> > > Oh, it's time I go. They'll never take my monkey bones. > One ticket to there > I'll take it from here > I feel it close > I feel it near > So I must go > It's killing me > Cause I must go home > Too bad at both > Too bad at both > Too bad at both > Well, too bad at both > Too bad at both > Well I'm sorting > I'm sorting out my spine > But it's running > It's running out my mind > It's running > It's running > It's running > Oh this time I go > Cause they'll never take > My monkey bones > They'll never > They'll never > Well, It's sorting > It's sorting out my spine > But it's running > It's running out my mind > It's running > It's running > It's running > I don't > Don't wanna think about nothing > I wanna feel alright > Cause you make > A monkey out of me lately > I just wanna feel right > So just go > Get out the sight of me, you're nothing > Get on the side of me I like > Cause you make > A monkey out of me lately > But we can feel alright > >

Luke Haney website

Luke Haney Bandcamp

> > > Remember, that we all are brothers. All people, beasts, trees and stone and wind. > We all descend from the one great being > That was always there > Before people lived and named it > Before the first seed sprouted > >

> > > Heilung is an experimental folk music band made up of members from Denmark, Norway, and Germany. Their music is based on texts and runic inscriptions from Germanic peoples of the Iron Age, and Viking Age. Heilung describe their music as "amplified history from early medieval northern Europe". Their music is usually about Germanic deities, The Jǫtnar, and valkyries. "Heilung" is a German noun meaning "healing" in English. > >

Heilung Wikipedia

This one is a favorite of my woodwose cousin Stor Fot...

> > > First, you should know that I have risen through the fire in colorful buckskin > The object of my desire is the color of my skin > So divided are my kin > Watch me turn the tables, till we eatin' like some kings > In beautiful headdresses, the culture is so impressive > I'm just hopin' I absorb it when He passing me the message > Cause baby, it's depressing livin' in this mess we call a home > We should take it back to chokers restin' on the collarbone > Arrowheads ride alone, the enemy like Styrofoam > Piercing through the strongest armor, death and genocidal form > And still I stand, a singular red man > With Jupiter-sized heart, forever reppin' my clan > The eagle's an old man, watchin' over my plans > Talking real sh, baby > No fakey here for the fans > I'm shoutin' out Bobby Jones, my Auntie, my Mushem George > I'm drawing all of my strength from my people here before me, man > Big Chief in the building, everybody take your place (hooh) > Remove your feelings if you wanna ride with me (hooh) > We about to go to war right now, no petty ass beef (hooh) > And when it all go down, who's gonna ride with me? (Hooh) > And when it all go down, who's gonna ride with me? (Hooh) > And when it all go down, who's gonna ride with me? (Hooh) > And when it all go down, who's gonna ride with me? (Hooh) > And when it all go down, who's gonna ride with me? > Blessed is the man with sons who walk beside him > There's not enough leaders out there, we should be ridin' > They left our people broken, but homie, don't play the possum > Learn to grow yourself, the set > 'Cause you can bet there's nothing promised > They sayin' I'm a problem, they call me public enemy > But they don't understand that, I hold it down for my family > And I hate it when they say that I won't be sh cause I'm Native > Cause in my mind we the strongest, we were built up for the ages > Ay, give me back mine 'fore I take that > You don't want that, where my rays at? > Put them up power, the blade of the sweetgrass > Put a prayer up > If you ain't gonna ride, get back with your weak ass > No room for the weak, or the type of speech that brings us down > Need them soldiers to be strong, when the bad man come to town > Ride out (hooh) > Big Chief in the building, everybody take your place (hooh) > Remove your feelings if you wanna ride with me (hooh) > We about to go to war right now, no petty ass beef (hooh) > And when it all go down, who's gonna ride with me? > >

Wikipedia

Drezus' website

Everyone is always asking "what is Bigfoot?" and "where is Bigfoot?"

No one ever asks "how is Bigfoot?" :(

\#bigfoot

> > > The North American Wood Ape Conservancy (NAWAC) is a scientific-research organization dedicated to studying the North American wood ape, the animal many people call “bigfoot” or “sasquatch”. We are an all-volunteer, nonprofit 501(c)3 organization with members from all over the world and from all walks of life. > > > > Our members are investigating one of the greatest natural enigmas of our time, and our main goal is to ultimately have the wood ape species documented, protected, and the land they inhabit protected. > > > > Another goal of the NAWAC is to help educate people about the wood ape species by sharing the experiences and knowledge we’ve gained over the last several decades. > > > > * The NAWAC Catalog of Recorded Audio, is a catalog of some of our most notable recorded audio events that we attribute to the North American wood ape. > * The “Ouachita Project Monograph”, a highly detailed document concerning our long term study efforts in our main area of operation. > * “Tag 7”, a technical report describing a novel technique developed and implemented by the NAWAC for attaching radio telemetry devices to our target species, the wood ape. > > > > We also produce our own podcast entitled, Apes Among Us. > > > > Feel free to also explore our database of historical reports and encounters and learn about our report classification system. If you feel like you’ve had an encounter with a wood ape, you may also submit an incident for us to investigate. > >

When apes read Jean-Paul Marat.

Nikolayy on Audius

Nikolayy on Youtube

> > > Considered to be the Godfather of PowWowStep, DJ Shub has pioneered a growing genre of electronic music. Born Dan General, he is a Mohawk, turtle clan of the Six Nations of the Grand River located in Ontario, Canada. > > > > His latest album War Club (2020) was released to critical acclaim during the pandemic, featuring collaborations with other indigenous and BIPOC artists like Snotty Nose Rez Kids, Boogát, Fawn Wood, and Phoenix Pagliacci to name a few. > > > > DJ Shub won the 2022 JUNO award for Contemporary Indigenous Artist of the Year, and previously won Breakthrough Group of the Year in 2014 (with A Tribe Called Red). He was also an Indigenous Music Award nominee at the 2018 Juno Awards for his PowWowStep EP, won a Much Music Video Award for Best EDM/Dance Video in 2017 and was shortlisted for the esteemed Polaris Music Prize Award in 2013. > > > > Watch the CBC Gem music special here: https://www.youtube.com/watch?v=u-pejm-6oLI. > >

