Here Be Monsters

During a moment of personal turmoil, Rocky Villanueva gets an email from a long-time client.  His client is in his final weeks of life, and is getting his last wishes taken care of.  One of those wishes: to look like himself when he dies.  Rocky says that many hairdressers and barbers have similar experiences: helping their clients through the last stages of life and letting them look the way they want to look for a final time.Rocky packs his haircutting tools and bikes across Berlin to spend an hour with his client, giving him a haircut and receiving advice on love and grief. Producer: Jeff EmtmanMusic: The Black Spot, Serocell, Phantom FaunaSponsor: The Summer Diary of a Lady ArtistThe sponsor for this episode is The Summer Diary of a Lady Artist.  It’s a fictional illustrated diary of an artist navigating love and hatred.The Summer Diary of a Lady Artist is now available at all online book stores.See Jeff’s favorite images from the book, on the podcast websiteWant to sponsor an episode? HBMpodcast.com/sponsorSupport Here Be Monsters with a small monthly contribution: patreon.com/HBMpodcast/

n the midst of a stressful move, HBM producer Jeff Emtman finds comfort in the phasing techniques developed by minimalist composer, Steve Reich. Note: this episode contains sounds that cannot be accurately represented by speakers.  Please use headphones.  Steve Reich compositions excerpted in this episode: Clapping Music, performed by Steve Reich and Wolfram WinkelViolin Phase, performed by Jonathan Morton Pendulum Music, performed by Joan Cerveró, Víctor Trescolí, Isabel León, and  Estefanía SánchezHere Be Monsters is an independent podcast supported by listener donations.  If you’d like to make a small monthly contribution, visit patreon.com/HBMpodcast. Producer: Jeff Emtman

Berlin’s Schwerbelastungskörper is a massive concrete structure that, today, is hidden in plain sight between a railroad and an apartment building.  It’s one of just a dozen remaining pieces of Nazi Architecture in Berlin.  And it’s not much to look at. It was built in 1941 as a test structure for a triumphal arch that Hitler wanted to build in that spot. The Schwerbelastungskörper (“heavy load-bearing body”) is the arch’s test structure.  It weighs about 12,650 metric tonnes, or about 28 million pounds, and it’s the equivalent weight of one of the four massive legs of the never-built arch.This plan was abandoned as World War 2 accelerated.  And the structure remained, slowly sinking into Berlin’s marshy soil, providing proof of the arch’s impossibility. In this episode, HBM host Jeff Emtman visits the Schwerbelastungskorper, records some impulse responses in the structure’s single room and reflects on his discomfort in finding beauty in another Nazi structure nearby, Tempelhof Airport (now a public park and refugee camp). Also mentioned on this episode: The Berlin Airlift, Austrian Tyrol, The Little Mermaid (1989), and Der Herr Der Ringe (Lord of the Rings movies dubbed in German).  Here Be Monsters is an independent podcast supported by listener donations.  If you’d like to make a small monthly contribution, visit patreon.com/HBMpodcast. Registration for the Here Be Monsters Art Exchange is open until November 10th, 2022.  Sign up: https://HBMpodcast.com/art/Producer: Jeff EmtmanMusic: The Black Spot

