Today I actually got outdoors to breathe air, soak up sunbeams, and take a look at what’s up, and what’s in the air.  It’d been awhile, and I thought I’d celebrate by passing along some of what’s happening along the Salt River, smack in the middle of the City of Phoenix, AZ.

<< green Goodding’s willows, brittle bush, Desert willow, and chuparosa at Rio Salado; photo A.Shock

The Rio Salado Habitat Preservation Area, as it’s officially designated (here is the website), is an  ex-horrific-riverside urban dump that’s been cleaned up and improved in order to attract and showcase permanent and migrating wildlife, including birds, mammals, and insects.

Along the Salt River just south of downtown Phoenix, the RSHPA is less than 10 miles downstream from the riparian area at Tempe Town Lake (see here), and has a variety of habitats, from mesquite bosque to shady bands of Goodding’s willows (the bright green foliage in the photo above.)  Each time I visit, the vegetation is better established, both naturally (Goodding’s willows are said to be able to grow something like six feet per year), and with the help of human hands — many native desert and riparian plants have been planted along the bike path and walking trails that weave along the river, on both sides.  Right now, the Goodding’s willows are in bloom.  The screwbean mesquites (right) are still bare, making their tightly-twisted seed pods stand out against the blue sky, clustered like little brown bouquets of rattlesnake rattles.

The river is high today after all of the rain in both the metro basin and in the high country north east of Phoenix, but it’s obviously been higher recently: big piles of flood debris are left on both sides of the trail. Cormorants (Double-crested and Neotropical), American coots, and Killdeer are common along the river, and the ponds and oxbows host a variety of waterfowl, like this handsome Ringnecked drake (left), Cinnamon teal, and Common moorhens.  But we were especially on the lookout for dinky dudes — in this case, an out-of-range straggler, a Black and white warbler that’s been hanging out at the Rio for at least a week.  It proved too dinky to photo, but we did get crippling looks at the tiny tourist, wrestling an enormous caterpillar into its gullet.  It was keeping company with a Brown creeper, numerous Orange-crowned and Yellow-rumped warblers, Ruby crowned kinglets, a Blue-gray gnatcatcher, and other dinky dudes.  A casual couple of hours of birding yielded a list of more than 35 species of birds, including a House wren.

But for me, the surprise of the day was provided by our furry mammalian neighbors: there’s a beaver working the Rio! We didn’t see the critter itself, but check out the evidence of Beavers At Work. right >>

I love the industrious pile of wood chips under the chewed ends of this downed tree.

Anyone birding in the Phoenix area during autumn through spring seasons might wish to check out RSHPA .

Remember — it’s an urban birding gem, so you might wish to bring a friend, and don’t leave anything valuable in your car.

Don’t be discouraged by the urban nature of this area, it’s got its advantages, too, like some really nice public art along the paths, and under the bridges on otherwise blank concrete supports.

>> Local wildlife painted under Central Ave bridge, RSHPA (all photos A.Shock)

Three Star Owl is spending this Friday, Saturday, and Sunday in Willcox, AZ, for the annual Wings Over Willcox festival.  If you’re in the area, stop by the Willcox Community Center, and see what’s up.

(Detail of an oval vessel with a Sandhill Crane repoussé and carved in low relief, 10.5″, stoneware, A.Shock 2009)

…and a Phainopepla in a Palo Verde tree.

As around the turn of every new year, Christmas Bird Counts are happening across America.  Under the auspices of the Audubon Society winter bird distribution and population information is compiled, collected by volunteers, most of whom are not ornithologists but people with a non-professional — although sometimes intense — interest in birds.  The vast quantity of info gathered in this time period is used “to assess the health of bird populations – and to help guide conservation action” in the U.S.

What do the volunteers gain from their long, often cold, hours in the field counting both species and individual birds seen?  For some it’s competition, to best a personal record for birds seen in a given area, and of course, there’s the satisfaction of adding to what’s known about North American avifauna.

right: Four Peaks above the Verde Valley

For me, it’s getting out into in the winter landscape, among plants and animals which, sometimes, it’s been too long since I’ve seen.  Of course, the birds are a big draw for me — but it’s not just birds.  We regularly see other critters on our patch of territory: jackrabbits, coyotes and cottontails are common, but one year, we spotted a bobcat.

