July 17, 2025 • 73 mins
Forget fairy tales! Deep in the English countryside, a horrifying truth was hidden for generations. Meet Black Annis, the ancient witch whose hunger for human flesh drove villagers to build houses with TINY windows! Was she a goddess, a madwoman, or something far worse? Our investigation uncovers shocking evidence that will change everything you thought you knew about folklore. Your nightmares are about to get REAL!
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Speaker 1 (00:00):
Shan footstepping through the pies. Alien send the secret sience
(01:07):
e vps.
Speaker 2 (01:08):
In the day of night, go stish in in the
pillm light.
Speaker 1 (01:13):
Don't know before what we.
Speaker 3 (01:14):
Bring it to your truth behind the fair.
Speaker 4 (01:17):
Gout of peculia, tucking up three freaking the weird.
Speaker 1 (01:20):
See lest we tip her around?
Speaker 2 (01:22):
You see quart of us.
Speaker 1 (01:25):
In the post. Preacher's call from a timeless sleeper license
guy the Freckling Place singles probably hoisa.
Speaker 4 (01:35):
Fly days.
Speaker 2 (01:40):
All right and welcome, welcome buddy, Thursday, Thursday. Yes, we
went by too quick.
Speaker 4 (01:50):
Man today though we cands go by quick with today.
I'm telling you at work, I swear it was two days.
It was a long day at work today. I had
so much to do, but I got it done so quickly.
I think that was the problem.
Speaker 2 (02:06):
Yeah, it wasn't for me. I mean after lunch I
sat down at the computer. I was trying to work
on something. I looked up, look at the clock. At
four o'clock. I want I can go, see y'all. I
still love Eastyle. They always tell me they say go
with God, like backing deals by oak and deals, they
(02:29):
say go with God. I say, okay, I'm not dying today, Yes, Jason,
happy birthday, Yes, late birthday. Yeah, on the fifteenth, that
was Tuesday. Happy birthday, man, I hope you had a
(02:50):
great one and it only gets better, I promise.
Speaker 4 (02:55):
What did he say? Forty three?
Speaker 2 (02:56):
Forty three? Yeah, wait till you get twenty nine like me?
Speaker 4 (03:01):
Yea or twenty five like me? Yeah?
Speaker 2 (03:05):
And now you want to do is pad?
Speaker 4 (03:11):
Hey Paul, how you doing buddy?
Speaker 2 (03:13):
Thanks for coming on joining us? Got paranormal Paul from
Paranormal among Us? Yes, podcast.
Speaker 4 (03:22):
Yeah, So black annas.
Speaker 2 (03:28):
Yeah, we're afraid David's going to say the wrong word.
Speaker 5 (03:31):
But I've been saying it like in jest of course,
but you know, yeah, black annas is what we're going
to be discussing tonight, an us and us, not the
other A word.
Speaker 2 (03:51):
Man. So who we're going to have this Saturday, the Saturday,
we're going to have mister Moyst himself, great Gogle, he's
gonna be coming on and giving us a few words.
Can't wait for that.
Speaker 4 (04:06):
Yeah, it's it's gonna be great. And then what's the
Saturday after that? The Bigfoot big Foot conference in it well,
two saturdays away and we're gonna be at the big
Foot conference. If anyone is around and can go to it,
we would love to see you there. Yeah, we want
to see you there if you can get there. After
(04:27):
the Bigfoot conference. Now it's going to depend on if
we have cell service or not good cell service or not.
Sunday night, we are going to be doing a mister moisty,
moist moisty moisty. Wow, mister moisty, that's what I'm on
college when.
Speaker 2 (04:47):
We're gonna be doing a.
Speaker 4 (04:49):
Special investigation that Sunday night after the conference.
Speaker 2 (04:53):
Yes, Uh, it's gonna be fun. Yeah, hopefully we can
do it live before we got signal, it's it's it's
way up there, so it's up in the mountain.
Speaker 4 (05:04):
So if if we have signaled, we will do it live.
If we do not, we will record it and Jason
will work his magic. Yeah, and uh then it'll be on.
Speaker 2 (05:18):
So tonight though, we're gonna be talking about Black Annus.
You know, it's one of the most super creepy figures
from old English stories, especially from a place called Le's Sistershire.
Let's sister Shire, Let's yes, So basically she's this really
(05:41):
gross hag or witch, and parents used to whisper her
name to get their kids to behave she's coming after you. Yeah,
like Ann, this is gonna get your ain us.
Speaker 4 (05:59):
Better than not.
Speaker 2 (06:01):
But really, Uh, she's more than just a simple monster. Uh.
Black an Us really shows us some ancient fears about
wild places, the unknown, and even the darker side of women.
Speaker 4 (06:20):
With that country Twain makes it sound like you're talking
about the booty and us and us.
Speaker 2 (06:29):
Uh, I'm done.
Speaker 4 (06:32):
I love it.
Speaker 2 (06:34):
Uh. Yeah, So we're going to get into what makes
her so terrifying.
Speaker 4 (06:40):
I'm wondering if anybody that's not from the South that's
going to hear us talk wondering what we're doing the show.
Speaker 2 (06:49):
Your wife picked this show out, she did, so we're
gonna blame her if we If we gots so, we're
gonna check out her legends, peek at where story might
have come from, and see why she's still a big
deal today in British folklore.
Speaker 4 (07:11):
Yes, pardon, Paul says, that's hilarious.
Speaker 2 (07:14):
It is. It's funny set up.
Speaker 4 (07:18):
I think she did. I think she did.
Speaker 2 (07:21):
It's a N N I S versus And we even
looked it up how to pronounce it? We did, Yeah,
it is and as not the other one as the
other one said Anus.
Speaker 4 (07:41):
You know that's funny because you know, in the South
we could say something like that. Anyway, ain't us gonna
go over here to.
Speaker 2 (07:49):
Do something to that? Or if you got a friend
named Enus, we call him Anus, Come here.
Speaker 4 (07:55):
Here Aus, oh lord? Anyway, So Black Annis is always
described as a very monstrous being. Now, she was designed
to scare and make you obey, Like Jason said, you know,
she was always told the kids. You know, her whole
(08:18):
look is designed to evoke a visceral sense of dread
and reinforce social norms, making her a perfect cautionary figure. Now,
one of the most famous unsettling things about her is
her livid blue or even black face. It is so
(08:39):
unique and creepy, often making you think of a corpse
or something from a super cold or otherworldly place. Now,
the weird color really sets her apart from average witches
or hags, making her look profoundly disturbing and just plain
not from around here. That's like something we would say, right,
(09:02):
you're not from around here.
Speaker 2 (09:03):
Yeah, You're really not from around here.
Speaker 4 (09:07):
That blue shade often suggests decay and harshness of winter,
or some deep connection to a ghostly dimension beyond normal reality.
Now it kind of screams unnatural and deadly, making her
instantly recognizable and deeply unsettling. You won't forget a face
like hers. Some folks even say her skin was a
(09:29):
pale blue, which would look extra weird from her dark,
matted hair and those formidable iron claws. Iron claws, that
is truly grotesque sight. You know what was funny to
me is when we started doing and I was reading
about this for us to do the show, the iron
(09:50):
claws kind of reminded me a little bit about Spearfinger. Yeah,
you know, a chero key legend. So it's kind of
funny how they have that kind of in common.
Speaker 2 (10:01):
Almost oddly enough, we're both wearing blue. That was that
was pre planned. Yeah, just let you know that was
pre planned. It. Blue is my favorite color anyway.
Speaker 4 (10:18):
Is it red as mine?
Speaker 2 (10:21):
Red? Like red? So black?
Speaker 4 (10:26):
Annis has these massive scary iron talons. They're not just
long nails, they're like powerful weapon like appendages. Now they're
often described as being gross with human flesh. The material itself,
iron is super symbolic, hinting at an unnatural strength and
(10:48):
how impossible she is to destroy. Iron is often linked
to an ancient tools, weapons, and even darker industrial vibe,
which gives her this primal, unyielding power that's way beyond
normal human strength. Now, these stories explicitly says she use
(11:09):
these very claws to dig out of her underground home,
a cave that she meticulously carved into the tough sandstone cliffs. Now,
the act of creating her own layer with such brutal,
unnatural force kind of highlights how monstrous and potent she is,
(11:31):
showing off her raw, untamed power and her deep, almost
geological connection to the earth itself. Now, the image of
her bloodstained talons is absolutely central to her terrifying identity.
Grotesque anatomical features. Beyond her signature blue face and iron claws,
(11:53):
there's Descriptions of black Annis often include other repulsive features
that can leaked her horrifying portrait. She's frequently depicted with sharp,
fained teeth, elongated and pointed nose, and disheveled, greasy black hair.
She don't like to bathe. You know, she might be
(12:15):
she might be akin to the Green Witch on the
Wizard of Oz. She bathes, she she melts.
Speaker 2 (12:22):
Maybe maybe you know that makes sense now, Now.
Speaker 4 (12:25):
These details really emphasize how far removed she is from
human norms and firmly place her in the realm of
the monstrous. Now, some of the more chilling narratives even
suggest she had just one blazing eye, which is a
characteristic common among other mythical Cyclopean monsters cyclops Yes, you
(12:47):
can imagine that a single intense gaze. It would be
incredibly piercing and terrifying. It would create an un irving
intensity that would probably paralyze anyone unlucky enough to see it. Now,
it truly completes her monstrous aesthetic, making her an unforgettable
(13:11):
figure of dread. What would you do if she come
popping out? Uh?
Speaker 2 (13:18):
I would pop in the house? Be like this, grab
the Centurion twelve gauge fully automatic. Boom boom boom. Yeah. Run.
Speaker 4 (13:36):
Now here's one of the most gruesome and disturbing parts
of the Black Annis legend. She actually flays the skins
off her victims, both innocent children and defenseless lambs. Now,
after she eats them, she then meticulously tans the hides
under the eerie glow of the moonlight them into profoundly
(14:01):
morbid trophies. These tan skins are subsequently worn around her
waist like a girdle, or used to line the interior
of her dark, damp cave. Now this detail doesn't just
underscore her cannibalistic nature, It also adds a layer of
ritualistic horror to her actions. It implies a deliberate and
(14:26):
perverse gratification derived from her atrocities. Now, the display of
these trophies serve as a visual warning to anyone who
might stumble upon her layer, a chilling sign of future transgressions,
and a constant psychological torment For the local populace. It
(14:47):
reminds them of grim fates of those who disappeared. Just
imagine seeing that now she is a nighttime apex predator.
Black Annis is by no means a passive entity. She
is very active, relentless, and a very highly proficient predator,
(15:12):
driven by an insatiable craving for flesh. Her methods are
characterized by cutting and brutality. This makes her a truly
formidable adversary against whom conventional defenses are often feudile.
Speaker 2 (15:32):
We think Jason, I think she's a meano witch with.
Speaker 4 (15:36):
Iron claws, and she likes to flay and eat people.
Speaker 2 (15:39):
I like the word flay and I like the word
hag together, so I mean it's a good scary story
paradol and.
Speaker 4 (15:50):
Paul's right, probably shouldn't be eating right now unless this
kind of thing does not bother you. Umm.
Speaker 2 (15:59):
She craves us human flesh right.
Speaker 4 (16:04):
With farva beans. Her primary and most terrifying objective is
her unyielding craving for human flesh, so particularly that of children,
in addition.
Speaker 2 (16:19):
To land other white meat.
