#elephant folk

[asdaricus]

Of course, MJ gave me some anthropomorphic elephant people.

by Midjourney v5

[tabletoplife]

Loxodon or Elephant-folk Paladin/Warrior

Super fun mini to paint and one of my first from the Etsy store McGavinMinatures! They got tons of variety and it seems to cycle or change fairly regularly.

Check them out and use the code Midge20 for 20% off your order 😋

https://mcgavinminiatures.etsy.com

[front-facing-pokemon]

[can-travel-offer]

https://erin-129.tengp.icu/rg/8pw5M1X

[braveexhibitions]

Neutral Milk Hotel

[timmurleyart]

Holi elephant. 🇮🇳🐘🧡💜🤎💓💛💙❤️🖤🤍💚🇮🇳

[essektheylyss]

Also there is a square foot BLOCK of condensed potting soil that I removed from a pot to add a bunch of coarser material to that is sitting on my back deck on a tarp because I need it to dry out. That's what my poor ferns were languishing in. The pot was half the weight by the time I finished. Horrific. No wonder my poor elephant ear died.

[doctor-rainbowfoxey]

Elephant I painted for my Dad

[discountalien-pancake]

I think there is room in the fatphobia conversation to acknowledge the reality that not everyone who isn’t big is somehow magically thin. That much of the fatphobia middling, sorta chubby individuals face is not directed at the spectre of a a potential larger “actually fat” version of themselves, but at them, as they are, middling and chubby. And that this fatphobia isn’t just social, it exists on an institutional level as well. That at a mere 10-15lbs “overweight” they will face doctors telling them they need to slim down even when they are demonstrably healthy in every other metric, never mind the bullshit that is the BMI. That mass-manufactured ‘women’s’ clothing is designed for B-cup bodies, get fucked if you’re any bigger or broader or shaped even a little weird. Never mind the fact that plus sizes start smaller than you think. Never mind that just social fatphobia from friends, family, coworkers, so on and so forth is already incredibly damaging.

But no, if you’re not fat fat, you’re thin.

[skullymd]

Finding an extinct animal in ancient

Mesopotamian mythology

(I am a professional nothing, this is just me theorizing using available public information that seems to coincide very well)

I'd like to discuss something that's been on my mind for a long time and I've never been able to see anyone else talk about.

Something I stumbled across some years ago was the Middle-Eastern myth of the Roc, legend of a massive bird that can be traced to the oldest story known to modern man. In the tale of Gilgamesh, he and his loyal friend Enkidu eventually sail down the coast of Africa to fight the giant predatory on it's home island of Madagascar.

Interestingly there are a few breeds of hawk that live on the island but none large enough to fit the description of the bird in the story. However, the Roc may be less fiction than we think.

Archeologists uncovered evidence of an extinct giant bird that did in fact once live along side humans on Madagascar. It was no giant hawk lifting carriages away to feast on it's passengers though but basically just an even bigger ostrich.

The aptly named Elephant-Bird was a near ten foot tall. Thought to have been rather docile creatures, enough to share the island with humans. Despite appearances they were actually only distant relatives of the modern ostrich and were in reality more closely related to the comparatively diminutive Kiwi-Bird.

Gilgamesh is thought to have been a real king who had his life dramatized as the tale of a demigod and the Elephant Bird was yet to go extinct during his lifetime. It may very well have been that Gilgamesh truly did journey to Madagascar to hunt the so called "Roc".

And much like modern rich people hunt big game to boast to their own friends about murdering large animals for fun I think this ancient myth may have been formed around a rich man's embellishing of a hunting story.

[maginot-mickey]

This Neutral Milk Hotel cover of Glue by The Gerbils was originally released as part of KSPC’s “The Basement Tapes, Volume Two: Live Underground”.

While it never made it onto an album, the softer acoustic tones on this version give it a feeling of intimacy and authenticity that’s always struck home for me.

[nymclem]

shortened naomi cover with a little bit of april 8th

[thechildrensmuseum]

Whether they are Asian or African, we love elephants!

Carved and painted wooden elephant, Indonesia, 1980s

Carved wooden elephant, Kenya, 1970s

[dustedmagazine]

Immaterial Possession — Mercy of the Crane Folk (Fire)

Photo by Carolyn Schew

Mercy of the Crane Folk by immaterial possession

Immaterial Possession makes giddy art punk with an exotic undertow. Here 1960s Cambodian rock swagger collides with careening casbah choruses, a surf rocking bassline underpins intoxicating runs of hippie flute. If you’ve ever wondered what the B-52s might sound like on a serious Incredible String Band bender, well, possibly a lot like Mercy of the Crane Folk.

That B-52s nod may tip you off that this is an Athens, Georgia pack of eccentrics. The two principals—bass player Cooper Holmes and singer Madeline Polites—met at a DIY art commune. Kiran Fernandes, who plays keyboards, clarinets and flutes, is the son of John Fernandes, who was in two foundational Elephant Six bands, Olivia Tremor Control and Circulatory System. Multi-layered, ethnic-accented percussion comes from regular drummer John Spiegel on most tracks and Jon Vogt on a couple of them.

The disc starts in the glorious, headlong rush of “Chain Breaker,” where Polites alternately wails and flutters, her voice an untrammeled joy as it caroms over a sinuous, not-exactly-Western melody. A clarinet erupts in Middle Eastern flourishes. The drums clatter and clash. And under it all, Holmes bass bucks and rears, bounding up and down the scale at an exuberant, agile gallop.

Polites is apparently fascinated by alternate scales, specifically the modal ones in use in traditional Greek and Spanish music.  Thus her melodies—and the accompaniment in flute and clarinet—have a shadowy, minor key slant to them which contrasts in interesting ways with excitable positivity of her voice. The foreign-ness of the melodic structure fits more neatly than you might think with the surfy bravado of guitar and bass; remember Dick Dale’s big hit “Misirlou” had Greek and Arabic origins.

It all makes for a volatile and rather thrilling mix, especially on the quicker, more propulsive tracks. The title cut thunders like a herd of wild horses, the bass notes pounding like hooves on sound, while the verses zoom and wheel overhead in crazy abandon. Spooky female “whoo-oohs” waft over intricate figures of belly dancing guitar. There’s some sort of mythology at work, perhaps; we don’t really know who the crane folk might be or what they want, but the lyrics add another layer of magic.

You could listen to underground rock and punk all year and not hear anything remotely like Mercy of the Crane Folk. Its elements—surf, Middle-eastern music, freak folk and punk—are not so rare, but they they’re put together is. You might check out Immaterial Possession for the wild, weird juxtapositions it offers, but you stay because it works so well.  

Jennifer Kelly