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The Stories Behind 22 Classic Album Covers

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1. Nevermind (1991)

Nirvana
Design by Robert Fisher and Kirk Weddle

Spencer Elden's first time swimming was a memorable one.

At four months old, Elden was one of several babies on hand at a Pasadena public pool to audition for Nirvana's album cover.

"I showed Kurt the baby picture," designer Robert Fisher said, "and he liked it but felt it needed something more. We threw all kinds of ideas around and Kurt jokingly suggested a fish hook. We spent the day thinking of all the things you could put on a fish hook. Although Kurt never gave me a rationale for the design, I must assume that the naked baby symbolized his own innocence, the water an alien environment, and the hook and dollar bill his creative life entering into the corporate world of rock music."

As for Elden, he says, "Most bands around today can't even get near to what Nirvana did on that album, and I'll always be happy to be a part of it."

2. The Velvet Underground & Nico, aka "The Banana Album" (1967)

The Velvet Underground & Nico
Design by Andy Warhol

With apologies to Carmen Miranda and Chiquita, the world's most famous banana is the ripe, peelable print on the cover of the Velvets' debut.

Designed by pop artist Andy Warhol, the image was a silkscreen made from simple black-and-white acetate film. In case the genitalia-esque shape wasn't provocative enough, Warhol added the invitation: "Peel slowly and see." Beneath the sticker a pink, flesh-colored fruit was revealed.

"The banana actually made it into an erotic art show," said Velvets singer Lou Reed.

But for Verve Records, the banana was a production nightmare. "Someone had to sit there with piles of albums, peel off the yellow banana skin stickers and place them over the pink fruit by hand," said Warhol's artistic director Ronnie Cutrone.

By 1968, the peelable banana was dropped. Originals now fetch up to $500 apiece. The fruity image has since thrived on everything from art prints to T-shirts to handbags.

3. Who's Next (1971)

The Who
Design by John Kosh and Ethan Russell

Sometimes you can't go when you need to. That's what photographer Ethan Russell found out when he shot the cover for Who's Next.

Turning away from a concrete piling, located in an old English mining town called Easington Colliery, the band appear to have just left their urine signatures on the stone. But Russell recalled discreetly, "Most of the members were unable to go, so rainwater was tipped from an empty film canister to achieve the desired effect.

In 2003, VH1 named Who's Next the second greatest album cover of all time.

4. Skull and Roses (1971)

Grateful Dead
Design by Stanley Mouse

Talk about vintage. The skull and roses that became the Grateful Dead's enduring trademark has its roots in a 19th century woodcut made to illustrate a poem from the 11th century.

"I found the original image in the stacks of the San Francisco Public Library," said painter Stanley "Mouse" Miller. "It was created by an artist named Edmund Sullivan to illustrate a poem in The Rubaiyat of Omar Khayyam. The block print underscores the verse, 'The Flower that once has blown forever dies.'"

"I thought, 'Here's something that might work for the Grateful Dead.'"

Mouse made a name in the '60s as a hot-rod painting sensation (remember Rat Fink?), modifying dragsters and choppers.

His work with the Dead continued through many classic albums, including Workingman's Dead and American Beauty.

5. Houses of the Holy (1973)

Led Zeppelin
Design by Hipgnosis

It was no fun being one of Robert Plant's love children.

"Freezing rain, bad food and turpentine – a nightmare." That's a male model recalling his experience as one of the naked innocents on the cover of Zep's fifth album.

At 4 a.m., every morning for a week, three adults and two children were sprayed silver from head to toe, then driven to Giant's Causeway in Northern Ireland to crawl on the rocks toward a sunrise that never rose.

Faced with deadlines and a dwindling budget, design company Hipgnosis took the weather into their own hands, painting a honey-peach dawn and hand-tinting bare bottoms to a rosy glow.

Worried that those bare bottoms might cause controversy, Atlantic Records tied the finished album with a Japanese-style band of paper called an "obi." Printed with the title in Celtic style letters, it was the world's first rock 'n' roll Huggie.

6. Dark Side of the Moon (1973)

Pink Floyd
Design by Hipgnosis and George Hardie

For a band who once sang, "We don't need no education," it's ironic that the cover image of their best-selling album is based on a school textbook illustration.

