HBM130: Mother Pigeon / Sister Marta

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Mother Pigeon and her flock, photo collage by Jeff Emtman.

 

Mother Pigeon says the wild animals of New York City are hungry.  So she feeds them.

Content Note: Language

Each morning, a flock of about 150 pigeons waits for her at her local park in Bushwick.  She feeds them twice a day if she can afford it, and once a day if she can’t. Peas, lentils, millet and other grains, and corn in the winter to keep them warm.  “When you go out to feed birds, you’re treated like a criminal, so I like to call myself ‘The Pigilante.’”

Mother Pigeon considers herself a press agent for the city’s “maligned animals”—animals strong enough to survive in urban environments, but not charismatic enough to become our pets. Animals like rats, squirrels, raccoons, and of course, pigeons.  She considers much of the information available on pigeons to be propaganda from greedy exterminators. Less controversial though, are the dangers of inhaling the dust from dried pigeon droppings, which often carry fungus spores harmful to those with compromised immune systems.

It’s completely legal to feed birds in NYC’s parks. Though in 2019, the city proposed a rule that’d make what Mother Pigeon does punishable by fines and/or jail time.  She and some others vocally opposed this rule—it did not go into effect. 

 

Mother Pigeon plays an ocarina while her flock feeds.

 

On this episode of Here Be Monsters, producer Jeff Emtman visits Mother Pigeon’s studio.  She tells him about the illegal capture of the city’s pigeons for transfer to Pennsylvania for live pigeon shoots.  And she tells the story of how she used to pretend to be a nun to gain access to the captured pigeons and surreptitiously re-release them. 

Mother Pigeon sells felt and wire animals (pigeons and rats, mostly).  You can find her and her fake animals many days in Union Square Park in Manhattan.  She posts her whereabouts on Instagram and sells her art in-person and on Etsy.  

Producer: Jeff Emtman
Editor: Bethany Denton
Music: The Black Spot

 

Mother Pigeon’s flock in Brooklyn.

HBM103: Fate's Notebook

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Reynaldo Gulin at his funeral, wearing the clothes he wore on the day he was initiated into Santeria. (Photo by Maritza Gulin, edited by Jeff Emtman)

 

Somewhere in Maritza Gulin’s basement, there’s a typewritten notebook that belonged to her father, Reynaldo. The notebook contains essential advice and warnings to Reynaldo, his wife Flora, and their five children.

Content Note:
Suicide, mental illness, animal sacrifice, language.

In his younger life, Reynaldo’s atheism was strong and biting. But chronic migraines would often flatten him for days at a time. A stranger approached Reynaldo one day on the subway to tell him that he’d always suffer until he got right with God.

Reynaldo subsequently became an adherent to two related Afro-Cuban* religions: Palo Mayombe and Santeria. Palo focusses on veneration of spirits of the dead and of the earth. Santeria focusses on a pantheon of demigods called “Orishas”, who are usually represented by equivalent Catholic saints.

The notebook in Maritza’s basement is notable for its specificity. When she recently rediscovered it, she found warnings for her father against eating beans, sleeping with all the lights off, a requirement for white pajamas, a prohibition on horseback riding. Reynaldo followed these rules. He believed in fate, and was pretty accurate at predicting the time of his ultimate death from old age.

 
 

Michelle Santana is a childhood friend of Maritza’s. She’s a psychic medium who’s not been formally initiated into Santeria, but she often consults the Orishas and the dead while working with her clients.  She’s done a number of readings with Maritza. Michelle, too, believes in fate, saying that, cruel as it seems, some people are just destined live bad lives, die young, and nothing can be done to change that.

Maritza’s youngest sister, Vanessa, was born when Maritza was already an adult, so Maritza helped take care of her youngest sister. Vanessa experienced severe depression, especially after the birth of her first child. She committed suicide.

After her Vanessa’s death, Maritza and her mother Flora lost their faith. They asked: if the future’s written, why weren’t they warned? Why weren’t they told either in the notebook or during their regular psychic readings. Flora says she’s mad at God. Maritza says she no longer believes in destiny.

Despite this, Maritza still treads lightly around some of her father’s belongings. Some of this is due to respect for her father’s desires, and some of it is based on an abundance of caution. She recently deconsecrated a black metal cauldron that her father used in ceremonies. Michelle told her to bury it in her backyard or throw it in a river. Maritza did the former. Inside, she found a toy revolver, a pair of ram’s horns, railroad spikes, and other small items.

Santeria’s practice of live animal sacrifice wound up in the US Supreme Court in the early 90’s as Church of Lukumi Babalu Aye, Inc. v. City of Hialeah, in which a city in Florida passed an ordinance banning the practice of killing animals “in a public or private ritual or ceremony not for the primary purpose of food consumption”. The court ruled unanimously that this ordinance was unconstitutional, citing its attempt to restrict religious practice.

