The occurrence of non-insect arthropods in popular music illuminates human attitudes toward these species, especially as compared to insects.
Crustaceans are the most commonly referenced taxonomic group in artist names, album titles, and cover art, followed by spiders and scorpions. The surprising prevalence of crustaceans may be related to the palatability of many of the species.
Spiders and scorpions were primarily used for shock value, as well as for their totemic qualities of strength and ferocity. Spiders were the most abundant group among song titles, perhaps because of their familiarity to the general public.
Three non-insect arthropod album titles were found from the early 1970s, then none appeared until 1990. After 1990, issuance of such albums increased approximately linearly. Giant and chimeric arthropods are the most common album cover themes, indicating the use of these animals to inspire fear and surprise. Song lyrics also illustrate the diversity of sentiments present, from camp spookiness to edibility.
This according to “Noninsect arthropods in popular music” by Joseph R. Coelho (Insects II/2  pp. 253–63).
Above and below, Alice Cooper‘s The black widow, one of the examples discussed in the article. Yes, that’s really Vincent Price in the video!
Related posts: Insects and music
Understanding the impact of human activities on wildlife behavior and fitness can improve species’ sustainability. A study sought to identify behavioral responses to anthropogenic stress in an urban species during a semi-experimental field study.
Eight urban hedgehogs (erinaceus europaeus; four per sex) were equipped with biologgers to record their behavior before and during a mega music festival (2 × 19 days) in Treptower Park, Berlin. Researchers used GPS to monitor spatial behavior, VHF-loggers to quantify daily nest utilization, and accelerometers to distinguish between different behaviors at a high resolution and to calculate daily disturbance.
The hedgehogs showed clear behavioral differences between the pre-festival and festival phases. Evidence supported highly individual strategies, varying between spatial and temporal evasion of the disturbance.
Averaging the responses of the individual animals or only examining one behavioral parameter masked these potentially different individual coping strategies. Using a meaningful combination of different minimally invasive biologger types, researchers were able to show high inter-individual behavioral variance of urban hedgehogs in response to an anthropogenic disturbance; such behavior might be a precondition for successful persistence in urban environments.
This according to “Music festival makes hedgehogs move: How individuals cope behaviorally in response to human-induced stressors” by Wanja Rast, Leon M.F. Barthel, and Anne Berger (Animals IX/7  pp. 2–19).
Below, urban hedgehogs in a gripping drama.
A white rabbit named Peter joined the Elgar family in 1905. He appears in numerous items of correspondence and is credited, as Pietro d’Alba, with writing the words for Elgar’s songs The torch and The river.
Elgar also welcomed musical criticism and suggestions from Peter; for example, after conducting the London premiere of his second Wand of youth suite in 1908, the composer wrote to him:
My dear Peter,
Your idea—the vigorous entry of the drums—was splendid. Thanks.
This according to “Peter Rabbit: The biography of an inspired bunny” by Martin Bird (The Elgar Society journal XXI/1 [April 2018] pp. 32–39).
Below, the composition in question; Peter’s contribution begins around 15:30.