For the past three years, I’ve  helped with the Salt and Verde Rivers CBC.

left: Yavapai Nation on the Verde River showing the bands of habitats we census.

Our particular area is in the Yavapai Nation along the Verde River east of the Phoenix metro area (special permission to bird the Indian Community is necessary), under the changeable faces of Four Peaks, at about 7600 feet, the highest peaks close to Phoenix.

The immediate censusing area is a mix of riverside riparian (cottonwoods, willows and invasive salt cedars), cattle-trampled mesquite bosques (mesquite and graythorn with little in between but sand and cowpies), desert upland (saguaros, creosote, cholla, palo verde and ironwood), and agricultural land: the tribe maintains many acres in pecan groves, citrus, and alfalfa. There’s also a patch of semi-rural residential area where tribe members and employees live.  Such variable habitats make for a fairly diverse species assortment, ranging from invasive exotics, like Eurasian Collared Doves and starlings, to uncommon natives like Bald Eagles, which nest along the Verde River.

right: Rio Verde

This area distinguishes itself in a few ways: in numbers of sparrows, including white-crowned, savannah, lark, song, vesper (photo below), and lincoln’s, which glean brushy ditches cut through the fields, alongside verdin, bewick’s wrens, and lesser goldfinch.  Other small birds like orange-crowned and yellow-rumped warblers, ruby-crowned kinglets and both expected species of gnatcatchers hang in the cottonwoods — this year we saw bushtits for the first time. Red-winged black birds, meadowlarks, mourning doves, american pipits and house finches fill the fields and line the electrical wires along the road.  The river hosts wintering waterfowl large and small: gadwall, mergansers, wigeon, mallards, bufflehead, canada geese, coots, and this year, even snow geese.  Throw in five or six species of woodpeckers and other Sonoran upland species like thrashers, Abert’s towhees, cardinals, and quail — the area holds a record for most Phainopepla counted on a CBC — and you’ve got quite an assortment.

With such a smorgasbord of small birds — so very tasty! — there are plentiful predators like Peregrine falcons, Cooper’s hawks, Red tailed hawks, American kestrels, and harriers.  One “functional raptor” we encountered was a Loggerhead shrike, working the brushy ditches for reptiles and insects, maybe even a sparrow to eat.

right: Loggerhead shrike

There’s even raptor-on-raptor pursuit: I saw a Peregrine dive at a kestrel.  As the smaller falcon coursed over alfalfa fields searching for an unwary or slow pipit, the peregrine above took a shot at it out of the sun, its dive so steep and sharp that I could hear its feathers buzz like a bullroarer, the avian equivalent of a sonic boom.  But before the strike, it pulled up short, giving the impression of having accomplished a dry run; the kestrel only dipped in the air evasively, and went on its way.

Experiencing the unpredictability of the natural world is what makes getting out to count enjoyable.  And it doesn’t have to be far from the bustle of people and suburbia: sometimes, it’s all within a few miles of the intersection of a major highway, a casino, and the inevitable Denny’s.

(All photos taken by A.Shock during the 2009 Salt/Verde River Christmas Bird Count)

Can’t resist posting this swell picture by E of a Wrentit (Chamaea fasciata), a veritable Dinky Dude not of the Desert, but of West Coast scrub and inland chaparral.

(left, Wrentit, photo E. Shock)

It may have subdued plumage, but how can anyone not like a skulking, big-headed, tiny bird with white eyes, who is the only North American representative of the bird family called Babblers (Timaliidae)?

We had crippling views of several of these dinky dudes on our recent Oregon coast trip.  I saw more Wrentits in a weekend of casual birding in moist coastal forests than during years of birding in California.  This one was dinking around in thick brambles and undergrowth at the top of the headland at the Cape Meares Lighthouse observation platform, in the company of a couple of obliging Winter wrens, another bird I’m not used to seeing so easily (in Arizona, the presence of Winter wrens is practically mythical).

Wrentits are common in their range and habitat, but their skulking habits can make them hard to see.  According to the Cornell Lab of Ornithology, Wrentits…

…may be the most sedentary bird species in north America, with an average dispersal distance from natal nest to breeding spot of about 400 m (1300 ft).

This Dinky Dude is also a homebody.

Listen to its trilling call here.

By the way, please note that the fabulous Ed Bustya figured out the snag in my photo publishing, so please be sure to click on photos posted here to see larger images.  Thanks, Ed!