The Floyd was "bored with the photos" from their earlier LP covers and wanted something "smarter."

"The prism represented both the diversity and cleanliness of the sound of the music," designer Storm Thorgerson said. "In a more conscious way, it worked for a band with a reputation for their light show. The triangle is a symbol of ambition, one of the themes Roger was concerned with. So you had several ideas coming together."

Of the finished result, Thorgerson said, "It's either a brilliant piece of art direction or perhaps just a jammy idea... but it worked really well in its context."

7. London Calling (1979)

The Clash
Design by Ray Lowrie and Pennie Smith

Pink and green should never be seen, goes the old fashion dictum.

But the colors, framing a black and white photo of Paul Simonon smashing his bass on stage, made for a vivid combination on the Clash's breakthrough album.

Designer Ray Lowry acknowledge the design's inspiration when he said, "It was intended as a genuine homage to the original unknown genius who created Elvis Presley's first rock 'n' roll record."

As for the photo, Simonon said, "The show had gone quite well that night, but for me, inside, it just wasn't working well, so I took it out on the bass. If I'd been really smart I would have got the spare bass out, as it wasn't as good as the one I smashed up. When I look at it now I wish I'd lifted my face up a bit more."

8. The Joshua Tree (1986)

U2
Design by Steve Averill and Anton Corbijn



The Joshua Tree is a slow-growing shrub with sharp-tapered leaves, indigenous to the desert in the American southwest. It was named by a band of 19th century Mormons. The tree's unique shape reminded them of the Biblical story of Joshua reaching out to the heavens.

It was this strange timeless aspect of the tree that lured U2 into Death Valley National Park in California. The cover photo, snapped by Anton Corbijn, proved a perfect foil to the grand rock hymnals on the album.

"It's supposed to be the oldest living organism in the desert," said drummer Larry Mullen, Jr.

It must have been pretty old, because it fell over and died in 2000. U2 fans have since built a makeshift shrine in the desert to commemorate the famous tree.

9. Licensed to Ill (1986)

Beastie Boys
Design by Steve Byram and World B. Omes


Private jets and fatal plane crashes are the heads and tails of rock 'n' roll's fateful coin.

The Beastie Boys tapped into this idea with a gatefold sleeve whose glamorous front unfolds to a charred and smoking back.

Producer Rick Rubin said the idea came from reading about Led Zeppelin's luxurious private jet. "The Beastie Boys were just a bunch of little guys and I wanted us to have a Beastie Boys' jet. I wanted to embrace and somehow distinguish, in a sarcastic way, the larger-than-life rock 'n' roll lifestyle, the excesses and the destruction."

Collage artist World B. Omes assembled the Beastie Boys jet from photographic elements (American Airlines later complained that it looked like one of theirs), then drew over and hand-colored it with water soluble crayons.

Trivia: The plane's identification number on the tail – 3MTA3 – reads "Eat Me" if you hold the cover up to a mirror.

10. Odelay (1996)

Beck
Design by Beck Hansen and Robert Fisher

Look up in the sky. It's a mop. It's a throw rug. No, it's a Komondor. The airborne dog, a Hungarian breed with matted, cord-like fur, provoked a lot of "Huh?"s when this landmark album was released.

Which was exactly what Beck hoped for. A quirky artist who often relies on found objects and unintentional mistakes to inform his process, Beck stumbled on the Komondor picture in a vintage book of dog breeds.

Art director Robert Fisher said, "The photo was taken by a famous dog photographer called Ludwig, who lived a few blocks from the office. She was in her late seventies, and was enthusiastic to have a visitor.

"Beck felt that it was kind of ambiguous, unrelated to the music, and was chosen almost at random. The viewer could read into the cover whatever they wanted. Odelay also sounded a bit like a dog command."

11. Yankee Hotel Foxtrot (2002)

Wilco
Design by Lawrence Azerrad

In early 2002, fans gazing at the cover of Wilco's fourth album were asking, "What the heck are those things? Stacks of poker chips? A microscopic close-up of hair shafts? An allusion to the recently fallen Twin Towers?"

