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8 episodes with animalism
2 episodes with animalism
2 episodes with animalism
2 episodes with animalism
Val awoke in the hospital, recovering from the ordeal with her former coterie. Sheriff Cross explained that Val would have to seek the approval of Princess Cleopatra and she must pretend that she had only recently been embraced, but Val was also warned by another kindred to not lie to the Princess. An uncomfortable meeting ensued, and Val simply stated how she could use her skills to serve the Camarilla. Only after Cross vouched for Val and accepted a punishment of his own, was Val allowed to live. Featuring our Storyteller Ryan LaPlante (@theryanlaplante) alongside Tyler Hewitt (@Tyler_Hewitt) and Del Borovic (@deltastic). Enjoying Canada By Night?- Consider becoming a Patron of Dumb-Dumbs & Dice for as little as $1 a month and gain access to a ton of extra BTS fun (https://www.patreon.com/dumbdumbdice)- Buy merch on our website (https://dumbdumbdice.com/)- Watch us on YouTube (https://youtube.com/@dumbdumbdice)- Follow us on Instagram (https://instagram.com/dumbdumbdice)- Follow us on Facebook (https://facebook.com/dumbdumbdice) Artwork by the brilliant Del Borovic- Website & Portfolio (https://delborovic.com/)- X/Twitter (https://twitter.com/deltastic)
With their plan to kill the Anarchs in tatters, Val could not break free of Amy's control, even as her former coterie stabbed Cross with silver daggers. Fortuitously, Cross had planned for the worst, and officers Marcus Safe and Elizabeth Maddox barged in with silver bullets and brought Amy down. Val and Vincent's beasts faced off in a brutal brawl, but once again Cross came to the rescue. Before Val succumbed to her injuries, Cross fed her his own blood. But will Val survive the Camarilla's justice? Featuring our Storyteller Ryan LaPlante (@theryanlaplante) alongside Tyler Hewitt (@Tyler_Hewitt) and Del Borovic (@deltastic). Enjoying Canada By Night?- Consider becoming a Patron of Dumb-Dumbs & Dice for as little as $1 a month and gain access to a ton of extra BTS fun (https://www.patreon.com/dumbdumbdice)- Buy merch on our website (https://dumbdumbdice.com/)- Watch us on YouTube (https://youtube.com/@dumbdumbdice)- Follow us on Instagram (https://instagram.com/dumbdumbdice)- Follow us on Facebook (https://facebook.com/dumbdumbdice) Artwork by the brilliant Del Borovic- Website & Portfolio (https://delborovic.com/)- X/Twitter (https://twitter.com/deltastic)
With three nights to find Cross before Amy and Vincent do, Val drove to Calgary and booked a room at the Blue Rose Hotel, unaware of its significance. She awoke to find herself confined, was interrogated by Cross, and learned that Amy and Vincent were the two most dangerous Anarchs in Canada. To avoid Camarilla justice, Val would have to kill them and deny any involvement with them, so she and Cross set out to face them. But how can Val be the backup when she can't even willingly pull the trigger on Amy? Featuring our Storyteller Ryan LaPlante (@theryanlaplante) alongside Tyler Hewitt (@Tyler_Hewitt) and Del Borovic (@deltastic). Enjoying Canada By Night?- Consider becoming a Patron of Dumb-Dumbs & Dice for as little as $1 a month and gain access to a ton of extra BTS fun (https://www.patreon.com/dumbdumbdice)- Buy merch on our website (https://dumbdumbdice.com/)- Watch us on YouTube (https://youtube.com/@dumbdumbdice)- Follow us on Instagram (https://instagram.com/dumbdumbdice)- Follow us on Facebook (https://facebook.com/dumbdumbdice) Artwork by the brilliant Del Borovic- Website & Portfolio (https://delborovic.com/)- X/Twitter (https://twitter.com/deltastic)
As Val settled in with her coterie, she honed her vampiric abilities, but tensions continued to rise as she grew to dislike her companions' methods. Nearly five years since her embrace, Amy and Vincent questioned Val about her sire, and though she resisted sharing his identity, Val eventually unintentionally revealed him to be Sheriff Cross. Val tried to dissuade them from confronting him, but they left anyway, promising to kill Cross on Val's behalf. Can Val save her sire before her unsavoury companions track him down? Featuring our Storyteller Ryan LaPlante (@theryanlaplante) alongside Tyler Hewitt (@Tyler_Hewitt) and Del Borovic (@deltastic). Enjoying Canada By Night?- Consider becoming a Patron of Dumb-Dumbs & Dice for as little as $1 a month and gain access to a ton of extra BTS fun (https://www.patreon.com/dumbdumbdice)- Buy merch on our website (https://dumbdumbdice.com/)- Watch us on YouTube (https://youtube.com/@dumbdumbdice)- Follow us on Instagram (https://instagram.com/dumbdumbdice)- Follow us on Facebook (https://facebook.com/dumbdumbdice) Artwork by the brilliant Del Borovic- Website & Portfolio (https://delborovic.com/)- X/Twitter (https://twitter.com/deltastic)
Val was welcomed into her first coterie. Neither Camarilla nor Sabbat, Vincent and Amy showed Val a world with no rules, and the freedom to hurt humans with no regard to morals or consequences. As Val learned important skills, like using the blood within her to produce the blush of life or surging past normal physical limitations, her humanity consequently receded. How much longer will Val remain with this sadistic coterie, and what will become of her humanity along the way? Featuring our Storyteller Ryan LaPlante (@theryanlaplante) alongside Tyler Hewitt (@Tyler_Hewitt) and Del Borovic (@deltastic). Enjoying Canada By Night?- Consider becoming a Patron of Dumb-Dumbs & Dice for as little as $1 a month and gain access to a ton of extra BTS fun (https://www.patreon.com/dumbdumbdice)- Buy merch on our website (https://dumbdumbdice.com/)- Watch us on YouTube (https://youtube.com/@dumbdumbdice)- Follow us on Instagram (https://instagram.com/dumbdumbdice)- Follow us on Facebook (https://facebook.com/dumbdumbdice) Artwork by the brilliant Del Borovic- Website & Portfolio (https://delborovic.com/)- X/Twitter (https://twitter.com/deltastic)
With an RCMP officer approaching her vehicle, Val had no interest in being caught and sped away. She drove into the woods and took off on foot into the Manitoba wilderness as Officer Safe called for backup and pursued her. Val fled to a nearby farmhouse, where she was ambushed by two more officers. Desperate, she killed them both and attempted to leave in their car, but was blocked by two vampires who invited her to come with them instead. How will Val fit in with her kindred saviours? Featuring our Storyteller Ryan LaPlante (@theryanlaplante) alongside Tyler Hewitt (@Tyler_Hewitt) and Del Borovic (@deltastic). Enjoying Canada By Night?- Consider becoming a Patron of Dumb-Dumbs & Dice for as little as $1 a month and gain access to a ton of extra BTS fun (https://www.patreon.com/dumbdumbdice)- Buy merch on our website (https://dumbdumbdice.com/)- Watch us on YouTube (https://youtube.com/@dumbdumbdice)- Follow us on Instagram (https://instagram.com/dumbdumbdice)- Follow us on Facebook (https://facebook.com/dumbdumbdice) Artwork by the brilliant Del Borovic- Website & Portfolio (https://delborovic.com/)- X/Twitter (https://twitter.com/deltastic)
Within a few hours of becoming a vampire, Val felt the beast inside her surge forth for the first time and she easily dispatched the criminals at the gas station. She set fire to the building, took off, and spent the next year travelling across Canada, killing almost anyone when she needed to feed. She had evaded capture so far, but her luck may have run out, as she was pulled over on a rural road in Manitoba by the RCMP. Will she talk or fight her way out of an imminent arrest? Featuring our Storyteller Ryan LaPlante (@theryanlaplante) alongside Tyler Hewitt (@Tyler_Hewitt) and Del Borovic (@deltastic). Enjoying Canada By Night?- Consider becoming a Patron of Dumb-Dumbs & Dice for as little as $1 a month and gain access to a ton of extra BTS fun (https://www.patreon.com/dumbdumbdice)- Buy merch on our website (https://dumbdumbdice.com/)- Watch us on YouTube (https://youtube.com/@dumbdumbdice)- Follow us on Instagram (https://instagram.com/dumbdumbdice)- Follow us on Facebook (https://facebook.com/dumbdumbdice) Artwork by the brilliant Del Borovic- Website & Portfolio (https://delborovic.com/)- X/Twitter (https://twitter.com/deltastic)
Val Miller awoke to her new unlife, having been saved from death, but also turned into a monster by one of the few people she trusted, Rufus Cross. They set fire to the arena and the bodies of their friends, and Cross quickly explained current kindred politics. Val grappled with the crumbling foundations of her life and rejected Cross's offer to stay, deciding instead to take the next five years to find out for herself what it really means to be a vampire. Within hours, she was fighting for her life once again. Featuring our Storyteller Ryan LaPlante (@theryanlaplante) alongside Tyler Hewitt (@Tyler_Hewitt) and Del Borovic (@deltastic). Enjoying Canada By Night?- Consider becoming a Patron of Dumb-Dumbs & Dice for as little as $1 a month and gain access to a ton of extra BTS fun (https://www.patreon.com/dumbdumbdice)- Buy merch on our website (https://dumbdumbdice.com/)- Watch us on YouTube (https://youtube.com/@dumbdumbdice)- Follow us on Instagram (https://instagram.com/dumbdumbdice)- Follow us on Facebook (https://facebook.com/dumbdumbdice) Artwork by the brilliant Del Borovic- Website & Portfolio (https://delborovic.com/)- X/Twitter (https://twitter.com/deltastic)
Val refused Damon's offer to become a vampire and instead challenged him to single combat while Robin called boss Cross. Jack bled out, Robin tried to buy them time but was killed by a wayward knife, John too was stabbed, and Val was set upon by the other vampires. Before she lost consciousness, her attackers were gunned down in an instant and Val looked up into the face of her saviour, Rufus Cross, before he apologized and sank his fangs into her. How will Val tolerate becoming the demon she has always feared? Featuring our Storyteller Ryan LaPlante (@theryanlaplante) alongside Tyler Hewitt (@Tyler_Hewitt) and Del Borovic (@deltastic). Enjoying Canada By Night?- Consider becoming a Patron of Dumb-Dumbs & Dice for as little as $1 a month and gain access to a ton of extra BTS fun (https://www.patreon.com/dumbdumbdice)- Buy merch on our website (https://dumbdumbdice.com/)- Watch us on YouTube (https://youtube.com/@dumbdumbdice)- Follow us on Instagram (https://instagram.com/dumbdumbdice)- Follow us on Facebook (https://facebook.com/dumbdumbdice) Artwork by the brilliant Del Borovic- Website & Portfolio (https://delborovic.com/)- X/Twitter (https://twitter.com/deltastic)
In her first match of the Brawl, Val tried in vain to end it without killing her opponent, but ultimately she took a life for the first time. As she was escorted back to her cage, her combat training kicked in, she wrestled a gun from a guard, and began methodically shooting down the enemies around her. John finally broke out of his cage with Val's help, but before he could free the others, the fight announcer seized Jack and cut off his arm. Only then did they see his monstrous features and two large fangs. How can they possibly escape this demon? Featuring our Storyteller Ryan LaPlante (@theryanlaplante) alongside Tyler Hewitt (@Tyler_Hewitt), Del Borovic (@deltastic) and Guy Bradford (@GuyBradford).Enjoying Canada By Night?- Consider becoming a Patron of Dumb-Dumbs & Dice for as little as $1 a month and gain access to a ton of extra BTS fun (https://www.patreon.com/dumbdumbdice)- Buy merch on our website (https://dumbdumbdice.com/)- Watch us on YouTube (https://youtube.com/@dumbdumbdice)- Follow us on Instagram (https://instagram.com/dumbdumbdice)- Follow us on Facebook (https://facebook.com/dumbdumbdice)Artwork by the brilliant Del Borovic- Website & Portfolio (https://delborovic.com/)- X/Twitter (https://twitter.com/deltastic)
Val and her friends arrived at the brawl and were led to an arena in the woods, but something felt very wrong when they were locked in cages until their fights were called, and as they watched the first fight, they immediately realized that the Brawl For It All was a fight to the death. Robin bargained with the organizer to fight Jack's fights as a well as his own, and Val was called to face her first opponent. Not wanting to take a life, she tried to fake it, but the announcer called her out and declared she had no choice but to finish it. Will Val choose to cross this line, or will she find another way out? Featuring our Storyteller Ryan LaPlante (@theryanlaplante) alongside Tyler Hewitt (@Tyler_Hewitt), Del Borovic (@deltastic) and Guy Bradford (@GuyBradford). Enjoying Canada By Night?- Consider becoming a Patron of Dumb-Dumbs & Dice for as little as $1 a month and gain access to a ton of extra BTS fun (https://www.patreon.com/dumbdumbdice)- Buy merch on our website (https://dumbdumbdice.com/)- Watch us on YouTube (https://youtube.com/@dumbdumbdice)- Follow us on Instagram (https://instagram.com/dumbdumbdice)- Follow us on Facebook (https://facebook.com/dumbdumbdice) Artwork by the brilliant Del Borovic- Website & Portfolio (https://delborovic.com/)- X/Twitter (https://twitter.com/deltastic)
With Rufus Cross away for the next year, Val and her friends managed without him until the gym's safe was robbed and their entire safety net was erased. With no record of any insurance, and law enforcement unable to offer any real assistance, they had to replenish their money and quickly. Jack reminded them about the brawl that Cross had forbidden them from even mentioning, and when they discovered there was a $100,000 prize to be won, they ultimately decided it was their best chance at saving the gym. Has their physical and mental conditioning prepared them for the fight ahead? Featuring our Storyteller Ryan LaPlante (@theryanlaplante) alongside Tyler Hewitt (@Tyler_Hewitt), Del Borovic (@deltastic) and Guy Bradford (@GuyBradford). Enjoying Canada By Night?- Consider becoming a Patron of Dumb-Dumbs & Dice for as little as $1 a month and gain access to a ton of extra BTS fun (https://www.patreon.com/dumbdumbdice)- Buy merch on our website (https://dumbdumbdice.com/)- Watch us on YouTube (https://youtube.com/@dumbdumbdice)- Follow us on Instagram (https://instagram.com/dumbdumbdice)- Follow us on Facebook (https://facebook.com/dumbdumbdice) Artwork by the brilliant Del Borovic- Website & Portfolio (https://delborovic.com/)- X/Twitter (https://twitter.com/deltastic)