Content Note: pervasive language, brief mentions of bigotry.Alex Greenfield says that there was no such thing as a normal day when he was a kid.  His dad (Allen H Greenfield) self describes as a “researcher in the shadow world.” And his mom soon grew tired of her husband’s lifestyle, which included a lot of time on the road: chasing rumors of cryptids, ghosts, and aliens.  But after his parents split up, Alex, his dad, and an ever changing cast of motorcycle gang members and step-moms kept seeking the occult. Some of the topics discussed in this episode: St. Simons Island in Georgia (and reported hauntings), The Okefenokee Swamp (and the ignition of swamp gas), The Three Mile Island Nuclear Accident (and subsequent protests), Mono Lake in California (and the UFO sightings  there), and a movie called Being There (wherein the character played by Peter Sellers appears to walk on water).Alex Greenfield is the writer of The Sand, 10.0 Earthquake, and other movies.  He also used to be the head writer for WWE Smackdown. Alex’s dad, Allen H Greenfield (aka. T Allen Greenfield), is a UFOlogist and occultist.  He is the author of Secret Cipher of the UFOnauts, The Story Of The Hermetic Brotherhood Of Light, and other books. Unrelated to this episode, but do give a listen to the limited series that Jeff’s been mixing for Crooked Media.  It’s called Another Russia, and it’s about the assassination of Russian dissident Boris Nemtsov, as told by Ben Rhodes and Zhanna Nemtsova.  Available now on every podcast app.  Also, Jeff’s headed back to Berlin, Germany for about a month.  If you know any good stories/interviews he should record while he’s there, send a DM on Twitter or Instagram, or use the contact form.Here Be Monsters is an independent podcast supported by listeners and sponsors. Producer: Jeff EmtmanMusic: The Black Spot, Circling Lights, August FriisSponsor: is / ought books  is / ought books is a publisher of spiral bound self help manuals, art books, and non literary works on paper.All titles from is / ought books are available to buy online via the link below. is / ought books are also distributed via Small Press Distribution (SPD).Thank you is / ought books for sponsoring Here Be Monsters.

In 2012, a street preacher walking three small dogs tried to convince Jeff Emtman of his way of thinking about gender and the afterlife. In this Here Be Monsters brief, Jeff shares the short essay he originally wrote about the dinner party where they attempted to make an uneasy friendship. Jeff re-edited the essay in 2022 and gave pseudonyms to the main characters (“Cliff” and “Sophie”). Producer: Jeff EmtmanMusic: The Black SpotHere Be Monsters is an independent podcast supported by listeners and advertisements from small businesses. If you’d like to support the show, consider sponsoring an episode, or becoming a supporter on Patreon. Some other news: 1. Album of German field recordingsThe recordings from the last episode (HBM153: Klänge from Berlin) are now available as an album.  Listen and purchase here.2. New HBM stickers are here! They’re beautiful, screen printed, die-cut, clear vinyl versions of the “HBM” logo.  Available for purchase on the HBM store. Patreon supporters can get some for very nearly free by following the instructions in this post.

What do you want to happen to your body when you die?  It’s a touchy topic where tradition, religion and death denial all come into play.  But across much of the world, there are just two options: burial and cremation, which both have substantial ecological impacts. In 2019, Washington State passed SB 5001, which legalized several new options for deathcare. In this episode, host Jeff Emtman visits Return Home, a facility in Auburn, Washington that’s using one of those new options, called “Natural Organic Reduction” (NOR) which is commonly called “human composting”.  Return Home has built the world’s largest NOR facility to date, with 74 available individual vessels.  Their process (which they’ve trademarked as “Terramation”) takes about two month to complete, and involves dressing a deceased person in a pressed cotton gown and placing them a bed of organic material, and left to naturally break down using active composting techniques that bring the contents of the vessel to well above 100° Fahrenheit for much of the composting period. The techniques used by Return Home were largely inspired by Katrina Spade, a death activist and the owner of Recompose, another NOR facility located near Seattle.  Spade was one of the people who strongly advocated for the passage of SB 5001.There’s currently one other NOR facility in Washington State: Herland Forrest in Wahkiacus.  Currently two other states, Colorado and Oregon have legalized NOR.  NOR’s future isn’t known.  It’s new and still relatively rare. Do enough people want to be composted to have it be a viable business model? Each of these companies have different approaches to their process.  Return Home’s model relies on scale.  They wouldn’t disclose the exact cost of building their facility, or how many simultaneous descendants they’d need in their facility to be profitable.  As of publishing, they charge $4,950 for their process and they have 15 of their 74 slots occupied.  And in some ways, the full ecological benefits for Return Home’s process also rely on scale.  In a follow up email, CEO Micah Truman stated that “We calculate our inputs as follows. Our electricity bill each month is about $1,700, and is sufficient to Terramate 74 bodies. This comes to $22 per body. In current gas terms ($5 a gallon at present) that is roughly 4 gallons of gas, which is about 1/8 the amount of gas used for cremation. The number is actually quite a bit better than that, as our electricity bill also powers our entire facility, not just the Terramation equipment.”When asked about the relative emptiness of the facility, Katey Houston (Return Home’s Services Manager) said, “The funeral industry is so slow to change. When cremation became a thing, it took sixty years to become mainstream.  The fact that we’ve served just over thirty families now in four months, is quite amazing.  And we’ve continued to grow month-over-month, and that’s all I can ask for.”Thank you Hannah Suzanna for help with research for this episode. Here Be Monsters is an independent, listener supported podcast.  Consider supporting the show on Patreon. Producer: Jeff EmtmanMusic: The Black Spot and SerocellSponsor: Sleep With Me PodcastSleep With Me is a podcast that helps you fall asleep.  Host Drew Ackerman tells tangential stories, reads old catalogs, makes metaphors about washing machines, and does other calming things all in pursuit of slowing your mind down and letting you drift off to sleep more peacefully.  Subscribe to Sleep With Me on any podcast app.

