During last night’s debate, in an exchange on the topic of immigration, Donald Trump said, “We have some bad hombres here and we need to get them out.” The phrase bad hombres immediately became a hashtag on Twitter and the source of jokes all over the internet.

But there was some confusion about the word hombre, as shown by the report of a spike in lookups of the word ombre. Hombre is the Spanish word for “man,” and according to Merriam-Webster, has been used in English in the phrase bad hombre since the 19th century. Ombre, from the French for “shaded” (and related to the words umbrella and umbrage), is a term for a shading of colors from light into dark, currently popular for a type of shaded dye hairstyle.

As Merriam-Webster editor Kory Stamper explains in the Washington Post, “we seek out words that catch us by the ears.” Hombre is an unusual and noticeable word to use in a presidential debate, and people were drawn to find out more about it. But that silent h makes it harder to look up if you’ve never seen it before. Hopefully everyone eventually found what they were looking for. Or perhaps they simply agreed that we need to get out the bad ombres, as shown in this tweet from Andrés Almeida:

Bad ombres pic.twitter.com/1iiHOtg8yi

— Andrés Almeida (@andresdavid) October 20, 2016

Today self-proclaimed psychics tend to get a bad rap, but during the late 19th and early 20th centuries they enjoyed celebrity status. Whether the medium performed at home or on stage, the chance to see them summon disembodied hands, decipher otherworldly messages, and belch up ectoplasm was considered quality entertainment back in the day. These so-called communions with the dead have since generally been debunked as clever parlor tricks (thanks to skeptics like Harry Houdini). But knowing the behind-the-scenes secrets of séances doesn’t make them sound any less entertaining.

1. SPIRIT RAPPING

The famous Fox sisters had spirit rapping to thank for their careers. After their mother heard mysterious knocks coming from the walls and furniture of their home, she concluded the noise was metaphysical in nature. The Fox girls were indeed responsible for the rapping, but the source was actually apples they had tied with string and bounced against the floor of their bedroom.

The sisters used this concept as the basis for their medium act. During séances, they would recite the alphabet and pretend to wait for spirits to slowly spell out messages. The “ghosts” they corresponded with weren’t really ghosts at all, nor were they apples. Rather, the girls produced the sounds themselves by manipulating the joints in their knuckles and toes.

After relying on the trick for decades, one of the sisters decided to reveal her fraud to a live audience by banging her bare toe against a wooden stool to show them how it was done. The New York Herald wrote, “There stood a black-robed, sharp-faced widow working her big toe and solemnly declaring that it was in this way she created the excitement that has driven so many persons to suicide or insanity. One moment it was ludicrous, the next it was weird.”

2. MANIFESTATION CABINETS

After first appearing on the séance scene in the 1850s, manifestation cabinets, or spirit cabinets, soon became a staple of the genre. Mediums would enter the cabinets (often curtained-off sections of stage) with their hands bound to prevent them from faking any paranormal activity. To gain the full trust of the audience, they sometimes invited spectators to come on stage and tie the ropes to their liking. Once the curtains were drawn and the lights were extinguished, all sorts of spooky mayhem took place. Hands poked out from between the drapes, ghostly figures materialized, and instruments left on the floor of the cabinet started to play themselves. At the end of the scene the curtains parted to reveal the medium tied up just as they were left.

This was a convincing trick in its time, and all it required was a little escape artistry to pull off. The medium would slip their bonds as soon as they were out of sight, freeing their hands to stand in for the rambunctious spirits. Meanwhile, accomplices would wait for the lights to go out to slip in through trap doors elsewhere on stage. As long as the ropes were refastened before the trick’s conclusion, the audience was never the wiser.

3. SPIRIT SLATES

As an alternative to the tedious task of spelling out messages one letter at a time via ouija board, mediums often used slates that spirits could supposedly write on themselves. Séance participants were given a pair of black slates and told to jot down their messages to the deceased on a slip of paper that was then sandwiched between the boards. Once the slabs were bound together, the medium would hold them to the sitter’s head, shoulder, or perhaps hang them from the chandelier for a few moments while waiting for the spirit convey their thoughts. After finally separating the slates, a mystical message would be revealed inside.