But to anyone living in Wilco's hometown, Chicago, the image was instantly familiar. Marina City, designed in 1959 by Bertrand Goldberg, is comprised of two cylindrical residential / commercial towers that cut a futuristic profile on the ChiTown skyline.

Wilco wasn't the first to show Marina City to the world. In 1973, Sly and the Family Stone featured the towers in a collage on the back cover of their classic LP There's A Riot Goin' On. And anyone who watched The Bob Newhart Show in the early '70s would've seen those towers in the opening title sequence.

Designer Lawrence Azerrad went on to do more striking artwork for Wilco, including the cover of 2011's The Whole Love.

12. Satan Is Real (1960)

The Louvin Brothers
Design by Ira Louvin

The cover of this country classic walks the line between goofy humor and heart attack seriousness. Look at that buck-toothed devil. He's more Mortimer Snerd than Mephisopheles. But there's something in the rapturous faces of the brothers that makes you think of crazy snake-handling preachers. And that's real fire dancing behind them.

Charlie Louviin said, "Ira built that set. The devil was twelve feet tall, built out of plywood. We went to this rock quarry and then took old tires and soaked them in kerosene, got them to burn good. It had just started to sprinkle rain when we got that picture taken. Those rocks, when they get hot, they blow up. They were throwing pieces of rock up into the air."

The brothers survived the cover shoot to give us their best-selling album ever. Sadly, Ira was killed in a car accident in 1965. Charlie died in 2011.

13. The Freewheelin' Bob Dylan (1963)

Bob Dylan
Design by Don Hunstein

"Meeting her was like stepping into the tales of 1,001 Arabian nights. She had a smile that could light up a street full of people."

That's Bob Dylan in Chronicles, waxing poetic about Suze Rotolo, his girlfriend from 1961 to '64 and the muse clutching his arm on the cover of his breakthrough album.

The picture was taken in February 1963 by photographer Don Hunstein. Dylan was 21, Rotolo 19. The location is Greenwich Village, on Jones Street, near West 4th and Bleecker.

"I didn't do the shoot with a record cover in mind," Hunstein recalled. "I brought only one roll of color film with me, and most of the pictures on it were not good."

But the magic shot captured Dylan in all his bohemian glory, and helped make him a household name. Rotolo passed away in 2011.

14. Rubber Soul (1965)

The Beatles
Design by Robert Freeman and Charles Front

Bye bye moptops, hello Mary Jane.

For their landmark 1965 release, the Beatles traded their clean-cut image for a psychedelic look.

The slightly warped angle of the sleeve was a happy accident. "[Photographer] Robert Freeman was showing us the slides," Paul McCartney recalled. "He had a piece of cardboard that was album cover-size and he was projecting the photographs onto it. We had just chosen the photograph when the cardboard fell backwards a little, elongating the photograph. It was stretched and we went, 'That's it, Rubber So-o-oul, hey, hey! Can you do it like that?'"

Charles Front added the eye drop lettering. (Trivia: Held upside down in front of a mirror, it appears to say "Road Abbey.")

George Harrison said, "We lost the 'little innocents' tag, the naiveté, and Rubber Soul was the first one where we were fully fledged potheads."

15. Eat a Peach (1972)

The Allman Brothers Band
Design by W. David Powell and Jim Holmes

"The images on the cover are found art," says W. David Powell. "They came from postcards we picked up in a drugstore in Athens, Georgia. The postcards had the trucks with the giant peach and watermelon. I added lettering with the band name to the trucks, and pasted the cards onto a background, spray-painted pink and blue."

Inside the gatefold sleeve, Powell and his college buddy Jim Holmes collaborated on a painting of a mushroom wonderland teeming with strange creatures. "It owes a lot in inspiration to Heironymous Bosch," says Powell, then adds with a chuckle, "I don't want to reveal the background psychotropics that were involved, but we were not in a particularly rational state of mind."

Voted by Rolling Stone as one of the Top 100 Album Covers of All-Time, the sleeve image is alive and well on T-shirts and hats.

Trivia: Forty years on, an urban legend persists about the peach truck, claiming that it was the fatal vehicle in Duane Allman's motorcycle accident death. Not true.