Speaker 4 (16:20):
That's it, baby, the other white meat, jumping my belly,
treating my belly. Now, this establishes her as a direct
and horrifying threat to the most vulnerable members of any community,
transforming innocent individuals into her sustenance. The specific focus on
(16:43):
children really amplifies the perfaceive fear, as they represent the
future and are typically regarded as the most cherished constituents
of society. Now, this aspect of legend taps into a
deep primal fear of harm, befalling one's offspring, making black
(17:04):
and as a pultent symbol of ultimate horror. Now, she
is fundamentally a creature of the night, emerging from her
layer during the twilight hours and under the cloak of
darkness to stalk the rural landscapes. Her movements are described
as swift, agile, and silent, enabling her to approach unsuspecting victims,
(17:31):
often without a whisper of warning until it's too late.
She is purportedly capable of scuttling on all fours. That's
scary anytime I see that in like a scary movie.
Speaker 2 (17:46):
Yeah, where something's on all fours and it's like especially
when it's just standing there and then it drops down and.
Speaker 4 (17:53):
It glitches and as glitching as it does it.
Speaker 2 (17:56):
Yeah, you're like.
Speaker 4 (18:05):
Her, making nom nom nom sounds as she feees, oh
my gosh, which gives her movements an unsettling animalistic quality.
And she could leap over obstacles with remarkable velocity, so
she could leap buildings in a single bound, making escape
(18:30):
from her pursuit exceptionally challenging. Now, this nocturnal activity reinforces
the idea of her as a hidden, ever present danger
that emerges when human senses are most dulled.
Speaker 2 (18:45):
Mhm, that's terrible. Yeah, just imagine something coming at you
and drops down on all fours, comes from yeah, with
a blue face and a big long nose and works
(19:05):
on it. Some iron claws, iron claw fingers that right
there alone would be something I don't know amazing. So
the narratives powerfully emphasizes her terrifying pulsus.
Speaker 4 (19:26):
Sounds like, my ex amen, you have some ex wife stories.
We need to swap, buddy, because I have something.
Speaker 2 (19:35):
Oh man, I've got a few, and I've had more
wives than anybody around here.
Speaker 4 (19:41):
Jason's got so many that they've started taking the list.
Speaker 2 (19:45):
Yep, I can't get married anymore.
Speaker 4 (19:48):
State ten.
Speaker 2 (19:48):
See it's a gift law. No, seriously, So this emphasizes
her terrifying capacity to breach the pursued safety and sancty
they of human residences. Space traditionally considered involuble. Yeah, she's
(20:13):
said to extend extend her reach through windows.
Speaker 4 (20:17):
Baby girl, Oh I'm dead, peed, my pants, frozen, fear,
passed out, creepy ladies, dinner. Oh god.
Speaker 2 (20:27):
So she's said to extend her reach through windows to
snatch individuals directly from their beds from within their homes,
a violation of personal sanctuary that really heightens the terror.
So this specific detail historically led to practical, desperate and
(20:51):
defensive measures. In the folklore, Cottages in Lechestershire were reportedly
constructed with exceptional diminutive windows. Specific windows, Yeah, specifically they
were designed to impede the black Annis and her full
(21:17):
ingress she can't reach through and perhaps permitting only a
single arm to penetrate the window. Villagers would also meticulously
secure their doors and board up the windows at sunset,
living under the constant apprehension of her nocturnal incursions.
Speaker 4 (21:39):
Now would that be crazy that you would fear something
so badly that you would start boarding up your windows
at nighttime?
Speaker 2 (21:47):
Yeah. So there's this show out on MGM. It's got
like four or five seasons right now. Next season should
be coming soon. But it's called From the cover of it,
So it's about something like this, but it's it's a
little different. They put tailsman talsman up on the like
(22:12):
the at the door to ward them off. They can't
come in, okay, And during the day they're fine. This
is all at night time. If you go outside, these
beast zombies I don't know what you call them, will
get you. But the series is called From and it's
(22:34):
really great. It's a little town that the people are
traveling somewhere and they get stopped by the tree falling
in the road and they go back and it's this
little town that they end up in and they can't
escape it.
Speaker 4 (22:52):
So once you're in, you're done. Yeah, it's a pretty
good series. Thank you Paranormal Paul for for stopping by.
Speaker 2 (23:02):
Really appreciate it.
Speaker 4 (23:04):
Thanks for the nightmares. Hey, those are free, they don't
cost nothing. Stop on by and we could try to
give some more. I'll tell you what's funny about this
is that it reminds me a lot of Lilith mm
(23:30):
hm and a lullaby. That's where lullaby comes from. Thes
actually a Lila Toby. Parents would say sing these lullaby
is at night time to get Lilith to stay away, right.
And I say that because she would come at night,
she'd come for the children, right. And but they have
(23:52):
found in ancient Mesopotamian homes and even homes of ancient
Jewish people in doorways, because you were sitting there talking
about Tylisman's and all these things, these wards in doorways
(24:12):
to keep Lilith and some other demons from being able
to come into their homes.
Speaker 2 (24:18):
Yeah, that was a big practice back in ancient times.
I believe it's like the Passover, if you believe in that,
they had to write they had to put the blood
over the door so they would pass them over.
Speaker 4 (24:37):
Yeah, it's pretty crazy.
Speaker 2 (24:42):
So her presence was frequently heralded by terrifying and unmistakably
auditorial cues, which paradoxic how do you say that word?
Paradoxically yeah, offered a fleeting chance for survival. Her howls
were reported so potent that they could be heard up
(25:03):
to five miles away.
Speaker 4 (25:04):
Wow, I think that's a big foot.
Speaker 2 (25:07):
Yeah. No, I think that's a hag. That's a blue
faced hag named Annas.
Speaker 4 (25:18):
So.
Speaker 2 (25:19):
Uh. The howls were so potent that they could be
heard five miles away, providing a chilling yet functional warning
to residents to secure their dwellings. So the grinding of
her teeth served as another anonymous sign, indicating her proximity
(25:41):
and affording individuals a few precious moments to seek refuge
and and and you know, get the safety.
Speaker 4 (25:49):
Mm. Could you imagine hearing a howl then all of
a sudden hearing grinding of teeth after that?
Speaker 2 (25:59):
I wouldn't there. So, these auditory signals were deeply embedded
in local lore, and they were functioning as a natural
terrifying alarm system that dictated the evening routines and anxieties
of the community. That's crazy, So the very sound of
(26:21):
her approach was enough to induce panic, widespread panic. Her
approach beyond her form formidal physical appearance. What does she say?
Speaker 4 (26:36):
She says, It's like an ospwhalg except she eats unborn babies.
The grinding and clicking of her teeth. Yes, yes, exactly.
Speaker 2 (26:49):
So beyond her formidal physical appearance, the Black Annis possesses
extraordinary physical capabilities. They defy natural explanation. So her strength
is sufficient to tear through walls, rip open windows, and
(27:10):
it demonstrated a destructive power far beyond humans could do.
Her speed enabled her to effectively pursue and capture her prey.
Some accounts even suggest an ability to vanish into trees
and shadows, hinting at a more profound supernatural connection. So
(27:39):
you know, this made her exceptionally elusive and almost impossible
to confront. So her apparent imperviousness to conventional weaponry solidifies
her status as a truly formidable and terrifying force, suggesting
a magical or demonic nature that renders her impervious to
(28:03):
ordinary human retaliation. So these characteristics delineate a vivid and
horrifying portrayal of Black Annis, an unforgettable entity conceived to
instill a deep seated primal fear, thereby ensuring caution and
(28:26):
conformity within the communities she purportedly haunted. I think she's
a black witch, hag, demon, spearfinger. I don't know. David's
gonna talk about her layer.
Speaker 4 (28:48):
Yes, yeah, So the physical setting of her layer is,
or her legend, is actually as integral as her and identity.
Her grotesque appearance and predatory disposition, her dwelling, and the
specific territories she frequented are pivotable to her folklore. Now,
(29:13):
this grounding is her terrifying presence with a tangible geographical context,
and it provides a focal point for the fears that
she embodies. Now she is a cave dweller, Black Annis
(29:34):
is linked to a singular and notorious location, which is
a dark, concealed cave which is nestled within the Dane Hills,
is a range of sandstone hills situated near Less Sister, England.
If that's not right, I'm sorry, say it in the comments. Yes, yes,
(29:59):
we have people from England that watch this show. So
they'll be able to tell us that we said it wrong.
I'm sure they will. Sorry. This cavern is universally recognized
as black Annis's bower, or an early documentation it's her
bower's clothes. So the term bower typically connotes a pleasant,
(30:27):
verdant retreat. However, in her context, it is a chilling
misnomer for a din of profound horror. This is a
place of unspeakable acts. The narrative explicitly states that she
did not merely discover this cave, but she rather excavated
(30:48):
it herself by using her formidable iron claws to carve
out the rudimentary chambers and passages within the sandstone cliffs. Now,
this act of self construction of her layer through such
brutal and unnatural means further accentuates her monstrous and potent nature.
(31:08):
Maybe she's no part like earthwinm er some furrows.
Speaker 2 (31:17):
I don't know.
Speaker 4 (31:23):
So this underscores her raw, untamed power and her deep, primal,
almost geological connection to the realm. Now, the cave thus
functioned as a locust of dread, which was a tangible
manifestation of her malevolence. This was a place where the
(31:45):
very air was said to be heavy with the scent
of fear and decay. Now frequently and ominously associated with
her bower is a colossal, ancient, and contorted oak tree
that stood prominently at the entrance to her cave. Now
(32:07):
this sentinel is not merely a natural landmark, but assumes
a sinister and crucial role in the legend. It is
at this location, under the eerie luminescence of the moon,
that Black Annis is purportedly observed hanging the flayed skins
of her victims. Yeah, the oak tree, traditionally a symbol
(32:32):
of strength, longevity and vitality, is thereby transmuted into a
gruesome monument to her predatory activities, its branches adorned with
the horrifying remnants of her feasts. This public display of
her atrocity served as a stark visual abomination to any
(32:52):
individual who might dare to approach too closely. It was
a chilling testament to her brutal efficiency and constant psychological
torment for the local populace, which always reminded them of
the grim fate awaiting the unwary and fragility of life. Now,
the very side of the tree would have been enough
(33:13):
to send shivers down the spine.
Speaker 2 (33:15):
I think so.
Speaker 4 (33:17):
Yeah, I walked upon a big giant oak tree that
had volaid skins.
Speaker 2 (33:23):
Mm hmmm, I'd get elder.
Speaker 4 (33:27):
Yeah, yes, mole there you go. Baby girl said it right.
She's a mole.
Speaker 2 (33:35):
Muh muh mole. More you remember that.
Speaker 4 (33:43):
Yeah. So there was a sphere of terror. While her
her cave in the Dane Hills served as her primary domicile,
Black Annis, her dominion of terror extended throughout the surrounding
(34:05):
rural landscape of Leicestershire. She constituted a pervasive threat. Her
influence permeated fear beyond the immediate vicinity of her layer,
creating a widespread atmosphere of apprehension and caution. Now she
is described as traversing vast distances at night, moving with
(34:30):
swiftness and silence, perpetually seeking her preferred prey, which was
innocent children and defensive lambs.
Speaker 2 (34:40):
Poor little lambs, poor little lambs.
Speaker 4 (34:43):
The expansive nature of her hunting grounds implied that no
isolated college cottage, college watch people in college cottage, no
remote farm, and no wondering child was truly secure once
darkness descended. Now, her presence infused the entire rural landscape
(35:06):
with profound apprehension, which forced communities to adapt their routines
and instilled strict rules, especially rules concerning nocturnal activities. Now,
the fear was not confined to a single spot, but
was a pervasive atmospheric dread. Am I getting text messages?
Speaker 2 (35:29):
I think I am?
Speaker 4 (35:34):
I did too, August. I don't know what the heck
I just got, But we're trying to sell our house,
and I keep getting these texts about selling our house.
