giggle, a joyful dance in the heavens. The aptly named Sky High Pie provides such a celestial glimpse.

The French word “terroir” is used to express “the influence of place” or “environment” on wine grape varietals, much as Bakers understand the influence of area conditions on Breads. Examples would be Pinot Noir thriving in protected valleys or seaside areas with long, cool growing seasons, or the difficulty in reproducing New York Bagels or French Croissants due to water, humidity and outside the oven temperature conditions. You must both understand and work to the strengths of the land.

Gerald (Jerry) Noonan understands his “terrior”. Growing up in the wild west of neighboring Pioneertown, under the Shadow of “Red Dog Saloon” and “Pappy and Harriet’s”, with the entire Morongo Basin as his playground, was just the beginning of a lifetime journey working in top regional, national and international restaurant kitchens. In 2001 General Mills recognized Noonan’s results with Olive Garden restaurants throughout the Golden State as a “turnaround specialist”, and sent him to study in Italy at the Culinary Institute in Tuscany in an effort to further legitimatize the Olive Garden experience. His understanding of food and specifically Pizza, mushroomed.

“I learned that the old ways are still the best ways. You must use the best and freshest ingredients. We handmake every pizza. In our first year we sold 50,000 pies and each was created to order. We set out to do a true Italian Neapolitan crust, but quickly discovered

that it didn’t hold up in the center when taken out, so we switched to a sourdough crust, using a starter aged 13 years. Now we have a true Joshua Tree pizza.” Ahh, terrior.

Though Noonan was the driving force in the two-year effort to open and continues to be after 18 months of spectacular success, he is quick to point out that without the financial support of partner Ivan Arnold, as well as Arnold’s talent for design there would be no Sky High. “Ivan took an incredible leap of faith and I am forever grateful. He did such a great job with the interior we HAD to develop a pizza to match his design.” Noonan further credits his staff, gushing over their skills that continue to improve the already stellar efforts. “Pizzas are better because of what our staff has brought to the program. The crust is better, the meats are better. We are designing layered pizzas and getting just a bit of crisp on the edges of meats which is fantastic.”

A visit to Sky High Pie

In complete transparency please understand that over 50 years ago I declared Pizza my favorite food. As a lifetime restaurateur, including spectacular dining moments at Mr. Jim’s BBQ, The French Laundry, The Addison, Michelin Dining in Europe, and a zillion “street tacos” before they even had a name, nothing ever really moved me off Pizza for long. Admittedly seared Foie Gras & Sauterne merit a mention, but that is a food and wine combo, whereas Pizza stands proudly on its own merits. I believe many “grownups” feel as I do, even as our maturing metabolisms may reduce our frequency of indulgence.

Walking into Sky High Pie you are gifted with the scent of Fresh Basil growing in pots, Rosemary and

Sourdough from the oven. You will order immediately upon entering, so do your homework, there is likely a line of hungry hikers/visitors/families behind you. The three pizza sauces are a traditional Red Tomato sauce, a White Alfredo sauce, and a light Pesto sauce. A stellar Gluten free crust is also available, alongside a delectable variety of meats, cheeses, greens and vegan toppings.

Besides Pizza, family recipe Meatballs, Salads, Soup, are all popular offerings with fresh baked Scones, Cannoli’s and Tiramisu tempting diners from behind the glass.

And if somehow you are only looking to quench your thirst, Noonan’s experience delivers again with a dazzling variety of curated beverages, including tasty non-alcoholic offerings , wine and craft beers. Further, a full liquor license is coming soon providing Sky High Pie with yet another palette for our palates.

A dozen tables make for a lively, boisterous dining area, though try one of the 6 stools that look point blank into the kitchen. You can follow the creative process from order to prep to oven to table and be amazed at the speed and skill of the staff. Outdoor dining is available both front streetside or on an enclosed private back patio.

Sky High Pie shares the block with neighboring JT Coffee Company and Taylor Junction, just outside the Park road Entrance to the National Park. Bring your appetite and friends. If you find yourself on your own, given the delicious vibe and bustling intimacy, you’re likely to make some new ones.