> > > Winner: Best Music Video, 2017 Native American Music Awards > >

> > > Nominee: Best EDM/Dance Video, 2017 Much Music Video Awards > >

Website

Wikipedia

> > > You’re walking in a thick forest, alone. It’s late afternoon, so it’s starting to get dark. The shadows are growing longer. Suddenly you notice that it’s eerily quiet. The birds have stopped singing, the bugs aren’t buzzing, and everything seems to be unnaturally still. Then you hear it. Or did you? Was that a footfall? A voice? A growl? Is your mind playing tricks on you? Did you hear someone (or something) moving around out there? > > > > WAIT! The sounds are right behind you. How is that possible? You slowly turn around and come face-to-face with…OMG, WHAT IS THAT?! > > > > Writer and researcher Mason Winfield has been trying to answer questions like these for over 25 years. But not just ones involving enigmatic and elusive forest dwellers like the Pukwudgie or little people. He also investigates hauntings, UFOs, strange beasts, Native American supernaturalism, ancient mysteries, and a myriad of other occult phenomena as he conducts his “supernatural safari” across the state of New York. When he’s not busily writing, conducting Haunted History Ghost tours, lecturing, or making media appearances, he’s deeply involved with East Aurora’s Arts & Crafts Movement Community, Roycroft. > > > > After a recent lecture and intense Q&A session regarding the presence of Pukwudgies in New York, Mason kindly consented to an interview. > > > > Bernie: Thank you for making time for The Observer’s readers. This is a topic I know they are very interested in and always want to learn more about. > > > > Mason: No problem Bernie, glad to oblige. What would you like to know? > > > > B: You began investigating ghosts, Native American spirituality, supernatural folklore, and general paranormal phenomenon in upper New York state back in the early nineties. Did you uncover reports of encounters with Pukwudgies and little people back then? > > > > M: First of all, I live in Iroquois/Longhouse/Six Nations territory. Most of the material I come up with seems influenced by the Iroquoians. The Longhouse folk call their Little People either just that, or Jogao, nicknamed, “Jungies.” I did pick up a few Little People reports at the start, and they mystified me. It took awhile to recognize a pattern. I just thought each of the first few was a one- off. This is a rare apparition-category, and you simply need a lot of reports to establish a profile. It became one of the top surprises in my study of the upstate paranormal. The idea that contemporary, apparently sane witnesses, non-ghost-people, would report sightings and occasionally develop relationships with figures of mythology was a hard one to get my head around. > > > > B: I was only familiar with reports of Pukwudgie encounters in what is called the Bridgewater Triangle and Hockomock Swamp area in Massachusetts. Are these the same individuals as they are in New York? Or are they different? > > > > M: I presume you mean “the same species” rather than, “the same individuals.” I would rely on the insights of my Six Nations and Algonquin friends. Most of them believe that the Pukwudgies and Iroquoian Little People are the same thing. The variances in custom about their habits, nature, and appearance is pretty normal in folklore. If you believe they truly exist, it would also be normal for eyewitness reports to vary. It’s quite common for them to be reported in zones, though, and very often ones that were known for it to the earlier inhabitants. > > > > B: Are the Algonquin Pukwudgies and the Iroquois Little People the same thing? > > > > M: The lore and legends about them are quite similar in the big picture, and my contacts among the Six Longhouse Nations and the Algonquin people believe they are the same beings, merely witnessed in different cultural territory. > A sampling of Mason’s books > > > > B: There are stories of little people from all over the world. Specifically, in Ireland where they are sometimes called “The Wee Folk.” Are there any similarities between this global phenomenon and western N.Y.’s little people? Could they be considered as a “lost race?” > > > > M: The Little People are called a lot of things in Celtic countries. This is a very developed subject. There are many similarities in world tradition about the Little People. It’s one of the remarkable features of the phenomenon. I certainly wouldn’t call the Little People “a lost race,” or at least, not in any other sense than to say that one of the explanations for the existence of the Little People in folklore is that their legends are inspired by prior inhabitants of the land, perhaps marginalized populations driven out of the favorable territory to the remote areas. There they become mystery-figures and thence figures of storytelling that change over time. That, however, is only one of the handful of theories for the origin of the tradition. The true answer is probably part of all of them. > > > > B: Are most encounters with the Pukwudgies dangerous? How do they react when they come face to face with people? And where do these run-ins most commonly take place? > > > > M: None of the ones I’ve heard of are dangerous. Some of the folkloric encounters are potentially ill-intended. The Little People tend to be Healers and Tricksters, according to Edmund Wilson in his fine book, Apologies to the Iroquois (1969), which isn’t even focused on folklore. I confirm his observation. These diminutive supernaturals can be wrong-righters of any sort. If you need a lesson, you can get that, too. I would add this caveat: One of the customs of the Little People is that they have a fascination with human children. Sometimes they are thought to take them away. Some of the truly creepy stories in my files come from families whose children have encountered Little People. Most reported encounters take place in natural settings, though I’ve heard of a few reports of a tricky little friend who visits a child in the home. Others may be observed in a natural setting and continue to stalk the child in the dream-state. > > > > B: Do the little people seek out interactions with humans, or do they avoid it? What would a typical, if there is a typical encounter, be like? > > > > M: All encounters are different. Some seem to like to show themselves and even interact with humans. With most, the sighting is like that of a ghost: quick, quiet, and fleeting. > > > > B: What about people who claim to have been “kidnapped” by these forest beings? > > > > M: If you recall, a member of the audience asked me about the experiences of Six Nations folk who had spent time, as children or adults, in the presumed company of the Little People. “Do these people come back unharmed?” He asked. As I answered, in the storytelling of the Northeast, when adults go with the fairies, they often come back with a make-over, including new talents and sometimes dramatic physical improvement–healed, strengthened, or glamorized. In paranormal-style reports, sometimes those experiences are a little more sinister. Like not returning the child they abducted, or substituting a Changeling in its place. The rich folklore has many such tales. > > > > I’ve never met anyone who had presumably been “taken” as a child or an adult and returned, but I’d met people who knew someone like that, often a departed family member. Some of the ones I’d heard about had happy-enough lives, but never normal ones. > > > > B: As an investigator and writer, have you ever had a first hand experience with any of these beings? Or any other type of paranormal experiences? How about ghosts or UFOs? > > > > M: I am not a paranormal investigator as such. I’m a writer and researcher. I do the work of a folklorist or historian in these fields, though I don’t claim either title. There’s a plague of false titles in the paranormal. The least I can do is not add to it. I have never had any personal encounter with Little People, cryptids, or UFOs. I do believe I’ve seen a few ghosts and observed some instances of other types of psychic phenomena. They were all subtle. Only after analysis did I reach the conclusion that they were more likely to be paranormal than natural. > > > > B: To tell the truth, I am fascinated with reports of little people and Pukwudgies. Are these sightings only localized to the east coast, or do they occur in other parts of the U.S.A.? How closely associated are they with Native American tradition and beliefs? > > > > M: Little People exist in the traditions of almost every indigenous culture of the Americas. They are common in many cultures in the European West, too. The Celtic and Germanic are perhaps the most familiar to the majority of people in the U.S. Traditions of the Little People are often very private in the cultures of many Native nations. I always tell people never to push their Native friends on this subject. You could inadvertently seriously offend them. It is still this way. I do occasionally encounter fairy-style reports coming from individuals whose ancestry is Celtic or Germanic. In those cases, the beings often correspond to the traditions of their ancestors’ part of the world. White people most often see white fairies–when they do report seeing them, of course. Likewise with indigenous Native Americans. I don’t know exactly what this says, but i’s a cultural phenomenon in itself. > > > > B: Do you have any advice on how someone could go about searching out these beings? Do they favor certain areas over others? What should a person do if they encounter one of these races? Or would you be better off leaving them alone? > > > > M: I don’t have any tips for spotting the Little People as I seriously doubt they or any other aspect of the paranormal come when they are called. There are traditional zones and regions in which the Little People figure in folklore about New York State and surely other parts of the world. The odds would seem to go up in one of those zones, but I can’t encourage the effort. Besides, most of these fabled zones are buried in the old records of the state, if even remembered anywhere at all in any form. We’ve displaced most of the Native Americans, in New York State, don’t forget. Few are still living on their ancestral turf, and site traditions have been lost forever. If you had a time machine and could go back to interview people–and get them talking to you–from earlier centuries, you might get somewhere. > > > > There are several reasons for the mainstream not to accept psychic phenomena and other figments of the paranormal. One of them is that they are rarely experienced. The world overwhelmingly behaves according to material laws. > > > > I believe incidents involving other types of psychic phenomena–ghosts, ESP, premonitions, poltergeist outbreaks–are rare, but still a Hell of a lot more common than reports of fairies. It goes that way in my files, for sure. I have hundreds of ghosts for every Little-People-story. When people ask me how they can see something paranormal, I just say to them, “Be very perceptive in your daily life.” Once in a while you may spot, hear, or feel something that shouldn’t be there. Maybe it will have a paranormal cause. You’ll seldom know. Life is not like TV. > > > > B: Are you planning on writing a new book investigating these phantoms of the forest in greater detail? > > > > M: I wouldn’t do a book on them in greater detail because I don’t think greater detail is there, at least not credibly. There’s only so far we can go with this stuff expecting it to be able to prove to people it exists. > > > > B: Do you have any final thoughts on these unusual beings and our human relationship with them? > > > > M: I have a host of them. I think I’d end by simply saying that my interest in the Little People is twofold, one pertaining to folklore and another to the psychic/paranormal. I’m interested in: > > > > > Most importantly, preserving a legacy of storytelling/folklore that I find beautiful, fascinating and unfortunately neglected. > > Raising the speculation that the widespread phenomenon of Little People reports says, at the least, something profound about human perception and consciousness. There’s a pattern there, and that’s what we ought to be studying. > > > > > > B: Do you have any final thoughts you'd like to share with our readers on how they can begin exploring their local lore and Native American mythologies? > > > > M: The first step is always to go to the local historians. They will help you identify the Native nations that held the land you live on. They can guide you to whatever published material is available. One of the local colleges may hold a specialist who could guide you, too. Finally, don’t neglect the old county histories. Not many are detailed, but some hold nuggets that can really help your research. Try to track down all the references to the First Nations people in your area. > > > > B: How can people get in touch with you to book a Haunted History Ghost Walk or speaking engagement? > > > > M: They can visit masonwinfield.com, or message me on Facebook. > > > > B: Thank you Mason, that was five stars all around! > > > > M: My pleasure, Bernie. I hope readers enjoyed learning more about the little people of the Six Nations. > >