So the widespread fear she engendered led to the implementation
(35:57):
of specific, often desperate, defensive measures among the local populace.
Now this illustrates the tangible impact of folklore on daily life.
Now beyond the widely acknowledged practice of constructing cottages with
exceptionally diminutive windows. Now, these were purportedly engineered to prevent
(36:20):
her full ingress, perhaps permitting only a single arm to penetrate. Now,
wouldn't that be crazy that you believed in something so
much that you would make something so small that only
an arm could fit through.
Speaker 2 (36:40):
It's crazy.
Speaker 4 (36:43):
You think she's not a rat, because as long as
her nose could fit through it, she'd be able to
go right that's just that's insane to me. Now, these
villagers also adapted extreme precautions as night Fell approached. Doors
(37:04):
were regulous rigulously Why can't I say regularlessly? Rigorously, there
you go, thank you bolted. I can't. I'm adding extra
syllables to this for no reason.
Speaker 2 (37:17):
Rigorously, there you go.
Speaker 4 (37:20):
Windows were securely fast fastened with shutters, and frequently animal
skins were affixed over openings, while protective herbs such as
rowing or garlic huh, that's crazy, which was common in
(37:41):
a po traffic magic, were positioned above them upon the
audibility of her terrifying howls. So these rituals and architectural
adaptations underscore the tangible, an immediate threat she has opposed
(38:02):
in daily life, and the community's fervent attempts to repel
her malevolent presence, transforming every home into potential fortresses against her. Now,
is that not weird?
Speaker 2 (38:17):
That's weird.
Speaker 4 (38:20):
She's smoking jerky. Imagine the stink coming from that tree man.
You know you would.
Speaker 2 (38:30):
Jerky?
Speaker 4 (38:32):
I like, yeah, never had a little kid jerky before.
Speaker 2 (38:39):
That.
Speaker 4 (38:39):
Good with some kant and baby jerky, get in my belly.
Gonna go ahead.
Speaker 2 (38:51):
They're just a little bit more so.
Speaker 4 (38:56):
A uh particularly unsettling and intriguing fast that of the
folklore suggests that Black Annius possessed a secret subterranean passage.
Subterranean passage. Why can I not say that subterranean? I
said it. This clandestine tunnel was believed to establish a
(39:19):
direct connection between her cave and the Dane Hills and
the cellars beneath Leicester Castle was up Roy, It's up roy.
Such a concealed conduit would have enabled her to traverse,
unseen and with remarkable clarity, between her remote layer and
(39:40):
the very nexus of human habitation there, fought argue, augmenting
her mystique and persistent sense of dread, she inspired that
would be weird. What would be weird about it is
if they could go back and actually see that there's
a tunnel there.
Speaker 2 (39:57):
Yeah, you know, maybe mean there's a lot of truth
in folklore.
Speaker 4 (40:04):
I think there is. Now. The idea of an unseen
underground network of terror could have rendered her an even
more elusive and terrifying adversary, would make her capable of
manifesting seemingly ex Nah Hillo, what is that Jason within
(40:25):
the very heart of the town, making no place truly safe. Now,
these detailed accounts of her domicile and territorial domain firmly
anchor the legend. Now this does it within a specific
geographic and historical context, thereby rendering her a palpable and
(40:46):
immediate threat to the communities of Lancestershire. Now even in
the contemporary era. So now, despite the purported infilling of
her cave due to urban.
Speaker 2 (41:02):
Development, oh oh, they filled the cave up, and.
Speaker 4 (41:08):
The transformation of the Dane Hills into a residential area,
there are still chilling narratives of her nocturnal hunting, and
the echoes of her wales and grinding teeth still persist
in local memory, which is a testament to the enduring
power of her legend and its deep roots in this
(41:29):
regional landscape.
Speaker 2 (41:31):
Mh, google it.
Speaker 4 (41:35):
Jason, Are you googling the word? I couldn't say. What
does it say? Did you google it?
Speaker 2 (41:51):
It's a Latin word?
Speaker 4 (41:52):
What does it say? What does it mean?
Speaker 2 (41:54):
It's uh nothingness?
Speaker 4 (41:56):
Ah okay, that makes sense.
Speaker 2 (42:00):
So capable of manifesting seemingly nothing within the very heart
of the town.
Speaker 4 (42:09):
Maybe so it should pop up out of nowhere and
should manifest out of nowhere?
Speaker 2 (42:15):
Makes sense? Google it, I like it, Google Google as
our friend. So the genesis of the black anis its
legend remains largely obscured by the passage of time, prompting
(42:39):
a lot of speculation and academic discourse regarding its true prominence.
Uh she represented a multifaceted figure, likely arising from a
complex string of historical events, ancient pagan beliefs, and the
(43:04):
fundamental human imperative to comprehend and control the unknown, particularly
the formidable aspects of nature and the human psyche. So
for us to understand her origins requires navigating all these
layers of the historical record, the mythological interpretation, and social psychology.
(43:35):
So at its most fundamental level, Black An as functions
as an archetypal boogeyman gotcha. So this constitutes perhaps the
most straightforward explanation for her persistence presence in folklore. So
(43:56):
parents and guardians, would you know, invoke her terrifying appellation
to instill if.
Speaker 4 (44:04):
You keep doing that black and this is gonna come
get you.
Speaker 2 (44:08):
It was to instill fear and enforce behavioral compliance. So
the adamination was unequivocal. Should children exhibit misbehavior, should they
stray too far from home, remain outdoors after dusk, so
(44:30):
Black Annis would abduct and consume them if they did.
Speaker 4 (44:38):
So.
Speaker 2 (44:39):
This instrumental application of her legend underscores its critical role
in social regulation, and it imparts cautionary lessons regarding the
perils in the external world, particularly during the nocturnal hours.
And it emphasizes the parami importance of keeping to a
(45:03):
prescribed set of rules and remaining within the designated safe
boundaries of the village.
Speaker 4 (45:09):
That makes sense because I mean, if you look across
the globe, everybody's got their boogie band right, and oh,
if you go out at night, boogie band's going to
come and get you or yeah.
Speaker 2 (45:22):
So it also serves us just to reinforce the cultural normal,
the norms of the culture. It provides narrative framework for
the inexplicable dangers like missing children or illness, and it
offers a tangible focus for anxieties about the wild and unknown.
(45:46):
So she served as a vivid personification of all the
dangers awaiting the incautious, the children, and it was a
device to keep communities safe.
Speaker 4 (46:02):
That makes sense.
Speaker 2 (46:07):
So a prominent intriguing theory that Black Annus is not
merely a simplistic monster, but rather a distorted or demonized
remnant of a much older pre Christian deity. So this
perspective perspective links her to an ancient pagan belief system
(46:31):
and the powerful female figures that were in it. And
occasionally these figures were very feared in these early spiritual traditions.
And it's just a continuity of these same creatures across
the changing religious landscapes.
Speaker 4 (46:53):
It makes sense because when one area gets taken over
by somebody else, their deities become demons or what bad
things and whatever other society. So therefore now they went
from being whatever they were with this other society to
now this new society, they're bad.
Speaker 2 (47:12):
Yeah. And a lot of researchers propose a direct link
to a Celtic mythology, specifically to potent mother goddess such
as Danu or Anu, who was associated with the land
fertility and at times death and destruction, and it burrows
(47:37):
in the ground like a mold, creepy green granny Annis,
So this realistic nature is common in ancient pantheons. Others
might suggest a connection to a Germanic or a German mythology,
(47:57):
citing figures like the Norse goddess of the underworld who
presided over the deceased and the realm of the dead.
So these proposed connections imply that Black Annas might represent
a localized manifestation of a broader ancient archaetype of a
(48:22):
powerful female deity. And Chell says she's on rumble, rumble.
Let us get ready to rumble Saturday, Saturday, Saturday. So
the original veneration transformed into fear with the advent of
(48:48):
a new belief system. So Donald Alexander Mackenzie he had
an influential nineteen seventeen work. It was a scholarly work,
Myths of Crete and pre Hellenic Europe. So he advanced
(49:11):
the compelling hypothesis that the Black Annis legend could trace
its origins to an ancient European mother goddess figure who
was also perceived as a devourer of children, the other
white meat father Beans. So this inherent duality of creation
(49:35):
and destruction, lifegiver, lifetaker. It's a common motif in numerous
ancient pantheons and often reflects the unpredictable and sometimes harsh
realities of nature. So he drew a striking parallel connection
between Black Annis and various powerful, often formidable female deities
(50:04):
and including the fierce Collee Okay goddess of time and
change uh often associated with destruction, Galic Mueller, Teach and
Kyle Leech Been Here were winter Hags, the Greek Dementor,
(50:29):
particularly in her darker grief stricken aspects, such as when
such as when uh persa phone was abducted, and the
Messitamian demon Labartwo a child killing Demonesse and the Egyptian
(50:50):
goddess Isis Hathor and Neath, who, despite their benevolent aspects,
could also embody fierce, protective and destructive quality. So his
theory suggests that Black Annis might embody a forgotten or
suppressed memory of these ancient sacrificial rights, potentially human sacrifice.
(51:19):
So these older deities were often reinterpretated as malevolent forces yep.
So in many cultural contexts, the corone archetype and bodies
of old age wisdom and occasionally a darker, more destructive
(51:43):
manifestation of female power. Now Black Annis perfectly aligns with
this archetype, personifying the fears associated with untamed womanhood and mortality,
particularly when divorced from conventional maternal or nurturing roles. So
(52:07):
initially the Crone might have been revered for her wisdom
and connection to the cycles of life and death. However,
with societal shifts and influences, this figure often became demonized
and it was viewed with suspicion and fear, especially if
(52:32):
she lived outside societal norms. So Black Annus represents the wild,
untrammeled feminine beyond societal strictures, symbolizing the raw force of
nature and the inevitable cycles of decay and dissolution. So
(52:55):
her transformation into a child eating hag could be interpreted
as a christianization or demonization of an earlier, more complex
pagan deity, stripping her of any benevolent attributes and emphasizing
only her terrifying aspects.
Speaker 4 (53:16):
That happened a lot.
Speaker 2 (53:19):
And I'm gonna let you do this other one that
was a lot.
Speaker 4 (53:26):
So Agnes Scott is that is that my ken related Jesson.
Speaker 2 (53:32):
She was a historical figure and from England. I'm from Scotland, Scottish.
Speaker 4 (53:39):
So Agnes Scott has a theory on the origins, and
perhaps the most compelling and empirically grounded theory linking Black
Annis to a historical individual, centers on a figure of
Agnes Scott. Mm hmm, Jason, did you know that you
(54:00):
came from baby eaters?
Speaker 2 (54:02):
I came from a deity, a baby eater, an old hag.
Speaker 4 (54:07):
A black old hag, black blue, really yeah.
Speaker 2 (54:12):
Bluish iron based iron talons.
Speaker 4 (54:16):
So, now this hypothesis offers a fascinating insight into the
process by which historical persons and events can be transmuted
into monstrous folklore through collective memory, misinterpretation and societal cultural evolution,
which can demonstrate how a real life narrative can be
(54:38):
warped into a terrifying myth. Now, the Anchorus nun Agnes
Scott was a verifiable historical figure, identified either as a
late medieval anchors or a religious recluse who committed to
a life of solitary prayer, often immured within a small
(55:02):
cellar cave, therefy, becoming physically and socially isolated. So if
you ever wanted to know what an Anchoras was, that's
what it is.
Speaker 2 (55:16):
Hermit, a very religious hermit.