61740 29 Palms Hwy, Joshua Tree, CA Phone: 760 974 1050 Instagram: skyhighpiejt

By Bruce Fessier

Coachella 2024 Wrap Up

Torres Martinez Cahuilla tribesman, Derek Duro, is an avid hard rock fan. But he declined to appear with his fellow Cahuilla bird singers at the Coachella Valley Music and Arts Festivals in 2022 and 2023, acknowledging that the festival was being held on the tribe’s ancestral land.

He didn’t think a party atmosphere was right for a spiritual ceremony.

But when the bird singers joined the Britpop group, Blur, on Coachella’s main stage, Saturday, April 13, Duro was there, performing the tribe’s sacred oral histories and dances in traditional garb.

“After speaking with a number of people and some of my elders, I was told I was looking at things a little incorrectly,” Duro said by phone after the festival. “They reassured me that I’d be representing the reservation in a positive way, getting us known, getting it out there that we’re still where we’ve been for thousands of years. This is Cahuilla territory still.”

The east Coachella Valley tribal members sang an ancient narrative during Blur’s set between the highly touted reunion shows of Sublime and No Doubt. Then they stayed on stage as Blur performed “Death of a Party,” a ’90s track selected specifically for this occasion.

It’s reportedly about how the 20th century AIDS pandemic devastated a population. But with the bird singers on hand, it assumed a new meaning, reinforcing what Torres Martinez Tribal Chairman, Thomas Tortez Jr., said at last year’s land acknowledgement: That white settlers started a 19th century smallpox pandemic that decimated the Cahuilla population.

So, Blur and the tribe, working with Coachella producers, delivered a land acknowledgement message without it sounding like a message.

Three songs later, the bird singers returned to support Blur on its 1999 hit, “Tender.” That song features a hand-clap rhythm celebrating the theme, “Love’s the greatest thing.” But Blur frontman Damon Albarn replaced the clapping rhythm with a Cahuilla chorus of percussions to give it a dramatic power that sent the massive audience dancing into the dark.

Event producer Chris Spellman, who arranged the 2022 and ’23 land acknowledgements, said Coachella co-founder Paul Tollett conceived the idea to integrate the bird singers into Blur’s prime-time set. Spellman worked out the details with Blur’s manager and Albarn re-arranged the song in a run-through at the Fox Theatre in Pomona. The new percussive parts fit like a glove.

“The rhythm that went with it was kind of the rhythm we have already,” Duro said. “So, they went together really well. I couldn’t have been happier.”

Spellman called the experience “life changing.” Duro liked how inclusive Coachella was.

“It doesn’t just serve one type of person,” he said. “All the different stages, all the different music, all the different genres. I can see what they’re talking about now. Different cultures coming together. Music brings everybody together.”

For all the focus on international acts, this year’s Coachella also celebrated Southern California’s inclusiveness. No Doubt and Sublime (with Jakob Nowell singing his late father, Bradley’s lead vocals) represented the distinct cultures of Orange County and Long Beach. Los Lobos leader Louie Perez, featured in the small Heineken tent, carried the East L.A. banner. Headliners Lana Del Rey, Tyler the Creator, and Doja Cat reflected other L.A. regional cultures.

Del Rey, looking like a ‘40s movie star with desertcolored hair, entered on the back of a motorcycle with an entourage representing California’s biker culture. L.A. native, Billie Eilish, joined her for two duets and said singer-songwriters like her wouldn’t be where they are today if Del Rey hadn’t been the leader of their pack.

Background photo by L. Gerber

SoCal’s smaller-font acts also proved popular. The Aquabats of Orange County and Eddie Zuko of Imperial County attracted enormously long lines to the small, air-conditioned Sonora tent. Aquabats leader and long-time Tollett friend, Christian Jacobs, co-created the 2007-2015 Nickelodeon series, “Yo Gabba Gabba,” and the band wore “Yo Gabba Gabba” costumes while playing their ska-derived pop punk. Zuko, whose band dressed like food court workers, reminisced in English and Spanish about his small-town roots in his chill, soulful “Made.”