There were a few ways for mediums to pull off this sham, one of which involved a strategically placed square of cardboard. A black sheet cut to the exact size and shape of the slate would be laid inside the frame, hiding the pre-written message beneath it. When it came time to take apart the two slates the medium lifted up the prepared cardboard off the top and left the flap to cover the blank slate on the bottom. The extra slate was quickly brushed away, with the note from the great beyond providing a convenient distraction.

4. ECTOPLASM

On occasion, lucky séance participants were treated to the sight of ectoplasm oozing from their mediums. The gauzy substance was said to be part of the supernatural veil separating the spiritual realm from the physical one. The trick required near-darkness or else, according to mediums, the ectoplasm would disintegrate. Once the conduit reached a trance-like state, various orifices would secrete the material, signaling a breach between worlds.

One of the mediums best known for this phenomenon was Marthe Beraud (also known as Eva C. and Eva Carrière). Instead of extruding ghostly goo through her mouth, nose, and ears, she stuffed them with muslin or a similar fabric. She sometimes added photos clipped out from newspapers to give the ectoplasm a bit of personality. This signature touch ended up being her downfall: The faces she used (which included those of actress Mona Delza, King Ferdinand of Bulgaria, and Woodrow Wilson) were eventually recognized, exposing her deception.

5. SPIRIT TRUMPETS

One of the most unusual accessories to come out of the spiritualism craze was the spirit trumpet. Without context, the instrument more closely resembles a cheap telescope than a tool for communicating with the dead. Such contraptions were believed to amplify the whispers of spirits and could produce sounds when the medium was nowhere near it. Of course the medium was behind every murmur: A rubber hose connecting the trumpet on stage to a manifestation cabinet could be threaded beneath the carpet, allowing the out-of-sight psychic to provide the vocals. More outrageous accounts of trumpets floating “around the room in a bright light, tapping the sitters on the head, talking and going through a whole lot of strange maneuvers without any assistance from mortals,” have been spread in the past. In the 1903 book Mysteries of the Séance and Tricks and Traps of Bogus Mediums, the author advises readers who’ve heard of such scenes to “sprinkle a little salt on the tale before you swallow it.”

6. FIRE TESTS

Mediums would sometimes subject themselves to a series of trials to prove their connection to their spiritual realm. One especially convincing trick was the fire test: The mediums in question boasted that a special power given to them by the spirits made them impervious to heat. They backed up this claim by holding hot coals, waving their hands through flames, and performing other feats of pain endurance. The reason they were able to pull this off without screaming in agony boils down to chemistry. A mixture of a few basic components—namely camphor gum, whiskey, quicksilver, and liquid storax—could be used to create a fireproof glove of sorts. But no matter how desperate you are to take your séance to the next level, this is one trick we don’t recommend trying at home.

 
Look up late tonight, October 20, and you will be treated to a veritable fusillade of meteors hurled by the phantom limbs of Halley’s comet. The Orionid meteor shower has been active in the night sky for the past couple of days, and it will continue blasting streaks of light for a few days yet. Tonight, however, is the big night, when the shower peaks and thus puts on the best show. If the sky is clear and the light pollution in your area low, you might catch up to 20 meteors per hour. These numbers might have been better if not for some particularly bright moonlight—the very same moonlight that made last weekend’s super hunter’s moon so spectacular.

If you don’t want to stay up all night, another way to see the best of the Orionid meteor shower is to wake before dawn tomorrow, October 21, when the Earth is still bundled in the blanket of night and the waking world has yet to stir. It’s just you, a dark sky, and the serene thrill of the shooting star.

MYSTERIOUS HALLEY

 
The Orionids are a parting gift from the comet Halley, which visits the Earth every 75 to 76 years. As the comet goes about its orbit, it leaves behind a trail of dust- and sand-sized particles. When the Earth passes through that debris field, those particles slam into our atmosphere at tens of thousands of miles per hour, generating terrific streaks of light as they burn away. So it is with every meteor shower, regardless of origin.

Halley’s Comet might be the most famous object of its kind, and remains one of the best studied. On its last visit, in 1986, nations of the world even sent spacecraft to observe it up close. Though NASA opted to sit that one out, Bob Farquhar, one of the agency’s mission designers, committed a kind of act of space piracy when he sent the ISEE-3 space weather satellite—which had been launched for an entirely different mission—on a wildly complicated trajectory that not only allowed the U.S. to encounter the comet, but to make first contact. When a comet inspires spacecraft theft, you know it’s important.