16. Brain Salad Surgery (1973)

Emerson, Lake & Palmer
Design by H.R. Giger and Fabio Nicoli

The original title for ELP's fifth album, Whip Some Skull On Ya, was a slang term for oral sex. But the prog rockers ditched it for an even more provocative euphemism, lifted from a Dr. John song.

ELP found a sympathetic soul in Swiss designer H.R. Giger. When the band contacted him, Giger was in the midst of painting a triptych, Landscape XIX – Work Z16, whose themes, coincidentally, were penises, skulls, and a woman's mouth. The main part of this painting became the cover of Brain Salad Surgery – a woman's lips squeezed between a metal vice with a protruding phallus.

Atlantic Records objected, and a reluctant Giger airbrushed the offending member into a shaft of glowing light. If you look hard, you can make it out.

Trivia: Giger went on to design the intergalactic monster in Ridley Scott's Alien.

17. Candy-O (1978)

The Cars
Design by Alberto Vargas

As hood ornaments go, the auburn-haired beauty reclining against the front of the Cars' second album is unbeatable.

The erotic image was created by the legendary Alberto Vargas. The Peruvian artist got his start designing posters for the Ziegfeld Follies and Hollywood movies, then made his name creating iconic WWII-era pin-up girls for Esquire magazine. He was eighty-two when Cars drummer David Robinson coaxed him out of retirement for one last painting.

Vargas had never heard of the Cars, but the aerodynamic model – coincidentally named Candy Moore – was much to his liking. So much so that he imagined her au naturel. Elektra Records had to insist that the old master cover up the nipples and pubic hair with a sheer body stocking.

Of the accusations that the cover was sexist, Robinson said, with his best Spinal Tap chuckle, "Maybe it is. I don't know."

18. Breakfast in America (1979)

Supertramp
Design by Mike Doud and Mick Haggerty

Call her the Statue of Libby. The waitress with the good old-fashioned name replaces Liberty's stone tablet and torch with a menu and a glass of fresh OJ, welcoming us to Gotham made from cups and kitchen utensils.

For this Grammy-winning cover, designers Mike Doud and Mick Haggerty set out to capture the mood of the recently relocated Brits of Supertramp to America.

"The cover expressed with wry humor our mental and physical place at that time," said sax player John Helliwell. "The imagery appealed to us – living in the land of dreams and ambitions, and substituting the English transport café for the friendly diner."

Libby was originally going to be a cheesecake-type model, but the band ended up choosing a more matronly gal from the Ugly Model Agency. She later went on tour with the band, announcing them from the stage.

19. She's So Unusual (1983)

Cyndi Lauper
Design by Janet Perr

The primary color-rich cover of Lauper's debut perfectly caught her bubbly persona.

"Cyndi kept saying how she wanted peeling paint and walls that looked distressed," recalls designer Janet Perr, "and I thought Coney Island. I knew that there were a lot of abandoned, boarded up buildings there. And of course, because it was by the beach, the lighting would be really beautiful.

"We were on the boardwalk with a boom box, and Cyndi had on a great vintage dress, and she was dancing with her shoes off. She was really like that – flouncy and jumping around – and I think that really came out in the photo shoot."

Annie Leibovitz snapped Lauper in a pose like a new wave marionette.

The result: 16 million albums sold and a Grammy for design to Perr. "It was a great thing for me," Perr recalls, "because the Rolling Stones called the week after."

20. Post (1995)

Björk
Design by Paul White and Stephane Sednaoui

This cover was Björk's postcard to herself.

"The motivation behind it was her desire to be surrounded by her possessions from home," designer Paul White said. "She felt very isolated from everything in Iceland while recording the album. She was away from friends and family and communicating with them via messages. Post was about her state of mind – remote communication and a sense of awe and surprise at the changes in her life after the success of her first album."

The garishly colorful blur of a background (orange and pink are notoriously difficult for designers to bring off) is meant to symbolize both flying postcards and a tumbling house of cards. Meanwhile, Björk remains still, with the airmail braiding around her jacket communicating her longing for home.

Trivia: A discarded cover design featured Björk surrounded by silver balls with her tongue extended towards a falling silver ball.