But it was the international acts showcased in nearperfect weather that distinguished the festival and again put it in the lead of where music’s going. Besides fun artists like England’s The Last Dinner Show and New Zealand’s The Beths, this Coachella was about telling stories from parts of the world not covered by CNN and Fox News.

Saint Levant, born in Jerusalem and raised in Gaza before attending UC Santa Barbara, dedicated his set to Gaza. He spoke of Gaza atrocities and the sense of occupation he felt growing up in a Palestinian refugee camp. But it was difficult to hear him express himself due to the volume of No Doubt’s music several acres away. So, he and his sextet played up-tempo music and celebrated his family and college friends in the audience. He was singing a new, unrecorded song titled “Exile” when I yielded to No Doubt’s gravitational pull, causing me to miss his powerful “From Gaza, With Love.” I wish he’d been given a daytime slot so an audience could have focused on his political songs.

Peso Pluma of Guadalajara spoke and sang about Mexico’s narco culture, flashing headlines on the video screen about his death threats from cartels and how Tijuana banned his anthems. He drew a huge Latinx audience with his powerful mix of traditional and contemporary sounds, including workers who stopped to watch his show. He was continuing a tradition of Mexican artists appearing on the main Coachella stage begun in 2019 with Los Tucanes de Tijuana. He sat in with Becky G last year and she was his first guest artist this year.

Niger guitarist, Mdou Moctar, sang “Afrique Victime” in French and Tamasheq about how “Africa is a victim of so many crimes… Oh Gaddafi, to whom have you entrusted Africa?” He started a half-hour late and his pacing meandered. But he fused Niger’s Taureg, or Arabic-sounding music with guitar fireworks propelled by increasingly fast drums. His Sahara rock differed significantly from our heavier, more melodic desert rock.

Other international artists offered unadulterated fun. J Balvin of Colombia featured a partially science fictionthemed set highlighted by a guest appearance by Will Smith rapping “Men in Black” in an MLB suit and signature sunglasses.

The four Japanese singers in Atarashii Gakko performed a high-energy, tightly choreographed set that somehow found a freedom within a restrictive form to feel spontaneous, like a great Shakespearean actor seamlessly navigating iambic pentameter. They performed their most popular number, “Tokyo Calling,” as part of the daytime 88 Rising Asian showcase on Weekend One and returned that night to sing it with taiko drums and members of the USC marching band -making the Gobi tent crowd go crazy. This group could popularize JPop in the U.S.

Cimafunk appeared with a jazzy, nine-piece funk band featuring colorfully dressed women on trombone and saxophone, plus three drummers and percussionists -who could all dance. The set turned into a Mardi Gras when the dynamic leader invited members of the Gobi crowd on stage.

Jungle is a British EDM duo that was an opening act at the 2015 Tachevah Palm Springs Block Party. They’ve evolved into a band that sings and plays their own instruments. Lydia Kitto sang the mesmerizing, Portugal the Man-type vocals on “Back On 74,” making one wonder if they drove through Pinyon Pines on their last visit.

UK vocalist Raye recorded the lascivious “Escapism” with DJ 070, who appeared at last year’s Coachella. She sang it this year with a horn and string section and a small choir. She seems influenced by Amy Winehouse with more range and vulnerability. She sang “Ice Cream Man” about her sexual assault by a record producer and, when the crowd exuberantly embraced her, she teared up. After inspiring the audience to jump up and down and flail their arms, she exclaimed, “You’ve made me a really happy person today.”

The American acts offered even more highlights. Y.G. Marley, grandson of Bob Marley and son of Lauryn Hill, facilitated a mini-Fugees reunion that became a coronation for the next generation of reggae royalty. Jack Antonoff of the Bleachers, best known as the producer for Del Rey and Taylor Swift, went into full rock star mode with Swift and Travis Kelsy in attendance in the Mojave tent.

Jon Batiste, who gave a brilliant 2018 concert at the Indian Wells Tennis Garden, played piano, guitar and drums in the Outdoor Theater. But when he sang his hit, “Cry,” he could have been singing it about his reaction to his wife battling cancer.