Speaker 4 (55:20):
Living in a cellar a cave. Now, according to some accounts,
a Dominican nun who dedicated her life to the care
of a local leper colony crucially, she is believed to
have resided in a cave within the Dane Hills. Now,
the precise geographical location associated with Black Annis's bower or
(55:46):
her reclusive lifestyle, combined with her potential association with disease
or leprosy, would have rendered her an enomatic and puttially
feared figure to the local populace, fostering the environment which
would be ripe for misunderstanding and exaggeration. Now, the distortion
(56:13):
of historical memory. Proponents of this theory proposed that the
memory of Agnes Scott, which was a solitary woman residing
in a cave, had become distorted and exaggerated over time.
Thereby it transformed her into a terrifying Black Annis. Now,
(56:33):
this distortion could have been precipitated by several socioculture factors,
one being her isolated existence and potentially an unusual appearance,
which could be because of age or aesthetic practices, or
even effects of disease, could have been readily exploited by
(56:56):
locals to fabricate a frightening narrative for children which served
as a convenient boogeyman to enforce discipline and obedience. Now,
the simplicity and effectiveness of such a tale would ensure
its rapid spread and retention.
Speaker 2 (57:18):
You ruined the old granny for I'm sorry, now, she's
the creepy granny. Creepy Granny Scott.
Speaker 4 (57:27):
It's Jason's family. I'm just saying, serving as a convenient
boogeyman to enforce discipline and obedience. Now, the simplicity and
effectiveness of such a tale would ensure its rapid spread
and retention. So, during the Protestant Reformation in England, there
(57:51):
was a notable increase in anti and chronic and anti
monastatic sentiment are These practices were seen as remnants of
the Catholic past, such as Agnes Scott, which embodied an
older Catholic tradition of reclusion, and might have been demonized
(58:14):
or portrayed negatively to discourage such practices and promote the
new religious order.
Speaker 2 (58:21):
That wouldn't happen.
Speaker 4 (58:24):
This demonization would have been deliberate act of cultural reshaping.
You think that would happen?
Speaker 2 (58:33):
I don't know.
Speaker 4 (58:34):
Maybe maybe, Sorry, Granny, you're evil. I don't want your
candy now. In the Victorian Era, which is a period
characterized by renewed scholarly and popular interest in folklore and
ancient myths. The narrative of ANNs. Scott or Agnes Scott
(58:58):
may have become conflated with the ancient goddess and up
who actually shared a similar name. Thus, academic and popular association,
perhaps fueled by a desire to find pagan roots for
local legends, could have further solidified her monstrous pre Christian
image in the collective consciousness, which kind of blurred the
(59:21):
lines between historical fact and mythological interpretation. I could see
it happening now, Jason's distant cousin, Agnes Scott. In our
capacity as caregiver to Lepers, I could see that though Jason,
I would see Jason trying to take care of Lepper
of people, He's just nice like that. Or as a
(59:49):
revered recluse, received tokens or offerings from these she aided,
and those were displayed within her cave as devotional objects
or simple mementos, and then later generations might have misinterpreted them.
They could have been perceived as trophies which were indicative
(01:00:11):
of a more sinister, cannibalistic nature, thereby reinforcing the gruesome
details of the legend and transforming symbols of charity into
signs of horror.
Speaker 2 (01:00:23):
So I can see where this ties in to leprosy
and flaying of skin. Yes, so she might have flayed
a leper skin, and you know, maybe maybe.
Speaker 4 (01:00:39):
Now, this theory represents a compelling narrative, illustrating how historical
individual viewed through the lens of fear and religious transformation
and evolving cultural narratives, could serve as a fundamental basis
for a terrifying mythological feature. Thereby, it demonstrates its the
(01:01:00):
intricate interplay between the history, folklore and the powerful capacity
of collective imagination that reshapes reality.
Speaker 2 (01:01:14):
So I think it's uh. The Black Anna stands as
a profoundly powerful and chilling figure within the English folklore,
a grotesque hag characterized by a cyanautic besides iron claws,
(01:01:38):
an insatiable craving for human flesh, particularly that of the
other white meat children children. It's deeply rooted in the
Dane Hills of Leicestershire, and her legend functioned as a
potent cautionary narrative. It influenced local customs, it shaped architectural practices,
(01:02:05):
and it fostered a pervasive fear that persisted for centuries.
Irrespective of whether her lies in her genesis, lies in
ancient demonized pagan goddess, they distorted in such exaggerated recollection
(01:02:26):
of a historical individual such as Agnes Scott that day
was talking about, or simply it could be a terrifying
embodiment of the dangers that lurked in the wilderness. So
the Black Annis, it encapsulates all of the human fears.
(01:02:52):
These include the perils of untamed environments, the vulnerability of children,
and the unsettling aspects of untamed, destructive and feminine power.
So her and during presence in her narratives, the literature,
the local memory, it demonstrates her chilling excuse me, her
(01:03:17):
chilling potency, and the timeless, timeless nature of human apprehension.
I think it ensured her continued reverence as a subject
of both academic and popular fascination.
Speaker 4 (01:03:35):
Yes, I think it's funny though, how you know, like,
like we talked about how she could be a historical figure,
but how that was skewed to become a boogeyman. Yeah,
but then how other aspects of other things that could
(01:03:57):
have been overlaid upon this actual person to create this
this thing of nightmares and it's funny because if you
really think about it. Here in the South, we have
Granny always talked about boogie band and yeah, don't go
(01:04:19):
out at nighttime, don't do this, right, don't go out
in the woods. And because the boogie band's out there.
It's just funny because these these cultural things are pervasive,
depending not just depending on where you live. It doesn't
matter where you're from. Around this world, you've got these
(01:04:45):
beings that you're always told to be aware of at
nighttime that give all these kids, like you know, nightmares. Yeah,
can't sleep. I don't want to sleep in my own
room because you know, well, I mean something sleeping, something's
under my bed.
Speaker 2 (01:05:02):
The lore of it could be partial truth about some
old lady living in a cave that that like to
eat children. I mean it could have happened.
Speaker 4 (01:05:13):
That's possible too, because I mean, you know, you look
through you look through history, and I mean those kinds
of things did happen.
Speaker 2 (01:05:22):
Yeah, I mean it could have turned into a big
thing that you didn't go out at night because of
this thing.
Speaker 4 (01:05:33):
But you know, we said the same thing to kids nowadays.
I mean when we grew up, chasing parents didn't care
you go run around, do whatever, just don't just come
back before when the lights.
Speaker 2 (01:05:43):
Come on that night, you know, street lights come on.
Speaker 4 (01:05:46):
Yeah, that's right. They didn't really care, But now you
have to worry about all these things, all these crazy things.
They existed then.
Speaker 2 (01:06:00):
Yeah, I think they did, but they wasn't as prominent
and it wasn't as strong as they are today today.
I wouldn't walk down the street myself after dark. Somebody
a key. Back then. I think it did happen, but
(01:06:21):
not as much.
Speaker 4 (01:06:22):
I think it depends on where you are. Yeah, baby girl,
Casper says the Witch of Citygo Spearfinger. Spearfinger was one
of the areas that she was supposedly in, was in
the Cityco area. Yeah, when I was reading this story,
that was what I really thought of a lot was Spearfinger.
(01:06:44):
Just some of the aspects, you know, are pretty close.
I wouldn't say they were exact by any means, but
the pretty close.
Speaker 2 (01:06:55):
Oh. Yeah, it was a good story. I hope everybody
enjoyed it.
Speaker 4 (01:06:59):
Yes, thank everybody for showing up for sure, Yes, and
listening to this and and hopefully you don't have bad dreams.
Speaker 2 (01:07:07):
Yeah, hopefully you don't have bad dreams, don't have bad dreams.
So remember the Saturday, the Saturday we got Greg Ogels
coming on the show, going to talk to us about
some paranormal some Bigfoot, Bigfoot, some dog man maybe.
Speaker 4 (01:07:27):
Yeah, he's done. He's got what how many DVD says
he about how many movies?
Speaker 2 (01:07:31):
I know he's got two that's out, and I think
he's working on a third. One we purchased.
Speaker 4 (01:07:38):
I'll say Jason purchased the last one. And I will
say it was good. It was interesting.
Speaker 2 (01:07:46):
One of the best documentaries I've watched on the you know,
on the on Bigfoot.
Speaker 4 (01:07:54):
Yeah, yeah, I mean, he's fascinating. If anyone's watched, you know,
some of our shows that we did in Townshend he
did what about like forty minutes or something with us. Yeah,
so you know, we've sat down and got to talk
(01:08:15):
to Greg a little bit before, and he has a
lot of tales. And what's cool is that he actually
comes from an engineering background. So this is a guy
that when he explains things, he's explaining these things from
an engineer's mind.
Speaker 2 (01:08:30):
You know.
Speaker 4 (01:08:31):
So it's pretty detailed. But I will say that that
last movie that he put out, it was fascinating.
Speaker 2 (01:08:39):
Yeah, you can go get it at relicfilms dot com.
I think you might be able to download it. I
know you can order a DVD, so go check it out.
Speaker 4 (01:08:48):
Yeah, definitely. Now the Saturday after well, Thursday, do we
not have a.
Speaker 2 (01:08:53):
Show Thursday, Yes, we have a show with.
Speaker 4 (01:08:59):
Vic Kind and he's gonna be talking to us about
dog Man dog Man. That's this coming Thursday, yep. And
then so Saturday, Greg Gogels Vic next Thursday. Next Saturday,
we will not have a show. We will be at
the Bigfoot conference in what was that, Gatlinburg, Tennessee. Definitely
(01:09:26):
come visit us. I think this is one of the
best lineups that they've had since we've been going. This
is like our fifth year. I really think this is
their best lineup ever. Yeah, it's gonna be a really good,
really good time there, and of course we're going to
be there signing books and talking and everything. So wish
everybody could come out and visit us. I think it's
(01:09:46):
thirty dollars a ticket something like that, and but definitely
come out and visit us if you can. But we're
going to be doing an investigation on Sunday night. M
HM from that area. That's what I'll say. People who's
been listening to the show for the last few weeks
(01:10:07):
will know exactly where that is.
Speaker 2 (01:10:08):
I know.
Speaker 4 (01:10:10):
One person that's been there well knows where we're going
to be going. But we're going to be doing a
late night investigation and if we get good enough signal,
we will do it live. If we do not, we
will at least record it and then Jason will work
as movie magic and put it out of course, right Jason, Yeah,
(01:10:33):
And so definitely look for that. We'll maybe the Thursday after.
If we can't do it live, we'll talk about it. Yeah,
some of the stuff that happened, which would be kind
of fun. So definitely look forward to all of that.
We've got a bunch of other people coming up Saturdays past,
(01:10:56):
don't we after all that, So it's gonna be a
full lineup for for quite a while, So definitely stay tuned.
Do you have anything, Jason, Nope, No, take us out
all right. Remember you could find.
Speaker 6 (01:11:13):
That Paronel before one one dot Colonel four one one
on them in Rumble In Live every Thursday from seven
to eighth, also Saturdays from eight from time I remember
Saturdays at ten p m.
Speaker 4 (01:11:29):
To eleven when the Mede Land area you get just
on w E j y F one that's finding out
one f M at j y f M dot com.
Speaker 7 (01:11:41):
Or you can go to our website Colonel before one
one dot org and click on the link. And now
we're also on subspace radio and all major podcast platforms.
We have a book out right here, right here. It's
a really pretty book, Funkings and Laura, is available on Amazon.
Speaker 3 (01:12:06):
Dot organ Join us, join us on us ye next time,
Thank you very much, have a good night.
Speaker 2 (01:12:21):
Have you ever wondered what lurks in the shadows, what
secrets the night hides, what strange phenomena might be happening
just beyond your perception. Join us as we journey into
the world of the paranormal, exploring everything from.