And yet for all the centuries that we’ve been studying it, the finer points of comet Halley’s orbit remain shrouded in mystery. The problem of calculating its precise orbit is that its internal processes, coupled with the influence of planets and smaller celestial bodies, throw the math off very quickly. The upshot is that the timescale over which the comet’s orbit can be predicted accurately is extremely short.

Earlier this year, however, astronomers from the Netherlands and Scotland conducted the most comprehensive set of calculations ever attempted of comet Halley, and managed to stretch things out a bit, bringing the predictability of the comet to about 300 years. They determined also that the comet’s orbit was most disturbed of late not by Jupiter (whose dominance in the solar system has long made it the most obvious candidate), but rather, by Venus. Don’t cry for Jupiter, however. The solar system’s largest planet will have its way in the 6th millennium CE, when comet Halley will pass extremely close by, and Jupiter’s influence will seize dominance.

WHAT IF IT’S RAINY?

If you want to see the Orionids but live in an area of extreme light pollution, or if the weather overhead is simply not cooperative, you have at least one option. Slooh will be broadcasting the event all through the night on October 20 through the early hours of October 21. If you are fortunate, however, and the sky is clear and the light on the ground dim to nonexistent, find a nice patch of ground before dawn on the 21st, lay out a blanket, let your eyes adjust to the darkness, and wait. No telescopes or binoculars are needed. You’ll have a front row view of the sky as it falls.

Animals are adorable when they do people things. It’s a scientific fact. But the list of “people things” just keeps on shrinking. Other animals can hold grudges, name their babies, read our expressions, and even read our mammogram results. The latest ding in our dominance comes courtesy of Brazilian capuchin monkeys, who, as it turns out, have been sharpening stones into human-style hammers for a long, long time. A report on the findings was published in the journal Nature.

Researchers in Brazil have had their eye on the bearded capuchin (Sapajus libidinosus) for some time now and have found that despite a varied diet, the little monkeys expend a lot of energy acquiring one particular food: cashews. To access the sweet meat inside the cashew’s tough shell, capuchins developed their own specialized tools, which they’ve been using now for at least 700 years.

The team now reports that those same monkeys may have been inadvertently messing with the timeline of human events. In addition to their cashew bashing, the researchers say, the capuchins will also pound one rock against another. This stone-on-stone percussion (as the researchers call it) chips away pieces of both rocks, sharpening them in the process—and producing results that look an awful lot like early human cutting tools.

The researchers couldn’t tell why the monkeys were smashing rocks. They did use some of the newly broken stones as hammers, but they didn’t use the sharpened parts. About half of the time after breaking a rock, a monkey mason would lick or sniff it, which suggests that they might be after essential minerals they can’t get any other way.

These findings have pretty substantial implications for both primate evolution and archaeological research. Before this, hominins (the group of primates that includes humans and our human-like ancestors) were the only known animals to make this type of tool.

“Our understanding of the new technologies adopted by our early ancestors helps shape our view of human evolution,” co-author Michael Haslam of the University of Oxford said in a statement. “The emergence of sharp-edged stone tools that were fashioned and hammered to create a cutting tool was a big part of that story. The fact that we have discovered monkeys can produce the same result does throw a bit of a spanner in the works.”

It also makes scientists wonder about certain caches of tools allegedly made by early humans. In an accompanying commentary in the same issue of Nature, paleontologist Hélène Roche called the research a “shattering discovery.” She noted that we have plenty of corroborating evidence showing that artifacts from the Early African Stone Age were indeed made by people. But there have been some questions about the origin of tools from the Late Pleistocene epoch (between 40,000 and 20,000 years ago), and the answer might well be “monkeys.”
 
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The Rocky Horror Picture Show is a love letter to the golden age of offbeat cinema, written in bright red lipstick. As any regular Frankie fan can tell you, it’s based on an offbeat stage show that sprang from the mind of Richard O’Brien. (He plays Riff Raff in the film version.) A B-movie devotee, O’Brien wove numerous cult film references into his theatrical lovechild and, by extension, its cinematic reincarnation. But The Rocky Horror Picture Show doesn’t limit itself to honoring a single genre. Seasoned movie buffs may also recognize quick nods to a French crime drama, a thriller about a murderous priest, and the weirdest project that Roger Ebert ever worked on. So before Fox’s live Rocky Horror reboot gets us all doing the time warp again, let’s go over some of the little homages that spiced up the original.