Although the days are still hot here in the Phoenix area, there are signs that summer is sliding into fall: migrating Red-tailed hawks soaring over the park this morning, and over Papago Buttes a couple of accipiters (probably Cooper’s hawks) swirling through a cloud of White-throated swifts, hoping for a quick fistful of breakfast on the wing; also, cooler nights and a less intense light from the sun not rising quite so high in the sky.  It’s about time for our wintering ducks to start arriving at desert lakes, both genuine and artificial, in both wild and suburban settings.  The Phoenix Zoo is a great place to see wintering waterfowl: here’s a picture of a Ring-necked duck on the entrance pond.

Ring-necked ducks confuse people who have just met them: Looking at the obviously ringed bill pattern, they often ask: Why aren’t they called Ring-billed ducks?  This white ring around the end of the bill is visible at a distance, in nearly all light conditions.  The eponymous ring around the neck is much less frequently seen, but it shows in this un-enhanced photo: a deep chestnut almost iridescent maroon band between the chin and the breast of this natty adult bird.

(Photo: E.Shock)

The Telegraph website of the UK has posted a short column hastily summarizing a research paper concluding that Birding Is Not Green, especially competitive birding and twitching.  The Telegraph article is not very in-depth, refers mostly to Britain (although the issues are largely common to the US as well, and the primary author is at University of Illinois, and is a birder himself) and takes a bit of a snarky tone — you birders aren’t as green as you think — but it’s still worth a glance.

The author of the study points out that while chasing rarities, twitchers (the mostly British term for avid birders who mainly are interested in checking off bird species from their lists) log many gasoline-hogging hours in their vehicles, or taking long flights to see hard-to-find species or vagrants. A case in point from my own experience: many years ago a pinkish Ross’s Gull — usually an arctic bird — showed up near the Alton Lock and Dam on the Mississippi River north of St. Louis.  People were coming from places as far away as Italy and South Africa to see that bird, because it was closer and easier to get to than the high arctic.  And local birders made the drive twice or more, to log the bird in two separate years (it was at the New Year), and in two separate states, since it was at times visible from both the Missouri and Illinois side of the river!  A much more recent Ross’s gull at the Salton Sea created a similar scene.

(The photo above of the Salton Sea Ross’s Gull is by Henry Detweiler from the Southwest Birders website.  I’ve used it here because it’s a very nice photo of a ROGU, not because Southwest Birders are involved in any way that I know of in the debate about greenness and birding.)

These Ross’s Gulls chases would be cited as examples of fuel being used profligately, although the opposite argument could be made as well: visiting the Salton Sea or Alton, Illinois — closer and less pristine habitats than, say, Churchill Manitoba — actually represents a greener way of seeing the gull. In addition, the Telegraph article leaves out the fact that many birders (in the States, at least), regularly carpool to spot their targets.  Also ignored is that some eco-tours offer carbon offset opportunities for their trips.  And that many “birdwatchers” bird greenly in their yards, or nearby hotspots they access on foot or by bike.  Gilbert Water Ranch in Phoenix is a great place to bird by bike.  Some competitive birding activities, such as Big Days or Christmas Bird Counts, make useful contributions to what’s known about seasonal populations and ranges of birds, which for some might mitigate fossil fuel use to some degree.  No one criticizes the Family Roadtrip Vacation for being a fuel-wasting chase to bag National Parks: instead, people talk about broadening the kids’ horizons, engaging in “quality family time” and bolstering local economies. Traveling birders spend money in local economies, too. I would question why birding has been singled out for this criticism in the press.

(Left: Birding from the car in NZ: who’s birding who?  Cheeky Kea!  Photo: A.Shock)

There’s also a seriouly confusing and confused bit of content in the article that seems to quote the researchers as blaming birders for un-environmental practices because birders ignore pollution problems in bird-rich areas because birds tend to thrive there.  Not enough time to sort that one out in this post; I suspect the original study states it more clearly.

However, I didn’t set out to write a defense of the Greenness of Birding: most birders are aware that their passion has some not-so-environmentally-friendly aspects, and try to offset them.  The concept of Green Birding (like BIGBY) is not new; there are sites and posts all over the web — just plug “green birding” into your search engine and check a few of them out.  But, the Telegraph article does provide a reminder that some birding practices are fuel-consumptive or carbon-emitting, and we need to be aware and pro-active to make birding as green an activity as possible.