Speaker 3 (01:12:34):
Ghosts and UFOs to cryptids and unexplained occurrences, from haunted
houses to all things paranormal.
Speaker 2 (01:12:48):
Join us in the search for the truth behind the veil.
Welcome to Paranormal for one One
Shan footstepping through the pies. Alien send the secret sience
(01:07):
e vps.
Speaker 2 (01:08):
In the day of night, go stish in in the
pillm light.
Speaker 1 (01:13):
Don't know before what we.
Speaker 3 (01:14):
Bring it to your truth behind the fair.
Speaker 4 (01:17):
Gout of peculia, tucking up three freaking the weird.
Speaker 1 (01:20):
See lest we tip her around?
Speaker 2 (01:22):
You see quart of us.
Speaker 1 (01:25):
In the post. Preacher's call from a timeless sleeper license
guy the Freckling Place singles probably hoisa.
Speaker 4 (01:35):
Fly days.
Speaker 2 (01:40):
All right and welcome, welcome buddy, Thursday, Thursday. Yes, we
went by too quick.
Speaker 4 (01:50):
Man today though we cands go by quick with today.
I'm telling you at work, I swear it was two days.
It was a long day at work today. I had
so much to do, but I got it done so quickly.
I think that was the problem.
Speaker 2 (02:06):
Yeah, it wasn't for me. I mean after lunch I
sat down at the computer. I was trying to work
on something. I looked up, look at the clock. At
four o'clock. I want I can go, see y'all. I
still love Eastyle. They always tell me they say go
with God, like backing deals by oak and deals, they
(02:29):
say go with God. I say, okay, I'm not dying today, Yes, Jason,
happy birthday, Yes, late birthday. Yeah, on the fifteenth, that
was Tuesday. Happy birthday, man, I hope you had a
(02:50):
great one and it only gets better, I promise.
Speaker 4 (02:55):
What did he say? Forty three?
Speaker 2 (02:56):
Forty three? Yeah, wait till you get twenty nine like me?
Speaker 4 (03:01):
Yea or twenty five like me? Yeah?
Speaker 2 (03:05):
And now you want to do is pad?
Speaker 4 (03:11):
Hey Paul, how you doing buddy?
Speaker 2 (03:13):
Thanks for coming on joining us? Got paranormal Paul from
Paranormal among Us? Yes, podcast.
Speaker 4 (03:22):
Yeah, So black annas.
Speaker 2 (03:28):
Yeah, we're afraid David's going to say the wrong word.
Speaker 5 (03:31):
But I've been saying it like in jest of course,
but you know, yeah, black annas is what we're going
to be discussing tonight, an us and us, not the
other A word.
Speaker 2 (03:51):
Man. So who we're going to have this Saturday, the Saturday,
we're going to have mister Moyst himself, great Gogle, he's
gonna be coming on and giving us a few words.
Can't wait for that.
Speaker 4 (04:06):
Yeah, it's it's gonna be great. And then what's the
Saturday after that? The Bigfoot big Foot conference in it well,
two saturdays away and we're gonna be at the big
Foot conference. If anyone is around and can go to it,
we would love to see you there. Yeah, we want
to see you there if you can get there. After
(04:27):
the Bigfoot conference. Now it's going to depend on if
we have cell service or not good cell service or not.
Sunday night, we are going to be doing a mister moisty,
moist moisty moisty. Wow, mister moisty, that's what I'm on
college when.
Speaker 2 (04:47):
We're gonna be doing a.
Speaker 4 (04:49):
Special investigation that Sunday night after the conference.
Speaker 2 (04:53):
Yes, Uh, it's gonna be fun. Yeah, hopefully we can
do it live before we got signal, it's it's it's
way up there, so it's up in the mountain.
Speaker 4 (05:04):
So if if we have signaled, we will do it live.
If we do not, we will record it and Jason
will work his magic. Yeah, and uh then it'll be on.
Speaker 2 (05:18):
So tonight though, we're gonna be talking about Black Annus.
You know, it's one of the most super creepy figures
from old English stories, especially from a place called Le's Sistershire.
Let's sister Shire, Let's yes, So basically she's this really
(05:41):
gross hag or witch, and parents used to whisper her
name to get their kids to behave she's coming after you. Yeah,
like Ann, this is gonna get your ain us.
Speaker 4 (05:59):
Better than not.
Speaker 2 (06:01):
But really, Uh, she's more than just a simple monster. Uh.
Black an Us really shows us some ancient fears about
wild places, the unknown, and even the darker side of women.
Speaker 4 (06:20):
With that country Twain makes it sound like you're talking
about the booty and us and us.
Speaker 2 (06:29):
Uh, I'm done.
Speaker 4 (06:32):
I love it.
Speaker 2 (06:34):
Uh. Yeah, So we're going to get into what makes
her so terrifying.
Speaker 4 (06:40):
I'm wondering if anybody that's not from the South that's
going to hear us talk wondering what we're doing the show.
Speaker 2 (06:49):
Your wife picked this show out, she did, so we're
gonna blame her if we If we gots so, we're
gonna check out her legends, peek at where story might
have come from, and see why she's still a big
deal today in British folklore.
Speaker 4 (07:11):
Yes, pardon, Paul says, that's hilarious.
Speaker 2 (07:14):
It is. It's funny set up.
Speaker 4 (07:18):
I think she did. I think she did.
Speaker 2 (07:21):
It's a N N I S versus And we even
looked it up how to pronounce it? We did, Yeah,
it is and as not the other one as the
other one said Anus.
Speaker 4 (07:41):
You know that's funny because you know, in the South
we could say something like that. Anyway, ain't us gonna
go over here to.
Speaker 2 (07:49):
Do something to that? Or if you got a friend
named Enus, we call him Anus, Come here.
Speaker 4 (07:55):
Here Aus, oh lord? Anyway, So Black Annis is always
described as a very monstrous being. Now, she was designed
to scare and make you obey, Like Jason said, you know,
she was always told the kids. You know, her whole
(08:18):
look is designed to evoke a visceral sense of dread
and reinforce social norms, making her a perfect cautionary figure. Now,
one of the most famous unsettling things about her is
her livid blue or even black face. It is so
(08:39):
unique and creepy, often making you think of a corpse
or something from a super cold or otherworldly place. Now,
the weird color really sets her apart from average witches
or hags, making her look profoundly disturbing and just plain
not from around here. That's like something we would say, right,
(09:02):
you're not from around here.
Speaker 2 (09:03):
Yeah, You're really not from around here.
Speaker 4 (09:07):
That blue shade often suggests decay and harshness of winter,
or some deep connection to a ghostly dimension beyond normal reality.
Now it kind of screams unnatural and deadly, making her
instantly recognizable and deeply unsettling. You won't forget a face
like hers. Some folks even say her skin was a
(09:29):
pale blue, which would look extra weird from her dark,
matted hair and those formidable iron claws. Iron claws, that
is truly grotesque sight. You know what was funny to
me is when we started doing and I was reading
about this for us to do the show, the iron
(09:50):
claws kind of reminded me a little bit about Spearfinger. Yeah,
you know, a chero key legend. So it's kind of
funny how they have that kind of in common.
Speaker 2 (10:01):
Almost oddly enough, we're both wearing blue. That was that
was pre planned. Yeah, just let you know that was
pre planned. It. Blue is my favorite color anyway.
Speaker 4 (10:18):
Is it red as mine?
Speaker 2 (10:21):
Red? Like red? So black?
Speaker 4 (10:26):
Annis has these massive scary iron talons. They're not just
long nails, they're like powerful weapon like appendages. Now they're
often described as being gross with human flesh. The material itself,
iron is super symbolic, hinting at an unnatural strength and
(10:48):
how impossible she is to destroy. Iron is often linked
to an ancient tools, weapons, and even darker industrial vibe,
which gives her this primal, unyielding power that's way beyond
normal human strength. Now, these stories explicitly says she use
(11:09):
these very claws to dig out of her underground home,
a cave that she meticulously carved into the tough sandstone cliffs. Now,
the act of creating her own layer with such brutal,
unnatural force kind of highlights how monstrous and potent she is,
(11:31):
showing off her raw, untamed power and her deep, almost
geological connection to the earth itself. Now, the image of
her bloodstained talons is absolutely central to her terrifying identity.
Grotesque anatomical features. Beyond her signature blue face and iron claws,
(11:53):
there's Descriptions of black Annis often include other repulsive features
that can leaked her horrifying portrait. She's frequently depicted with sharp,
fained teeth, elongated and pointed nose, and disheveled, greasy black hair.
She don't like to bathe. You know, she might be
(12:15):
she might be akin to the Green Witch on the
Wizard of Oz. She bathes, she she melts.
Speaker 2 (12:22):
Maybe maybe you know that makes sense now, Now.
Speaker 4 (12:25):
These details really emphasize how far removed she is from
human norms and firmly place her in the realm of
the monstrous. Now, some of the more chilling narratives even
suggest she had just one blazing eye, which is a
characteristic common among other mythical Cyclopean monsters cyclops Yes, you
(12:47):
can imagine that a single intense gaze. It would be
incredibly piercing and terrifying. It would create an un irving
intensity that would probably paralyze anyone unlucky enough to see it. Now,
it truly completes her monstrous aesthetic, making her an unforgettable
(13:11):
figure of dread. What would you do if she come
popping out? Uh?
Speaker 2 (13:18):
I would pop in the house? Be like this, grab
the Centurion twelve gauge fully automatic. Boom boom boom. Yeah. Run.
Speaker 4 (13:36):
Now here's one of the most gruesome and disturbing parts
of the Black Annis legend. She actually flays the skins
off her victims, both innocent children and defenseless lambs. Now,
after she eats them, she then meticulously tans the hides
under the eerie glow of the moonlight them into profoundly
(14:01):
morbid trophies. These tan skins are subsequently worn around her
waist like a girdle, or used to line the interior
of her dark, damp cave. Now this detail doesn't just
underscore her cannibalistic nature, It also adds a layer of
ritualistic horror to her actions. It implies a deliberate and
(14:26):
perverse gratification derived from her atrocities. Now, the display of
these trophies serve as a visual warning to anyone who
might stumble upon her layer, a chilling sign of future transgressions,
and a constant psychological torment For the local populace. It
(14:47):
reminds them of grim fates of those who disappeared. Just
imagine seeing that now she is a nighttime apex predator.
Black Annis is by no means a passive entity. She
is very active, relentless, and a very highly proficient predator,
(15:12):
driven by an insatiable craving for flesh. Her methods are
characterized by cutting and brutality. This makes her a truly
formidable adversary against whom conventional defenses are often feudile.
Speaker 2 (15:32):
We think Jason, I think she's a meano witch with.
Speaker 4 (15:36):
Iron claws, and she likes to flay and eat people.
Speaker 2 (15:39):
I like the word flay and I like the word
hag together, so I mean it's a good scary story
paradol and.
Speaker 4 (15:50):
Paul's right, probably shouldn't be eating right now unless this
kind of thing does not bother you. Umm.
Speaker 2 (15:59):
She craves us human flesh right.
Speaker 4 (16:04):
With farva beans. Her primary and most terrifying objective is
her unyielding craving for human flesh, so particularly that of children,
in addition.
Speaker 2 (16:19):
To land other white meat.
Speaker 4 (16:20):
That's it, baby, the other white meat, jumping my belly,
treating my belly. Now, this establishes her as a direct
and horrifying threat to the most vulnerable members of any community,
transforming innocent individuals into her sustenance. The specific focus on
(16:43):
children really amplifies the perfaceive fear, as they represent the
future and are typically regarded as the most cherished constituents
of society. Now, this aspect of legend taps into a
deep primal fear of harm, befalling one's offspring, making black
(17:04):
and as a pultent symbol of ultimate horror. Now, she
is fundamentally a creature of the night, emerging from her
layer during the twilight hours and under the cloak of
darkness to stalk the rural landscapes. Her movements are described
as swift, agile, and silent, enabling her to approach unsuspecting victims,
(17:31):
often without a whisper of warning until it's too late.