> > > This article is based on Winfield’s standing room only lecture: > LITTLE PEOPLE AND PUKWUDGIES IN NEW YORK > Presented at the Pine Bush UFO and Paranormal Museum on May 2Oth, 2023. > >

> > > Have they been throwing raves for gnomes? > >

Occasionally a couple show up, and lots of Moon People - they seem to love these guys. Good chants. Brings back good memories of hanging with the Sabe a long time ago.

Here's your portal tree to the Halluci Nation, who are currently on tour in support of their new album.

Here's their next 3 shows, heading South through the PNW:

Aaw’k Rock Festival - Anchorage, Alaska - 9/21 Wild Buffalo - Bellingham, WA - 9/30 The Get Down - Portland, OR - 10/1

> > > The Halluci Nation, formerly known as A Tribe Called Red, is a Canadian electronic music group who blend instrumental hip hop, reggae, moombahton and dubstep-influenced dance music with elements of First Nations music, particularly vocal chanting and drumming. Based in Ottawa, Ontario, the group consists of Tim "2oolman" Hill (Mohawk, of the Six Nations of the Grand River), and Ehren "Bear Witness" Thomas (Cayuga First Nation)... > > > > The group's former name was an homage to A Tribe Called Quest, a hip hop group that also had songs that addressed African American social grievances. > > > > The group's music has been labelled as "powwow-step", a style of contemporary powwow music for urban First Nations in the dance club scene; popularized by the media as a description of the band's unique style, the term originated as the title of one of the band's own earliest singles > >

Wikipedia

> > > Standing here, the old man said to me: "Long before these crowded streets, here stood my dreaming tree." > Below it he would sit > For hours at a time > Now progress takes away > What forever took to find > And now he's falling hard > And feels the falling dark > How he longs to be > Beneath his dreaming tree > Conquered fear to climb > The moment froze in time > When the girl who first he kissed > Promised him she'd be his > Remembered Mother's words > There beneath the tree: > "No matter what the world > You'll always be my baby" > Mommy, come quick > The dreaming tree has died > Can't find my way home > I have no place to hide > The dreaming tree has died > Oh, have you no pity? > This thing I do > I do not deny it > All through this smile > As crooked as danger > I do not deny > I know in my mind > I would leave you now > If I had the strength to > I would leave you up > To your own devices > Will you not talk? > Can you take pity? > I don't ask for much > But won't you speak, please? > From the start > She knew she had it made > Easy up 'til then > For sure she'd make the grade > Adorers came in hordes > To lay down in her way > She gave it all she had > And treasures slowly faded > Now, she's falling hard > She feels the fall of dark > How did this fall apart? > She drinks to fill the dark > A smile as sweet as flowers > Wilted so and soured > Black tears stain the cheeks > That once were so admired > She thinks when she was small > There on her father's knee > How he had promised her: > "You'll always be my baby" > Daddy, come quick > The dreaming tree has died > I can't find my way home > There is no place to hide > The dreaming tree has died > Oh, if I had the strength to > I would leave you up > To your own devices > Will you not talk? > Can you take pity? > I don't ask for much > Won't you speak, please? > Take me back > Take me back > Take me back > Take me back > Take me back > Take me back > Take me back > Take me back > Save me, please > >

> > > Thus reviewing the eventful past, we see Nature working with enthusiasm like a man, blowing her volcanic forges like a blacksmith > blowing his smithy fires, shoving glaciers over the landscapes like a carpenter shoving his planes, clearing, ploughing, harrowing, irrigating, planting, and sowing broadcast like a farmer and gardener, doing rough work and fine work, planting sequoias and pines, rose-bushes and daisies; working in gems, filling every crack and hollow with them; distilling fine essences; painting plants and shells, clouds, mountains, all the earth and heavens, like an artist, — ever working toward beauty higher and higher. Where may the mind find more stimulating, quickening pasturage? A thousand Yellowstone wonders are calling, "Look up and down and round about you!" And a multitude of still, small voices may be heard directing you to look through all this transient, shifting show of things called "substantial" into the truly substantial spiritual world whose forms flesh and wood, rock and water, air and sunshine, only veil and conceal, and to learn that here is heaven and the dwelling-place of the angels. > > > > The sun is setting; long, violet shadows are growing out over the woods from the mountains along the western rim of the park; the Absaroka range is baptized in the divine light of the alpenglow, and its rocks and trees are transfigured. Next to the light of the dawn on high mountain tops, the alpenglow is the most impressive of all the terrestrial manifestations of God. > > > > Now comes the gloaming. The alpenglow is fading into earthy, murky gloom, but do not let your town habits draw you away to the hotel. Stay on this good fire-mountain and spend the night among the stars. Watch their glorious bloom until the dawn, and get one more baptism of light. Then, with fresh heart, go down to your work, and whatever your fate, under whatever ignorance or knowledge you may afterward chance to suffer, you will remember these fine, wild views, and look back with joy to your wanderings in the blessed old Yellowstone Wonderland. > >

\-The Yellowstone National Park, pg. 178

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> > > John Muir (/mjʊər/ MURE; April 21, 1838 – December 24, 1914),[1] also known as "John of the Mountains" and "Father of the National Parks", [self-published source] was a Scottish-born American: naturalist, author, environmental philosopher, botanist, zoologist, glaciologist, and early advocate for the preservation of wilderness in the United States. > > > > His letters, essays, and books describing his adventures in nature, especially in the Sierra Nevada, have been read by millions. His activism helped to preserve the Yosemite Valley and Sequoia National Park, and his example has served as an inspiration for the preservation of many other wilderness areas. The Sierra Club, which he co-founded, is a prominent American conservation organization. In his later life, Muir devoted most of his time to the preservation of the Western forests. As part of the campaign to make Yosemite a national park, Muir published two landmark articles on wilderness preservation in The Century Magazine, "The Treasures of the Yosemite" and "Features of the Proposed Yosemite National Park"; this helped support the push for US Congress to pass a bill in 1890 establishing Yosemite National Park.[6] The spiritual quality and enthusiasm toward nature expressed in his writings has inspired readers, including presidents and congressmen, to take action to help preserve large nature areas > >

Wikipedia

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As a species, y'all need a lot less cars and lot more Muir. A toast of honeywine to this fine old goat - of all of you little hairless things, he knew the song that the forest sings.