21. OK Computer (1997)

Radiohead
Design by Stanley Donwood

"Someone's being sold something they don't really want, and someone's being friendly because they're trying to sell something – that's what the cover means to me," said lead singer Thom Yorke. "It's quite sad, and quite funny as well."

The chilly collage of images and text was created by Stanley Donwood, who has designed all the Radiohead covers.

As for the album's title, Yorke said, "We did this promo trip to Japan, and on the last day, we were in a record shop and this one kid shouted at the top of his voice, 'OK COMPUTER!' really, really loud. Then he had 500 people chant it all at once. I got it on tape. It sounds amazing. It reminds me of when Coca-Cola did 'I'd Like to Teach the World to Sing,' that amazing advert in '70. The idea of every race and every nation drinking this soft drink. It's actually a really resigned, terrific phrase."

22. A Rush of Blood to the Head (2002)

Coldplay
Design by Sølve Sundsbø

In 2002, singer Chris Martin was flipping through a back issue of Dazed & Confused magazine when he fell in love with a face. Or half a face.

Looking like some graphic novel version of an ancient Greek head bust, the striking image had been produced by fashion photographer Sølve Sundsbø. When the magazine asked him for a portrait with a "technological feel, something all white," Sundsbø swapped his camera for a 3-D scanner (of the kind often used for industrial design and prosthetics). The computerized machine couldn't read color, so the model's cape resulted in motion-like spikes. And since the scanner also had limited range, the top half of the model's head was lopped off.

Sundsbø went on to do more designs for Coldplay. And in 2010, his cover design was chosen by Britain's Royal Mail for one of their "Classic Album Cover" postage stamps.

See Also:


The Stories of 10 People Featured on Historically Bad Album Covers

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8 Tricks to Help Your Cat and Dog to Get Along
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When people aren’t debating whether cats or dogs are more intelligent, they’re equating them as mortal foes. That’s a stereotype that both cat expert Jackson Galaxy, host of the Animal Planet show My Cat From Hell, and certified dog trainer Zoe Sandor want to break.

Typically, cats are aloof and easily startled, while dogs are gregarious and territorial. This doesn't mean, however, that they can't share the same space—they're just going to need your help. “If cats and dogs are brought up together in a positive, loving, encouraging environment, they’re going to be friends,” Galaxy tells Mental Floss. “Or at the very least, they’ll tolerate each other.”

The duo has teamed up in a new Animal Planet series, Cat Vs. Dog, which airs on Saturdays at 10 p.m. The show chronicles their efforts to help pet owners establish long-lasting peace—if not perfect harmony—among cats and dogs. (Yes, it’s possible.) Gleaned from both TV and off-camera experiences, here are eight tips Galaxy and Sandor say will help improve household relations between Fido and Fluffy.

1. TAKE PERSONALITY—NOT BREED—INTO ACCOUNT.

Contrary to popular belief, certain breeds of cats and dogs don't typically get along better than others. According to Galaxy and Sandor, it’s more important to take their personalities and energy levels into account. If a dog is aggressive and territorial, it won’t be a good fit in a household with a skittish cat. In contrast, an aging dog would hate sharing his space with a rambunctious kitten.

If two animals don’t end up being a personality match, have a backup plan, or consider setting up a household arrangement that keeps them separated for the long term. And if you’re adopting a pet, do your homework and ask its previous owners or shelter if it’s lived with other animals before, or gets along with them.

2. TRAIN YOUR DOG.

To set your dog up for success with cats, teach it to control its impulses, Sandor says. Does it leap across the kitchen when someone drops a cookie, or go on high alert when it sees a squeaky toy? If so, it probably won’t be great with cats right off the bat, since it will likely jump up whenever it spots a feline.

Hold off Fido's face time with Fluffy until the former is trained to stay put. And even then, keep a leash handy during the first several cat-dog meetings.

3. GIVE A CAT ITS OWN TERRITORY BEFORE IT MEETS A DOG.

Cats need a protected space—a “base camp” of sorts—that’s just theirs, Galaxy says. Make this refuge off-limits to the dog, but create safe spaces around the house, too. This way, the cat can confidently navigate shared territory without trouble from its canine sibling.

Since cats are natural climbers, Galaxy recommends taking advantage of your home’s vertical space. Buy tall cat trees, install shelves, or place a cat bed atop a bookcase. This allows your cat to observe the dog from a safe distance, or cross a room without touching the floor.