She is purportedly capable of scuttling on all fours. That's
scary anytime I see that in like a scary movie.
Speaker 2 (17:46):
Yeah, where something's on all fours and it's like especially
when it's just standing there and then it drops down and.
Speaker 4 (17:53):
It glitches and as glitching as it does it.
Speaker 2 (17:56):
Yeah, you're like.
Speaker 4 (18:05):
Her, making nom nom nom sounds as she feees, oh
my gosh, which gives her movements an unsettling animalistic quality.
And she could leap over obstacles with remarkable velocity, so
she could leap buildings in a single bound, making escape
(18:30):
from her pursuit exceptionally challenging. Now, this nocturnal activity reinforces
the idea of her as a hidden, ever present danger
that emerges when human senses are most dulled.
Speaker 2 (18:45):
Mhm, that's terrible. Yeah, just imagine something coming at you
and drops down on all fours, comes from yeah, with
a blue face and a big long nose and works
(19:05):
on it. Some iron claws, iron claw fingers that right
there alone would be something I don't know amazing. So
the narratives powerfully emphasizes her terrifying pulsus.
Speaker 4 (19:26):
Sounds like, my ex amen, you have some ex wife stories.
We need to swap, buddy, because I have something.
Speaker 2 (19:35):
Oh man, I've got a few, and I've had more
wives than anybody around here.
Speaker 4 (19:41):
Jason's got so many that they've started taking the list.
Speaker 2 (19:45):
Yep, I can't get married anymore.
Speaker 4 (19:48):
State ten.
Speaker 2 (19:48):
See it's a gift law. No, seriously, So this emphasizes
her terrifying capacity to breach the pursued safety and sancty
they of human residences. Space traditionally considered involuble. Yeah, she's
(20:13):
said to extend extend her reach through windows.
Speaker 4 (20:17):
Baby girl, Oh I'm dead, peed, my pants, frozen, fear,
passed out, creepy ladies, dinner. Oh god.
Speaker 2 (20:27):
So she's said to extend her reach through windows to
snatch individuals directly from their beds from within their homes,
a violation of personal sanctuary that really heightens the terror.
So this specific detail historically led to practical, desperate and
(20:51):
defensive measures. In the folklore, Cottages in Lechestershire were reportedly
constructed with exceptional diminutive windows. Specific windows, Yeah, specifically they
were designed to impede the black Annis and her full
(21:17):
ingress she can't reach through and perhaps permitting only a
single arm to penetrate the window. Villagers would also meticulously
secure their doors and board up the windows at sunset,
living under the constant apprehension of her nocturnal incursions.
Speaker 4 (21:39):
Now would that be crazy that you would fear something
so badly that you would start boarding up your windows
at nighttime?
Speaker 2 (21:47):
Yeah. So there's this show out on MGM. It's got
like four or five seasons right now. Next season should
be coming soon. But it's called From the cover of it,
So it's about something like this, but it's it's a
little different. They put tailsman talsman up on the like
(22:12):
the at the door to ward them off. They can't
come in, okay, And during the day they're fine. This
is all at night time. If you go outside, these
beast zombies I don't know what you call them, will
get you. But the series is called From and it's
(22:34):
really great. It's a little town that the people are
traveling somewhere and they get stopped by the tree falling
in the road and they go back and it's this
little town that they end up in and they can't
escape it.
Speaker 4 (22:52):
So once you're in, you're done. Yeah, it's a pretty
good series. Thank you Paranormal Paul for for stopping by.
Speaker 2 (23:02):
Really appreciate it.
Speaker 4 (23:04):
Thanks for the nightmares. Hey, those are free, they don't
cost nothing. Stop on by and we could try to
give some more. I'll tell you what's funny about this
is that it reminds me a lot of Lilith mm
(23:30):
hm and a lullaby. That's where lullaby comes from. Thes
actually a Lila Toby. Parents would say sing these lullaby
is at night time to get Lilith to stay away, right.
And I say that because she would come at night,
she'd come for the children, right. And but they have
(23:52):
found in ancient Mesopotamian homes and even homes of ancient
Jewish people in doorways, because you were sitting there talking
about Tylisman's and all these things, these wards in doorways
(24:12):
to keep Lilith and some other demons from being able
to come into their homes.
Speaker 2 (24:18):
Yeah, that was a big practice back in ancient times.
I believe it's like the Passover, if you believe in that,
they had to write they had to put the blood
over the door so they would pass them over.
Speaker 4 (24:37):
Yeah, it's pretty crazy.
Speaker 2 (24:42):
So her presence was frequently heralded by terrifying and unmistakably
auditorial cues, which paradoxic how do you say that word?
Paradoxically yeah, offered a fleeting chance for survival. Her howls
were reported so potent that they could be heard up
(25:03):
to five miles away.
Speaker 4 (25:04):
Wow, I think that's a big foot.
Speaker 2 (25:07):
Yeah. No, I think that's a hag. That's a blue
faced hag named Annas.
Speaker 4 (25:18):
So.
Speaker 2 (25:19):
Uh. The howls were so potent that they could be
heard five miles away, providing a chilling yet functional warning
to residents to secure their dwellings. So the grinding of
her teeth served as another anonymous sign, indicating her proximity
(25:41):
and affording individuals a few precious moments to seek refuge
and and and you know, get the safety.
Speaker 4 (25:49):
Mm. Could you imagine hearing a howl then all of
a sudden hearing grinding of teeth after that?
Speaker 2 (25:59):
I wouldn't there. So, these auditory signals were deeply embedded
in local lore, and they were functioning as a natural
terrifying alarm system that dictated the evening routines and anxieties
of the community. That's crazy, So the very sound of
(26:21):
her approach was enough to induce panic, widespread panic. Her
approach beyond her form formidal physical appearance. What does she say?
Speaker 4 (26:36):
She says, It's like an ospwhalg except she eats unborn babies.
The grinding and clicking of her teeth. Yes, yes, exactly.
Speaker 2 (26:49):
So beyond her formidal physical appearance, the Black Annis possesses
extraordinary physical capabilities. They defy natural explanation. So her strength
is sufficient to tear through walls, rip open windows, and
(27:10):
it demonstrated a destructive power far beyond humans could do.
Her speed enabled her to effectively pursue and capture her prey.
Some accounts even suggest an ability to vanish into trees
and shadows, hinting at a more profound supernatural connection. So
(27:39):
you know, this made her exceptionally elusive and almost impossible
to confront. So her apparent imperviousness to conventional weaponry solidifies
her status as a truly formidable and terrifying force, suggesting
a magical or demonic nature that renders her impervious to
(28:03):
ordinary human retaliation. So these characteristics delineate a vivid and
horrifying portrayal of Black Annis, an unforgettable entity conceived to
instill a deep seated primal fear, thereby ensuring caution and
(28:26):
conformity within the communities she purportedly haunted. I think she's
a black witch, hag, demon, spearfinger. I don't know. David's
gonna talk about her layer.
Speaker 4 (28:48):
Yes, yeah, So the physical setting of her layer is,
or her legend, is actually as integral as her and identity.
Her grotesque appearance and predatory disposition, her dwelling, and the
specific territories she frequented are pivotable to her folklore. Now,
(29:13):
this grounding is her terrifying presence with a tangible geographical context,
and it provides a focal point for the fears that
she embodies. Now she is a cave dweller, Black Annis
(29:34):
is linked to a singular and notorious location, which is
a dark, concealed cave which is nestled within the Dane Hills,
is a range of sandstone hills situated near Less Sister, England.
If that's not right, I'm sorry, say it in the comments. Yes, yes,
(29:59):
we have people from England that watch this show. So
they'll be able to tell us that we said it wrong.
I'm sure they will. Sorry. This cavern is universally recognized
as black Annis's bower, or an early documentation it's her
bower's clothes. So the term bower typically connotes a pleasant,
(30:27):
verdant retreat. However, in her context, it is a chilling
misnomer for a din of profound horror. This is a
place of unspeakable acts. The narrative explicitly states that she
did not merely discover this cave, but she rather excavated
(30:48):
it herself by using her formidable iron claws to carve
out the rudimentary chambers and passages within the sandstone cliffs. Now,
this act of self construction of her layer through such
brutal and unnatural means further accentuates her monstrous and potent nature.
(31:08):
Maybe she's no part like earthwinm er some furrows.
Speaker 2 (31:17):
I don't know.
Speaker 4 (31:23):
So this underscores her raw, untamed power and her deep, primal,
almost geological connection to the realm. Now, the cave thus
functioned as a locust of dread, which was a tangible
manifestation of her malevolence. This was a place where the
(31:45):
very air was said to be heavy with the scent
of fear and decay. Now frequently and ominously associated with
her bower is a colossal, ancient, and contorted oak tree
that stood prominently at the entrance to her cave. Now
(32:07):
this sentinel is not merely a natural landmark, but assumes
a sinister and crucial role in the legend. It is
at this location, under the eerie luminescence of the moon,
that Black Annis is purportedly observed hanging the flayed skins
of her victims. Yeah, the oak tree, traditionally a symbol
(32:32):
of strength, longevity and vitality, is thereby transmuted into a
gruesome monument to her predatory activities, its branches adorned with
the horrifying remnants of her feasts. This public display of
her atrocity served as a stark visual abomination to any
(32:52):
individual who might dare to approach too closely. It was
a chilling testament to her brutal efficiency and constant psychological
torment for the local populace, which always reminded them of
the grim fate awaiting the unwary and fragility of life. Now,
the very side of the tree would have been enough
(33:13):
to send shivers down the spine.
Speaker 2 (33:15):
I think so.
Speaker 4 (33:17):
Yeah, I walked upon a big giant oak tree that
had volaid skins.
Speaker 2 (33:23):
Mm hmmm, I'd get elder.
Speaker 4 (33:27):
Yeah, yes, mole there you go. Baby girl said it right.
She's a mole.
Speaker 2 (33:35):
Muh muh mole. More you remember that.
Speaker 4 (33:43):
Yeah. So there was a sphere of terror. While her
her cave in the Dane Hills served as her primary domicile,
Black Annis, her dominion of terror extended throughout the surrounding
(34:05):
rural landscape of Leicestershire. She constituted a pervasive threat. Her
influence permeated fear beyond the immediate vicinity of her layer,
creating a widespread atmosphere of apprehension and caution. Now she
is described as traversing vast distances at night, moving with
(34:30):
swiftness and silence, perpetually seeking her preferred prey, which was
innocent children and defensive lambs.
Speaker 2 (34:40):
Poor little lambs, poor little lambs.
Speaker 4 (34:43):
The expansive nature of her hunting grounds implied that no
isolated college cottage, college watch people in college cottage, no
remote farm, and no wondering child was truly secure once
darkness descended. Now, her presence infused the entire rural landscape
(35:06):
with profound apprehension, which forced communities to adapt their routines
and instilled strict rules, especially rules concerning nocturnal activities. Now,
the fear was not confined to a single spot, but
was a pervasive atmospheric dread. Am I getting text messages?
Speaker 2 (35:29):
I think I am?
Speaker 4 (35:34):
I did too, August. I don't know what the heck
I just got, But we're trying to sell our house,
and I keep getting these texts about selling our house.
So the widespread fear she engendered led to the implementation
(35:57):
of specific, often desperate, defensive measures among the local populace.
Now this illustrates the tangible impact of folklore on daily life.