> > > "I think it's time to discuss your philosophy of drug use as it relates to artistic endeavor" > Check it, yo, I always hit the tape with the rough road styles > You heard the psychedelic and ya came from miles > Keep my rhymes thick like a Guinness brew > So you could call me black and tan when I'm a wreckin' a crew > I'm like Bill Lee writing when he's in Tangier's > And now I'm on a soul safari with my Beatnik peers > Analog reel and a little distortion > Smokin' on somethin's you could say I'm scorchin' > I never been the type to brag but beware > I'll make a man burn his draft card like it was hair > Send ya up the river like you lookin' for Kurtz > I got the mugwump jism up in every verse > I always hit the apple when I'm going to shoot > So you can call me William Tell or Agent Cooper to boot > Mr. Mojo Risin' on the case again > So tell your mother and your sister and your sister's friends > Like an exterminator running low on dust > I'm bug powder itchin' and it can't be trussed > Inter zone trippin' and I'm off to Annexia > I gotta get a typewriter that's sexier > My name is Justin and that's all, that's it > And I'll be spittin' rhymes wicked like it ain't no shit > Houses of the Holy like Jimmy Page > But the song remains the same so I'm stuck in a rage > Just like Jane when she's going to Spain > I think I'm going away tomorrow, just a fool in the rain > Light up the candles and bless the room > I'm paranoid, snow blind, just a black meat fool > Bug powder dust an' mugwump jism > The wild boys runnin' 'round Interzone trippin' > Letter to control about the Big Brother > Trying like Hart to not blow my cover > Bug powder dust an' mugwump jism > The wild boys runnin' 'round Interzone trippin' > Letter to control about the Big Brother > Trying like Hart to not blow my cover > Never been a fake and I'm never phony > I got more flavor than the packet in macaroni > Rock drippin' from my every vowel > I've got the soul of the sixties like Ginsberg's Howl > Shootin' mad ball and I'm always jukin' > Take you to the hole and I'm surely hoopin' > Top of the pops like the Lulu's show > I'll take a walk on Abbey Road with my shoes of soul > I got a splinter though, damn, you know man it hurt > I got a Vegemite sandwich from Men at Work > I keep minds in line, but time sublimes > So when you search you find something like a gold mine > A psychedelic meanderings in the poem > I got a paddock in any place that I roam > Waiting for the sun on a Spanish caravan > Solar eclipse and I'm feeling like starin' man > Bug powder dust an' mugwump jism > The wild boys runnin' 'round Interzone trippin' > Letter to control about the Big Brother > Trying like Hart to not blow my cover > Bug powder dust an' mugwump jism > The wild boys runnin' 'round Interzone trippin' > Letter to control about the Big Brother > Trying like Hart to not blow my cover > Who's that man in the windowpane > Got somethin' on his tongue and it's startin' to stain > Sho' nuff equip so I can get down > Step up on my ladder and you'll get beat down > Hash bar style so I'm singin' day glow > Wakin' up the dead like Serpent and the Rainbow > Jeff Spicoli roll me another hay > The Fish that Saved Pittsburgh with Dr. J > Shockin' your ass like a faulty vibrator > Hear me now, but you'll probably get the vibe later > Who knows where the wicked wind blows > Que sera sera just leave it alone > Great Space Coaster toast up the town > Makin' midgets with my man Dr. Shrinker > Pass the hookah, throw down the pillows > Cloth on the ceiling, blow rings that billow > Kick off the shoes and relax your feet > Now roll up your sleeves for this lyrical treat > Bug powder dust an' mugwump jism > The wild boys runnin' 'round Interzone trippin' > Letter to control about the Big Brother > Trying like Hart to not blow my cover > Bug powder dust an' mugwump jism > The wild boys runnin' 'round Interzone trippin' > Letter to control about the Big Brother > Trying like Hart to not blow my cover > "I think it's time for you boys to share my last taste > Of the true black meat > The flesh of the giant aquatic Brazilian Centipede" > >

Bug Power Dust on Wikipedia ----------

I fucking love Brazillian centipede. Sounds like it might be time to head out to Interzone with Dean.

> > > Planet of the Apes is a 1968 American science fiction film directed by Franklin J. Schaffner from a screenplay by Michael Wilson and Rod Serling, loosely based on the 1963 novel by Pierre Boulle. The film stars Charlton Heston, Roddy McDowall, Kim Hunter, Maurice Evans, James Whitmore, James Daly, and Linda Harrison. In the film, an astronaut crew crash-lands on a strange planet in the distant future. Although the planet appears desolate at first, the surviving crew members stumble upon a society in which apes have evolved into creatures with human-like intelligence and speech. The apes have assumed the role of the dominant species and humans are mute creatures wearing animal skins. > > > > The outline Planet of the Apes script, originally written by Serling, underwent many rewrites before filming eventually began.[3] Directors J. Lee Thompson and Blake Edwards were approached, but the film's producer Arthur P. Jacobs, upon the recommendation of Heston, chose Franklin J. Schaffner to direct the film. Schaffner's changes included an ape society less advanced—and therefore less expensive to depict—than that of the original novel.[4] Filming took place between May 21 and August 10, 1967, in California, Utah, and Arizona, with desert sequences shot in and around Lake Powell, Glen Canyon National Recreation Area. The film's final "closed" cost was $5.8 million. > > > > Planet of the Apes premiered on February 8, 1968, at the Capitol Theatre in New York City, and was released in the United States on April 3, by 20th Century-Fox. The film was a box-office hit, earning a lifetime domestic gross of $33.3 million.[2] It was groundbreaking for its prosthetic makeup techniques by artist John Chambers[5] and was well received by audiences and critics, being nominated for Best Costume Design and Best Original Score at the 41st Academy Awards, and winning an honorary Academy Award for Chambers. In 2001, Planet of the Apes was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[6][7] > > > > Planet of the Apes' success launched a franchise,[8] including four sequels, as well as a television series, animated series, comic books, and various merchandising. In particular, Roddy McDowall had a long-running relationship with the franchise, appearing in four of the original five films (he was absent from the second film, Beneath the Planet of the Apes, in which he was replaced by David Watson in the role of Cornelius) and also in the television series. The original film series was followed by Tim Burton's remake of the same name in 2001 and a reboot series, which began with Rise of the Planet of the Apes in 2011. > >

Wikipedia

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I dig this movie because it's pretty close to what happened when the Sasquatch Confederacy decided to send out a interdimensional scouting party to Earth after the Middle Miocene. As a species with considerably more longevity and dimensional acumen than yours, we found it best to ride out extinction events in other climes.