1. FRANKENSTEIN (1931)

Lightning struck twice when Universal Studios unveiled a new take on Mary Shelley’s Frankenstein in 1931. Earlier that same year, the company had released its hugely successful cinematic version of Dracula. With Boris Karloff delivering an outstanding performance as the monster, Frankenstein turned into an even bigger hit and became the fourth highest-grossing film of its decade. The Rocky Horror Picture Show salutes the instant classic when Riff Raff scares off Dr. Frank-N-Furter’s monster with a candelabra. This echoes a similar henchman/creature scuffle from Universal’s Frankenstein. In the 1931 film, the doctor’s assistant is a hunchback named Fritz. (The more famous Igor character hadn’t yet been conceived.) Upon being left alone with the monster, he taunts it by shoving a flaming torch into the poor brute’s face. Spooked by the flames, it instinctively recoils, just like our friend Rocky does.

2. DOCTOR X (1932)

Let there be lips! The Rocky Horror Picture Show begins on an appropriately odd note: As the opening credits roll, a pair of disembodied crimson lips sail into view and set the mood by regaling us with a song called “Science Fiction/Double Feature.” The lyrics are gut-loaded with references to iconic B-movies, including 1932’s Doctor X. A suspenseful tale about a mad scientist and his homemade creature, it’s gone down in history as the first horror film to be shot in color, although a black-and-white version was shown at most theaters.

3. THE INVISIBLE MAN (1933)

Here’s another classic that gets a title drop in Rocky Horror’s surreal intro. Based on an H.G. Wells novel of the same name, The Invisible Man was directed by James Whale, the visionary behind Universal’s Frankenstein and its 1935 follow-up, The Bride of Frankenstein. An effective cautionary tale, the movie follows Dr. Jack Griffin, a chemist who gets drunk with power after discovering the secret of invisibility. Whale’s special effects team used every trick in the book here. For example, to execute scenes where Griffin disrobes, leading man Claude Rains wore black velvet tights under his costume and went through his blocking on an entirely black set. The resulting footage, which showed nothing but Griffin’s floating clothes, was then superimposed over a different length of film that captured the other actors and the primary sets. Other sequences called for good, old-fashioned wires, which helped various objects travel through the air, seemingly all by themselves.

4. KING KONG (1933)

In 1932, producer Merian C. Cooper promised Fay Wray “the tallest, darkest leading man in Hollywood.” Naturally, she figured he was talking about Cary Grant. Wray instead ended up working with the eighth wonder of the world himself. Released by RKO Pictures during one of the worst years of the Great Depression, King Kong might be the single most influential film ever made. It was the first movie to have a completely original score, the first to ever be re-released, and among the first to pit live actors against stop-motion monsters. The Rocky Horror Picture Show really has something of a fixation with this flick; not only do those disembodied red lips sing about it, but Dr. Frank-N-Furter also pines for Fay Wray’s iconic Kong dress near the finale. Furthermore, we get to see Rocky himself climbing up a model radio tower, RKO’s logo, before falling to his death. To quote the final line of King Kong, “It was beauty killed the beast.”

5. THE BRIDE OF FRANKENSTEIN (1935)

Magenta rocks a zany new hairstyle for Rocky Horror’s thrilling climax. Her arresting coiffure was more or less directly lifted from The Bride of Frankenstein. In this spectacular sequel, the title character dons a streaky, upright hairdo that was modeled after a famous bust of Nefertiti, an ancient Egyptian queen. Although the monster’s mate appears to be wearing a wig in Bride, the mop we see on-screen is nothing of the sort. “[It was] my own hair,” actress Elsa Lanchester said. “I had it lifted up from my face, all the way around; then they placed a wire cage on my head and combed my own hair over that cage. Then they put the gray-streak hairpieces in afterwards.”