Continuing our exploration of Val's past, under Rufus Cross's guidance, she got into wrestling as a heel called “The Demon” and found she enjoyed fighting without her life on the line. She grew closer to her gym friends as Robin trained for stuntwork and John got bigger without taking steroids, and life became more stable until Cross informed them that his government job would take him away from them for the next year. How will Val and her friends manage without the guiding hand of Rufus Cross? Featuring our Storyteller Ryan LaPlante (@theryanlaplante) alongside Tyler Hewitt (@Tyler_Hewitt), Del Borovic (@deltastic) and Guy Bradford (@GuyBradford). Enjoying Canada By Night?- Consider becoming a Patron of Dumb-Dumbs & Dice for as little as $1 a month and gain access to a ton of extra BTS fun (https://www.patreon.com/dumbdumbdice)- Buy merch on our website (https://dumbdumbdice.com/)- Watch us on YouTube (https://youtube.com/@dumbdumbdice)- Follow us on Instagram (https://instagram.com/dumbdumbdice)- Follow us on Facebook (https://facebook.com/dumbdumbdice) Artwork by the brilliant Del Borovic- Website & Portfolio (https://delborovic.com/)- X/Twitter (https://twitter.com/deltastic)
Over the next two years, Valerie learned how to box and, although she lost all of her fights, she steadily improved. She also began to connect with her training partners, Robin, John, and Jack, but when she grew afraid that it was all getting too good to be true, Cross had a heart-to-heart with her. He encouraged her to commit to her friendships and Valerie received some assurance that if she wasn't looking for demons, she'd be alright. But as Valerie gets stronger and trains harder, will the demons find her? Featuring our Storyteller Ryan LaPlante (@theryanlaplante) alongside Tyler Hewitt (@Tyler_Hewitt), Del Borovic (@deltastic) and Guy Bradford (@GuyBradford). Enjoying Canada By Night?- Consider becoming a Patron of Dumb-Dumbs & Dice for as little as $1 a month and gain access to a ton of extra BTS fun (https://www.patreon.com/dumbdumbdice)- Buy merch on our website (https://dumbdumbdice.com/)- Watch us on YouTube (https://youtube.com/@dumbdumbdice)- Follow us on Instagram (https://instagram.com/dumbdumbdice)- Follow us on Facebook (https://facebook.com/dumbdumbdice) Artwork by the brilliant Del Borovic- Website & Portfolio (https://delborovic.com/)- X/Twitter (https://twitter.com/deltastic)
Five years after leaving her father in a trap, Valerie Miller made her way north and eventually landed in Calgary, desperately hungry and alone in a brutally cold winter. Rufus Cross found her fighting on the street, gave her a meal, and invited her to his gym to box. Valerie nearly didn't survive the journey there, but she was rescued by two gym rats, and when she saw a pendant of St. Raphael around Cross's neck, she decided to join them. How will Valerie adapt to a way of life where fighting now has rules? Featuring our Storyteller Ryan LaPlante (@theryanlaplante) alongside Tyler Hewitt (@Tyler_Hewitt), Del Borovic (@deltastic) and Guy Bradford (@GuyBradford). Enjoying Canada By Night?- Consider becoming a Patron of Dumb-Dumbs & Dice for as little as $1 a month and gain access to a ton of extra BTS fun (https://www.patreon.com/dumbdumbdice)- Buy merch on our website (https://dumbdumbdice.com/)- Watch us on YouTube (https://youtube.com/@dumbdumbdice)- Follow us on Instagram (https://instagram.com/dumbdumbdice)- Follow us on Facebook (https://facebook.com/dumbdumbdice) Artwork by the brilliant Del Borovic- Website & Portfolio (https://delborovic.com/)- X/Twitter (https://twitter.com/deltastic)
Valerie Miller survived her first night of being hunted by her father. She fled into town and begged for sanctuary at her grandparents' house, only to be rejected and driven back. But that night was just the first of the new normal, and with no one to rely on, Valerie realized she would have to dedicate her time to learning more about the world outside her home and she prepared for her escape. Eventually she lured her father into a trap and set out on her own. Featuring our Storyteller Ryan LaPlante (@theryanlaplante) alongside Tyler Hewitt (@Tyler_Hewitt), Del Borovic (@deltastic) and Guy Bradford (@GuyBradford). Enjoying Canada By Night?- Consider becoming a Patron of Dumb-Dumbs & Dice for as little as $1 a month and gain access to a ton of extra BTS fun (https://www.patreon.com/dumbdumbdice)- Buy merch on our website (https://dumbdumbdice.com/)- Watch us on YouTube (https://youtube.com/@dumbdumbdice)- Follow us on Instagram (https://instagram.com/dumbdumbdice)- Follow us on Facebook (https://facebook.com/dumbdumbdice) Artwork by the brilliant Del Borovic- Website & Portfolio (https://delborovic.com/)- X/Twitter (https://twitter.com/deltastic)
As Valerie Miller approached her teenage years, the theoretical dangers became terrifyingly real. After a pivotal argument with her grandparents, her father returned from a mission with the mutilated bodies of Rick and Maria, revealing that they hadn't been fast or strong enough. Valerie's training became even more rigorous, until her 13th birthday, when Tom told her that in order to prepare her for the real threats, he would now hunt her at night. How will Valerie survive until sunrise? Featuring our Storyteller Ryan LaPlante (@theryanlaplante) alongside Tyler Hewitt (@Tyler_Hewitt), Del Borovic (@deltastic) and Laura Hamstra (@lauraehamstra). Enjoying Canada By Night?- Consider becoming a Patron of Dumb-Dumbs & Dice for as little as $1 a month and gain access to a ton of extra BTS fun (https://www.patreon.com/dumbdumbdice)- Buy merch on our website (https://dumbdumbdice.com/)- Watch us on YouTube (https://youtube.com/@dumbdumbdice)- Follow us on Instagram (https://instagram.com/dumbdumbdice)- Follow us on Facebook (https://facebook.com/dumbdumbdice) Artwork by the brilliant Del Borovic- Website & Portfolio (https://delborovic.com/)- X/Twitter (https://twitter.com/deltastic)
Young Valerie Miller continued learning to fight and survive under the tutelage of her father and his friends, adding in firearm training with Maria. At 10 years old, she began to comprehend the dangers in the world as the adults shared some of their more somber memories and her father reinforced the grave importance of teaching her to defend herself. Valerie tried to assure him that she wouldn't let him get hurt, but what match is a child against the demons in the dark? Featuring our Storyteller Ryan LaPlante (@theryanlaplante) alongside Tyler Hewitt (@Tyler_Hewitt), Del Borovic (@deltastic) and Laura Hamstra (@lauraehamstra). Enjoying Canada By Night?- Consider becoming a Patron of Dumb-Dumbs & Dice for as little as $1 a month and gain access to a ton of extra BTS fun (https://www.patreon.com/dumbdumbdice)- Buy merch on our website (https://dumbdumbdice.com/)- Watch us on YouTube (https://youtube.com/@dumbdumbdice)- Follow us on Instagram (https://instagram.com/dumbdumbdice)- Follow us on Facebook (https://facebook.com/dumbdumbdice) Artwork by the brilliant Del Borovic- Website & Portfolio (https://delborovic.com/)- X/Twitter (https://twitter.com/deltastic)
In the 1960s, 8-year-old Valerie Miller was pulled out of school and brought to live with her father, Tom Miller, an anti-government ex-soldier and survivalist who lived off the grid. Wanting Valerie to be able to fend for herself, he began teaching her survival skills and brought in his friend, Rick, to instruct her in hand-to-hand combat. What new skills and alternative philosophies will Valerie learn as she turns 9 years old? Featuring our Storyteller Ryan LaPlante (@theryanlaplante) alongside Tyler Hewitt (@Tyler_Hewitt), Del Borovic (@deltastic) and Laura Hamstra (@lauraehamstra). Enjoying Canada By Night?- Consider becoming a Patron of Dumb-Dumbs & Dice for as little as $1 a month and gain access to a ton of extra BTS fun (https://www.patreon.com/dumbdumbdice)- Buy merch on our website (https://dumbdumbdice.com/)- Watch us on YouTube (https://youtube.com/@dumbdumbdice)- Follow us on Instagram (https://instagram.com/dumbdumbdice)- Follow us on Facebook (https://facebook.com/dumbdumbdice) Artwork by the brilliant Del Borovic- Website & Portfolio (https://delborovic.com/)- X/Twitter (https://twitter.com/deltastic)
After the violent events that facilitated a change of regime, the town of New Haven is hopefully on its way to a more equitable future for its citizens. The coterie's success, however, came at a heavy cost for some, and leads us to wonder how one such as Val Miller come to be so resilient. Find out now as we delve into Val's unconventional childhood and return to the World of Darkness. Featuring our Storyteller Ryan LaPlante (@theryanlaplante) alongside Tyler Hewitt (@Tyler_Hewitt), Del Borovic (@deltastic) and Laura Hamstra (@lauraehamstra). Enjoying Canada By Night?- Consider becoming a Patron of Dumb-Dumbs & Dice for as little as $1 a month and gain access to a ton of extra BTS fun (https://www.patreon.com/dumbdumbdice)- Buy merch on our website (https://dumbdumbdice.com/)- Watch us on YouTube (https://youtube.com/@dumbdumbdice)- Follow us on Instagram (https://instagram.com/dumbdumbdice)- Follow us on Facebook (https://facebook.com/dumbdumbdice) Artwork by the brilliant Del Borovic- Website & Portfolio (https://delborovic.com/)- X/Twitter (https://twitter.com/deltastic)
Canada by Night Season 4 will be kicking off on December 17. In the meantime, we hope you enjoy this 4-part one-shot, “The Case of the Alberta Mansquito”, set in the world of the Vampire the Masquerade podcast series, Canada by Night. In this out-of-canon adventure, Val, Everett and Barty are summoned to help solve a mystery outside of New Haven when the mysterious "Alberta Man-squito" calls upon them to save two "sexy teens." What will happen when the sheriff's department has to join forces with Rod Toadman and his put-upon companion Mia Evans? (Episode 2 of 4) This arc was produced by Jason Obrock and Lora Shanks and features Storyteller Ryan LaPlante (@theryanlaplante), and players Tyler Hewitt (@Tyler_Hewitt), Del Borovic (@deltastic), Jason Obrock, and Lora Shanks. Enjoying One Shots?- Consider becoming a Patron of Dumb-Dumbs & Dice for as little as $1 a month and gain access to a ton of extra BTS fun (https://www.patreon.com/dumbdumbdice)- Buy merch on our website (https://dumbdumbdice.com/)- Watch us on YouTube (https://youtube.com/@dumbdumbdice)- Follow us on Instagram (https://instagram.com/dumbdumbdice)- Follow us on Facebook (https://facebook.com/dumbdumbdice) The One Shots logo was created by the brilliant Decapitated Markers- Twitter (https://twitter.com/DecapitatedMrkr)
Canada by Night Season 4 will be kicking off on December 17. In the meantime, we hope you enjoy this 4-part one-shot, “The Case of the Alberta Mansquito”, set in the world of the Vampire the Masquerade podcast series, Canada by Night. In this out-of-canon adventure, Val, Everett and Barty are summoned to help solve a mystery outside of New Haven when the mysterious "Alberta Man-squito" calls upon them to save two "sexy teens." What will happen when the sheriff's department has to join forces with Rod Toadman and his put-upon companion Mia Evans? (Episode 2 of 4) This arc was produced by Jason Obrock and Lora Shanks and features Storyteller Ryan LaPlante (@theryanlaplante), and players Tyler Hewitt (@Tyler_Hewitt), Del Borovic (@deltastic), Jason Obrock, and Lora Shanks. Enjoying One Shots?- Consider becoming a Patron of Dumb-Dumbs & Dice for as little as $1 a month and gain access to a ton of extra BTS fun (https://www.patreon.com/dumbdumbdice)- Buy merch on our website (https://dumbdumbdice.com/)- Watch us on YouTube (https://youtube.com/@dumbdumbdice)- Follow us on Instagram (https://instagram.com/dumbdumbdice)- Follow us on Facebook (https://facebook.com/dumbdumbdice) The One Shots logo was created by the brilliant Decapitated Markers- Twitter (https://twitter.com/DecapitatedMrkr)
Canada by Night Season 4 will be kicking off on December 17. In the meantime, we hope you enjoy this 4-part one-shot, “The Case of the Alberta Mansquito”, set in the world of the Vampire the Masquerade podcast series, Canada by Night. In this out-of-canon adventure, Val, Everett and Barty are summoned to help solve a mystery outside of New Haven when the mysterious "Alberta Man-squito" calls upon them to save two "sexy teens." What will happen when the sheriff's department has to join forces with Rod Toadman and his put-upon companion Mia Evans? (Episode 2 of 4) This arc was produced by Jason Obrock and Lora Shanks and features Storyteller Ryan LaPlante (@theryanlaplante), and players Tyler Hewitt (@Tyler_Hewitt), Del Borovic (@deltastic), Jason Obrock, and Lora Shanks. Enjoying One Shots?- Consider becoming a Patron of Dumb-Dumbs & Dice for as little as $1 a month and gain access to a ton of extra BTS fun (https://www.patreon.com/dumbdumbdice)- Buy merch on our website (https://dumbdumbdice.com/)- Watch us on YouTube (https://youtube.com/@dumbdumbdice)- Follow us on Instagram (https://instagram.com/dumbdumbdice)- Follow us on Facebook (https://facebook.com/dumbdumbdice) The One Shots logo was created by the brilliant Decapitated Markers- Twitter (https://twitter.com/DecapitatedMrkr)