Now beyond the widely acknowledged practice of constructing cottages with
exceptionally diminutive windows. Now, these were purportedly engineered to prevent
(36:20):
her full ingress, perhaps permitting only a single arm to penetrate. Now,
wouldn't that be crazy that you believed in something so
much that you would make something so small that only
an arm could fit through.
Speaker 2 (36:40):
It's crazy.
Speaker 4 (36:43):
You think she's not a rat, because as long as
her nose could fit through it, she'd be able to
go right that's just that's insane to me. Now, these
villagers also adapted extreme precautions as night Fell approached. Doors
(37:04):
were regulous rigulously Why can't I say regularlessly? Rigorously, there
you go, thank you bolted. I can't. I'm adding extra
syllables to this for no reason.
Speaker 2 (37:17):
Rigorously, there you go.
Speaker 4 (37:20):
Windows were securely fast fastened with shutters, and frequently animal
skins were affixed over openings, while protective herbs such as
rowing or garlic huh, that's crazy, which was common in
(37:41):
a po traffic magic, were positioned above them upon the
audibility of her terrifying howls. So these rituals and architectural
adaptations underscore the tangible, an immediate threat she has opposed
(38:02):
in daily life, and the community's fervent attempts to repel
her malevolent presence, transforming every home into potential fortresses against her. Now,
is that not weird?
Speaker 2 (38:17):
That's weird.
Speaker 4 (38:20):
She's smoking jerky. Imagine the stink coming from that tree man.
You know you would.
Speaker 2 (38:30):
Jerky?
Speaker 4 (38:32):
I like, yeah, never had a little kid jerky before.
Speaker 2 (38:39):
That.
Speaker 4 (38:39):
Good with some kant and baby jerky, get in my belly.
Gonna go ahead.
Speaker 2 (38:51):
They're just a little bit more so.
Speaker 4 (38:56):
A uh particularly unsettling and intriguing fast that of the
folklore suggests that Black Annius possessed a secret subterranean passage.
Subterranean passage. Why can I not say that subterranean? I
said it. This clandestine tunnel was believed to establish a
(39:19):
direct connection between her cave and the Dane Hills and
the cellars beneath Leicester Castle was up Roy, It's up roy.
Such a concealed conduit would have enabled her to traverse,
unseen and with remarkable clarity, between her remote layer and
(39:40):
the very nexus of human habitation there, fought argue, augmenting
her mystique and persistent sense of dread, she inspired that
would be weird. What would be weird about it is
if they could go back and actually see that there's
a tunnel there.
Speaker 2 (39:57):
Yeah, you know, maybe mean there's a lot of truth
in folklore.
Speaker 4 (40:04):
I think there is. Now. The idea of an unseen
underground network of terror could have rendered her an even
more elusive and terrifying adversary, would make her capable of
manifesting seemingly ex Nah Hillo, what is that Jason within
(40:25):
the very heart of the town, making no place truly safe. Now,
these detailed accounts of her domicile and territorial domain firmly
anchor the legend. Now this does it within a specific
geographic and historical context, thereby rendering her a palpable and
(40:46):
immediate threat to the communities of Lancestershire. Now even in
the contemporary era. So now, despite the purported infilling of
her cave due to urban.
Speaker 2 (41:02):
Development, oh oh, they filled the cave up, and.
Speaker 4 (41:08):
The transformation of the Dane Hills into a residential area,
there are still chilling narratives of her nocturnal hunting, and
the echoes of her wales and grinding teeth still persist
in local memory, which is a testament to the enduring
power of her legend and its deep roots in this
(41:29):
regional landscape.
Speaker 2 (41:31):
Mh, google it.
Speaker 4 (41:35):
Jason, Are you googling the word? I couldn't say. What
does it say? Did you google it?
Speaker 2 (41:51):
It's a Latin word?
Speaker 4 (41:52):
What does it say? What does it mean?
Speaker 2 (41:54):
It's uh nothingness?
Speaker 4 (41:56):
Ah okay, that makes sense.
Speaker 2 (42:00):
So capable of manifesting seemingly nothing within the very heart
of the town.
Speaker 4 (42:09):
Maybe so it should pop up out of nowhere and
should manifest out of nowhere?
Speaker 2 (42:15):
Makes sense? Google it, I like it, Google Google as
our friend. So the genesis of the black anis its
legend remains largely obscured by the passage of time, prompting
(42:39):
a lot of speculation and academic discourse regarding its true prominence.
Uh she represented a multifaceted figure, likely arising from a
complex string of historical events, ancient pagan beliefs, and the
(43:04):
fundamental human imperative to comprehend and control the unknown, particularly
the formidable aspects of nature and the human psyche. So
for us to understand her origins requires navigating all these
layers of the historical record, the mythological interpretation, and social psychology.
(43:35):
So at its most fundamental level, Black An as functions
as an archetypal boogeyman gotcha. So this constitutes perhaps the
most straightforward explanation for her persistence presence in folklore. So
(43:56):
parents and guardians, would you know, invoke her terrifying appellation
to instill if.
Speaker 4 (44:04):
You keep doing that black and this is gonna come
get you.
Speaker 2 (44:08):
It was to instill fear and enforce behavioral compliance. So
the adamination was unequivocal. Should children exhibit misbehavior, should they
stray too far from home, remain outdoors after dusk, so
(44:30):
Black Annis would abduct and consume them if they did.
Speaker 4 (44:38):
So.
Speaker 2 (44:39):
This instrumental application of her legend underscores its critical role
in social regulation, and it imparts cautionary lessons regarding the
perils in the external world, particularly during the nocturnal hours.
And it emphasizes the parami importance of keeping to a
(45:03):
prescribed set of rules and remaining within the designated safe
boundaries of the village.
Speaker 4 (45:09):
That makes sense because I mean, if you look across
the globe, everybody's got their boogie band right, and oh,
if you go out at night, boogie band's going to
come and get you or yeah.
Speaker 2 (45:22):
So it also serves us just to reinforce the cultural normal,
the norms of the culture. It provides narrative framework for
the inexplicable dangers like missing children or illness, and it
offers a tangible focus for anxieties about the wild and unknown.
(45:46):
So she served as a vivid personification of all the
dangers awaiting the incautious, the children, and it was a
device to keep communities safe.
Speaker 4 (46:02):
That makes sense.
Speaker 2 (46:07):
So a prominent intriguing theory that Black Annus is not
merely a simplistic monster, but rather a distorted or demonized
remnant of a much older pre Christian deity. So this
perspective perspective links her to an ancient pagan belief system
(46:31):
and the powerful female figures that were in it. And
occasionally these figures were very feared in these early spiritual traditions.
And it's just a continuity of these same creatures across
the changing religious landscapes.
Speaker 4 (46:53):
It makes sense because when one area gets taken over
by somebody else, their deities become demons or what bad
things and whatever other society. So therefore now they went
from being whatever they were with this other society to
now this new society, they're bad.
Speaker 2 (47:12):
Yeah. And a lot of researchers propose a direct link
to a Celtic mythology, specifically to potent mother goddess such
as Danu or Anu, who was associated with the land
fertility and at times death and destruction, and it burrows
(47:37):
in the ground like a mold, creepy green granny Annis,
So this realistic nature is common in ancient pantheons. Others
might suggest a connection to a Germanic or a German mythology,
(47:57):
citing figures like the Norse goddess of the underworld who
presided over the deceased and the realm of the dead.
So these proposed connections imply that Black Annas might represent
a localized manifestation of a broader ancient archaetype of a
(48:22):
powerful female deity. And Chell says she's on rumble, rumble.
Let us get ready to rumble Saturday, Saturday, Saturday. So
the original veneration transformed into fear with the advent of
(48:48):
a new belief system. So Donald Alexander Mackenzie he had
an influential nineteen seventeen work. It was a scholarly work,
Myths of Crete and pre Hellenic Europe. So he advanced
(49:11):
the compelling hypothesis that the Black Annis legend could trace
its origins to an ancient European mother goddess figure who
was also perceived as a devourer of children, the other
white meat father Beans. So this inherent duality of creation
(49:35):
and destruction, lifegiver, lifetaker. It's a common motif in numerous
ancient pantheons and often reflects the unpredictable and sometimes harsh
realities of nature. So he drew a striking parallel connection
between Black Annis and various powerful, often formidable female deities
(50:04):
and including the fierce Collee Okay goddess of time and
change uh often associated with destruction, Galic Mueller, Teach and
Kyle Leech Been Here were winter Hags, the Greek Dementor,
(50:29):
particularly in her darker grief stricken aspects, such as when
such as when uh persa phone was abducted, and the
Messitamian demon Labartwo a child killing Demonesse and the Egyptian
(50:50):
goddess Isis Hathor and Neath, who, despite their benevolent aspects,
could also embody fierce, protective and destructive quality. So his
theory suggests that Black Annis might embody a forgotten or
suppressed memory of these ancient sacrificial rights, potentially human sacrifice.
(51:19):
So these older deities were often reinterpretated as malevolent forces yep.
So in many cultural contexts, the corone archetype and bodies
of old age wisdom and occasionally a darker, more destructive
(51:43):
manifestation of female power. Now Black Annis perfectly aligns with
this archetype, personifying the fears associated with untamed womanhood and mortality,
particularly when divorced from conventional maternal or nurturing roles. So
(52:07):
initially the Crone might have been revered for her wisdom
and connection to the cycles of life and death. However,
with societal shifts and influences, this figure often became demonized
and it was viewed with suspicion and fear, especially if
(52:32):
she lived outside societal norms. So Black Annus represents the wild,
untrammeled feminine beyond societal strictures, symbolizing the raw force of
nature and the inevitable cycles of decay and dissolution. So
(52:55):
her transformation into a child eating hag could be interpreted
as a christianization or demonization of an earlier, more complex
pagan deity, stripping her of any benevolent attributes and emphasizing
only her terrifying aspects.
Speaker 4 (53:16):
That happened a lot.
Speaker 2 (53:19):
And I'm gonna let you do this other one that
was a lot.
Speaker 4 (53:26):
So Agnes Scott is that is that my ken related Jesson.
Speaker 2 (53:32):
She was a historical figure and from England. I'm from Scotland, Scottish.
Speaker 4 (53:39):
So Agnes Scott has a theory on the origins, and
perhaps the most compelling and empirically grounded theory linking Black
Annis to a historical individual, centers on a figure of
Agnes Scott. Mm hmm, Jason, did you know that you
(54:00):
came from baby eaters?
Speaker 2 (54:02):
I came from a deity, a baby eater, an old hag.
Speaker 4 (54:07):
A black old hag, black blue, really yeah.
Speaker 2 (54:12):
Bluish iron based iron talons.
Speaker 4 (54:16):
So, now this hypothesis offers a fascinating insight into the
process by which historical persons and events can be transmuted
into monstrous folklore through collective memory, misinterpretation and societal cultural evolution,
which can demonstrate how a real life narrative can be
(54:38):
warped into a terrifying myth. Now, the Anchorus nun Agnes
Scott was a verifiable historical figure, identified either as a
late medieval anchors or a religious recluse who committed to
a life of solitary prayer, often immured within a small
(55:02):
cellar cave, therefy, becoming physically and socially isolated. So if
you ever wanted to know what an Anchoras was, that's
what it is.
Speaker 2 (55:16):
Hermit, a very religious hermit.
Speaker 4 (55:20):
Living in a cellar a cave. Now, according to some accounts,
a Dominican nun who dedicated her life to the care
of a local leper colony crucially, she is believed to
have resided in a cave within the Dane Hills. Now,
the precise geographical location associated with Black Annis's bower or
(55:46):
her reclusive lifestyle, combined with her potential association with disease
or leprosy, would have rendered her an enomatic and puttially
feared figure to the local populace, fostering the environment which
would be ripe for misunderstanding and exaggeration. Now, the distortion
(56:13):
of historical memory. Proponents of this theory proposed that the
memory of Agnes Scott, which was a solitary woman residing
in a cave, had become distorted and exaggerated over time.