6. THE DAY THE EARTH STOOD STILL (1951)

“Science Fiction/Double Feature” acknowledges one of the most topical films of 1951. Once the Cold War arrived, sci-fi movies began to grow more overtly political. In The Day the Earth Stood Still, a benevolent alien named Klaatu (played by Michael Rennie) warns the human race that its increasing usage of nuclear weapons has made other planets nervous enough to consider wiping out all life on Earth in a preemptive strike. Given the controversial subject matter, Hollywood’s reigning censorship board, the Production Code Administration (PCA), went through the script with a fine-tooth comb and left its fingerprints on the finished product. At the end of The Day the Earth Stood Still, Klaatu delivers an anti-war sermon before ascending back into the heavens from whence he came. To avoid offending certain moviegoers, the PCA insisted the speech be rewritten so as to temper or omit “words that seem to be directed towards the United States.”

7. WHEN WORLDS COLLIDE (1951)

“But when worlds collide, said George Pal to his bride, I’m gonna give you some terrible thrills,” sang the Rocky Horror lips. Pal was an animator and producer who specialized in sci-fi thrillers. It was he who brought The War of the Worlds (another H.G. Wells novel) to the silver screen for the very first time in 1953. Like that better-known movie, When Worlds Collide is a doomsday story—although this time mankind’s survival is threatened not by extraterrestrial warships, but by a rogue planet that’s about to smack right into the earth. When another, potentially habitable planet is discovered, the world’s leaders scramble to save humanity by dispatching a “space ark” filled with a select group of people to colonize this new terrain. Will the desperate plan work? Or is our species destined for extinction? See the movie and find out for yourself.

8. IT CAME FROM OUTER SPACE (1953)

Early on in “Science Fiction/Double Feature,” the lips give this game-changer a little love. In 1950, Universal Studios hired Ray Bradbury to pen an original story outline about an alien spaceship. But instead of writing the brief plot synopsis that he’d been paid for, Bradbury overzealously handed in a full-length script. The premise he came up with put a fresh spin on the alien invasion genre, as it posits that extraterrestrial visitors might not necessarily be evil. Bradbury’s plot focuses on an interstellar vessel that crash-lands in Arizona. To get home, the otherworldly crew must fix their ride without getting themselves killed by suspicious human beings. Universal liked the idea, but decided to let someone else put the finishing touches on the script. Bradbury didn’t take this well.

“With the treatment in hand,” Bradbury recalled, “they fired me and hired Harry Essex to do the final screenplay (which, he told me later, was simply putting icing on the cake).” Titled It Came From Outer Space, their finished movie had a major impact on a whole generation of budding directors.

In 1977, Bradbury attended the world premiere of Steven Spielberg’s Close Encounters of the Third Kind. Afterwards, the author told Spielberg that he’d thoroughly enjoyed the picture. In response, the director said “Close Encounters wouldn’t have been made if I hadn’t seen It Came From Outer Space six times as a kid. Thanks.”

9. THE NIGHT OF THE HUNTER (1955)

The sole directorial effort of actor Charles Laughton, The Night of the Hunter comes with an unforgettable villain. Reverend Harry Powell, masterfully portrayed by Robert Mitchum, is a serial-killing preacher who weds and murders a series of rich widows. Tattooed onto his knuckles are the words “love” and “hate,” which—as he reveals in the above clip—represent that eternal struggle between good and evil. Eddie from Rocky Horror sports an identical set of tats though, unlike Powell, he never explains their significance. (It probably has something to do with rock ‘n roll and/or hot patooties.)

10. TARANTULA (1955)

Big bug flicks were all the rage in the 1950s. The fad began with Them!, a 1954 Warner Bros. classic about giant, radioactive ants that terrorize New Mexico before going national. When this creepy, crawly picture became one of the year’s highest-grossing films, Hollywood took notice. Over the next few years, a swarm of monster arthropod movies attempted to ride the coattails of Them!, including The Deadly Mantis and The Black Scorpion (both released in 1957). But perhaps the most well-reviewed copycat is Tarantula, a film that sees Clint Eastwood take to the skies in a fighter jet to do battle with a 50-foot arachnid. Whereas Them! relied on puppetry, Tarantula mainly used footage of actual spiders for its effects sequences. As those Rocky Horror lips point out, the film’s resident scientist is played by Leo G. Carroll, whose credits include North by Northwest and five other Alfred Hitchcock pictures.

11. FORBIDDEN PLANET (1956)

By Gene Roddenberry’s own admission, Star Trek owes a lot to Forbidden Planet. An epic space opera that carries the whiff of William Shakespeare’s The Tempest, Forbidden Planet had an abnormally high budget for a 1950s science fiction film, costing around $2 million to create. The result is a gorgeous film loaded with state-of-the-art miniatures and matte paintings.