Canada by Night Season 4 will be kicking off on December 17. In the meantime, we hope you enjoy this 4-part one-shot, “The Case of the Alberta Mansquito”, set in the world of the Vampire the Masquerade podcast series, Canada by Night. In this out-of-canon adventure, Val, Everett and Barty are summoned to help solve a mystery outside of New Haven when the mysterious "Alberta Man-squito" calls upon them to save two "sexy teens." What will happen when the sheriff's department has to join forces with Rod Toadman and his put-upon companion Mia Evans? (Episode 1 of 4) This arc was produced by Jason Obrock and Lora Shanks and features Storyteller Ryan LaPlante (@theryanlaplante), and players Tyler Hewitt (@Tyler_Hewitt), Del Borovic (@deltastic), Jason Obrock, and Lora Shanks. Enjoying One Shots?- Consider becoming a Patron of Dumb-Dumbs & Dice for as little as $1 a month and gain access to a ton of extra BTS fun (https://www.patreon.com/dumbdumbdice)- Buy merch on our website (https://dumbdumbdice.com/)- Watch us on YouTube (https://youtube.com/@dumbdumbdice)- Follow us on Instagram (https://instagram.com/dumbdumbdice)- Follow us on Facebook (https://facebook.com/dumbdumbdice) The One Shots logo was created by the brilliant Decapitated Markers- Twitter (https://twitter.com/DecapitatedMrkr)
After the parade arrived at the Val Miller Family Protection Building, the coterie and the prince's team entered the prepared interview room, which already hosted three Tzimisce bodyguards. The prince began his public address, and as a bodyguard passed the false shaft to Toastarosa, Everett gave the code word. In the ensuing chaos, Evangeline dove to retrieve her gun, and Val tore a zulo in half and hurled it, taking out another Tzimisce. But the coterie face down a magazine of silver bullets trained on them? Featuring our Storyteller Ryan LaPlante (@theryanlaplante) alongside Everett (@Tyler_Hewitt), Val (@deltastic) and Evangeline (@lauraehamstra). Enjoying Canada By Night?- Consider becoming a Patron of Dumb-Dumbs & Dice for as little as $1 a month and gain access to a ton of extra BTS fun (https://www.patreon.com/dumbdumbdice)- Buy merch on our website (https://dumbdumbdice.com/)- Watch us on YouTube (https://youtube.com/@dumbdumbdice)- Follow us on Instagram (https://instagram.com/dumbdumbdice)- Follow us on Facebook (https://facebook.com/dumbdumbdice) Artwork by the brilliant Del Borovic- Website & Portfolio (https://delborovic.com/)- X/Twitter (https://twitter.com/deltastic)
The coterie emerged from the shock of an explosion of confetti to join the start of the parade. They took to their individual floats, Val forced to sit atop a poor facsimile of Cherry, Evangeline seated in the saddle of a large Dalmatian, and Everett dressed in a ridiculous outfit poised to sing. The sheriff sang his selection of songs to a mixed reception from the crowd, but will the enthusiasm of his Chappell Roan duet with Toasta Rosa be enough to quell any lingering suspicions from the prince? Featuring our Storyteller Ryan LaPlante (@theryanlaplante) alongside Everett (@Tyler_Hewitt), Val (@deltastic) and Evangeline (@lauraehamstra). Enjoying Canada By Night?- Consider becoming a Patron of Dumb-Dumbs & Dice for as little as $1 a month and gain access to a ton of extra BTS fun (https://www.patreon.com/dumbdumbdice)- Buy merch on our website (https://dumbdumbdice.com/)- Watch us on YouTube (https://youtube.com/@dumbdumbdice)- Follow us on Instagram (https://instagram.com/dumbdumbdice)- Follow us on Facebook (https://facebook.com/dumbdumbdice) Artwork by the brilliant Del Borovic- Website & Portfolio (https://delborovic.com/)- X/Twitter (https://twitter.com/deltastic)
The coterie used what little time they had left to put the final pieces in place for the prince's arrival. Everett called the prince, convinced him that Doris had turned into a wight and was subsequently put down, and chose which songs he would sing from his float, Val received a slightly ominous message from the sheriff saying they would discuss how to deal with the beast later, and Evangeline sent Percy out of harm's way. But will any of them survive the explosion to see their plan enacted? Featuring our Storyteller Ryan LaPlante (@theryanlaplante) alongside Everett (@Tyler_Hewitt), Val (@deltastic) and Evangeline (@lauraehamstra). Enjoying Canada By Night?- Consider becoming a Patron of Dumb-Dumbs & Dice for as little as $1 a month and gain access to a ton of extra BTS fun (https://www.patreon.com/dumbdumbdice)- Buy merch on our website (https://dumbdumbdice.com/)- Watch us on YouTube (https://youtube.com/@dumbdumbdice)- Follow us on Instagram (https://instagram.com/dumbdumbdice)- Follow us on Facebook (https://facebook.com/dumbdumbdice) Artwork by the brilliant Del Borovic- Website & Portfolio (https://delborovic.com/)- X/Twitter (https://twitter.com/deltastic)
The coterie found themselves facing the logistical challenges of deposing a prince. Matthew Theobald took over relocating the families of the daytime officers, Val took Evangeline's suggestion of using the hospital holding cells to protect Will, and Everett and Evangeline accepted the expertise of Veron Ferron to arrange safe spaces from the silver nitrate. Nosferatu tech expert, Unity Castille, arrived on the scene, but even with many capable minds working together, will they pull off their grand deception? Featuring our Storyteller Ryan LaPlante (@theryanlaplante) alongside Everett (@Tyler_Hewitt), Val (@deltastic) and Evangeline (@lauraehamstra). Enjoying Canada By Night?- Consider becoming a Patron of Dumb-Dumbs & Dice for as little as $1 a month and gain access to a ton of extra BTS fun (https://www.patreon.com/dumbdumbdice)- Buy merch on our website (https://dumbdumbdice.com/)- Watch us on YouTube (https://youtube.com/@dumbdumbdice)- Follow us on Instagram (https://instagram.com/dumbdumbdice)- Follow us on Facebook (https://facebook.com/dumbdumbdice) Artwork by the brilliant Del Borovic- Website & Portfolio (https://delborovic.com/)- X/Twitter (https://twitter.com/deltastic)
The 3 ways of responding to the biological imperative of reproduction; Abdication, Animalism, Civilizational. What the creator of the twenty year-old, influential HBO television show S*x and the City said about having children. Is the Hebrew Bible a practical political and sociological manual or a theological text? Your son might be your most valuable investment. (What about your daughter? Covered in the bonus podcast for Happy Warriors) By what age is your son's character, set of values, and spiritual matrix formed? Who is really raising your son and implanting that spiritual matrix? You and your spouse? The GIC your son attends? The entertainment he consumes? Or you? Join our Happy Warrior community https://www.wehappywarriors.com/ The ten most destructive ideas that the state, its agents, and the culture are implanting in your son's brain and how to counter them. Learn more about your ad choices. Visit megaphone.fm/adchoices
The 3 ways of responding to the biological imperative of reproduction; Abdication, Animalism, Civilizational. What the creator of the twenty year-old, influential HBO television show S*x and the City said about having children. Is the Hebrew Bible a practical political and sociological manual or a theological text? Your son might be your most valuable investment. (What about your daughter? Covered in the bonus podcast for Happy Warriors). By what age is your son's character, set of values, and spiritual matrix formed? Who is really raising your son and implanting that spiritual matrix? You and your spouse? The GIC your son attends? The entertainment he consumes? Or you? Join our Happy Warrior community at https://www.wehappywarriors.com/. The ten most destructive ideas that the state, its agents, and the culture are implanting in your son's brain and how to counter them.
Picture this: a serene waterfall cascading over rocks, a herd of buffalo roaming freely, and the profound beauty settling in the simple acts of giving without expectation. That's where Harmony begins our journey in this conversation, using these powerful symbols to set the stage for a deep exploration of connection, identity, and reciprocity. Join our online community here to discuss this episode with us and so much more!Harmony Cronin, our animalistic friend, shares her profound insights on death, gifts, and the metamorphosis of life reincarnate that bestows upon us Earth's gift of animacy.We explore how the internet can bridge geographical gaps while also destroying the very essence of life. We navigate the knots of virtual communication, the discomfort of seeing oneself on screen, and the surprisingly beautiful connections forged through something as simple as a cold email.As we venture further, we tackle the intricate dance of personal identity in the digital age. The anxiety of condensing multifaceted lives into bios, the disconnection it reveals, and the ancient wisdom that we've strayed from. We confront the societal expectations that force us into boxes, contrasting them with more holistic, kincentric views of identity. We also discuss how courses like Sacred Ecoliteracy can help us break free from these constraints and reconnect with our surroundings in a meaningful way.Our conversation takes a profound turn as we reconnect with animals and nature, emphasizing respect, humility, and the deep-seated animism within us. We contemplate our perpetual indebtedness (a gift of debt) to the natural world, the philosophical recognition of animism. The episode wraps up with reflections on simplicity, ancestral wisdom, and cultivating a responsible, appreciative way of living in harmony with all life. From the Buffalo Bridge project and cross-cultural connections to the importance of recreating ceremonies and honoring lost cultural legacies, this episode is a heartfelt invitation to embrace interconnectedness in every aspect of our lives.Key takeaways:The concept of animism challenges the dominant worldview that separates humans from the rest of the natural world.Embracing animism can be a transformative experience that deepens our connection to earth: we are in and of her circle. The death process is metamorphosis. Reconciling with the death that feeds us is essential for the true integration of life.Acknowledging and caring for all beings, including animals and plants, is crucial for a sustainable and inclusive way of living.Dismantling colonial mindsets is crucial for developing a more holistic and reciprocal relationship with the natural world.Participating in sacred and ceremonial practices and living in alignment with one's purpose brings a sense of wholeness and wellness.Harmony Cronin is an Animistic Apocalyptic Viking Warrior princess dedicated to keeping Ancestral Traditions alive. Shes a bit of an Elven Madmax biker butcher mystic and a believer in the Church of Roadkill. She's an industrial age Magpie inspired Scavenger, a huntress who believes in taking care of the animals first and foremost, a recovering urban activist, and aspires to be a Mountain Peasant. She is a founding member of the Buffalo Bridge Project, hosts a Women's Hunting Camp, and now runs a small folk school in Western Washington called Gathering Ways. She writes on Substack at The Raven's Cottage.Buy my latest book, Stagtine, HERE.
She'll Return it is an obscure, minor league number from the Animals catalogue, a B-Side to their Ma Rainy cover of See See Rider. I first heard it on the album Animalization, which, along with Animalism are my two favorite collections by that band. It's just a simple, 12 bar, blues progression, with basic lyrics insistently repeating one central phrase - “Love her -, she'll return it.” Over the years that mantra has burrowed deep within me, engraving itself into my consciousness as a prescription for all relationships - friends, lovers, children, students, even chance encounters. It's a clarion call for kindness and empathy: (What the world needs now is love, sweet love; Cast your bread upon the waters; what goes around comes around) - delivered with funky syncopation, and good humor, never failing to bring me around when I'm sinking in the quicksands of alienation.Eric Burdon is one of the all time great rhythm and blues therapists of any color or nationality. Take a seaton his rock n roll couch and get some perspective.
In this episode of Shelf Life, Kevin and Rachel infiltrate the four leggeds to find out about the means of production with George Orwell's Animal Farm. A novel where Orwell uses pigs to point out the flaws of the USSR. During the show your hosts discuss pigs using tools, apathetic donkeys, converting to Animalism, and come up with a handful of merchandise. Listen and enjoy to find out if Animal Farm has shelf life.0:00:00 - Start of podcast0:10:41 - Animal Farm backstory0:25:41 - Animal Farm walkthrough0:47:50 - The revolution1:46:44 - Napoleon's coup3:08:04 - Shelf Life VerdictBe sure to subscribe to the show, check out the website, and be sure to spread the word of the podcast. And if this is your first episode, check out the rest of the catalog, there may be something in it you'll like. https://shelflifepodcast.wixsite.com/shelflifeAnd follow us on our social media pages, we'll announce volume and episode drops and maybe other stuff: Shelf Life (@shelf_life_pod) on Threads, Shelf Life (@shelf_life_pod) • Instagram photos and videosYou can stream or purchase today's episode subject by looking here for availability: animal farm - Google ShoppingHave a story about the episodes or something to say, contact the podcast at shelflifethepodcast@gmail.comThe opinion, beliefs, and viewpoints expressed by the characters portrayed by those on the podcast are tongue and cheek meant for entertainment purposes only and very sarcastic. The impressions done on the show are out of love and done poorly. Any clips or music used within the show is used for review effect and is property of the owners. The viewpoints do not represent those of the hosts, people, institutions, and organizations who the creators may or may not be associated with in professional or personal capacity.