Producer: Jeff Emtman
Editor: Jeff Emtman
Music: Circling Lights, The Black Spot, Serocell

*Today, Santeria and Palo are practiced across much of the Caribbean, especially Cuba, Haiti, the Dominican Republic. Other areas of Caribbean diaspora like Florida, New York and New Jersey also have significant populations of believers. However, solid numbers of followers are hard to estimate due to the religion’s decentralization, which also contributes to the varying beliefs across adherents of different origins. If you practice or used to practice Santeria/Palo/Ifa, we’d love to hear your thoughts. Tweet at us @HBMpodcast.

If you are feeling suicidal, the Suicide Prevention Lifeline can help in the USA (phone: 1-800-273-8255). Outside the USA, consult Suicide.org’s list of hotlines. If you’re experiencing postpartum depression, Postpartum Support International has links to local organizations that can help you.

A dream about flamingos avoiding deep water, as interpreted by Reynaldo. (Photo by Maritza Gulin)

A dream about flamingos avoiding deep water, as interpreted by Reynaldo. (Photo by Maritza Gulin)

 

HBM093: The Brain Scoop

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Divya Anantharaman’s brain scoop.

 

In school, Divya Anantharaman used to get teased for having long skinny fingers like ET.  But now she sees them as valuable asset for the intricate work she does.  Divya runs Friends Forever Taxidermy in Brooklyn, New York.  

Content Note:
Fleshy sounds

In this episode Divya carries a recorder with her while as she slowly disassembles a deceased pet parrot: snipping joints, scooping brains, removing eyes, separating the skin from the body. Birds’ skin is very thin—Divya likens the peeling to removing a delicate silk stocking.

We found out about Divya through Erika Harada, another skilled artist in the Brooklyn taxidermy scene.

Producer: Jeff Emtman
Editor: Bethany Denton
Music: Serocell (new album out!) and Phantom Fauna

 

Divya Anantharaman with a deceased Himalayan pheasant.

HBM090: Two Small Creatures with Human Eyes

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Lucy and her mate at the American Museum of Natural History in New York City. Photo by Jeff Emtman.

Lucy and her mate at the American Museum of Natural History in New York City. Photo by Jeff Emtman.

 

Natural history museums are art galleries.  Scientifically focussed art galleries, but art galleries nonetheless.  

Ian Tattersall, of the American Museum of Natural History in New York City, is a paleontologist who sometimes oversees the construction of models for the museum.  Of personal interest to Here Be Monsters producer Jeff Emtman are reconstructions of very lifelike early humans, one with an arm draped over the other.  Ian calls these the “Laetoli Figures”—named for the place in modern-day Tanzania where some remarkable footprints of two hominids were found preserved in volcanic ash.  

As far as early humans go, Australopithecus Afarensis are well understood.  There are 300+ individuals in the fossil record, including the famous ~40% complete fossil of “Lucy”.

Given the evidence, there’s a lot scientists can be pretty certain in declaring: they lived in the trees, but they could walk upright.  They had small brains and big jaws, but their canine teeth looked a lot like a modern human’s.  

There are other questions that are answerable through inference, through studies of modern animals and other fossils.  These techniques can yield a strong degree of certainty.

But if the artist were to stop constructing at the edge of certainty, the models would never be completed. There are certain things that are essentially unknowable about these early hominids, like: “What did their skin look like?” “What color was their hair?” “Did they have the dark sclera of an ape, or the whites-of-the-eye of a modern human?”

These uncertainties are ultimately up to the artist to answer.  “When you’re making a museum exhibit,” Ian (not an artist) points out, “you’re trying to create an illusion.  And to work at all, the illusion has to be complete.  And so you have to have all the details in there.”

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Ian Tattersall, Curator Emeritus of Human Origins at the American Museum of Natural History and a replica of an early human colloquially named “Lucy”.

 

But these details are a form of artistry used as evidence by biblical creationists to lambast hominid reconstructions.  They see it as part of an effort to deceive the public, to lead them to believe that these ancient hominids were more human-like than they actually were.  Of particular interest to them is that question of the light sclera vs. dark sclera.  One author writes:

Notice that a fossilized eyeball was not found.  So how would anyone know that the sclera was white, which would cause it to look more human. [sic] The reconstruction is pure speculation about how Lucy’s eye looked.

Natural history museums are faced with a decision: create full-flesh reconstructions that by necessity contain elements of artistic license, or, present the public with mere bones.  Most seem to opt for the former, and understandably so.  The museum serves the public, and, like HBM producer Jeff Emtman, they want to see something relatable and remarkable, a piece of scientifically-oriented art.  

 
 

And this question the artist must face, the question of the dark sclera (more ape-like eyes) and the light sclera (more human-like eyes) reveals something interesting about the artist and the process used to create the art.  The choices an artist makes can speak to their worldview, their biases, and their knowledge per their location in the world and the current moment in time.  

Ian recognizes this, saying,

You could not do a reliable reconstruction of an ancient human being or a dinosaur, or an extinct mammal without the science; and you certainly couldn’t do it without the art.  And this is where the two really intersect in a meaningful way.