On our return, we found that the rat-lemurs were running the show, and, as current events demonstrate - trashing the place. It's one of the reasons we don't visit here much anymore. You're just not good at playing with others, and you're terrible hosts.

Before entering the Valley of Fire, after passing through the Doors of Perception, at 31 seconds, I felt that I was in this long dark tunnel. With a very very bright light at the end, so brilliant, it was more brilliant than the sun...

Valley of the Shadows

> > > Painted Rock is located on the Tule River Indian Reservation, above Porterville, in the Sierra Nevada foothills of central California. This site, also known as CA-TUL-19, is a rockshelter associated with a Native American Yokuts village. The site, located immediately adjacent to the Tule River, includes bedrock mortars, pitted boulders, midden and pictographs. The pictographs are located within the rockshelter, and are painted on the ceiling and walls of the shelter. The pictographs include paintings of a male, female, and child Bigfoot (known as the family), coyote, beaver, bear, frog, caterpillar, centipede, humans, eagle, condor, lizard and various lines, circles, and other geometric designs. The paintings are in red, black, white, and yellow. > > > > This rock art site is unique; not only because it contains a Bigfoot pictograph, but also because of the traditional Native American stories that accompany it. There are no other known creation stories involving a Bigfoot-like creature in California. As far as can be determined, there are no Bigfoot creation stories anywhere else in the west. There is also no evidence of any other Bigfoot pictographs. Most states, including California, keep a database of all recorded sites located on federal, state, county, city, or private land. Based on that information, there is no other known Bigfoot pictographs or petroglyphs anywhere in California, Washington, Oregon, Nevada, or Idaho. > > > > This paper will describe the rock art, the known history of the site, the traditional Yokuts Hairy Man stories, and the association of the rock art with other Penutian language groups. > > > > Pictograph Description > The most dominant pictograph at Painted Rock is that of the Hairy Man, also known as Mayak datat (mi!yak datr!atr!) or sunsunut (shoonshoonootr!). Hairy Man measures 2.6 meters high by 1.9 meters wide, and is red, black, and white. The picture represents an 8.5-foot high, two-legged creature, with its arms spread out to six feet wide. It has what appears to be long hair and large haunting eyes (Figure 5). The Yokuts identify the lines coming from the eyes as tears (because Hairy Man is sad according to their creation story). The pictograph is in very poor condition due to weathering and vandalism. A Hairy Man petroglyph is present at the site as well. Petroglyphs are very rare in the Sierras. > > > > Probably the most unusual feature of this site is the presence of an entire Bigfoot family. Besides the male Hairy Man, there are also a female and child "bigfoot." The mother is 1.8 meters high by 1.2 meters wide, and is solely red. The painting represents a 6-foot high, two-legged creature with her arms open. She has five fingers and little other detail. Immediately adjacent to her, and directly under her right hand, is her child. The child measures 1.2 meters high by 1 meter wide and is also solely red. The painting represents a 4-foot high, two-legged creature with small arms and five fingers. The figure has an unusually rounded head, suggestive of a sagittal crest. > > > > Clewlow (1978) estimated that the paintings were made around A.D. 500, but could be as old as A.D. 1 or as young as AD. 1200 (2000 to 700 years old). Latta (1949) noted that year-round occupied villages were placed at important places, either where paintings were or at some place where Indian ceremonies were performed. Archaeologically, the village at Painted Rock was occupied in the late prehistoric, around 500 years ago. Since it is believed that the paintings were present prior to the village, the paintings are likely 500-1000 years old. > > > > Ethnographic History of Painted Rock > The Yokuts Tribe occupied the San Joaquin Valley and foothills of California (Figure 10). The band of the Yokuts that lived at Painted Rock were called the O-ching'-i-ta, meaning the "People of Painted Rock". A village at Painted Rock was called Uchiyingetau, which means "markings." Painted Rock itself was called Hocheu (Powers 1877). > > > > The Tule River Indian Reservation was established in 1873 on 54,116 acres. The reservation lands are heavily timbered and include several Giant Sequoia Groves. The reservation is surrounded by thousands of acres of national forest system lands. It is rare for an Indian tribe to own a site they believe they were created at, and records seem to imply that the location of the reservation was chosen to incorporate Painted Rock for that reason. > > > > Painted Rock is first described by Mallery in 1889. Mallery (1889) stated that the paintings were "famous and well-known in the area." He described the paintings as created by being pecked, painted, and then pecked again to ensure a "long lasting effect." Mallery also described the Coyote Eating the Moon, and a large bear-like creature covering one wall. He stated that the locals called the creature, "Hairy Man." Steward noted the paintings in 1929, and stated that a Tribal elder, living at the location in 1900, had identified the large painting as the "Hairy Man." > > > > Latta (1949) detailed the site by stating: "The Indians readily recognize the characters which represent animals, but they offer no other explanation for the geometrical designs and line drawings than to give the Indian name for circle, triangle, square or other common figures. They do identify drawings of. . . a few mythological characters" such as Hairy Man and the Coyote Eating the Moon. > > > > No explanation of what the Yokuts or researchers thought "Hairy Man" was is provided in these early references. Everyone seemed to understand that "Hairy Man" meant just that, "Hairy Man." This is in direct contrast with the Coyote Eating the Moon. A great deal of effort by researchers was spent on trying to identify the reason Coyote was Eating the Moon, and what humans did to deserve such a fate. Latta (1936) stated that he thought Hairy Man was maybe related to the "Giant of Ah-wah-Nee" stories, but that idea was not accepted. > > > > Finally, in 1973, Hairy Man was associated with the "white" term of "Big Foot" and since then, it has been accepted that Hairy Man and Bigfoot are and have always been the same creature. Johnstone (1975) noted that Hairy Man had always been described by the Yokuts as "a creature that was like a great big giant with long, shaggy hair" and since Bigfoot also meets that description, the two are the same. > > > > Traditional Stories > Gayton (1976:89) was one of the main ethnographers of the Yokuts. She studied their traditional stories and came to the following conclusion: > > > > > The prehuman era was that of a world created and occupied by birds and animals of superanimal and superhuman powers. To Eagle, with his bird and animal assistants and companions, was attributed the building of the world, the institution of certain cultural, social, and physical features of man and his way of life. This prehistoric period, described in a fairly full but not elaborately detailed stock of stories, came to an end with the creation of mankind by Eagle and the subsequent transformation of these bird-and-animal people into their present known forms. All this happened beyond the memory of man, but the past continued into the present in the immediate ubiquity of the animals themselves. Beliefs about them were being constantly reinforced by daily happenings in the circumjacent wilds. > > > > > > Simplified, this means that when the Yokuts observed animal behavior in the wild, they incorporated those observations into their traditional stories. The more they observed, the most elaborate the stories and details. Following are several examples of traditional stories, collected by the author unless otherwise noted, and the observed animal behavior represented in the story. > > > > How People Were Made > All the birds and animals of the mountains went to Hocheu to make People. Eagle, chief of all the animals, asked each animal how they wanted People to be. Each animal took a turn and said what they had to say. > > > > Fish said, "People should know how to swim, like me, so let them be able to hold their breath and swim very deep." > > > > Hummingbird said, "People should be fast, like me, so let them have good feet and endurance." > > > > Eagle said, "People should be wise, wiser than me, so People will help animals and take care of the Earth." > > > > Turtle said, "People should be able