This might be one of those times it’s best to read the source article for yourself.  Here’s the reference:

Spencer Schaffner. Environmental Sporting: Birding at Superfund Sites, Landfills, and Sewage Ponds. Journal of Sport & Social Issues, 2009; 33 (3): 206.

I couldn’t access more than an abstract online without a subscription to the online reference service.

Here’s a link to an interview with the author of the study, from Science Daily. This has more detail than the Telegraph article, and perhaps better summarizes Schaffner’s conclusions.

Everybody in the world has posted their version of the Miniature Watercolor Box, usually ingeniously created from any flat metal tin, often Altoids, sometimes Velamints, or others (see here, here, and here, just for a few examples of many).  These projects are all well-described and illustrated. I hereby add my version, but will only add a couple of tips I think are an improvement on what others have already shown.

As a hiker/backpacker, I’m always looking for a way to carry along sketching and watercolor or gouache supplies that doesn’t take up too much volume or weigh too much. (Or cost too much: commercially made ones are available at artist’s suppliers but seem exorbitant, if pretty cool.) Not all hikes yield usable painting or drawing time, and I want to carry something that I won’t begrudge space to if I don’t get around to using it. So I was enthralled by the mint-tin plein-air kits I saw on the Web.  It’s just the kind of project to seize my imagination, so off I went.  Which brings up the first tip: if this is your kind of project, beware taking up more time constructing your kits (or posting about them!) than painting with them — and I speak from experience — it’s easy to go there.  Although, the preparation can be big fun and have its own rewards.

The basic idea is to use empty, flat, metal boxes (such as those in the top photo in various stages of the process) to carry small containers (like contact lens cups, or polymer clay depressions, or purpose-made watercolor half-pans) filled with tube watercolors pre-squeezed out into them and allowed to dry.  The dried colors can be re-wet and used to paint, just like commercially available pan watercolors.  But with a customized mint-tin box, you can choose your own brands and colors, or easily switch them out for landscape, botanical, or portrait projects — whatever you like. (Second tip — don’t glue your pans permanently in place, as some folks recommend.  If they’re inconveniently loose, fasten them down with something temporary, like double-sided tape or that gummy product they sell; or, wedge them in with a bit of sponge or paper towel, which would be useful anyway for blotting. You want to be able to take them out to change or clean.)  Many people like to accompany these tiny paint-boxes with water-brushes like those made by Niji and Sakura, which have water reservoirs in their barrels, so they don’t have to carry extra water in a bottle. (The photo on the right shows the insides of boxes in various stages, the top one awaiting enameling, the other two enameled and awaiting paint selections.)

I don’t think I’m the only one who’s been saving metal Altoids tins for years with the idea that some day they’d come in handy.  Well, this is that day.  It turns out the older ones are best — the ones with the flat lids, without the product name embossed in the lid (like the one below on the left, painted with a red anti-rust primer).  The embossing is fancy, but since the inner lid becomes your mixing surface, a flat one is better (more about fixing that in a minute).

The inner lids of most brands are silver like the top one in the photo above — those are usable, but it’s easier to see your colors if you’re mixing on white. Some tins are already white inside. A few folks have inserted a portion of a plastic mixing tray here; good, but there’s both extra weight and extra work to cut it out of an existing watercolor palette (although you do get to wield your Dremel tool).  Others spray paint the surface white.  That’s the solution I went with, but here’s my next Valuable Tip: don’t just use white spray paint, use spray-on Appliance Enamel, found with the spray paints at hardware or DIY stores. It’s perfect — stain resistant, glossy, very white, quick drying, and rust proof.  It was miraculous to watch a metallic surface become pure white, shiny, and even in just 2-3 coats. I couldn’t stop using the stuff — the cats were lucky they didn’t end up slick and white.  Don’t forget to mask the outside with some tape before spraying.  If you want to obliterate the product labeling on the outside of your tin, use regular indoor-outdoor spray paint for that — I’ve been doing that after spraying the inside (mask it so that slick white surface isn’t contaminated).