I began drifting toward the main stage when Batiste’s set was disrupted by Blur’s volume. I wish he could have performed in the more intimate Mojave tent, but, honestly, I was thrilled to see the amazing collaboration between Blur and the Torres Martinez bird singers.

Bruce Fessier was the first inductee of the Coachella Valley Media Hall of Fame and is a journalist who has covered every Coachella. Contact him at jbfess@gmail.com and follow him at facebook.com/bruce.fessier and instagram.com/bfessier/

Background photo by J. Bajsel

Circular photos by Bruce Fessier

DESERT INSTITUTE

ACTIVITIES AND ADVENTURES in Joshua Tree National Park

MAY

/ JUNE

MAY 5 Cacti of Joshua Tree National Park

MAY 11 & JUNE 1 Dark Sky Photography

MAY 12 Ants: The Unsung Heroes of the Desert

MAY 17 Insects & Arthropods of the Eastern Mojave

MAY 19 Desert Bath: An Immersive Experience

MAY 26 Animal Tracks of the Desert Dunes

JUNE 1 Common Rocks & Minerals of Joshua Tree National Park

JUNE 1 Star Trail Photography

Start Your Next Adventure!

See what’s coming next at joshuatree.org/desert-institute-classes!

Desert Institute is the educational branch of JTNPA, Joshua Tree National Park’s primary non-profit partner. desertinstitute@joshuatree.org | (760) 819-4714 www.joshuatree.org

Intro to Permaculture with Warren Brush May 24-26, 2024

Experience Mon Petit Mojave

What started as a way to keep live music alive during one of the darkest periods in our collective history, has become a beloved experience in the high desert.

Imagine driving up to a wooden stage framed by a majestic Joshua Tree. The brown and purple hills surround you, almost touching the sherbert colored sky as the sun begins to set. A soft glow of rainbowcolored lights floods the stage, while a band you may have never heard before plays French Jazz, Soul, or some melancholy Blues. You sit back in the comfort of your car and look up to see the glittering milky way overhead. That’s the magic of a drive-in concert at Mon Petit Mojave (MPM), a unique experience that was born as a way to safely gather and listen to live music during a time when musical and artistic experiences had come to a halt.

The idea was born both to fill a void in the community, and a void for the artists themselves.

People needed music; musicians needed to play. Mon Petit Mojave was a safe way to bring the two together.

As time passed and life returned to whatever we consider normal, music and art popped back up in the usual spaces: indoor venues, theaters, bars, restaurants, festivals.

But the magic of MPM seemed to transcend the pandemic, and the community kept supporting and asking for more shows. “We soon realized that it’s not just the uniqueness of Mon Petit Mojave that transcended time, but it’s the way this uniqueness has served all members of our community,” shared MPM’s co-founder, Jacqueline Levi.

“Our free shows allow families of all sizes to attend without worrying about costs,” Levi added. “Our drivein setup is flexible and can accommodate persons with special needs or physical disabilities. Our focus on community and providing a welcoming atmosphere has created a safe space for many individuals who would otherwise not feel comfortable in the other spaces where live music can be found, such as noisy, crowded bars.”

With all this mind, MPM became a 501c3 non-profit in the summer of 2023, officially called the Mon Petit Mojave Foundation. Their mission is to bring more accessible musical, cultural, and artistic experiences to our desert communities through drive-in concerts which provide a unique way to experience live music, the great outdoors, and a communal gathering all in one place.

Between their first show on March 22nd, 2020, until present day, Mon Petit Mojave has produced over 150 shows, hiring over 200 musicians, welcoming over 15,000 guests, all run by an experienced production team, many of them volunteers. “We’ve worked with San Bernardino County on permit regulations, and with the help of Morongo Basin Cultural Arts Council, we have received grant funding from the California Arts Council, The National Endowment for the Arts, and more,” shared Levi. “Our journey as a non-profit is only beginning, even though we have been operating like one several years now.”

In April of 2024, MPM held their first official benefit concert, “High Notes,” to fundraise for their mission to produce more free, drive-in community concerts this year. With a plan to host shows in June and October, their hope is to keep bringing people together in a memorable way, to enjoy culturally rich, world music under the sunsets and the stars.