And the AMNH itself houses exhibits related to the ways in which modern assumptions about the past have affected the way the past is present, such as:  Griffins in the Gobi Desert (protoceratops), Cyclops of the Mediterranean (dwarf elephants), and the infamous unicorn horns of Western Europe (narwhal).

 
 

Ian says that, in the quarter century since the construction of the Laetoli Figures, dominant scientific perception has changed to suggest that Australopithecus afarensis might have actually had dark sclera. As he puts it, “science is a work in progress.”

Jeff Emtman produced this episode and took the photos.
Voicemails from HBM listeners including Daniel Greene, Rachel Schapiro and Tony Baker.   

Music: The Black Spot, The Other Stars

 
 

We want your questions for an upcoming mailbag episode. Maybe you’ve got a question about how we make the show.  Maybe you have a question for someone we’ve talked to on an episode.  Maybe you want some relationship advice.  Maybe you can’t fix your damn microwave and you just need someone to tell you what to do.  

Give us a call: (765) 374 - 5263 or send us a voice memo: HBMpodcast@gmail.com.

Also, check out our new meat poster, designed by Adam Fein, of HBM circle shirt fame.  Get your HBM meat poster today!

 

HBM078: Sagittarius Has $45

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Image by Jeff Emtman.

Image by Jeff Emtman.

 

Sagittarius has been good for the last year.  That’s what he told us.  He told us that the cage that Luna designed for him is working.  She controls his money, his businesses, can read his email, can see his bank accounts, and can track the location of his phone.

Please Note: This episode contains frank discussions of sexual addiction and desire.  All names in this episode are pseudonyms.

He says that the next time he messes up, Luna will leave him, and take the kids with her. Avoiding this scenario makes the cage worth it.  

Sagittarius is a sex addict.  His therapist told him that naming his addiction would be a good way to compartmentalize it. So he chose “Sagittarius”, a name he stole from the bow-wielding centaur of astrology known (in part) for emotional recklessness and who is represented by the planet Jupiter.

Sagittarius first emailed us back in 2016, after we published an episode called HBM060: The Predators of McNeil Island.  In that episode, we talked to Chris, a man once deemed by the state of Washington to be a Sexually Violent Predator. Chris told the courts that he’d changed, no longer felt desire to be devious. Sagittarius identified with Chris, saw himself as a version of Chris that had never been committed or sent to court.  But Sagittarius wrote to say that, personally, he’d never say “never” again.   He’d been wrong too many times.

Despite receiving some treatment, and despite the cage, Sagittarius does not feel cured of his addiction. He is actively hoarding cash, $45 of bills he keeps in his backpack.  A secret kept from Luna. Another $100 and Sagittarius could break free from his cage, and pay someone to have sex with him.

In this episode, Sagittarius takes Bethany and Jeff on a walking tour of his New York City “hotspots” he used to frequent, and then takes Jeff on a late night bike ride to Battery Park, where his father once took him to see the Statue of Liberty.

Bethany Denton and Jeff Emtman produced this episode.

Music: The Black Spot, Phantom Fauna

 

HBM059: When Cthulhu Calls

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HBM059.jpg
 

The most notable monster created by Howard Phillips Lovecraft was completely omnipotent, yet completely uncaring.  A massive, tentacled being that sleeps in the depths of the ocean--Cthulhu.  A creature that will one day rise again from its watery home to reclaim the Earth for itself.

In this episode of Here Be Monsters, we team up with Eric Molinsky of the Imaginary Worlds Podcast from Panoply Studios. 

Eric speaks with Sheldon Solomon, a psychologist who co-founded the study of Terror Management Theory.  Solomon explains the absurd lengths that humans go to avoid realizing their own mortality.  And thus, Eric embarks on a fictional journey to find out why a creature so loathsome is constantly being turned into Cthulhu plushy toys and Cthulhu onesies for babies. 

Eric visits a store call Love Craft in Redhook, New York, where he meets Roberta Suydam (played by Ann Scobie). Roberta tells him to look in the water off Rockaway point, Cthulhu is real.  Seeking confirmation, he visits the Lovecraft Archives, deep in a basement lab in Lovecraft's hometown of Providence, Rhode Island.  There, professor George Angell (played by Dan Truman) introduces him to the re-animated brain of "Howard" (played by Bill Lobely).  Howard Lovecraft turns out to be just as racist in death as he was in life.  Deciding to take matters into his own hands, Eric rents a boat to see what's out there in the waters off Rockaway Point, but as he draws closer to the dome rising from the water, he finds himself at wits' end.

Balancing the literary genius of Lovecraft's dark mythos with his unabashed xenophobia is no easy task.  Readers must either choose to ignore the troubling aspects of his personal character, or disgrace him for his beliefs.  Or possibly, they may superposition themselves in both camps at once, trying understand Lovecraft as if he's a just another creature in a universe of his own making.

Music: Serocell

 
We produced this episode in collaboration with Imaginary Worlds.

We produced this episode in collaboration with Imaginary Worlds.

HP Lovecraft's drawing of his own monster, Cthulhu. 1934

HP Lovecraft. 1934