Season 10 is nearly here!  The season starts on March 9th and episodes will be released on a rolling basis until all ten shows are published.Want to advertise on an episode? Fill out the sponsorship request form. Want to support HBM with a small monthly donation?  Become a patron on Patreon. Can’t wait to share the season with you.  More soon. Producer: Jeff EmtmanMusic: The Black Spot

The origins of Julia Susara’s chronic fatigue are hard to pin down.  She still doesn’t know exactly how it started but suspects that a deeply broken heart had something to do with it.  She spent about three years going through some excruciating physical sensations: immense chills, brain fogs, pregnancy nightmares and the feeling that her blood was about to boil through her skin. Doctors weren’t able to figure out what was wrong, nor were the array of alternative healers she visited. Feeling that no one was able to help, she was at the edge of giving up. But, at her brother’s suggestion, she reluctantly visited a hypnotherapist who gave Julia instructions to swim daily in cold water.  So she started jumping in the ocean each day and felt a strange and near immediate change in her symptoms.  If you’re feeling suicidal, here are some numbers you can call to speak with someone who will listen. USA Suicide Lifeline: 1-800-273-8255UK Samaritans: 116 123Canada Crisis Services: 1.833.456.4566Japan Tell JP:  03-5774-0992Australia Lifeline: 13 11 14Denmark Livslinien: 70 201 201Other countries: check the list available at suicide.org~~~~~~~~~~~~~~~~This episode marks the end of Season 9.  Season 10 is coming, but the date is currently unknown.  Stay subscribed!  And keep an eye on the HBM Patreon page for an upcoming message with a season debrief and some musings about the show’s future.  That post will be public, so no need to be a member to read it.  Also, please note that due to some summer busy-ness, Jeff will not be able to run an HBM summer art exchange this year.  Sorry about that.  Thank you for all your support through Season 9.  It is such a pleasure to make this show. ~~~~~~~~~~Producer: Jeff EmtmanMusic: Julia’s choir group and The Black SpotSponsor: AnimasusEmilius Martinez is an illustrator and designer who runs Animasus.  Animasus can help you design email campaigns, websites and improve the overall branding for your business.  Speaking of which, Emilius designed the new HBM t-shirt, which is wonderful. Thank you Animasus for sponsoring Here Be Monsters!

Episode 149 is an odd duck for sure.  It changes every day due to some coding trickery that is happening behind the scenes. That episode is a part of a bigger project, a new podcast project that’s potentially the first of its kind.  It’s called Neutrinowatch, and every day, each episode is regenerated with new content. But this is a conversation between Jeff Emtman (Here Be Monsters’ host), and Martin Zaltz Austick (Answer Me This, Song By Song, Pale Bird and others) about the hows and whys of Neutrinowatch: A Daily Generative Podcast (available now on most podcast apps 😉)