To get notified when the upcoming season lineup is released, head over to www.monpetitmojave.com.

All photos by Julie LaFlamme

Submitted by Philip Bonafede, a longtime, local resident who has handled rattlesnakes since 1966 and relocated them locally since 1998. He teaches the local K9 Rattlesnake Aversion class, and is licensed, insured, permitted. For services, text 760-4014488 or email pbdesert@earthlink.net

IS THE PRIMAL FEAR OF RATTLESNAKES JUSTIFIED?

By Philip Bonafede

Why do people fear rattlesnakes?

The main reasons are a lack of knowledge and familiarity. Urban legends dilute reality into fiction. Once this has been programmed into the subconscious, a false belief system is created. “I mean it must be true. Everyone is saying this…right?” Sadly, urban legends are being passed off as truth, making it very difficult for our 60-million-year-old earth cousins to get any respect!

Horror films about snakes and forced perspective photography all contribute to the social illusion that resonates through the minds of those who choose to believe fiction without facts. This can result in Ophidiophobia, the fear of rattlesnakes.

“But a Rattlesnake Chased Me?”

A rattlesnake will never chase you because they are not aggressive. Having said this, here is a true story which may explain where this urban legend got started.

Most of you know I have spent many decades around rattlesnakes and had pet snakes since 1998. During this time, as you might imagine, I have observed some pretty fascinating behavior. The true story that bears credence to the, “I was chased,” narrative is where male rattlesnakes exhibit a unique behavior during mating seasons. They can raise up like a cobra and have a shoving match with other males.

One day, a large male Mojave Rattlesnake rose up like a cobra and moved quickly towards me, bumped its head into my leg and then slid it’s head down my leg and began sniffing my shoes and leg as if it had never seen a human before. I didn’t have any concerns about a bite, yet this experience would have been terrifying to someone who had zero knowledge of rattlesnake behavior. My Uncle witnessed the event and said he knew I was in no danger. So, rattlesnakes may move towards you out of simple curiosity. If you remain still and realize the snake is only there to check you out and go on its merry way, then you will have a unique nature encounter. If you make any movement, the snake will abort the advance. My advice? Always maintain at least 12 feet from a rattlesnake!

What Few People Know

Rattlesnakes are very gentle, elegant creatures and capable of teaching us a multitude of interesting things about their unique and secret lives:

Mothers guard their babies for up to 2 weeks after they give birth to live young.

Babies are not more dangerous than adults.

They can live up to 60 years. Rattlesnakes prey on destructive rodents which carry serious diseases like Lyme’s and plague.

Snakes help spread the native seeds inside them.

They are not aggressive to humans or domestic animals unless provoked.

Snakes do not want to bite anyone unless you frighten them, or you’re on the menu.

What is Rattlesnake Venom?

Rattlesnake venom consists of many components including complex proteins which are very similar to the digestive juices in your mouth, the difference being that rattlesnakes inject this digestive fluid through their fangs. By contrast, a human bite can be just as serious as a rattlesnake bite and may require serious medical attention. Rattlesnake venom is being studied in research facilities and used in modern medicines. Carl M. Barden, Director of Medtoxin Venom Laboratories, Reptile Discovery Center, DeLand Florida, has shared some of this research with me via email.

ANNUAL DEATHS IN USA

Automobile related… 46,000

Oysters… 100

Unintentional accidents 225,000

Rattlesnakes…. 5

Be Snake Smart!

While you relax and enjoy the great outdoors…

Always look where you place your hands and feet. Keep your dog’s on a leash unless you have them trained in Rattlesnake Aversion.

Take time to learn about all the snake species in your area. Become familiar with their look and demeanor. Teach your children to identify snakes.

Together we can make a difference, and help protect our native rattlesnakes AND each other.

For more information on how to have your dogs trained to avoid a rattlesnake bite, have a snake removed, or to learn how you can become a rattlesnake handler , text Phil at (760) 401-4488 or email pbdesert@earthlink.net.