Next tip, about indented lids: if you have an embossed tin lid, your mixing surface will have dents that cause color mixtures to pool.  If this bothers you, start by filling these dents on the inside of the lid with a waterproof product.  I use a modeling product called Apoxie Sculpt.  Just follow the instructions; you can smooth it out with a wet fingertip and then sand when dry.  Polymer clay would work as well, but needs to be oven-cured.  Remember to do your infilling before using the Appliance enamel.  This adds a level of complication to the project, both because of having to do the leveling and procuring the product, but I know your ingenuity is up to it.  If not, just forget it and find a non-embossed tin — they’re out there, but not Altoids, I don’t think — or, use the embossed lid anyway.  It’s not the end of the world. (The photo on the right, below, shows an embossed lid box filled and awaiting enameling, the other box is complete; it’s the rust-colored Altoids gum box above — you can see that the indentations of the lettering have been filled and the lid now has a smooth mixing surface).

Where to put the paints. Since I don’t wear contacts lenses and don’t have access to old lens cups, I was going to make my own half-pans with polymer clay to hold the paints, but I found I didn’t have the patience to make as many as I would need.  Using a solid pad of clay and making paint depressions in it is a good solution, but not for me: I wanted to be able to change out individual colors.  So I went for purpose-made plastic watercolor pans and half-pans, which wedge snugly into mint tins in various combinations.  Unfortunately, I found that individual empty pans are not easy to find, currently.  Jerry’s Artarama has them in their catalog, but as long as I’ve been working on the project, they’ve been out of stock.  I finally found another supplier, Natural Pigments, a cool vendor in Willetts, CA, who specializes in pigments and supplies for people making their own paints.  They have empty pans available for a good price, but frankly their shipping fees are mysteriously high for such lightweight items.  Still, beggars can’t be choosers, and that’s who I’ve been buying from.  Consider that another hot tip, with a caveat (shipping price).

Now you’re ready to configure your pans geometrically in your prepared tin, and select your palette — both tasks similar to scattering rice in front of a vampire: there are those who obsess on these things.  I won’t presume to dispense advice on color choice, but just a warning: the smaller the tin, the fewer your colors, the harder the choice, for most.

Let me finish off by saying that if this is the kind of project that floats your boat, there are many possibilities: different sizes of tins (to accommodate larger and smaller palettes); traveling tins for gouache (non-acrylic gouaches are re-wettable like watercolors and like them can be squeezed into pans and allowed to dry); and gifts for artist friends, with or without the paints (some artists are picky about their color choices).  Now that Altoids has introduced Smalls, there’s a Really Tiny Tin to challenge your minimalist palette selection.  And finally, modern mint-boxes are great, but how cool would vintage metal boxes be?!  I’m thinking Kiwi shoe polish, for one…

Gaze upon Sierra Vista, in south eastern Arizona, where the beautiful Huachuca Mountains beetle over the fast food restaurants and motels of the busy town.  Not visible in this shot, but also beetling, is the everpresent and mysterious white surveillance blimp.  One day, I will find out about the white blimp.  Maybe today.

The natural beauty of the region is not far away; below is a view of the foothills of the Whetstone Mountains just north of Sierra Vista.  The landscape here is transitional between the Sonoran and Chihuahuan deserts, and is high enough to be more grassland and thornscrub than desert.  But this trail in Kartchner Caverns State Park has ocotillo, agave (in bloom) and barrel cactus, and a mix of desert and arid scrubland birds, like Curve-billed thrasher, Greater roadrunner and Varied bunting.  (Not that I’m seeing many birds — inexplicably, I forgot my binox!  I guess I’ll have to be an artist this weekend, and not a birder…)  The landscape is lush and green, even in a moderate monsoon year.  Most of the rainfall of the entire year falls during the summer monsoon season.

Southwest Wings Birding and Nature Festival is in full swing and Three Star Owl is in the thick of things. Yesterday was the first day of the Art Fair and Nature Exposition, and lots of people came for the vendors and artists as well as the birds.  Purchases were made: owls, javelinas, black-headed grosbeaks, and gila monsters found nice new homes.  Peek into the Saguaro Room at the Windemere Hotel, and the first thing you see is the Three Star Owl booth.  (Really, why is it always so hard to get a good booth shot?  In person, the set-up looks quite nice.)  My only sorrow is that the hotel hasn’t turned on the twinkle lights buried in the tulle swagging overhead, left over from somebody’s wedding party.

(All photos A.Shock)

…are not a Victorian law firm.

They are delightfully specific bird-related terms: it seems that falconers and ornithologists, like the French, have a different word for everything.