Animal Farm by George Orwell chapter 5, narrated by Isaac BirchallSupport the showhttps://podcasters.spotify.com/pod/show/the-essential-reads/subscribeMollie becomes more of a problem for the Animals on the farm: she is constantly late for work, she accepts pats and treats from the neighbouring Farmers, and behaves in away that is completely opposite from the commandments of Animalism. After a while, she disappears, and is rumoured to be working for a man in the village, pulling his carriage. She is never mentioned again.During the cold Winter months, the Animals meet in the big barn where they are greeted by another fierce debate between Snowball and Napoleon. Snowball presents the idea of building a windmill which could be used to generate electricity for the farm, allowing the animals to have heaters and lights in their stalls. Napoleon is completely opposed to this, he believes that, the windmill will take too much time, and that the animals are better off attending to their current needs and not their future ones. Snowball eventually finishes his plans for the Windmill and decides to gather all of the Animals in the Big Barn to try and convince them further that it will be beneficial to them to build one for the Farm. Snowball gives a very passionate speech and all of the animals seem to be convinced to build it, Napoleon however, at the last minute, makes a high-pitched whine and suddenly, nine huge dogs make their way into the barn and immediately give chase after Snowball. Snowball only just makes it away, but he is never seen again. After this chase, Napoleon takes to the stage and announces that the weekly meetings will come to an end, and that all decisions on the farm would be made by the pigs...Support the showhttps://podcasters.spotify.com/pod/show/the-essential-reads/subscribeGet SurfShark and protect yourself online todayVPN: https://get.surfshark.net/aff_c?offer_id=926&aff_id=20389Antivirus: https://get.surfshark.net/aff_c?offer_id=934&aff_id=20389Get data brokers to stop selling your information with:Incogni: https://get.incogni.io/aff_c?offer_id=1219&aff_id=20389Support the showThank you so much for listening, if you want to support the me go to any of these links :)*Social*SHOPIFY: https://the-essential-reads.myshopify.com/INSTAGRAM: https://www.instagram.com/theessentialreadsTWITTER: http://twitter.com/isaacbirchall98Ko-Fi: https://ko-fi.com/theessentialreads
Chapter 1: Where does Animal Farm take place Animal Farm takes place on a fictional farm in England called Manor Farm. The story is set sometime during the early 20th century, after the Russian Revolution and during a period of great social and political change. The background of Animal Farm is heavily influenced by the events of the Russian Revolution and the rise of Soviet communism. The novel allegorically portrays the revolution and the subsequent establishment of a communist regime in Russia. Each character in Animal Farm represents a figure from this historical period. For example, the oppressive farmer Mr. Jones represents Tsar Nicholas II, while the pig leaders Napoleon and Snowball represent Joseph Stalin and Leon Trotsky respectively. The animals on Manor Farm, led by the pigs, overthrow their human oppressors and establish a system of animal equality known as "Animalism." However, over time, the pigs begin to abuse their power and become indistinguishable from the humans they once fought against. This satirical portrayal of the Soviet regime highlights themes of corruption, totalitarianism, and the betrayal of the original ideals of the revolution. Chapter 2: The meaning of Animal Farm The book critiques the corrupting influence of power and explores themes such as totalitarianism, class struggle, and manipulation. At its core, "Animal Farm" explores the idea of rebellion against oppressive regimes. The animals on Manor Farm overthrow their human farmer in an attempt to establish a society where all animals are equal and free from human exploitation. The farm represents a microcosm of a larger society, reflecting the dynamics of power, politics, and social hierarchy. Initially, the animals' revolution seems successful as they create a new system called Animalism and adopt the Seven Commandments, which promote equality and collective decision-making. However, over time, the pigs—led by Napoleon—gradually consolidate power and manipulate the other animals. They twist the principles of Animalism to their advantage, eventually becoming indistinguishable from the humans they originally rebelled against. Through the story, Orwell highlights the dangers of political corruption and the way power can corrupt even the noblest of intentions. He suggests that revolutions often end up replacing one form of tyranny with another, as those who seek power become consumed by it. The characters in "Animal Farm" serve as representations of historical figures and societal archetypes, allowing readers to draw parallels between the events of the story and real-world political systems. Ultimately, "Animal Farm" serves as a cautionary tale about the potential pitfalls of revolution and the importance of remaining vigilant against the abuse of power. It reminds us that even in the pursuit of freedom and equality, we must be aware of our leaders' actions and hold them accountable to prevent the erosion of the very values we strive to protect. Chapter 3:How many chapters in Animal Farm Each chapter unfolds the story of a group of farm animals who overthrow their human farmer, Mr. Jones, and establish their own animal-run society. Initially, they aim for equality and fair treatment but gradually experience corruption and power struggles. The chapters showcase the animals' struggles, the rise of the pigs to leadership, the manipulation of language and propaganda, and the eventual transformation of the revolution into a totalitarian regime. Through its allegorical narrative, Animal Farm explores themes of power, oppression, revolution, and...
Animal Farm by George Orwell Chapter 2, narrated by Isaac BirchallSupport the showhttps://podcasters.spotify.com/pod/show/the-essential-reads/subscribethree nights following his speech, Old Major passes away in his sleep, and for 3 months the Animals of the farm meet in secret, plotting the day that they can finally drive Mr Jones away. The teachings of the animals falls onto the pigs are they are the brightest creatures on the farm. Of the pigs, 2 leaders immerge, a White pig called Snowball, and a darker, brutish pig called Napoleon. Together with a small pig called squealer, these three create the idea of "Animalism," The fundamentals of which they share across the farm.At first, the other animals on the farm find the idea of "Animalism" hard to follow, but soon enough, the pigs are able to get everyone on board. Mollie was the only animal who protested some of the ideas.One day, a lot sooner than expected, Mr. Jones stumbled into town to drink away his troubles, and left his workers to take care of the Animals in his stead. Jones' workers were lazy though and clocked off early, forgetting to feed any of the animals. Unable to bare it any longer, the cows break into the store shed, and begin to get their fill. The other animals soon join them. Mr Jones, on his return, find the animals gorging themselves, and decides to take out his anger on the animals. The animals however, without speaking a word, attack the men back and drive them off of the farm, quickly hurrying back to destroy the whips, bits, chains, and whatever device had been used to oppress them.Get SurfShark and protect yourself online todayVPN: https://get.surfshark.net/aff_c?offer_id=926&aff_id=20389Antivirus: https://get.surfshark.net/aff_c?offer_id=934&aff_id=20389Get data brokers to stop selling your information with:Incogni: https://get.incogni.io/aff_c?offer_id=1219&aff_id=20389Support the showThank you so much for listening, if you want to support the me go to any of these links :)*Social*SHOPIFY: https://the-essential-reads.myshopify.com/INSTAGRAM: https://www.instagram.com/theessentialreadsTWITTER: http://twitter.com/isaacbirchall98Ko-Fi: https://ko-fi.com/theessentialreads
All men are enemies, all animals are comrades.'Animal Farm' by George Orwell is an allegorical satire criticising the USSR regime & Joseph Stalin. A group of talking animals led by the pigs revolt against the human farmers. They attempt to create a paradise called Animal Farm through their ideology of Animalism but this has disastrous consequences for the general animal society.I summarised the book as follows. "If I was a writer this would want to make me give up. It's so tight with it's words and it feel like every sentence has a purpose. If you study deeper this book can give you an education on 30 different things. Orwell was an observer of people, of systems and of truth. One of the only 'political' books I care about, can't rave enough about this!"I hope you have a fantastic day wherever you are in the world. Kyrin out!Timeline:(0:00) - Intro(0:30) - Synopsis(2:16) - Communism: Great in principle, terrible in practice(7:46) - Ideologies: The problem is the humans(15:38) - Observations/Takeaways(19:52) - SummaryConnect with Mere Mortals:Website: https://www.meremortalspodcast.com/Discord: https://discord.gg/jjfq9eGReUInstagram: https://www.instagram.com/meremortalspodcast/TikTok: https://www.tiktok.com/@meremortalspodcast
Rising Above Animalism. Lecture delivered by His Holiness on philosophy, principles, and practices of Krishna consciousness based on revealed Vedic scriptures as received in parampara.
This Episode: Shitty jokes saves lives - Moz sticks is not Moz - Everyone is gonna die in 3 weeks - Animalism sex - Noodle died - Dove chocolate only likes 3 women - Miller High Life FAIL YOUTUBE FREE SWAG BE HEARD
This Episode: Shitty jokes saves lives - Moz sticks is not Moz - Everyone is gonna die in 3 weeks - Animalism sex - Noodle died - Dove chocolate only likes 3 women - Miller High Life FAIL YOUTUBE FREE SWAG BE HEARD --- Send in a voice message: https://anchor.fm/deaconlivepodcast/message
Are human beings animals? Do we have immortal souls? Can we survive the death of our bodies? In this episode of the Parker's Pensées Podcast, I'm joined by Dr. Christopher Tomaszewski to discuss his dissertation, Mortal Persons and Their Immaterial Souls, wherein he argues for a corruptionist take on Aristotelian Animalism, i.e., we are a hylemorphic unity of form and matter, called the human animal, but our form, or soul, survives the death of the body, though 'we' do not, since 'we' are the unity of our soul and body. Find more from Christopher here: https://firstphilosophy.weebly.com/ If you like this podcast, then support it on Patreon for $3, $5 or more a month. Any amount helps, and for $5 you get a Parker's Pensées sticker and instant access to all the episode as I record them instead of waiting for their release date. Check it out here: Patreon: https://www.patreon.com/parkers_pensees If you want to give a one-time gift, you can give at my Paypal: https://paypal.me/ParkersPensees?locale.x=en_US Check out my merchandise at my Teespring store: https://teespring.com/stores/parkers-penses-merch Check out my blog posts: https://parkersettecase.com/ Check out my Parker's Pensées YouTube Channel: https://www.youtube.com/channel/UCYbTRurpFP5q4TpDD_P2JDA Check out my other YouTube channel on my frogs and turtles: https://www.youtube.com/c/ParkerSettecase Check me out on Twitter: https://twitter.com/trendsettercase Instagram: https://www.instagram.com/parkers_pensees/ Time Is Running by MusicLFiles Link: https://filmmusic.io/song/6203-time-is-running License: http://creativecommons.org/licenses/by/4.0/ --- Support this podcast: https://anchor.fm/parkers-pensees/support
Manfromleng, Nate 'Lost in Time and Space' Winslow' and Mattastrophic continue their review of the player cards in the Edge of the Earth Investigator Expansion with a look at the Neutral cards In the Thick of It, Heavy Furs, Sled Dog, Rod of Animalism (1) and Call for Backup (2).
NHL – National Hockey League Last Night Detroit Red Wings 3, Washington Capitals 2 – OT Toronto Maple Leafs 3, Chicago Blackhawks 2 – OT Red Wings 3, Capitals 2 – OT – Red Wings erase two-goal deficit, beat Capitals in overtime Robby Fabbri tied it early in the third period, captain Dylan Larkin scored in overtime and the Detroit Red Wings came back to beat the Washington Capitals 3-2. Larkin beat Vitek Vanecek 1:37 into OT. Adam Erne started the comeback with a goal in the second, and Thomas Greiss made 26 saves for the Red Wings. Alex Ovechkin scored his eighth goal of the season and Evgeny Kuznetsov his fifth to stake Washington to a 2-0 lead. Ovechkin's goal was the 738th of his career, putting him three back of Brett Hull for fourth on the NHL career list. Maple Leafs 3, Blackhawks 2 – OT – Maple Leafs snap losing streak in 3-2 OT win over Blackhawks William Nylander scored in overtime to lift the Toronto Maple Leafs over the Chicago Blackhawks 3-2 on Wednesday. The Leafs snapped a four-game losing streak with the victory, and extended the Blackhawks' record to 0-6-1 since the start of the season. John Tavares and David Kampf also scored for Toronto, and Jack Campbell stopped 25 shots. Chicago got 36 saves from Kevin Lankinen, and goals from Kirby Dach and Alex DeBrincat. NHL – 'Animalism': Blackhawks scandal raises culture questions The former player at the heart of the Chicago Blackhawks assault scandal has come forward publicly. Kyle Beach tells TSN he felt “alone and dark” in the days following the alleged assault in 2010. Earlier this week, a report detailed how senior team leaders badly mishandled Beach's allegations that an assistant coach sexually assaulted him. The ramifications now stretch beyond Chicago. Florida coach Joel Quenneville is slated to meet with NHL Commissioner Gary Bettman on Thursday. Winnipeg general manager Kevin Cheveldayoff also is planning to talk to the commissioner next week. Both were with the Blackhawks when the allegations were first reported to team leadership. NHL – Quenneville's meeting with Bettman may decide fate in Florida The Panthers are rolling this season but coach Joel Quenneville being named in a report detailing how the Chicago Blackhawks mishandled sexual assault allegations that an assistant on his staff sexually assaulted a player during the team's Stanley Cup run in 2010 could derail Florida's hopes. Quenneville was back on the ice with the Panthers on Wednesday. He's going to sit with NHL Commissioner Gary Bettman on Thursday, a meeting that'll probably determine his coaching future. The Panthers believe they have a Stanley Cup contender and say that continues to be their focus. MLB – Major League Baseball – 2021 World Series – Best of 7 Last Night Houston Astros 7, Atlanta Braves 2 (Series tied 1-1) Astros 7, Braves 2 – World Siri: Rookie propels Astros past Braves to tie Series Rookie Jose Siri sparked a team whose biggest stars took a while to shine, sending the Houston Astros to a 7-2 victory over the Atlanta Braves that evened the World Series at one game apiece. Jose Altuve doubled early, homered late and scored twice to break out at the plate. Siri's speed and aggressive play created havoc on the bases, leading to a four-run second inning that helped the Astros snap a five-game skid at home in the World Series. MLB – World Series opener viewers up 17.5% over last year's low Atlanta's 6-2 victory over Houston in World Series Game 1 drew an average of 10,811,000 viewers on Fox, up 17.5% from the record low of 9,195,000 for the Los Angeles Dodgers' opening 8-3 win over Tampa Bay last year. The Braves-Astros number was the second-lowest total to start a Series. Fox said Tuesday night's game averaged 11,077,000 viewers combined for Fox, Fox Deportes for Spanish-language coverage and Fox's streaming apps.