Particular care was given to realizing the film’s primary non-human character, a lovable robot named Robby. He was brought to “life” by an actor in a suit made out of “thermo-formed” plastics. Far from being an inert costume, the outfit was given a vast array of buttons and gears that energetically spin around throughout his screen time. As if this weren’t enough, neon light tubes come on whenever he speaks. Altogether, the Robby suit cost at least $100,000 to build and contained 2600 feet of wiring. Such technical wizardry landed Forbidden Planet an Academy Award nomination for Best Special Effects. And, of course, it receives a well-deserved shout-out in the chorus of “Science Fiction/Double Feature.”

12. CURSE OF THE DEMON (1957)

Some references are subtler than others. That magnificent mouth never name-checks this film, but alludes to it by quipping “Dana Andrews said prunes gave him the runes and passing them used lots of skill.” Curse of the Demon, starring Andrews, was based on “Casting the Runes,” a 1911 short story by M.R. James. A subtle breed of monster film, it features a hellish beast that hunts down accursed human beings. In order to build suspense and uncertainty, director Jacques Tourneur planned on keeping the monster almost completely out of sight. By doing this, he hoped to make the audience question the creature’s existence. But when his producer rejected the idea, Tourneur was forced to shoot long sequences that explicitly show the monster reaching out and killing its prey. Nearly 60 years later, fans still argue about whether this was the right call or a misstep.

13. THE DAY OF THE TRIFFIDS (1962)

“And I really got hot when I say Janette Scott fight a Triffid that spits poison and kills,” go the opening song’s lyrics. What are Triffids, you ask? Fictional, man-sized plants capable of walking around on their roots. They also have toxic stingers and an appetite for human flesh. The botanical brutes first appeared in novelist John Wydnam’s 1951 thriller, The Day of the Triffids. By far his most famous book, it tells the story of a meteor shower that blinds everyone who gazes at it. With a huge proportion of humanity rendered sightless, the killer plants (of indeterminate origin) make their move. Two separate BBC miniseries have been based upon The Day of the Triffids; the story was also converted into a 1962 film starring Janette Scott and inspired Alex Garland to write the screenplay for 28 Days Later.

14. BAND OF OUTSIDERS (1964)

“Say, do any of you guys know how to Madison?” Brad Majors asks Frank-N-Furter’s eccentric guests. This wasn’t just a throwaway line; it was an homage. The preceding Rocky Horror dance number is “The Time Warp,” a bit that was inspired by a memorable dance sequence in the 1964 French crime drama Band of Outsiders. An offering from French New Wave director Jean-Luc Godard, it’s about three wannabe thieves who plot to execute a heist. At one point, the trio dances the Madison in a Parisian cafe.

15. BEYOND THE VALLEY OF THE DOLLS (1970)

Roger Ebert—yes, that Roger Ebert—co-wrote the script for this one-of-a-kind cult classic. Nicknamed BVD by its fans, it was originally supposed to be a sequel to the critically-panned drama Valley of the Dolls (1967). Director Russ Meyer had other ideas. As Ebert put it, the auteur “wanted everything in the screenplay except the kitchen sink. The movie, he theorized, should simultaneously be a satire, a serious melodrama, a rock musical, a comedy, a violent exploitation picture, a skin flick and a moralistic expose … of what the opening crawl called ‘the oft-times nightmarish world of Show Business.’”

Ultimately, BVD evolved into a bit of a parody about an all-female rock group that tries to make it in Hollywood. Soon, the musicians do just that, but find themselves woefully unprepared for stardom’s numerous drawbacks. A downward spiral ensues, complete with drug abuse, one-night stands, and a brutal decapitation.

Ebert’s chaotic movie struck a chord with Richard O’Brien. While The Rocky Horror Picture Show stage musical was still being rehearsed in London, O’Brien brought the cast to a midnight screening of BVD because it had the campy tone that he felt their production should emulate. This style was then carried over into Rocky Horror’s subsequent film adaptation. For services rendered, the movie subtly tips its hat to a certain “moralistic expose”: When Dr. Scott is dragged through the castle, you can see a Beyond the Valley of the Dolls poster in the background.