And while you’re at it, keep dogs away from the litter box. Cats should feel safe while doing their business, plus dogs sometimes (ew) like to snack on cat feces, a bad habit that can cause your pooch to contract intestinal parasites. These worms can cause a slew of health problems, including vomiting, diarrhea, weight loss, and anemia.

Baby gates work in a pinch, but since some dogs are escape artists, prepare for worst-case scenarios by keeping the litter box uncovered and in an open space. That way, the cat won’t be cornered and trapped mid-squat.

4. EXERCISE YOUR DOG'S BODY AND MIND.

“People exercise their dogs probably 20 percent of what they should really be doing,” Sandor says. “It’s really important that their energy is released somewhere else so that they have the ability to slow down their brains and really control themselves when they’re around kitties.”

Dogs also need lots of stimulation. Receiving it in a controlled manner makes them less likely to satisfy it by, say, chasing a cat. For this, Sandor recommends toys, herding-type activities, lure coursing, and high-intensity trick training.

“Instead of just taking a walk, stop and do a sit five times on every block,” she says. “And do direction changes three times on every block, or speed changes two times. It’s about unleashing their herding instincts and prey drive in an appropriate way.”

If you don’t have time for any of these activities, Zoe recommends hiring a dog walker, or enrolling in doggy daycare.

5. LET CATS AND DOGS FOLLOW THEIR NOSES.

In Galaxy's new book, Total Cat Mojo, he says it’s a smart idea to let cats and dogs sniff each other’s bedding and toys before a face-to-face introduction. This way, they can satisfy their curiosity and avoid potential turf battles.

6. PLAN THE FIRST CAT/DOG MEETING CAREFULLY.

Just like humans, cats and dogs have just one good chance to make a great first impression. Luckily, they both love food, which might ultimately help them love each other.

Schedule the first cat-dog meeting during mealtime, but keep the dog on a leash and both animals on opposite sides of a closed door. They won’t see each other, but they will smell each other while chowing down on their respective foods. They’ll begin to associate this smell with food, thus “making it a good thing,” Galaxy says.

Do this every mealtime for several weeks, before slowly introducing visual simulation. Continue feeding the cat and dog separately, but on either side of a dog gate or screen, before finally removing it all together. By this point, “they’re eating side-by-side, pretty much ignoring each other,” Galaxy says. For safety’s sake, continue keeping the dog on a leash until you’re confident it’s safe to take it off (and even then, exercise caution).

7. KEEP THEIR FOOD AND TOYS SEPARATE.

After you've successfully ingratiated the cat and dog using feeding exercises, keep their food bowls separate. “A cat will walk up to the dog bowl—either while the dog’s eating, or in the vicinity—and try to eat out of it,” Galaxy says. “The dog just goes to town on them. You can’t assume that your dog isn’t food-protective or resource-protective.”

To prevent these disastrous mealtime encounters, schedule regular mealtimes for your pets (no free feeding!) and place the bowls in separate areas of the house, or the cat’s dish up on a table or another high spot.

Also, keep a close eye on the cat’s toys—competition over toys can also prompt fighting. “Dogs tend to get really into catnip,” Galaxy says. “My dog loves catnip a whole lot more than my cats do.”

8. CONSIDER RAISING A DOG AND CAT TOGETHER (IF YOU CAN).

Socializing these animals at a young age can be easier than introducing them as adults—pups are easily trainable “sponges” that soak up new information and situations, Sandor says. Plus, dogs are less confident and smaller at this stage in life, allowing the cat to “assume its rightful position at the top of the hierarchy,” she adds.

Remain watchful, though, to ensure everything goes smoothly—especially when the dog hits its rambunctious “teenage” stage before becoming a full-grown dog.

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Animals
10 Juicy Facts About Sea Apples

They're both gorgeous and grotesque. Sea apples, a type of marine invertebrate, have dazzling purple, yellow, and blue color schemes streaking across their bodies. But some of their habits are rather R-rated. Here’s what you should know about these weird little creatures.