NHL – National Hockey League Last Night Detroit Red Wings 3, Washington Capitals 2 – OT Toronto Maple Leafs 3, Chicago Blackhawks 2 – OT Red Wings 3, Capitals 2 – OT – Red Wings erase two-goal deficit, beat Capitals in overtime Robby Fabbri tied it early in the third period, captain Dylan Larkin scored in overtime and the Detroit Red Wings came back to beat the Washington Capitals 3-2. Larkin beat Vitek Vanecek 1:37 into OT. Adam Erne started the comeback with a goal in the second, and Thomas Greiss made 26 saves for the Red Wings. Alex Ovechkin scored his eighth goal of the season and Evgeny Kuznetsov his fifth to stake Washington to a 2-0 lead. Ovechkin's goal was the 738th of his career, putting him three back of Brett Hull for fourth on the NHL career list. Maple Leafs 3, Blackhawks 2 – OT – Maple Leafs snap losing streak in 3-2 OT win over Blackhawks William Nylander scored in overtime to lift the Toronto Maple Leafs over the Chicago Blackhawks 3-2 on Wednesday. The Leafs snapped a four-game losing streak with the victory, and extended the Blackhawks' record to 0-6-1 since the start of the season. John Tavares and David Kampf also scored for Toronto, and Jack Campbell stopped 25 shots. Chicago got 36 saves from Kevin Lankinen, and goals from Kirby Dach and Alex DeBrincat. NHL – 'Animalism': Blackhawks scandal raises culture questions The former player at the heart of the Chicago Blackhawks assault scandal has come forward publicly. Kyle Beach tells TSN he felt “alone and dark” in the days following the alleged assault in 2010. Earlier this week, a report detailed how senior team leaders badly mishandled Beach's allegations that an assistant coach sexually assaulted him. The ramifications now stretch beyond Chicago. Florida coach Joel Quenneville is slated to meet with NHL Commissioner Gary Bettman on Thursday. Winnipeg general manager Kevin Cheveldayoff also is planning to talk to the commissioner next week. Both were with the Blackhawks when the allegations were first reported to team leadership. NHL – Quenneville's meeting with Bettman may decide fate in Florida The Panthers are rolling this season but coach Joel Quenneville being named in a report detailing how the Chicago Blackhawks mishandled sexual assault allegations that an assistant on his staff sexually assaulted a player during the team's Stanley Cup run in 2010 could derail Florida's hopes. Quenneville was back on the ice with the Panthers on Wednesday. He's going to sit with NHL Commissioner Gary Bettman on Thursday, a meeting that'll probably determine his coaching future. The Panthers believe they have a Stanley Cup contender and say that continues to be their focus. MLB – Major League Baseball – 2021 World Series – Best of 7 Last Night Houston Astros 7, Atlanta Braves 2 (Series tied 1-1) Astros 7, Braves 2 – World Siri: Rookie propels Astros past Braves to tie Series Rookie Jose Siri sparked a team whose biggest stars took a while to shine, sending the Houston Astros to a 7-2 victory over the Atlanta Braves that evened the World Series at one game apiece. Jose Altuve doubled early, homered late and scored twice to break out at the plate. Siri's speed and aggressive play created havoc on the bases, leading to a four-run second inning that helped the Astros snap a five-game skid at home in the World Series. MLB – World Series opener viewers up 17.5% over last year's low Atlanta's 6-2 victory over Houston in World Series Game 1 drew an average of 10,811,000 viewers on Fox, up 17.5% from the record low of 9,195,000 for the Los Angeles Dodgers' opening 8-3 win over Tampa Bay last year. The Braves-Astros number was the second-lowest total to start a Series. Fox said Tuesday night's game averaged 11,077,000 viewers combined for Fox, Fox Deportes for Spanish-language coverage and Fox's streaming apps.
In this episode of the Parker's Pensées Podcast, I'm joined by Dr. JT Turner to talk about his work on personal eschatology and his view of human personhood (animalism). It's another good one! If you like this podcast, then support it on Patreon for $1, $3, or $5 a month. Any amount helps, and for $5 you get a Parker's Pensées sticker and instant access to all the episode as I record them instead of waiting for their release date. Check it out here: Patreon: https://www.patreon.com/parkers_pensees If you want to give a one-time gift, you can give at my Paypal: https://paypal.me/ParkersPensees?locale.x=en_US Check out my merchandise at my Teespring store: https://teespring.com/stores/parkers-penses-merch Check out my blog posts: https://parkersettecase.com/ Check out my Parker's Pensées YouTube Channel: https://www.youtube.com/channel/UCYbTRurpFP5q4TpDD_P2JDA Check out my other YouTube channel on my frogs and turtles: https://www.youtube.com/c/ParkerSettecase Check me out on Twitter: https://twitter.com/trendsettercase Instagram: https://www.instagram.com/parkers_pensees/ Time Is Running by MusicLFiles Link: https://filmmusic.io/song/6203-time-is-running License: http://creativecommons.org/licenses/by/4.0/ --- Support this podcast: https://anchor.fm/parker-settecase/support
Episode one hundred and fifteen of A History of Rock Music in Five Hundred Songs looks at “House of the Rising Sun” by the Animals, at the way the US and UK music scenes were influencing each other in 1964, and at the fraught question of attribution when reworking older songs. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Memphis” by Johnny Rivers. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- Erratum A couple of times I mispronounce Hoagy Lands’ surname as Land. Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. Information on the Animals comes largely from Animal Tracks by Sean Egan. The two-CD set The Complete Animals isn’t actually their complete recordings — for that you’d also need to buy the Decca recordings — but it is everything they recorded with Mickie Most, including all the big hits discussed in this episode. For the information on Dylan’s first album, I used The Mayor of MacDougal Street by Dave Van Ronk and Elijah Wald, the fascinating and funny autobiography of Dylan’s mentor in his Greenwich Village period. I also referred to Chronicles Volume 1 by Bob Dylan, a partial, highly inaccurate, but thoroughly readable autobiography; Bob Dylan: All The Songs by Phillipe Margotin and Jean-Michel Guesdon; and Revolution in the Air, by Clinton Heylin. Transcript Today we’re going to look at a song that, more than any other song we’ve looked at so far, shows how the influence between British and American music was working in the early 1960s. A song about New Orleans that may have its roots in English folk music, that became an Appalachian country song, performed by a blues band from the North of England, who learned it from a Minnesotan folk singer based in New York. We’re going to look at “House of the Rising Sun”, and the career of the Animals: [Excerpt: The Animals, “House of the Rising Sun”] The story of the Animals, like so many of the British bands of this time period, starts at art school, when two teenagers named Eric Burdon and John Steel met each other. The school they met each other at was in Newcastle, and this is important for how the band came together. If you’re not familiar with the geography of Great Britain, Newcastle is one of the largest cities, but it’s a very isolated city. Britain has a number of large cities. The biggest, of course, is London, which is about as big as the next five added together. Now, there’s a saying that one of the big differences between Britain and America is that in America a hundred years is a long time, and in Britain a hundred miles is a long way, so take that into account when I talk about everything else here. Most of the area around London is empty of other big cities, and the nearest other big city to it is Birmingham, a hundred miles north-west of it. About seventy miles north of that, give or take, you hit Manchester, and Manchester is in the middle of a chain of large cities — Liverpool, Manchester, Leeds, and Sheffield, and the slightly smaller Bradford, are more or less in a row, and the furthest distance between two adjacent cities is about thirty-five miles. But then Newcastle is another hundred miles north of Leeds, the closest of those cities to it. And then it’s another hundred miles or so further north before you hit the major Scottish cities, which cluster together like the ones near Manchester do. This means Newcastle is, for a major city, incredibly isolated. Britain’s culture is extraordinarily London-centric, but if you’re in Liverpool or Manchester there are a number of other nearby cities. A band from Manchester can play a gig in Liverpool and make the last train home, and vice versa. This allows for the creation of regional scenes, centred on one city but with cross-fertilisation from others. Now, again, I am talking about a major city here, not some remote village, but it means that Newcastle in the sixties was in something of the same position as Seattle was, as we talked about in the episode on “Louie, Louie” — a place where bands would play in their own immediate area and not travel outside it. A journey to Leeds, particularly in the time we’re talking about when the motorway system was only just starting, would be a major trip, let alone travelling further afield. Local bands would play in Newcastle, and in large nearby towns like Gateshead, Sunderland, and Middlesborough, but not visit other cities. This meant that there was also a limited pool of good musicians to perform with, and so if you wanted to be in a band, you couldn’t be that picky about who you got on with, so long as they could play. Steel and Burdon, when they met at art school, were both jazz fanatics, and they quickly formed a trad jazz band. The band initially featured them on trumpet and trombone, but when rock and roll and skiffle hit the band changed its lineup to one based around guitars. Steel shifted to drums, while Burdon stopped playing an instrument and became the lead singer. Burdon’s tastes at the time were oriented towards the jazzier side of R&B, people like Ray Charles, and he also particularly loved blues shouters like Jimmy Witherspoon and Big Joe Turner. He tried hard to emulate Turner, and one of the songs that’s often mentioned as being in the repertoire of these early groups is “Roll ‘Em Pete”, the Big Joe Turner song we talked about back in episode two: [Excerpt: Big Joe Turner, “Roll ’em Pete”] The jazz group that Burdon and Steel formed was called the Pagan Jazz Men, and when they switched instruments they became instead The Pagans R&B Band. The group was rounded out by Blackie Sanderson and Jimmy Crawford, but soon got a fifth member when a member from another band on an early bill asked if he could sit in with them for a couple of numbers. Alan Price was the rhythm guitarist in that band, but joined in on piano, and instantly gelled with the group, playing Jerry Lee Lewis style piano. The other members would always later say that they didn’t like Price either as a person or for his taste in music — both Burdon and Steel regarded Price’s tastes as rather pedestrian when compared to their own, hipper, tastes, saying he always regarded himself as something of a lounge player, while Burdon was an R&B and blues person and Steel liked blues and jazz. But they all played well together, and in Newcastle there wasn’t that much choice about which musicians you could play with, and so they stayed together for a while, as the Pagans evolved into the Kansas City Five or the Kansas City Seven, depending on the occasional presence of two brass players. The Kansas City group played mostly jump blues, which was the area of music where Burdon and Steel’s tastes intersected — musicians they’ve cited as ones they covered were Ray Charles, Louis Jordan, and Big Joe Turner. But then the group collapsed, as Price didn’t turn up to a gig — he’d been poached by a pop covers band, the Kon-Tors, whose bass player, Chas Chandler, had been impressed with him when Chandler had sat in at a couple of Kansas City Five rehearsals. Steel got a gig playing lounge music, just to keep paying the bills, and Burdon would occasionally sit in with various other musicians. But a few members of the Kon-Tors got a side gig, performing as the Alan Price Rhythm & Blues Combo as the resident band at a local venue called the Club A Go-Go, which was the venue where visiting London jazzmen and touring American blues players would perform when they came to Newcastle. Burdon started sitting in with them, and then they invited Steel to replace their drummer, and in September 1963 the Alan Price Rhythm And Blues Combo settled on a lineup of Burdon on vocals, Price on piano, Steel on drums, Chandler on bass, and new member Hilton Valentine, who joined at the same time as Steel, on guitar. Valentine was notably more experienced than the other members, and had previously performed in a rock and roll group called the Wildcats — not the same band who backed Marty Wilde — and had even recorded an album with them, though I’ve been unable to track down any copies of the album. At this point all the group members now had different sensibilities — Valentine was a rocker and skiffle fan, while Chandler was into more mainstream pop music, though the other members emphasised in interviews that he liked *good* pop music like the Beatles, not the lesser pop music. The new lineup was so good that a mere eight days after they first performed together, they went into a recording studio to record an EP, which they put out themselves and sold at their gigs. Apparently five hundred copies of the EP were sold. As well as playing piano on the tracks, Price also played melodica, which he used in the same way that blues musicians would normally use the harmonica: [Excerpt: The Alan Price Rhythm & Blues Combo, “Pretty Thing”] This kind of instrumental experimentation would soon further emphasise the split between Price and Burdon, as Price would get a Vox organ rather than cart a piano between gigs, while Burdon disliked the sound of the organ, even though it became one of the defining sounds of the group. That sound can be heard on a live recording of them a couple of months later, backing the great American blues musician Sonny Boy Williamson II at the Club A Go Go: [Excerpt: Sonny Boy Williamson II and the Animals, “Fattening Frogs For Snakes”] One person who definitely *didn’t* dislike the sound of the electric organ was Graham Bond, the Hammond organ player with Alexis Korner’s band who we mentioned briefly back in the episode on the Rolling Stones. Bond and a few other members of the Korner group had quit, and formed their own group, the Graham Bond Organisation, which had originally featured a guitarist named John McLaughlin, but by this point consisted of Bond, saxophone player Dick Heckstall-Smith, and the rhythm section Jack Bruce and Ginger Baker. They wouldn’t make an album until 1965, but live recordings of them from around this time exist, though in relatively poor quality: [Excerpt: The Graham Bond Organisation, “Wade in the Water”] The Graham Bond Organisation played at the Club A Go Go, and soon Bond was raving back in London about this group from Newcastle he’d heard. Arrangements were quickly made for them to play in London. By this time, the Rolling Stones had outgrown the small club venues they’d been playing, and a new band called the Yardbirds were playing all the Stones’ old venues. A trade was agreed — the Yardbirds would play all the Alan Price Rhythm & Blues Combo’s normal gigs for a couple of weeks, and the Alan Price Rhythm & Blues Combo would play the Yardbirds’. Or rather, the Animals would. None of the members of the group could ever agree on how they got their new name, and not all of them liked it, but when they played those gigs in London in December 1963, just three months after getting together, that was how they were billed. And it was as the Animals that they were