to protect themselves, like me, so lets give them courage and strength." > > > > Lizard said, "People should have fingers, like me, so that People can make baskets, bows and arrows." > > > > Owl said, "People should be good hunters, like me, so give them knowledge and cunning." > > > > Condor said, "People should be different from us, so give them hair, not feathers or fur to keep warm." > > > > Then Coyote said, "People should be just like me, because I am smart and tricky, so have them walk on all fours." > > > > Hairy Man, who had not said anything yet, shook his head and said, "No, People should walk on two legs, like me." > > > > All the other animals agreed with Hairy Man, and Coyote became very angry. He challenged Hairy Man to a race, and they agreed who ever won could decide how People should walk. > > > > They gathered at the waterfall, below Hocheu, to begin the race. Coyote started and took a shortcut. Hairy Man was wiser than Coyote and knew that Coyote would cheat to win and People would have to walk on all fours, so Hairy Man stayed behind and helped Eagle, Condor, and the others to make People. They went back to the rock and drew People, on two legs, on the ground. The animals breathed on them, and People came out of the ground. Hairy Man was very pleased and went to People, but when they saw Hairy Man, they were scared and ran away. That made Hairy Man sad. When Coyote came back and saw what they had done, he was very angry and drew himself on the rock eating the moon (he is called Su! Su! Na). All the other animals drew their pictures on the rock as well, so People would remember them. Hairy Man was sad because People were afraid of him, so he drew himself sad. That is why Hairy Man's picture is crying to this day. That is how people were made. > > > > Hairy Man is described in this story as human-like; he walked on two legs and gave that gift to humans. Hairy Man was also smart enough to trick the cunning coyote in order to get his own way. > > > > Humans, however, quickly populated the earth and occupied the same spaces the animals once did. Here is a story that documents those events: > > > > When People Took Over > People spread out all over the mountains, taking all the land and eating all the food. Animals didn't have anyplace to go. Eagle, chief of all the animals, told the animals that they could not remain in their traditional places, because people had taken them. He asked them where they wished to go. > > > > Eagle said, "What are you going to become? What will you be? I myself am going to fly high up in the air and live on squirrels and sometimes on deer." > > > > Hairy Man said, "I will go live among the big trees (Giant Sequoias) and hunt only at night when people are asleep." > > > > Dog said, "I will stay with people and be their friend, I will follow them, and perhaps I will get something to eat in that way." > > > > Buzzard said, "When something dies I will smell it. I will go there and eat it." > > > > Crow said, "When I see something lying dead, I will pick out its eyes." > > > > Coyote said, "I will go about killing grasshoppers. That is how I will live." > > > > Hummingbird said, "I will go to the flowers and get my food from them." > > > > Condor said, "I will not stay here. I will go far off into the mountains. Perhaps I will find something to eat there." > > > > Woodpecker said, "I will get acorns and make holes in the trees [to store them in]." > > > > Bluejay said, "I am going to make trees grow over the hills. I will work." > > > > Rat said, "I will go where there are old trees and make my house in them." > > > > Mouse said, "I will run here, there, and everywhere. I shall have holes, and perhaps I can live in that way." > > > > Trout said, "I will live in the water and perhaps I can find something to eat there." > > > > That was the time when animals stopped being like us and scattered. > > > > This story clearly illustrates that Bigfoot was thought to be nocturnal and mainly stayed in Giant Sequoia groves or forests. His intent was not to come into contact with humans and would only go outside when they were asleep. Since Gayton (1976) already stated that Yokuts stories about animals involved real observed behaviors, and all the behaviors attributed to the other animals in this story are consistent with what we know about those animals, it is logical to assume that Yokuts directly observed Bigfoot behavior and incorporated that behavior into this story. > > > > Hairy Man also appears to have some known behaviors that resulted in Yokuts women changing how they preformed work. Here is one story: > > > > Food Stealing > In the old days, women learned never to leave their acorn meal unattended. They would spend all day pounding on the big rocks near the river, making the acorn meal, and then take it down to the river to leech it. They would then leave it in the sun to dry, but they would come back and it would be gone. They would find big footprints in the sand where they left the meal and they would know that Hairy Man took it. He likes Indian food and knows to wait until the acorn is leeched of its bitterness before taking it. We always wondered if he liked the sound of women pounding acorn and knew when to come and get food. > > > > The importance of a Bigfoot being attracted to the sound of acorn pounding should not be missed here. Again, this is likely an observed Bigfoot behavior incorporated into a traditional story. It may also help explain some behavior attributed to Bigfoot now, such as wood pounding as it may be an attempt by a Bigfoot to emulate a sound heard so often in prehistoric times. It is also worth note that an indirect observation was that the Bigfoot was smart enough to know that pounding meant food, and to wait until the food was ready to eat before stealing it. > > > > Hairy Man appears to have a spiritual or religious aspect as well. Kroeber (1925) noted that animals could be totems to various Yokuts bands. Hairy Man, however, was never a totem, because by this time, he was viewed as a monster. According to tribal elders, doctors or shamans with supernatural powers, called Tip'-ne, could own Hairy Man, and use him as a bringer of dreams. A Hairy Man Shaman would create an amulet of his power animal and swallow it to keep in his body. Hairy Man Shamans are extremely rare and very unusual in Yokuts culture. There is only one brief story that elders had of this type of Shaman and it involved Hairy Man coming to a house, throwing off his hair, becoming a man, and offering a healing power to the Shaman. Hairy Man insisted that the power he gave the Shaman could only be used to cure and not to kill. > > > > This is a very sensitive issue, and further details about what kind of powers the Shaman would receive from Hairy Man could not be obtained from tribal elders. It is very likely that since this type of doctor is very rare, no one knows what powers are associated with a Hairy Man Shaman. > > > > It is not likely that a Yokuts directly observed a Bigfoot giving a Shaman magical power. To really understand what behaviors were indeed observed, we would have to know more about what powers were conveyed to the Shaman. Typically, Medicine Men possess great strength or endurance and that is likely observed Bigfoot behavior incorporated into this story. > > > > Lastly, Hairy Man has an "evil" aspect to him. Latta (1949) was told that the life-sized character at Painted Rock was a bad spirit. It is unclear, however, if the informant meant Hairy Man or Coyote Eating the Moon. While doing research with Tribal elders many years ago, I was often told that while on the reservation, I should never go outside if I heard whistling. When asked why, I was told that Hairy Man used whistling to lure Indians out into the night for various bad reasons. The details on what Hairy Man would do to someone going outside is unknown. Here is a story detailing Hairy Man's "bad" side. This story is taken from Johnstone (1975). > > > > Bigfoot, The Hairy Man > Big Foot was a creature that was like a great big giant with long, shaggy hair. His long shaggy hair made him look like a big animal. He was good in a way, because he ate the animals that might harm people. He kept the Grizzly Bear, Mountain Lion, Wolf, and other larger animals away. During hot summer nights all the animals would come out together down from the hills to drink out of the Tule River. Big Foot liked to catch animals down by the river. He would eat them up bones and all. > > > > It was pleasant and cool down by the river on hot summer nights. That is when grown ups liked to take a swim. Even though people feared that Big Foot, the hairy man, might come to the river, people still liked to take a swim at night. > > > > Parents always warned their children, "Don't go near the river at night. You may run into Big Foot." > > > > Now Big Foot usually