You can talk about a raptor’s “thumb”, meaning the strong digit that in most birds is at the back of the foot, and people will know what you mean.  But there’s a useful Latin term for it, regularly and properly used in both falconry and ornithology: hallux, plural halluces.  Ornithologists have assigned birds’ toes numbers to express foot skeletal structure and toe arrangement, and the counting starts at the hallux: it’s 1.  Used in an informative sentence: “It’s useful to know that if you have a Great horned owl on the glove, and it’s gripped your free hand due to your inattention, ask someone to gently pull its hallux upward to release the grip, avoiding an unpleasant situation involving talons, pain and possible nerve damage.”  Actually, hallux is an anatomical term that refers to our own human big toe, too.  Any word with an X in it ought to be used as much as possible, says I.

That would include the word Retrix, which is a tail feather.  Plural: retrices.  Most birds have ten or twelve, and they are numbered in the order they are shed during a moult, which is from the center of the tail outward: R1 – R6, with the R1s being the two central tail feathers and the R6s being the two outer tail feathers.  Additionally, the two central tail feathers are referred to as the “deck feathers” or, as the French call them, les retrices centrales.  Used in a sentence: “The deck feathers are the first retrices to be moulted out of the tail.”  To learn more about feathers than you wanted to know, check out the Feather Atlas.  (Please remember it’s illegal to collect or own non-game bird feathers, by the way.)

Feak is a verb: feaking describes the action of a bird rubbing or wiping its beak on the perch or branch, usually for cleaning (the beak, not the branch).  Raptors do this after feeding to remove excess matter from the beak.  Songbirds do it as well, including hummingbirds whom I’ve seen feak after slurping at a nectar feeder.  It is a side-to-side motion, like sharpening a knife.  A raptor bends forward to feak, a hummingbird just tucks its chin.  Unlike the words hallux and retrix which are from the Latin, feak is an Anglo-Saxon word, and though it doesn’t have an X, needs to be said often, just to hear the sound it makes. Used in a sentence: “The Summer tanager should have feaked after eating that juicy katydid.” By the way, I think the French word for feak is feak, but I’m not positive.

Falconry is well-stocked with this and other specialist vocabulary, like stoop, warble and rouse, or yarak, haggard and crab — not to mention bate, creance and imp — each of which sounds like a Bleak House Dream Team.

(Photo, Summer tanager, A.Shock)

When the Gophersnake made its appearance, I was about to post on Costa’s hummingbirds, because “informal censusing” (= what we see in the yard) indicates that this is the season when the Costa’s hummer population is highest in our Phoenix area yard: we are lousy with Costa’s right now.

I would guess it has something to do with post-breeding population movement, and the fact that there are a lot of YOY (young of the year) out and about.  Right now, at least three of our back yard nectar feeders are being defended by male Costa’s, one of which is an immature bird, still showing just a few purple spangles at the corners of its throat.

These tiny feisty birds definitely fall into the “dinky desert dude” category.  They spend a lot of time in exciting high-speed tail chases, pursuing each other and other larger hummers like Anna’s away from the nectar sources, even in the impressive heat we’ve been experiencing.  In between, they sip intermittently at nectar sources both natural and human-made, using the energy-rich fluid to fuel their aerial gnatting forays which provide them with protein.

For now, the males seem to have quit their flight displays until next breeding season.  But from their favorite perches — often on twigs under the canopies of open trees like palo verde and mesquite — they engage in quiet “singing” which is a descending sibillance so high and thin that some people can’t hear it.  Even if it’s beyond your pitch range, you can always tell if a Costa’s is singing, because it “assumes the position”: a bit hunched, throat very slightly puffed, head forward and oscillating back and forth gently as the notes are emitted, as if to spray the sound evenly in all directions like audible air freshener, so other hummers in the area can hear it.

The top photo shows the typical neckless, puff-ball silhouette of a Costa’s, short-tailed and gray vested.  In this light, the blazing purple of the “Yosemite Sam” mustachioed gorget is not activated, except for a patch behind the eye.  Even without the bright color, the bird is easily identified by the pattern of dark and light, as in the photo on the left, with the white throat and neck contrasting strongly against the dark moustaches.

(Photos: top, Costa’s in yard creosote, A.Shock; bottom, Costa’s in Boyce Thompson mesquite, E.Shock)