signed by Mickie Most. Mickie Most was one of the new breed of independent producers that were cropping up in London, following in Joe Meek’s footsteps, like Andrew Oldham. Most had started out as a singer in a duo called The Most Brothers, which is where he got his stage name. The Most Brothers had only released one single: [Excerpt: The Most Brothers, “Whole Lotta Woman”] But then Most had moved to South Africa, where he’d had eleven number one hits with cover versions of American rock singles, backed by a band called the Playboys: [Excerpt: Mickie Most and the Playboys, “Johnny B Goode”] He’d returned to the UK in 1963, and been less successful here as a performer, and so he decided to move into production, and the Animals were his first signing. He signed them up and started licensing their records to EMI, and in January 1964 the Animals moved down to London. There has been a lot of suggestion over the years that the Animals resented Mickie Most pushing them in a more pop direction, but their first single was an inspired compromise between the group’s blues purism and Most’s pop instincts. The song they recorded dates back at least to 1935, when the State Street Boys, a group that featured Big Bill Broonzy, recorded “Don’t Tear My Clothes”: [Excerpt: The State Street Boys, “Don’t Tear My Clothes”] That song got picked up and adapted by a lot of other blues singers, like Blind Boy Fuller, who recorded it as “Mama Let Me Lay It On You” in 1938: [Excerpt: Blind Boy Fuller, “Mama Let Me Lay it On You”] That had in turn been picked up by the Reverend Gary Davis, who came up with his own arrangement of the song: [Excerpt: Rev. Gary Davis, “Baby, Let Me Lay It On You”] Eric von Schmidt, a folk singer in Massachusetts, had learned that song from Davis, and Bob Dylan had in turn learned it from von Schmidt, and included it on his first album as “Baby Let Me Follow You Down”: [Excerpt: Bob Dylan, “Baby Let Me Follow You Down”] The Animals knew the song from that version, which they loved, but Most had come across it in a different way. He’d heard a version which had been inspired by Dylan, but had been radically reworked. Bert Berns had produced a single on Atlantic for a soul singer called Hoagy Lands, and on the B-side had been a new arrangement of the song, retitled “Baby Let Me Hold Your Hand” and adapted by Berns and Wes Farrell, a songwriter who had written for the Shirelles. Land’s version had started with an intro in which Lands is clearly imitating Sam Cooke: [Excerpt: Hoagy Lands, “Baby Let Me Hold Your Hand”] But after that intro, which seems to be totally original to Berns and Farrell, Lands’ track goes into a very upbeat Twist-flavoured song, with a unique guitar riff and Latin feel, both of them very much in the style of Berns’ other songs, but clearly an adaptation of Dylan’s version of the old song: [Excerpt: Hoagy Lands, “Baby Let Me Hold Your Hand”] Most had picked up that record on a trip to America, and decided that the Animals should record a version of the song based on that record. Hilton Valentine would later claim that this record, whose title and artist he could never remember (and it’s quite possible that Most never even told the band who the record was by) was not very similar at all to the Animals’ version, and that they’d just kicked around the song and come up with their own version, but listening to it, it is *very* obviously modelled on Lands’ version. They cut out Lands’ intro, and restored a lot of Dylan’s lyric, but musically it’s Lands all the way. The track starts like this: [Excerpt: The Animals, “Baby Let Me Take You Home”] Both have a breakdown section with spoken lyrics over a staccato backing, though the two sets of lyrics are different — compare the Animals: [Excerpt: The Animals, “Baby Let Me Take You Home”] and Lands: [Excerpt: Hoagy Lands, “Baby Let Me Hold Your Hand”] And both have the typical Bert Berns call and response ending — Lands: [Excerpt: Hoagy Lands, “Baby Let me Hold Your Hand”] And the Animals: [Excerpt: The Animals, “Baby Let Me Take You Home”] So whatever Valentine’s later claims, the track very much was modelled on the earlier record, but it’s still one of the strongest remodellings of an American R&B record by a British group in this time period, and an astonishingly accomplished record, which made number twenty-one. The Animals’ second single was another song that had been recorded on Dylan’s first album. “House of the Rising Sun” has been argued by some, though I think it’s a tenuous argument, to originally date to the seventeenth century English folk song “Little Musgrave and Lady Barnard”: [Excerpt: Martin Carthy, “Little Musgrave and Lady Barnard”] What we do know is that the song was circulating in Appalachia in the early years of the twentieth century, and it’s that version that was first recorded in 1933, under the name “Rising Sun Blues”, by Clarence Ashley and Gwen Foster: [Excerpt: Clarence Ashley and Gwen Foster, “Rising Sun Blues”] The song has been described as about several things — about alcoholism, about sex work, about gambling — depending on the precise version. It’s often thought, for example, that the song was always sung by women and was about a brothel, but there are lots of variants of it, sung by both men and women, before it reached its most famous form. Dave van Ronk, who put the song into the form by which it became best known, believed at first that it was a song about a brothel, but he later decided that it was probably about the New Orleans Women’s Prison, which in his accounting used to have a carving of a rising sun over the doorway. Van Ronk’s version traces back originally to a field recording Alan Lomax had made in 1938 of a woman named Georgia Turner, from Kentucky: [Excerpt: Georgia Turner, “Rising Sun Blues”] Van Ronk had learned the song from a record by Hally Wood, a friend of the Lomaxes, who had recorded a version based on Turner’s in 1953: [Excerpt: Hally Wood, “House of the Rising Sun”] Van Ronk took Wood’s version of Turner’s version of the song, and rearranged it, changing the chords around, adding something that changed the whole song. He introduced a descending bassline, mostly in semitones, which as van Ronk put it is “a common enough progression in jazz, but unusual among folksingers”. It’s actually something you’d get a fair bit in baroque music as well, and van Ronk introducing this into the song is probably what eventually led to things like Procul Harum’s “A Whiter Shade of Pale” ripping off Bach doing essentially the same thing. What van Ronk did was a simple trick. You play a descending scale, mostly in semitones, while holding the same chord shape which creates a lot of interesting chords. The bass line he played is basically this: [demonstrates] And he held an A minor shape over that bassline, giving a chord sequence Am, Am over G, Am over F#, F. [demonstrates] This is a trick that’s used in hundreds and hundreds of songs later in the sixties and onward — everything from “Sunny Afternoon” by the Kinks to “Go Now” by the Moody Blues to “Forever” by the Beach Boys — but it was something that at this point belonged in the realms of art music and jazz more than in folk, blues, or rock and roll. Of course, it sounds rather better when he did it: [Excerpt, Dave van Ronk, “House of the Rising Sun”] “House of the Rising Sun” soon became the highlight of van Ronk’s live act, and his most requested song. Dylan took van Ronk’s arrangement, but he wasn’t as sophisticated a musician as van Ronk, so he simplified the chords. Rather than the dissonant chords van Ronk had, he played standard rock chords that fit van Ronk’s bassline, so instead of Am over G he played C with a G in the bass, and instead of Am over F# he played D with an F# in the bass. So van Ronk had: [demonstrates] While Dylan had: [demonstrates] The movement of the chords now follows the movement of the bassline. It’s simpler, but it’s all from van Ronk’s arrangement idea. Dylan recorded his version of van Ronk’s version for his first album: [Excerpt: Bob Dylan, “House of the Rising Sun”] As van Ronk later told the story (though I’m going to edit out one expletive here for the sake of getting past the adult content rating on Apple): “One evening in 1962, I was sitting at my usual table in the back of the Kettle of Fish, and Dylan came slouching in. He had been up at the Columbia studios with John Hammond, doing his first album. He was being very mysterioso about the whole thing, and nobody I knew had been to any of the sessions except Suze, his lady. I pumped him for information, but he was vague. Everything was going fine and, “Hey, would it be okay for me to record your arrangement of ‘House of the Rising Sun?’” [expletive]. “Jeez, Bobby, I’m going into the studio to do that myself in a few weeks. Can’t it wait until your next album?” A long pause. “Uh-oh.” I did not like the sound of that. “What exactly do you mean, ‘Uh-oh’?” “Well,” he said sheepishly, “I’ve already recorded it.” “You did what?!” I flew into a Donald Duck rage, and I fear I may have said something unkind that could be heard over in Chelsea.” van Ronk and Dylan fell out for a couple of weeks, though they later reconciled, and van Ronk said of Dylan’s performance “it was essentially my arrangement, but Bobby’s reading had all the nuance and subtlety of a Neanderthal with a stone hand ax, and I took comfort thereby.” van Ronk did record his version, as we heard, but he soon stopped playing the song live because he got sick of people telling him to “play that Dylan song”. The Animals learned the song from the Dylan record, and decided to introduce it to their set on their first national tour, supporting Chuck Berry. All the other acts were only doing rock and roll and R&B, and they thought a folk song might be a way to make them stand out — and it instantly became the highlight of their act. The way all the members except Alan Price tell the story, the main instigators of the arrangement were Eric Burdon, the only member of the group who had been familiar with the song before hearing the Dylan album, and Hilton Valentine, who came up with the arpeggiated guitar part. Their arrangement followed Dylan’s rearrangement of van Ronk’s rearrangement, except they dropped the scalar bassline altogether, so for example instead of a D with an F# in the bass they just play a plain open D chord — the F# that van Ronk introduced is still in there, as the third, but the descending line is now just implied by the chords, not explicitly stated in the bass, where Chas Chandler just played root notes. In the middle of the tour, the group were called back into the studio to record their follow-up single, and they had what seemed like it might be a great opportunity. The TV show Ready Steady Go! wanted the Animals to record a version of the old Ray Charles song “Talking ‘Bout You”, to use as their theme. The group travelled down from Liverpool after playing a show there, and went into the studio in London at three o’clock in the morning, before heading to Southampton for the next night’s show. But they needed to record a B-side first, of course, and so before getting round to the main business of the session they knocked off a quick one-take performance of their new live showstopper: [Excerpt: The Animals, “House of the Rising Sun”] On hearing the playback, everyone was suddenly convinced that that, not “Talking ‘Bout You”, should be the A-side. But there was a problem. The record was four minutes and twenty seconds long, and you just didn’t ever release a record that long. The rule was generally that songs didn’t last longer than three minutes, because radio stations wouldn’t play them, but Most was eventually persuaded by Chas Chandler that the track needed to go out as it was, with no edits. It did, but when it went out, it had only one name on as the arranger — which when you’re recording a public domain song makes you effectively the songwriter. According to all the members other than Price, the group’s manager, Mike Jeffrey, who was close to Price, had “explained” to them that you needed to just put one name down on the credits, but not to worry, as they would all get a share of the songwriting money. According to Price, meanwhile, he was the sole arranger. Whatever the truth, Price was the only one who ever got any songwriting royalties for their version of the song, which went to number one in the UK and the US. although the version released as a single in the US was cut down to three minutes with some brutal edits, particularly to the organ solo: [Excerpt: The Animals, “House of the Rising Sun (US edit)”] None of the group liked what was done to the US single edit, and the proper version was soon released as an album track everywhere The Animals’ version was a big enough hit that it inspired Dylan’s new producer Tom Wilson to do an experiment. In late 1964 he hired session musicians to overdub a new electric backing onto an outtake version of “House of the Rising Sun” from the sessions from Dylan’s first album, to see what it would sound like: [Excerpt: Bob Dylan, “House of the Rising Sun (1964 electric version)”] That wasn’t released at the time, it was just an experiment Wilson tried, but it would have ramifications we’ll be seeing throughout the rest of the podcast. Incidentally, Dave van Ronk had the last laugh at Dylan, who had to drop the song from his own sets because people kept asking him if he’d stolen it from the Animals. The Animals’ next single, “I’m Crying”, was their first and only self-written A-side, written by Price and Burdon. It was a decent record and made the top ten in the UK and the top twenty in the US, but Price and Burdon were never going to become another Lennon and McCartney or Jagger and Richards — they just didn’t like each other by this point. The record after that, “Don’t Let Me Be Misunderstood”, was written by the jazz songwriters Benny Benjamin and Horace Ott, and had originally been recorded by Nina Simone in an orchestral version that owed quite a bit to Burt Bacharach: [Excerpt: Nina Simone, “Don’t Let Me Be Misunderstood”] The Animals’ version really suffers in comparison to that. I was going to say something about how their reinterpretation is as valid in its own way as Simone’s original and stands up against it, but actually listening to them back to back as I was writing this, rather than separately as I always previously had, I changed my mind because I really don’t think it does. It’s a great record, and it’s deservedly considered a classic single, but compared to Simone’s version, it’s lightweight, rushed, and callow: [Excerpt: The Animals, “Don’t Let Me Be Misunderstood”] Simone was apparently furious at the Animals’ recording, which they didn’t understand given that she hadn’t written the original, and according to John Steel she and Burdon later had a huge screaming row about the record. In Steel’s version, Simone eventually grudgingly admitted that they weren’t “so bad for a bunch of white boys”, but that doesn’t sound to me like the attitude Simone would take. But Steel was there and I wasn’t… “Don’t Let Me Be Misunderstood” was followed by a more minor single, a cover of Sam Cooke’s “Bring it on Home to Me”, which would be the last single by the group to feature Alan Price. On the twenty-eighth of April 1965, the group were about to leave on a European tour. Chas Chandler, who shared a flat with Price, woke Price up and then got in the shower. When he got out of the shower, Price wasn’t in the flat, and Chandler wouldn’t see Price again for eighteen months. Chandler believed until his death that while he was in the shower, Price’s first royalty cheque for arranging “House of the Rising Sun” had arrived, and Price had decided then and there that he wasn’t going to share the money as agreed. The group quickly rushed to find a fill-in keyboard player for the tour, and nineteen-year-old Mick Gallagher was with them for a couple of weeks before being permanently replaced by Dave