eats animals, but parents said, "If he can't find any animals and he is very hungry, he will eat you. Big Foot, the hairy man, doesn't leave a speck or trace. He eats you up bones and all. We won't know where you have gone or what has happened to you." > > > > Some people say Big Foot, the hairy man, still roams around the hills near Tule River. He comes along the trail at night and scares a lot of people. When you hear him you know it is something very big because he makes a big sound, not a little sound. > > > > Children are cautioned not to make fun of his picture on the painted rock or play around that place because he would hear you and come after you. > > > > Parents warned their children, "You are going to meet him on the road if you stay out too late at night." The children have learned always to come home early. > > > > The observed behavior here is that Bigfoot was nocturnal, ate animals, and is something to be feared. It isn't likely that any humans were observed being eaten, but there was a fear that this could happen. The tale is the most common Hairy Man story still told on the reservation. > > > > The Penutian Language Stock > The Yokuts are part of the Penutian Language Stock. The Penutian Language Stock is widespread in the west, including California, Oregon, Washington, and Canada. California tribes include the: Costanoan, Konkow, Maidu, Miwok, Nisenan, Nomlaki, Patwin, Utian, and Wintu (Figure 11). Those outside California include the: Alsea, Chinook, Coos, Gitxsan, Kalapuya, Karkin, Klamath-Modoc, Molale, Nez Perce, Nisga'a, Siuslaw, Takelma, Tenino, Tsimshian, Umatilla, Walla Walla, Wasco-Wishram, and Yakima. > > > > All of these groups have Bigfoot or Bigfoot-like stories. These include, but are not limited to: > > > > * Windigo - a cannibalistic monster > * Wappeckquemow - a giant > * Wainus - a giant > * Ah-wah-Nee – a giant > * Yayali – a hairy giant > * Che-ha-lum'che – a hairy giant > > > > Here are a few stories to compare with the Yokuts versions. Yavali is a horrible, smelly, hair-covered giant associated with the Miwok tribe of Central California. The Miwok tribe is very closely related to the Yokuts, both in culture and location. Most of the stories involving Yayali are very long and detailed, but one brief story (Merriam 1910) is as follows: > > > > Yayali, The Giant > "Where are you, grandchild? Where are you, grandchild? Where are you? Where are you? Yes. Yes. I am lost. Where are you? This way. Where are you, grandchild? Someone comes. Look out. Get ready. Prepare yourself, for Yayali comes." > > > > The people broke cones from the tops of the pine trees and bundled these together. As Yayali started to climb the declivity where the people had taken refuge, they set fire to the bundles of pine cones and threw them into Yayali's burden basket. They threw the burning cones into the basket. Yayali became so hot that he tumbled. "Which way shall I fall?" he asked. They told him to fall to the north. [The Giant met his death near Columbia, Tuolumne County. The informant has seen white rocks near Columbia, reputed to be the bleached bones of the Giant.] > > > > This story is more sinister than the Yokuts Hairy Man ones. However, like nearly all the stories within the Penutian language stock, it is about a very large creature that eats animals or if necessary, people; and is obviously something to be feared. The Miwok story is most similar to the Hairy Man stories by associating a physical place with where a Yayali or Bigfoot died. > > > > The Ste-ye-hah' is a dangerous creature that lives in the Cascade Mountains. It is nocturnal and whistles to lure people away from their path. As noted before, the Yokuts also believe that Hairy Man is nocturnal and will whistle to lead Indians into his grip. Here is a story that closely resembles the story of the Yayali (see the BFRO website for more information). > > > > The Ste-ye-hah' > It is the delight of the Ste-ye-hah' to carry away captive children who may become lost or separated from their people. Many snows ago two little ones, a brother and a sister, were missing from a hunter-village in the mountains. The parents and friends instituted a wide search and found their trail. Small footprints showed between the imprints of adult tracks,... Long afterwards, perhaps twenty snows, the parents of the lost children were camped in the mountains gathering huckleberries. One night while sitting in their lodge, a stick was thrust through a small crevice in the wall. The old man immediately called out, "You need not come around here bothering me, Ste-ye-hah'! I know you! You took my two children." > > > > The Yokuts, Miwok and Cascade stories are separated by hundreds of miles, yet are very similar. Since most, if not all, Penutian stories are extremely similar, with slight differences based on regional details and the passing of time, there must be a common source within the language itself. It could be suggested that at some time in the past when the language stock was still mostly confined to a single area, which researchers such as Dixon and Kroeber (1919) believe was around 6000 years ago, that a creature with the described behaviors was observed and noted in a source or "root" story. Over time, the groups in the language stock moved to different areas, took the root story with them and added to it as they observed more of the creature. The Yokuts stories may be more elaborate due to the presence of the Hairy Man pictograph, which is a constant reminder of the original story. > > > > Conclusion > To summarize, the following are important points presented in this article: > > > > * Hairy Man helped create man and has various other associated stories; > * This belief is exemplified by the creation of a pictograph representing Hairy Man, which closely resembles descriptions of Bigfoot (8.5 feet tall; long shaggy hair; sagittal crest; walks on two feet; and large, powerful, human-like body type); > * The Hairy Man pictograph was noted and called "Hairy Man" by non-Indians in 1889. It is well documented that the painting has been referred to as Hairy Man since 1889 and continuously to modern times; > * Bigfoot behavior is represented in traditional Yokuts stories, including nocturnal hunting, association with Forest environments, wood knocking, whistling, and being an omnivore (animals and plants); and > * Bigfoot is in both Yokuts culture and the Penutian language stock, suggesting a very old source story. > > > > The presence of a Bigfoot pictograph and numerous stories in the Yokuts culture is not only unique, but also significant to North American Great Ape research. By analyzing traditional Native knowledge and stories of Bigfoot, it helps establish that this creature was not created by "white culture", but instead is a long-time occupant in these people's lives. Stories and paintings of how the creature looked and behaved are only present in these Native cultures because of direct observation of a flesh and blood creature. > > > > References > > > > Clewlow, C. William, Prehistoric Rock Art. In: Handbook of North American Indians, Vol. 8, California, Robert Heizer, ed., pp. 619-625. Washington: Smithsonian Institution. > > > > Dixon, Roland B., and Alfred L. Kroeber, Linguistic Families of California. University of California Publications in American Archaeology and Ethnology 16(3):47-118. Berkeley. > > > > Gayton, Anna H., Culture-Environment Integration: External References in Yokuts Life. In: Native Californians: A Theoretical Retrospective, L.J. Bean and T.C. Blackburn, ed., pp. 79-98. Ramona: Ballena Press. > > > > Johnstone, Elizabeth Bayless, Bigfoot and Other Stories. Tulare: Tulare Board of Education. > > > > Kroeber, Alfred L., Handbook of the Indians of California. Bureau of American Ethnology Bulletin 78. Washington. > > > > Latta, Frank F. > > > > > California Indian Folklore, as Told to F.F. Latta by Wah-nom-kot, Wah-hum-chah, Lee-mee (and others). Shafter: Shafter Press. > Handbook of Yokuts Indians. Bakersfield: Kern County Museum. > > > > > > Mallery, Garrick, Picture-writing of the American Indians. Pp. 1-882 in 10th Annual Report of the Bureau of American Ethnology for the Years 1888-1889. Washington. > > > > Merriam, C. Hart, Dawn of the World: Myths and Weird Tales Told by the Mewan Indians of California. Cleveland: Arthur H. Clark. > > > > Powers, Stephen, Tribes of California. Contributions to North American Ethnology 3. Washington: U.S. Geographical and Geological Survey of the Rocky Mountain Region. > > > > Steward, Julian H., Petroglyphs of California and Adjoining States. University of California Publications in American Archaeology and Ethnology 24(2):47-238. Berkeley > > > > Revision History > This article was originally published on the Bigfoot Information Project website (www.bigfootproject.org) on August 13, 2004. It has not been revised. > >