With much of the world shut down over the last year, HBM host Jeff Emtman started wondering if there were smaller venues where the world still felt open. In this episode, Jeff interviews Chloé Savard of the Instagram microscopy page @tardibabe about the joy of looking at small things, and whether it’s possible to find beauty in things you don’t understand.  Chloé also gives Jeff instructions for finding tardigrades by soaking moss in water and squeezing out the resulting juice onto slides.Producer: Jeff EmtmanMusic: The Black SpotSponsor: Pod PeoplePod People is an audio production and staffing agency with a community of 1,000+ producers, editors, engineers, sound designers and more.  Pod People helps audio professionals find amazing job opportunities, and they're also  building a network of support that connects their members with other audio producers, educational workshops, events, and more.Pod People is free to join. After a short onboarding process, Pod People will send you clients and work opportunities that are a good match for your specific skills and interests. Join Pod People

How does a computer learn to speak with emotion and conviction? Language is hard to express as a set of firm rules.  Every language rule seems to have exceptions and the exceptions have exceptions etcetera.  Typical, “if this then that” approaches to language just don’t work.  There’s too much nuance. But each generation of algorithms gets closer and closer. Markov chains were invented in the 1800’s and rely on nothing more than basic probabilities.  It’s a simple idea, just look at an input (like a book), and learn the order in which words tend to appear.  With this knowledge, it’s possible to generate new text in the same style of the input, just by looking up the probability of words that are likely to follow each other.  It’s simple and sometimes half decent, but not effective for longer outputs as this approach tends to lack object permanence and generate run-on sentences. Markov models are  used today in predictive text phone keyboards, but can also be used to predict weather, stock prices, etc. There’ve been plenty of other approaches to language generation (and plenty of mishaps as well).  A notable example is CleverBot, which chats with humans and heavily references its previous conversations to generate its results.  Cleverbot’s chatting can sometimes be eerily human, perfectly regurgitating slang, internet abbreviations, obscure jokes.  But it’s kind of a sly trick at the end of the day, and, as with Markov chains, Cleverbot’s AI still doesn’t always grasp grammar and object permanence. In the last decade or two, there’s been an explosion in the abilities of a different kind of AI, the Artificial Neural Network.  These “neural nets” are modelled off the way that brains work, running stimuli through their “neurons” and reinforcing paths that yield the best results. The outputs are chaotic until they are properly “trained.” But as the training reaches its optimal point, a model emerges that can efficiently process incoming data and spit out output that incorporates the same kinds of nuance, strangeness, and imperfection that you expect to see in the natural world.  Like Markov chains, neural nets have a lot of applications outside language too. But these neural networks are complicated, like a brain.  So complicated, in fact, that few try to dissect these trained models to see how they’re actually working.  And tracing it backwards is difficult, but not impossible. If we temporarily ignore the real risk that sophisticated AI language models pose for societies attempting to separate truth from fiction these neural net models allow for some interesting possibilities, namely extracting the language style of a large body of text and using that extracted style to generate new text that’s written in the voice of the original text. In this episode, Jeff creates an AI and names it “Theodora.”  She’s trained to speak like a presenter giving a Ted Talk.  The result varies from believable to utter absurdity and causes Jeff to reflect on the continued inability of individuals, AI, and large nonprofits to distinguish between good ideas and absolute madness. On the creation of Theodora: Jeff used a variety of free tools to generate Theodora in the episode.  OpenAI’s Generative Pre-trained Transformer 2 (GPT-2) was turned into the Python library GPT2 Simple by Max Woolf, who also created a tutorial demonstrating how to train the model for free using Google Colab.  Jeff used this tutorial to train Theodora on a corpus of about 900 Ted Talk transcripts for 5,000 training steps. Jeff then downloaded the model locally and used JupyterLab (Python) to generate new text.  That text was then sent to Google Cloud’s Text-To-Speech (TTS) service where it was converted to the voice heard on the episode. Producer: Jeff EmtmanMusic: LianceSponsor: Liance Independent musician James Li has just released This Painting Doesn’t Dry, an album about the relationship between personal experiences and the story of humanity as a whole.  James made this album while he anxiously watched his homeland of Hong Kong fall into political crisis.Buy on Bandcamp. Listen on Spotify.