Rowberry. Gallagher would later go on to be the keyboard player with Ian Dury and the Blockheads, as well as playing on several tracks by the Clash. Price, meanwhile, went on to have a number of solo hits over the next few years, starting with a version of “I Put A Spell On You”, in an arrangement which the other Animals later claimed had originally been worked up as an Animals track: [Excerpt: The Alan Price Set, “I Put A Spell On You”] Price would go on to make many great solo records, introducing the songs of Randy Newman to a wider audience, and performing in a jazz-influenced R&B style very similar to Mose Allison. The Animals’ first record with their new keyboard player was their greatest single. “We Gotta Get Out Of This Place” had been written by Barry Mann and Cynthia Weill, and had originally been intended for the Righteous Brothers, but they’d decided to have Mann record it himself: [Excerpt: Barry Mann, “We Gotta Get Out Of This Place”] But before that version was released, the Animals had heard Mann’s piano demo of the song and cut their own version, and Mann’s was left on the shelf. What the Animals did to the song horrified Cynthia Weill, who considered it the worst record of one of her songs ever — though one suspects that’s partly because it sabotaged the chances for her husband’s single — but to my mind they vastly improved on the song. They tightened the melody up a lot, getting rid of a lot of interjections. They reworked big chunks of the lyric, for example changing “Oh girl, now you’re young and oh so pretty, staying here would be a crime, because you’ll just grow old before your time” to “Now my girl, you’re so young and pretty, and one thing I know is true, you’ll be dead before your time is due”, and making subtler changes like changing “if it’s the last thing that we do” to “if it’s the last thing we ever do”, improving the scansion. They kept the general sense of the lyrics, but changed more of the actual words than they kept — and to my ears, at least, every change they made was an improvement. And most importantly, they excised the overlong bridge altogether. I can see what Mann and Weill were trying to do with the bridge — Righteous Brothers songs would often have a call and response section, building to a climax, where Bill Medley’s low voice and Bobby Hatfield’s high one would alternate and then come together. But that would normally come in the middle, building towards the last chorus. Here it comes between every verse and chorus, and completely destroys the song’s momentum — it just sounds like noodling: [Excerpt: Barry Mann, “We Gotta Get Out Of This Place”] The Animals’ version, by contrast, is a masterpiece of dynamics, of slow builds and climaxes and dropping back down again. It’s one of the few times I’ve wished I could just drop the entire record in, rather than excerpting a section, because it depends so much for its effect on the way the whole structure of the track works together: [Excerpt: The Animals, “We Gotta Get Out Of This Place”] From a creators’ rights perspective, I entirely agree with Cynthia Weill that the group shouldn’t have messed with her song. But from a listener’s point of view, I have to say that they turned a decent song into a great one, and one of the greatest singles of all time “We Gotta Get Out Of This Place” was followed by another lesser but listenable single, “It’s My Life”, which seemed to reinforce a pattern of a great Animals single being followed by a merely OK one. But that was the point at which the Animals and Most would part company — the group were getting sick of Most’s attempts to make them more poppy. They signed to a new label, Decca, and got a new producer, Tom Wilson, the man who we heard earlier experimenting with Dylan’s sound, but the group started to fall apart. After their next single, “Inside — Looking Out”, a prison work song collected by the Lomaxes, and the album Animalisms, John Steel left the group, tired of not getting any money, and went to work in a shop. The album after Animalisms, confusingly titled Animalism, was also mostly produced by Wilson, and didn’t even feature the musicians in the band on two of the tracks, which Wilson farmed out to a protege of his, Frank Zappa, to produce. Those two tracks featured Zappa on guitar and members of the Wrecking Crew, with only Burdon from the actual group: [Excerpt: The Animals, “All Night Long”] Soon the group would split up, and would discover that their management had thoroughly ripped them off — there had been a scheme to bank their money in the Bahamas for tax reasons, in a bank which mysteriously disappeared off the face of the Earth. Burdon would form a new group, known first as the New Animals and later as Eric Burdon and the Animals, who would have some success but not on the same level. There were a handful of reunions of the original lineup of the group between 1968 and the early eighties, but they last played together in 1983. Burdon continues to tour the US as Eric Burdon and the Animals. Alan Price continues to perform successfully as a solo artist. We’ll be picking up with Chas Chandler later, when he moves from bass playing into management, so you’ll hear more about him in future episodes. John Steel, Dave Rowberry, and Hilton Valentine reformed a version of the Animals in the 1990s, originally with Jim Rodford, formerly of the Kinks and Argent, on bass. Valentine left that group in 2001, and Rowberry died in 2003. Steel now tours the UK as “The Animals and Friends”, with Mick Gallagher, who had replaced Price briefly in 1965, on keyboards. I’ve seen them live twice and they put on an excellent show — though the second time, one woman behind me did indignantly say, as the singer started, “That’s not Eric Clapton!”, before starting to sing along happily… And Hilton Valentine moved to the US and played briefly with Burdon’s Animals after quitting Steel’s, before returning to his first love, skiffle. He died exactly four weeks ago today, and will be missed.
Episode one hundred and fifteen of A History of Rock Music in Five Hundred Songs looks at "House of the Rising Sun" by the Animals, at the way the US and UK music scenes were influencing each other in 1964, and at the fraught question of attribution when reworking older songs. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Memphis" by Johnny Rivers. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ ----more---- Erratum A couple of times I mispronounce Hoagy Lands' surname as Land. Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. Information on the Animals comes largely from Animal Tracks by Sean Egan. The two-CD set The Complete Animals isn't actually their complete recordings -- for that you'd also need to buy the Decca recordings -- but it is everything they recorded with Mickie Most, including all the big hits discussed in this episode. For the information on Dylan's first album, I used The Mayor of MacDougal Street by Dave Van Ronk and Elijah Wald, the fascinating and funny autobiography of Dylan's mentor in his Greenwich Village period. I also referred to Chronicles Volume 1 by Bob Dylan, a partial, highly inaccurate, but thoroughly readable autobiography; Bob Dylan: All The Songs by Phillipe Margotin and Jean-Michel Guesdon; and Revolution in the Air, by Clinton Heylin. Transcript Today we're going to look at a song that, more than any other song we've looked at so far, shows how the influence between British and American music was working in the early 1960s. A song about New Orleans that may have its roots in English folk music, that became an Appalachian country song, performed by a blues band from the North of England, who learned it from a Minnesotan folk singer based in New York. We're going to look at "House of the Rising Sun", and the career of the Animals: [Excerpt: The Animals, "House of the Rising Sun"] The story of the Animals, like so many of the British bands of this time period, starts at art school, when two teenagers named Eric Burdon and John Steel met each other. The school they met each other at was in Newcastle, and this is important for how the band came together. If you're not familiar with the geography of Great Britain, Newcastle is one of the largest cities, but it's a very isolated city. Britain has a number of large cities. The biggest, of course, is London, which is about as big as the next five added together. Now, there's a saying that one of the big differences between Britain and America is that in America a hundred years is a long time, and in Britain a hundred miles is a long way, so take that into account when I talk about everything else here. Most of the area around London is empty of other big cities, and the nearest other big city to it is Birmingham, a hundred miles north-west of it. About seventy miles north of that, give or take, you hit Manchester, and Manchester is in the middle of a chain of large cities -- Liverpool, Manchester, Leeds, and Sheffield, and the slightly smaller Bradford, are more or less in a row, and the furthest distance between two adjacent cities is about thirty-five miles. But then Newcastle is another hundred miles north of Leeds, the closest of those cities to it. And then it's another hundred miles or so further north before you hit the major Scottish cities, which cluster together like the ones near Manchester do. This means Newcastle is, for a major city, incredibly isolated. Britain's culture is extraordinarily London-centric, but if you're in Liverpool or Manchester there are a number of other nearby cities. A band from Manchester can play a gig in Liverpool and make the last train home, and vice versa. This allows for the creation of regional scenes, centred on one city but with cross-fertilisation from others. Now, again, I am talking about a major city here, not some remote village, but it means that Newcastle in the sixties was in something of the same position as Seattle was, as we talked about in the episode on "Louie, Louie" -- a place where bands would play in their own immediate area and not travel outside it. A journey to Leeds, particularly in the time we're talking about when the motorway system was only just starting, would be a major trip, let alone travelling further afield. Local bands would play in Newcastle, and in large nearby towns like Gateshead, Sunderland, and Middlesborough, but not visit other cities. This meant that there was also a limited pool of good musicians to perform with, and so if you wanted to be in a band, you couldn't be that picky about who you got on with, so long as they could play. Steel and Burdon, when they met at art school, were both jazz fanatics, and they quickly formed a trad jazz band. The band initially featured them on trumpet and trombone, but when rock and roll and skiffle hit the band changed its lineup to one based around guitars. Steel shifted to drums, while Burdon stopped playing an instrument and became the lead singer. Burdon's tastes at the time were oriented towards the jazzier side of R&B, people like Ray Charles, and he also particularly loved blues shouters like Jimmy Witherspoon and Big Joe Turner. He tried hard to emulate Turner, and one of the songs that's often mentioned as being in the repertoire of these early groups is "Roll 'Em Pete", the Big Joe Turner song we talked about back in episode two: [Excerpt: Big Joe Turner, "Roll 'em Pete"] The jazz group that Burdon and Steel formed was called the Pagan Jazz Men, and when they switched instruments they became instead The Pagans R&B Band. The group was rounded out by Blackie Sanderson and Jimmy Crawford, but soon got a fifth member when a member from another band on an early bill asked if he could sit in with them for a couple of numbers. Alan Price was the rhythm guitarist in that band, but joined in on piano, and instantly gelled with the group, playing Jerry Lee Lewis style piano. The other members would always later say that they didn't like Price either as a person or for his taste in music -- both Burdon and Steel regarded Price's tastes as rather pedestrian when compared to their own, hipper, tastes, saying he always regarded himself as something of a lounge player, while Burdon was an R&B and blues person and Steel liked blues and jazz. But they all played well together, and in Newcastle there wasn't that much choice about which musicians you could play with, and so they stayed together for a while, as the Pagans evolved into the Kansas City Five or the Kansas City Seven, depending on the occasional presence of two brass players. The Kansas City group played mostly jump blues, which was the area of music where Burdon and Steel's tastes intersected -- musicians they've cited as ones they covered were Ray Charles, Louis Jordan, and Big Joe Turner. But then the group collapsed, as Price didn't turn up to a gig -- he'd been poached by a pop covers band, the Kon-Tors, whose bass player, Chas Chandler, had been impressed with him when Chandler had sat in at a couple of Kansas City Five rehearsals. Steel got a gig playing lounge music, just to keep paying the bills, and Burdon would occasionally sit in with various other musicians. But a few members of the Kon-Tors got a side gig, performing as the Alan Price Rhythm & Blues Combo as the resident band at a local venue called the Club A Go-Go, which was the venue where visiting London jazzmen and touring American blues players would perform when they came to Newcastle. Burdon started sitting in with them, and then they invited Steel to replace their drummer, and in September 1963 the Alan Price Rhythm And Blues Combo settled on a lineup of Burdon on vocals, Price on piano, Steel on drums, Chandler on bass, and new member Hilton Valentine, who joined at the same time as Steel, on guitar. Valentine was notably more experienced than the other members, and had previously performed in a rock and roll group called the Wildcats -- not the same band who backed Marty Wilde -- and had even recorded an album with them, though I've been unable to track down any copies of the album. At this point all the group members now had different sensibilities -- Valentine was a rocker and skiffle fan, while Chandler was into more mainstream pop music, though the other members emphasised in interviews that he liked *good* pop music like the Beatles, not the lesser pop music. The new lineup was so good that a mere eight days after they first performed together, they went into a recording studio to record an EP, which they put out themselves and sold at their gigs. Apparently five hundred copies of the EP were sold. As well as playing piano on the tracks, Price also played melodica, which he used in the same way that blues musicians would normally use the harmonica: [Excerpt: The Alan Price Rhythm & Blues Combo, "Pretty Thing"] This kind of instrumental experimentation would soon further emphasise the split between Price and Burdon, as Price would get a Vox organ rather than cart a piano between gigs, while Burdon disliked the sound of the organ, even though it became one of the defining sounds of the group. That sound can be heard on a live recording of them a couple of months later, backing the great American blues musician Sonny Boy Williamson II at the Club A Go Go: [Excerpt: Sonny Boy Williamson II and the Animals, “Fattening Frogs For Snakes”] One person who definitely *didn't* dislike the sound of the electric organ was Graham Bond, the Hammond organ player with Alexis Korner's band who we mentioned briefly back in the episode on the Rolling Stones. Bond and a few other members of the Korner group had quit, and formed their own group, the Graham Bond Organisation, which had originally featured a guitarist named John McLaughlin, but by this point consisted of Bond, saxophone player Dick Heckstall-Smith, and the rhythm section Jack Bruce and Ginger Baker. They wouldn't make an album until 1965, but live recordings of them from around this time exist, though in relatively poor quality: [Excerpt: The