1. THEY’RE SEA CUCUMBERS.

The world’s oceans are home to more than 1200 species of sea cucumber. Like sand dollars and starfish, sea cucumbers are echinoderms: brainless, spineless marine animals with skin-covered shells and a complex network of internal hydraulics that enables them to get around. Sea cucumbers can thrive in a range of oceanic habitats, from Arctic depths to tropical reefs. They're a fascinating group with colorful popular names, like the “burnt hot dog sea cucumber” (Holothuria edulis) and the sea pig (Scotoplanes globosa), a scavenger that’s been described as a “living vacuum cleaner.”

2. THEY'RE NATIVE TO THE WESTERN PACIFIC OCEAN.

Sea apples have oval-shaped bodies and belong to the genus Pseudocolochirus and genus Paracacumaria. The animals are indigenous to the western Pacific, where they can be found shuffling across the ocean floor in shallow, coastal waters. Many different types are kept in captivity, but two species, Pseudocolochirus violaceus and Pseudocolochirus axiologus, have proven especially popular with aquarium hobbyists. Both species reside along the coastlines of Australia and Southeast Asia.

3. THEY EAT WITH MUCUS-COVERED TENTACLES.

Sea cucumbers, the ocean's sanitation crew, eat by swallowing plankton, algae, and sandy detritus at one end of their bodies and then expelling clean, fresh sand out their other end. Sea apples use a different technique. A ring of mucus-covered tentacles around a sea apple's mouth snares floating bits of food, popping each bit into its mouth one at a time. In the process, the tentacles are covered with a fresh coat of sticky mucus, and the whole cycle repeats.

4. THEY’RE ACTIVE AT NIGHT.

Sea apples' waving appendages can look delicious to predatory fish, so the echinoderms minimize the risk of attracting unwanted attention by doing most of their feeding at night. When those tentacles aren’t in use, they’re retracted into the body.

5. THE MOVE ON TUBULAR FEET.

The rows of yellow protuberances running along the sides of this specimen are its feet. They allow sea apples to latch onto rocks and other hard surfaces while feeding. And if one of these feet gets severed, it can grow back.

6. SOME FISH HANG OUT IN SEA APPLES' BUTTS.

Sea apples are poisonous, but a few marine freeloaders capitalize on this very quality. Some small fish have evolved to live inside the invertebrates' digestive tracts, mooching off the sea apples' meals and using their bodies for shelter. In a gross twist of evolution, fish gain entry through the back door, an orifice called the cloaca. In addition expelling waste, the cloaca absorbs fresh oxygen, meaning that sea apples/cucumbers essentially breathe through their anuses.

7. WHEN THREATENED, SEA APPLES CAN EXPAND.

Most full-grown adult sea apples are around 3 to 8 inches long, but they can make themselves look twice as big if they need to escape a threat. By pulling extra water into their bodies, some can grow to the size of a volleyball, according to Advanced Aquarist. After puffing up, they can float on the current and away from danger. Some aquarists might mistake the robust display as a sign of optimum health, but it's usually a reaction to stress.

8. THEY CAN EXPEL THEIR OWN GUTS.

Sea apples use their vibrant appearance to broadcast that they’re packing a dangerous toxin. But to really scare off predators, they puke up some of their own innards. When an attacker gets too close, sea apples can expel various organs through their orifices, and some simultaneously unleash a cloud of the poison holothurin. In an aquarium, the holothurin doesn’t disperse as widely as it would in the sea, and it's been known to wipe out entire fish tanks.

9. SEA APPLES LAY TOXIC EGGS.

These invertebrates reproduce sexually; females release eggs that are later fertilized by clouds of sperm emitted by the males. As many saltwater aquarium keepers know all too well, sea apple eggs are not suitable fish snacks—because they’re poisonous. Scientists have observed that, in Pseudocolochirus violaceus at least, the eggs develop into small, barrel-shaped larvae within two weeks of fertilization.

10. THEY'RE NOT EASILY CONFUSED WITH THIS TREE SPECIES.

Syzgium grande is a coastal tree native to Southeast Asia whose informal name is "sea apple." When fully grown, they can stand more than 140 feet tall. Once a year, it produces attractive clusters of fuzzy white flowers and round green fruits, perhaps prompting its comparison to an apple tree.

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