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Historical and folklore research article the above was based on: MAYAK DATAT: THE HAIRY MAN PICTOGRAPHS by Kathy Moskowitz Strain

Yo, Nessie, heads up sweetheart - another bunch of hunters on the way:

> > > The largest cryptological survey of Loch Ness in over 50 years is scheduled to take place this weekend, featuring technology never before used to search for the elusive, still unproven Loch Ness Monster. Affectionately known by many as “Nessie,” no physical evidence of the cryptid—a creature whose existence isn’t proven by science or biology—has ever been found. The expedition is sponsored by the “independent and voluntary research team,” Loch Ness Exploration (LNE), an organization that is currently seeking additional help from the public in conducting a “giant surface watch” of the loch’s waters. Although an “overwhelming” demand has already resulted in sold out in-person spots, those who can’t make it over to Scotland can still tune in to LNE’s official 24/7 live stream to help out organizers. > > > > “Since starting LNE, it’s always been our goal to record, study and analyze all manner of natural behavior and phenomena that may be more challenging to explain,” Alan McKenna, LNE founder, said in a statement earlier this month. “It’s our hope to inspire a new generation of Loch Ness enthusiasts and by joining this large scale surface watch… to personally contribute towards this fascinating mystery that has captivated so many people from around the world.” > > > > Alleged sightings of the supposed lake monster (or monsters) in Loch Ness date back centuries, but the tales particularly rose to global attention after the famous 1934 “Surgeon’s Photo.” Although the iconic silhouette was later proved a hoax, folklore surrounding a large aquatic creature lurking within the loch remains strong. In 2019, samples taken from the nearly 22-square-mile body of water indicated the prevalence of eel DNA, potentially providing an explanation for at least some of visitors’ sightings over the decades. The collected DNA, however, did not indicate an eel’s size, thus adding little support to a “giant eel” theory. Of course, many still hold out hope for the possibility of a somehow still undiscovered pod of plesiosaurs calling Loch Ness home. > > > > On August 26 and 27, however, the LNE team will deploy at least a few new tools in hopes of uncovering evidence of something strange. According to the event’s announcement page, drones will traverse the loch while taking thermal imaging of the waters via infrared cameras, potentially “identifying any mysterious anomalies.” Meanwhile, researchers will repeatedly deploy an underwater hydrophone to listen in on any “Nessie-like calls.” > > > > “The weekend gives an opportunity to search the waters in a way that has never been done before, and we can’t wait to see what we find,” said Loch Ness Centre general manager, Paul Nixon. > > > > Of course, the odds aren’t exactly in Nessie volunteers’ favor following decades of debunks, hoaxes, and misattributed sightings. Still, it’s probably as nice a time of the year as any to get out onto the loch and enjoy the Scottish summer. > >

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By the way, gonna be in a bit of trouble in the Valley of Fire soon... if you're in the neighborhood, could sure use a bit of help...

If you gotta hunt a demon tyrannosaurus from another damn dimension, you gotta choose the right music, and most importantly the right rhythm to wake the deep magick, enough to summon thunder down from the sky and magma up from the rocks.

We hunt tonight brothers. TO THE VALLEY OF FIRE!

Planet of the Drums

> > > Faith is a great thing, and really religious people would like us to believe that faith and knowing are the same thing, but I don't believe that myself. Because there are too many different ideas on the subject. What we know is this: When we die, one of two things happens. Either our souls and thoughts somehow survive the experience of dying or they don't. If they do, that opens up every possibility you could think of. If they don't, it's just blotto. The end. > >

\-Stephen King, Pet Semetary

> > > Pet Sematary (sometimes referred to as Stephen King's Pet Sematary) is a 1989 American supernatural horror film and the first adaptation of Stephen King's 1983 novel of the same name. Directed by Mary Lambert and written by King, it stars Dale Midkiff, Denise Crosby, Blaze Berdahl, Fred Gwynne, and Miko Hughes as Gage Creed. The title is a sensational spelling of "pet cemetery". > >

Wikipedia

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Yo, @BuckarooBanzai! I found the path to the place I was talking about. I'm gonna go take care of your cats and fix everything. I'm really sorry man - I was wondering why I got a microchip stuck in my teeth.

> > > One afternoon I visited Jeremiah “Bob” Dean of Love Hill, a wise and kindly old guy, well known for his hunting skills and knowledge of traditional bush medicine. Because he’d been worried that the yay-hos were in danger of extinction, he was very happy to hear of Gebelein’s sighting: “To my mind he saw nothin’ else but a young yay-ho – because there’s no other creature around here that’s hairy. I heard they’re in the shape of a man and live in caves. They’s very powerful. If you buck a woman yay-ho you’ll be alright, but if you buck a man yay-ho he’ll kill you. The onlyest thing you can do for them is to catch a fire – they run from that because that can burn the hair on them, you see.” > >

> > > In the early 1970s, Al Berry and his long time friend Ron Morehead went into the woods of the Sierra Nevada Mountains in eastern California and collected a series of Bigfoot vocalizations called the "Sierra Sounds." > >

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Ron and Al are nice guys, and we had a great time when they crashed our spoken word poetry jam fifty years ago. We'd just had a couple of mule deer for dinner, so instead of eating the stringy hippies, we decided to let them hang out until we were hungry again. I never thought they'd made a recording of it all, but hey, nobody knew we'd be online back then.

Of course, these days it's considered a big faux paus to eat anything without fur. The Sasquatch Confederacy frowns on the unsanctioned hunting of endangered species, and given that the humans only have a couple of hundred years left at best, they're on the do not eat list. It's one of our big gripes with the Yeti - those guys love Tibetan food.

Ron's gone on to write quite a few books about it. His latest work is Quantum Bigfoot:

> > > So how does quantum physics relate to spirituality and Bigfoot? In my 45+ years of researching this phenomenon, I’ve heard several very strange reports. A few of these reports, from seemingly heartfelt people, claimed that these creatures disappeared. Is that even possible? Can the laws of quantum physics actually answer that question? Knowing what I know, I’m compelled to delve in and see. The accepted mathematics of quantum physics says that there is more going on than what we see with our three-dimensional eyes. > > > > Scientists now know, through physics, that empty space (Dark Matter, Dark Energy) is not actually empty…however, it is a dimension existing outside of the human light spectrum and the observable vibrational frequency. It seems to me that classical science has restricted itself by its own disciplines and because of those disciplines, will never grasp the big picture. If we use the classical box to try and determine all that exists, we would never begin to understand the cosmos, e.g., the world of spirituality. > > > > The math of quantum physics indicates that there are at least eleven dimensions in existence…possibly innumerable. So, could the laws of quantum physics be the answer to the Bigfoot mysteries? If so, how do we move forward in that possibility? > >

He's so close and yet so far... makes him fun to tease every decade or so.