Thereby it transformed her into a terrifying Black Annis. Now,
(56:33):
this distortion could have been precipitated by several socioculture factors,
one being her isolated existence and potentially an unusual appearance,
which could be because of age or aesthetic practices, or
even effects of disease, could have been readily exploited by
(56:56):
locals to fabricate a frightening narrative for children which served
as a convenient boogeyman to enforce discipline and obedience. Now,
the simplicity and effectiveness of such a tale would ensure
its rapid spread and retention.
Speaker 2 (57:18):
You ruined the old granny for I'm sorry, now, she's
the creepy granny. Creepy Granny Scott.
Speaker 4 (57:27):
It's Jason's family. I'm just saying, serving as a convenient
boogeyman to enforce discipline and obedience. Now, the simplicity and
effectiveness of such a tale would ensure its rapid spread
and retention. So, during the Protestant Reformation in England, there
(57:51):
was a notable increase in anti and chronic and anti
monastatic sentiment are These practices were seen as remnants of
the Catholic past, such as Agnes Scott, which embodied an
older Catholic tradition of reclusion, and might have been demonized
(58:14):
or portrayed negatively to discourage such practices and promote the
new religious order.
Speaker 2 (58:21):
That wouldn't happen.
Speaker 4 (58:24):
This demonization would have been deliberate act of cultural reshaping.
You think that would happen?
Speaker 2 (58:33):
I don't know.
Speaker 4 (58:34):
Maybe maybe, Sorry, Granny, you're evil. I don't want your
candy now. In the Victorian Era, which is a period
characterized by renewed scholarly and popular interest in folklore and
ancient myths. The narrative of ANNs. Scott or Agnes Scott
(58:58):
may have become conflated with the ancient goddess and up
who actually shared a similar name. Thus, academic and popular association,
perhaps fueled by a desire to find pagan roots for
local legends, could have further solidified her monstrous pre Christian
image in the collective consciousness, which kind of blurred the
(59:21):
lines between historical fact and mythological interpretation. I could see
it happening now, Jason's distant cousin, Agnes Scott. In our
capacity as caregiver to Lepers, I could see that though Jason,
I would see Jason trying to take care of Lepper
of people, He's just nice like that. Or as a
(59:49):
revered recluse, received tokens or offerings from these she aided,
and those were displayed within her cave as devotional objects
or simple mementos, and then later generations might have misinterpreted them.
They could have been perceived as trophies which were indicative
(01:00:11):
of a more sinister, cannibalistic nature, thereby reinforcing the gruesome
details of the legend and transforming symbols of charity into
signs of horror.
Speaker 2 (01:00:23):
So I can see where this ties in to leprosy
and flaying of skin. Yes, so she might have flayed
a leper skin, and you know, maybe maybe.
Speaker 4 (01:00:39):
Now, this theory represents a compelling narrative, illustrating how historical
individual viewed through the lens of fear and religious transformation
and evolving cultural narratives, could serve as a fundamental basis
for a terrifying mythological feature. Thereby, it demonstrates its the
(01:01:00):
intricate interplay between the history, folklore and the powerful capacity
of collective imagination that reshapes reality.
Speaker 2 (01:01:14):
So I think it's uh. The Black Anna stands as
a profoundly powerful and chilling figure within the English folklore,
a grotesque hag characterized by a cyanautic besides iron claws,
(01:01:38):
an insatiable craving for human flesh, particularly that of the
other white meat children children. It's deeply rooted in the
Dane Hills of Leicestershire, and her legend functioned as a
potent cautionary narrative. It influenced local customs, it shaped architectural practices,
(01:02:05):
and it fostered a pervasive fear that persisted for centuries.
Irrespective of whether her lies in her genesis, lies in
ancient demonized pagan goddess, they distorted in such exaggerated recollection
(01:02:26):
of a historical individual such as Agnes Scott that day
was talking about, or simply it could be a terrifying
embodiment of the dangers that lurked in the wilderness. So
the Black Annis, it encapsulates all of the human fears.
(01:02:52):
These include the perils of untamed environments, the vulnerability of children,
and the unsettling aspects of untamed, destructive and feminine power.
So her and during presence in her narratives, the literature,
the local memory, it demonstrates her chilling excuse me, her
(01:03:17):
chilling potency, and the timeless, timeless nature of human apprehension.
I think it ensured her continued reverence as a subject
of both academic and popular fascination.
Speaker 4 (01:03:35):
Yes, I think it's funny though, how you know, like,
like we talked about how she could be a historical figure,
but how that was skewed to become a boogeyman. Yeah,
but then how other aspects of other things that could
(01:03:57):
have been overlaid upon this actual person to create this
this thing of nightmares and it's funny because if you
really think about it. Here in the South, we have
Granny always talked about boogie band and yeah, don't go
(01:04:19):
out at nighttime, don't do this, right, don't go out
in the woods. And because the boogie band's out there.
It's just funny because these these cultural things are pervasive,
depending not just depending on where you live. It doesn't
matter where you're from. Around this world, you've got these
(01:04:45):
beings that you're always told to be aware of at
nighttime that give all these kids, like you know, nightmares. Yeah,
can't sleep. I don't want to sleep in my own
room because you know, well, I mean something sleeping, something's
under my bed.
Speaker 2 (01:05:02):
The lore of it could be partial truth about some
old lady living in a cave that that like to
eat children. I mean it could have happened.
Speaker 4 (01:05:13):
That's possible too, because I mean, you know, you look
through you look through history, and I mean those kinds
of things did happen.
Speaker 2 (01:05:22):
Yeah, I mean it could have turned into a big
thing that you didn't go out at night because of
this thing.
Speaker 4 (01:05:33):
But you know, we said the same thing to kids nowadays.
I mean when we grew up, chasing parents didn't care
you go run around, do whatever, just don't just come
back before when the lights.
Speaker 2 (01:05:43):
Come on that night, you know, street lights come on.
Speaker 4 (01:05:46):
Yeah, that's right. They didn't really care, But now you
have to worry about all these things, all these crazy things.
They existed then.
Speaker 2 (01:06:00):
Yeah, I think they did, but they wasn't as prominent
and it wasn't as strong as they are today today.
I wouldn't walk down the street myself after dark. Somebody
a key. Back then. I think it did happen, but
(01:06:21):
not as much.
Speaker 4 (01:06:22):
I think it depends on where you are. Yeah, baby girl,
Casper says the Witch of Citygo Spearfinger. Spearfinger was one
of the areas that she was supposedly in, was in
the Cityco area. Yeah, when I was reading this story,
that was what I really thought of a lot was Spearfinger.
(01:06:44):
Just some of the aspects, you know, are pretty close.
I wouldn't say they were exact by any means, but
the pretty close.
Speaker 2 (01:06:55):
Oh. Yeah, it was a good story. I hope everybody
enjoyed it.
Speaker 4 (01:06:59):
Yes, thank everybody for showing up for sure, Yes, and
listening to this and and hopefully you don't have bad dreams.
Speaker 2 (01:07:07):
Yeah, hopefully you don't have bad dreams, don't have bad dreams.
So remember the Saturday, the Saturday we got Greg Ogels
coming on the show, going to talk to us about
some paranormal some Bigfoot, Bigfoot, some dog man maybe.
Speaker 4 (01:07:27):
Yeah, he's done. He's got what how many DVD says
he about how many movies?
Speaker 2 (01:07:31):
I know he's got two that's out, and I think
he's working on a third. One we purchased.
Speaker 4 (01:07:38):
I'll say Jason purchased the last one. And I will
say it was good. It was interesting.
Speaker 2 (01:07:46):
One of the best documentaries I've watched on the you know,
on the on Bigfoot.
Speaker 4 (01:07:54):
Yeah, yeah, I mean, he's fascinating. If anyone's watched, you know,
some of our shows that we did in Townshend he
did what about like forty minutes or something with us. Yeah,
so you know, we've sat down and got to talk
(01:08:15):
to Greg a little bit before, and he has a
lot of tales. And what's cool is that he actually
comes from an engineering background. So this is a guy
that when he explains things, he's explaining these things from
an engineer's mind.
Speaker 2 (01:08:30):
You know.
Speaker 4 (01:08:31):
So it's pretty detailed. But I will say that that
last movie that he put out, it was fascinating.
Speaker 2 (01:08:39):
Yeah, you can go get it at relicfilms dot com.
I think you might be able to download it. I
know you can order a DVD, so go check it out.
Speaker 4 (01:08:48):
Yeah, definitely. Now the Saturday after well, Thursday, do we
not have a.
Speaker 2 (01:08:53):
Show Thursday, Yes, we have a show with.
Speaker 4 (01:08:59):
Vic Kind and he's gonna be talking to us about
dog Man dog Man. That's this coming Thursday, yep. And
then so Saturday, Greg Gogels Vic next Thursday. Next Saturday,
we will not have a show. We will be at
the Bigfoot conference in what was that, Gatlinburg, Tennessee. Definitely
(01:09:26):
come visit us. I think this is one of the
best lineups that they've had since we've been going. This
is like our fifth year. I really think this is
their best lineup ever. Yeah, it's gonna be a really good,
really good time there, and of course we're going to
be there signing books and talking and everything. So wish
everybody could come out and visit us. I think it's
(01:09:46):
thirty dollars a ticket something like that, and but definitely
come out and visit us if you can. But we're
going to be doing an investigation on Sunday night. M
HM from that area. That's what I'll say. People who's
been listening to the show for the last few weeks
(01:10:07):
will know exactly where that is.
Speaker 2 (01:10:08):
I know.
Speaker 4 (01:10:10):
One person that's been there well knows where we're going
to be going. But we're going to be doing a
late night investigation and if we get good enough signal,
we will do it live. If we do not, we
will at least record it and then Jason will work
as movie magic and put it out of course, right Jason, Yeah,
(01:10:33):
And so definitely look for that. We'll maybe the Thursday after.
If we can't do it live, we'll talk about it. Yeah,
some of the stuff that happened, which would be kind
of fun. So definitely look forward to all of that.
We've got a bunch of other people coming up Saturdays past,
(01:10:56):
don't we after all that, So it's gonna be a
full lineup for for quite a while, So definitely stay tuned.
Do you have anything, Jason, Nope, No, take us out
all right. Remember you could find.
Speaker 6 (01:11:13):
That Paronel before one one dot Colonel four one one
on them in Rumble In Live every Thursday from seven
to eighth, also Saturdays from eight from time I remember
Saturdays at ten p m.
Speaker 4 (01:11:29):
To eleven when the Mede Land area you get just
on w E j y F one that's finding out
one f M at j y f M dot com.
Speaker 7 (01:11:41):
Or you can go to our website Colonel before one
one dot org and click on the link. And now
we're also on subspace radio and all major podcast platforms.
We have a book out right here, right here. It's
a really pretty book, Funkings and Laura, is available on Amazon.
Speaker 3 (01:12:06):
Dot organ Join us, join us on us ye next time,
Thank you very much, have a good night.
Speaker 2 (01:12:21):
Have you ever wondered what lurks in the shadows, what
secrets the night hides, what strange phenomena might be happening
just beyond your perception. Join us as we journey into
the world of the paranormal, exploring everything from.
Speaker 3 (01:12:34):
Ghosts and UFOs to cryptids and unexplained occurrences, from haunted
houses to all things paranormal.
Speaker 2 (01:12:48):
Join us in the search for the truth behind the veil.
Welcome to Paranormal for one One
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