HBM Host Jeff Emtman has always been afraid of losing his memories. Places he cares about keep getting torn down.In this episode, Jeff bikes around Seattle recording the sounds of a popping balloon to capture the sound of places he likes: Padelford Hall’s Parking Garage, The Wayne Tunnel in Bothell, his old house in Roosevelt, The Greenlake Aqua Theater, and his front porch on a snowy day.  The sound of a popping balloon can be used to re-create a space digitally.  These popping sounds are loud ‘impulses’, and the space ‘responds’ accordingly.  These impulse responses can then be fed to an audio effect called a “convolution reverb” which interprets the impulse response and applies it to any incoming sound.  Rick and Kathy Emtman are heard on this episode.  Forrest Perrine helped with some of the recordings.  Support Here Be Monsters on Patreon! Producer: Jeff EmtmanMusic: The Black Spot, August Friis, Serocell, Phantom FaunaSponsor: Walk in the Woods ZineWalk in the Woods is a free mini zine that you can get in the mail! Zine-maker Flissy Saucier writes and draws about her experiences walking in the woods in this monthly+ publication. You can donate to keep the project going and get additional benefits.

1,420,405,751* hertz is a very important frequency.  It’s the frequency that hydrogen radiates at, creating radio waves that can be detected far away.  And astronomers can learn a lot about the history and shape of the universe by observing this “hydrogen line” frequency with radio telescopesExtraterrestrial research astronomers also take a lot of interest in the hydrogen line...and it’s for the same exact reason, though the context is different.  It’s thought that if an alien species is capable of communicating with us, wouldn’t they also have figured out the importance of the hydrogen line?  And is it possible that just maybe, they’d use it (or frequencies near it) to communicate with us?  The theory being that the hydrogen line could be used as a kind of universal hailing channel for intelligent species—a representation of a shared understanding of physics. Talk of the hydrogen line was front and center in 1977, when an American astronomer named Jerry R Ehman found a very strong signal on the printout from a radio telescope dubbed “The Big Ear” at the Ohio State University.  The signal he found was close to the hydrogen line.  He noted the abnormality of the strong the signal by writing “Wow!” in red ink on the margins of the printout.  The so-called “Wow! Signal” has long been cited as potential evidence for alien communication. But Dr. Seth Shostak (senior astronomer at The SETI Institute and co-host of Big Picture Science) isn’t convinced.  His organization searches for extra terrestrial intelligence across the universe with a high degree of skepticism.  And he’s experienced a false positive or two over the years.  Seth thinks the Wow! Signal (and other related anomalous signals) are almost always tied back to human interference. In 1979 (not long after the Wow! Signal), frequencies near the hydrogen line became protected when a group called the International Telecommunication Union (ITU) created a 1000+ page document that included a worldwide recommendation to keep these channels clear for astronomy and SETI purposes, citing the “special importance to mankind to determine the existence of extraterrestrial civilizations.” (see page 920 of the Finals Acts of the World Administrative Radio Conference, Geneva, 1979)  Despite this protection, Seth Shostak says there’s still interference on the hydrogen line from human sources.  That interference draws the ire of radio astronomers everywhere. Seth says, “It’s like turning on a bright light in a movie theater—you don’t ingratiate yourself with the [theater’s] patrons.”*give or take some fractional hertzProducer: Jeff EmtmanMusic: The Black SpotSponsorHBM’s Patreon SupportersHere Be Monsters’ supporters on Patreon send a small monthly (or yearly) donation to help cover Jeff’s living expenses, help pay contractors, and help pay fees/taxes associated with running the show.Listener Andrew Conkling says he signed up for the Patreon because Here Be Monsters is one of his favorite podcasts: “I wanted to be part of the journey seeing it continue.”Please note that HBM is free and there are currently no plans to change that.  However, patrons do receive some modest perks for their support. And that support means a lot. Thank you so much, HBM Patrons. 👽Want to become a patron? https://www.patreon.com/HBMpodcast