Graham Bond Organisation, "Wade in the Water"] The Graham Bond Organisation played at the Club A Go Go, and soon Bond was raving back in London about this group from Newcastle he'd heard. Arrangements were quickly made for them to play in London. By this time, the Rolling Stones had outgrown the small club venues they'd been playing, and a new band called the Yardbirds were playing all the Stones' old venues. A trade was agreed -- the Yardbirds would play all the Alan Price Rhythm & Blues Combo's normal gigs for a couple of weeks, and the Alan Price Rhythm & Blues Combo would play the Yardbirds'. Or rather, the Animals would. None of the members of the group could ever agree on how they got their new name, and not all of them liked it, but when they played those gigs in London in December 1963, just three months after getting together, that was how they were billed. And it was as the Animals that they were signed by Mickie Most. Mickie Most was one of the new breed of independent producers that were cropping up in London, following in Joe Meek's footsteps, like Andrew Oldham. Most had started out as a singer in a duo called The Most Brothers, which is where he got his stage name. The Most Brothers had only released one single: [Excerpt: The Most Brothers, "Whole Lotta Woman"] But then Most had moved to South Africa, where he'd had eleven number one hits with cover versions of American rock singles, backed by a band called the Playboys: [Excerpt: Mickie Most and the Playboys, "Johnny B Goode"] He'd returned to the UK in 1963, and been less successful here as a performer, and so he decided to move into production, and the Animals were his first signing. He signed them up and started licensing their records to EMI, and in January 1964 the Animals moved down to London. There has been a lot of suggestion over the years that the Animals resented Mickie Most pushing them in a more pop direction, but their first single was an inspired compromise between the group's blues purism and Most's pop instincts. The song they recorded dates back at least to 1935, when the State Street Boys, a group that featured Big Bill Broonzy, recorded "Don't Tear My Clothes": [Excerpt: The State Street Boys, "Don't Tear My Clothes"] That song got picked up and adapted by a lot of other blues singers, like Blind Boy Fuller, who recorded it as "Mama Let Me Lay It On You" in 1938: [Excerpt: Blind Boy Fuller, "Mama Let Me Lay it On You"] That had in turn been picked up by the Reverend Gary Davis, who came up with his own arrangement of the song: [Excerpt: Rev. Gary Davis, "Baby, Let Me Lay It On You"] Eric von Schmidt, a folk singer in Massachusetts, had learned that song from Davis, and Bob Dylan had in turn learned it from von Schmidt, and included it on his first album as "Baby Let Me Follow You Down": [Excerpt: Bob Dylan, "Baby Let Me Follow You Down"] The Animals knew the song from that version, which they loved, but Most had come across it in a different way. He'd heard a version which had been inspired by Dylan, but had been radically reworked. Bert Berns had produced a single on Atlantic for a soul singer called Hoagy Lands, and on the B-side had been a new arrangement of the song, retitled "Baby Let Me Hold Your Hand" and adapted by Berns and Wes Farrell, a songwriter who had written for the Shirelles. Land's version had started with an intro in which Lands is clearly imitating Sam Cooke: [Excerpt: Hoagy Lands, "Baby Let Me Hold Your Hand"] But after that intro, which seems to be totally original to Berns and Farrell, Lands' track goes into a very upbeat Twist-flavoured song, with a unique guitar riff and Latin feel, both of them very much in the style of Berns' other songs, but clearly an adaptation of Dylan's version of the old song: [Excerpt: Hoagy Lands, "Baby Let Me Hold Your Hand"] Most had picked up that record on a trip to America, and decided that the Animals should record a version of the song based on that record. Hilton Valentine would later claim that this record, whose title and artist he could never remember (and it's quite possible that Most never even told the band who the record was by) was not very similar at all to the Animals' version, and that they'd just kicked around the song and come up with their own version, but listening to it, it is *very* obviously modelled on Lands' version. They cut out Lands' intro, and restored a lot of Dylan's lyric, but musically it's Lands all the way. The track starts like this: [Excerpt: The Animals, "Baby Let Me Take You Home"] Both have a breakdown section with spoken lyrics over a staccato backing, though the two sets of lyrics are different -- compare the Animals: [Excerpt: The Animals, "Baby Let Me Take You Home"] and Lands: [Excerpt: Hoagy Lands, "Baby Let Me Hold Your Hand"] And both have the typical Bert Berns call and response ending -- Lands: [Excerpt: Hoagy Lands, "Baby Let me Hold Your Hand"] And the Animals: [Excerpt: The Animals, "Baby Let Me Take You Home"] So whatever Valentine's later claims, the track very much was modelled on the earlier record, but it's still one of the strongest remodellings of an American R&B record by a British group in this time period, and an astonishingly accomplished record, which made number twenty-one. The Animals' second single was another song that had been recorded on Dylan's first album. "House of the Rising Sun" has been argued by some, though I think it's a tenuous argument, to originally date to the seventeenth century English folk song "Little Musgrave and Lady Barnard": [Excerpt: Martin Carthy, "Little Musgrave and Lady Barnard"] What we do know is that the song was circulating in Appalachia in the early years of the twentieth century, and it's that version that was first recorded in 1933, under the name "Rising Sun Blues", by Clarence Ashley and Gwen Foster: [Excerpt: Clarence Ashley and Gwen Foster, "Rising Sun Blues"] The song has been described as about several things -- about alcoholism, about sex work, about gambling -- depending on the precise version. It's often thought, for example, that the song was always sung by women and was about a brothel, but there are lots of variants of it, sung by both men and women, before it reached its most famous form. Dave van Ronk, who put the song into the form by which it became best known, believed at first that it was a song about a brothel, but he later decided that it was probably about the New Orleans Women's Prison, which in his accounting used to have a carving of a rising sun over the doorway. Van Ronk's version traces back originally to a field recording Alan Lomax had made in 1938 of a woman named Georgia Turner, from Kentucky: [Excerpt: Georgia Turner, "Rising Sun Blues"] Van Ronk had learned the song from a record by Hally Wood, a friend of the Lomaxes, who had recorded a version based on Turner's in 1953: [Excerpt: Hally Wood, "House of the Rising Sun"] Van Ronk took Wood's version of Turner's version of the song, and rearranged it, changing the chords around, adding something that changed the whole song. He introduced a descending bassline, mostly in semitones, which as van Ronk put it is "a common enough progression in jazz, but unusual among folksingers". It's actually something you'd get a fair bit in baroque music as well, and van Ronk introducing this into the song is probably what eventually led to things like Procul Harum's "A Whiter Shade of Pale" ripping off Bach doing essentially the same thing. What van Ronk did was a simple trick. You play a descending scale, mostly in semitones, while holding the same chord shape which creates a lot of interesting chords. The bass line he played is basically this: [demonstrates] And he held an A minor shape over that bassline, giving a chord sequence Am, Am over G, Am over F#, F. [demonstrates] This is a trick that's used in hundreds and hundreds of songs later in the sixties and onward -- everything from "Sunny Afternoon" by the Kinks to "Go Now" by the Moody Blues to "Forever" by the Beach Boys -- but it was something that at this point belonged in the realms of art music and jazz more than in folk, blues, or rock and roll. Of course, it sounds rather better when he did it: [Excerpt, Dave van Ronk, "House of the Rising Sun"] "House of the Rising Sun" soon became the highlight of van Ronk's live act, and his most requested song. Dylan took van Ronk's arrangement, but he wasn't as sophisticated a musician as van Ronk, so he simplified the chords. Rather than the dissonant chords van Ronk had, he played standard rock chords that fit van Ronk's bassline, so instead of Am over G he played C with a G in the bass, and instead of Am over F# he played D with an F# in the bass. So van Ronk had: [demonstrates] While Dylan had: [demonstrates] The movement of the chords now follows the movement of the bassline. It's simpler, but it's all from van Ronk's arrangement idea. Dylan recorded his version of van Ronk's version for his first album: [Excerpt: Bob Dylan, "House of the Rising Sun"] As van Ronk later told the story (though I'm going to edit out one expletive here for the sake of getting past the adult content rating on Apple): "One evening in 1962, I was sitting at my usual table in the back of the Kettle of Fish, and Dylan came slouching in. He had been up at the Columbia studios with John Hammond, doing his first album. He was being very mysterioso about the whole thing, and nobody I knew had been to any of the sessions except Suze, his lady. I pumped him for information, but he was vague. Everything was going fine and, “Hey, would it be okay for me to record your arrangement of ‘House of the Rising Sun?’” [expletive]. “Jeez, Bobby, I’m going into the studio to do that myself in a few weeks. Can’t it wait until your next album?” A long pause. “Uh-oh.” I did not like the sound of that. “What exactly do you mean, ‘Uh-oh’?” “Well,” he said sheepishly, “I’ve already recorded it.” “You did what?!” I flew into a Donald Duck rage, and I fear I may have said something unkind that could be heard over in Chelsea." van Ronk and Dylan fell out for a couple of weeks, though they later reconciled, and van Ronk said of Dylan's performance "it was essentially my arrangement, but Bobby’s reading had all the nuance and subtlety of a Neanderthal with a stone hand ax, and I took comfort thereby." van Ronk did record his version, as we heard, but he soon stopped playing the song live because he got sick of people telling him to "play that Dylan song". The Animals learned the song from the Dylan record, and decided to introduce it to their set on their first national tour, supporting Chuck Berry. All the other acts were only doing rock and roll and R&B, and they thought a folk song might be a way to make them stand out -- and it instantly became the highlight of their act. The way all the members except Alan Price tell the story, the main instigators of the arrangement were Eric Burdon, the only member of the group who had been familiar with the song before hearing the Dylan album, and Hilton Valentine, who came up with the arpeggiated guitar part. Their arrangement followed Dylan's rearrangement of van Ronk's rearrangement, except they dropped the scalar bassline altogether, so for example instead of a D with an F# in the bass they just play a plain open D chord -- the F# that van Ronk introduced is still in there, as the third, but the descending line is now just implied by the chords, not explicitly stated in the bass, where Chas Chandler just played root notes. In the middle of the tour, the group were called back into the studio to record their follow-up single, and they had what seemed like it might be a great opportunity. The TV show Ready Steady Go! wanted the Animals to record a version of the old Ray Charles song "Talking 'Bout You", to use as their theme. The group travelled down from Liverpool after playing a show there, and went into the studio in London at three o'clock in the morning, before heading to Southampton for the next night's show. But they needed to record a B-side first, of course, and so before getting round to the main business of the session they knocked off a quick one-take performance of their new live showstopper: [Excerpt: The Animals, "House of the Rising Sun"] On hearing the playback, everyone was suddenly convinced that that, not "Talking 'Bout You", should be the A-side. But there was a problem. The record was four minutes and twenty seconds long, and you just didn't ever release a record that long. The rule was generally that songs didn't last longer than three minutes, because radio stations wouldn't play them, but Most was eventually persuaded by Chas Chandler that the track needed to go out as it was, with no edits. It did, but when it went out, it had only one name on as the arranger -- which when you're recording a public domain song makes you effectively the songwriter. According to all the members other than Price, the group's manager, Mike Jeffrey, who was close to Price, had "explained" to them that you needed to just put one name down on the credits, but not to worry, as they would all get a share of the songwriting money. According to Price, meanwhile, he was the sole arranger. Whatever the truth, Price was the only one who ever got any songwriting royalties for their version of the song, which went to number one in the UK and the US. although the version released as a single in the US was cut down to three minutes with some brutal edits, particularly to the organ solo: [Excerpt: The Animals, "House of the Rising Sun (US edit)"] None of the group liked what was done to the US single edit, and the proper version was soon released as an album track everywhere The Animals' version was a big enough hit that it inspired Dylan's new producer Tom Wilson to do an experiment. In late 1964 he hired session musicians to overdub a new electric backing onto an outtake version of "House of the Rising Sun" from the sessions from Dylan's first album, to see what it would sound like: [Excerpt: Bob Dylan, "House of the Rising Sun (1964 electric version)"] That wasn't released at the time, it was just an experiment Wilson tried, but it would have ramifications we'll be seeing throughout the rest of the podcast. Incidentally, Dave van Ronk had the last laugh at Dylan, who had to drop the song from his own sets because people kept asking him if he'd stolen it from the Animals. The Animals' next single, "I'm Crying", was their first and only self-written A-side, written by Price and Burdon. It was a decent record and made the top ten in the UK and the top twenty in the US, but Price and Burdon were never going to become another Lennon and McCartney or Jagger and Richards -- they just didn't like each other by this point. The record after that, "Don't Let Me Be Misunderstood", was written by the jazz songwriters Benny Benjamin and Horace Ott, and had originally been recorded by Nina Simone in an orchestral version that owed quite a bit to Burt Bacharach: [Excerpt: Nina Simone, "Don't Let Me Be Misunderstood"] The Animals' version really suffers in comparison to that. I was going to say something about how their reinterpretation is as valid in its own way as Simone's original and stands up against it, but actually listening to them back to back as I was writing this, rather than separately as I always previously had, I changed my mind because I really don't think it does. It's a great record, and it's deservedly considered a classic single, but compared to Simone's version, it's lightweight, rushed, and callow: [Excerpt: The Animals, "Don't Let Me Be Misunderstood"] Simone was apparently furious at the Animals' recording, which they didn't understand given that she hadn't written the original, and according to John Steel she and Burdon later had a huge screaming row about the record. In Steel's version, Simone eventually grudgingly admitted that they weren't "so bad for a bunch of white boys", but that doesn't sound to me like the attitude Simone would take. But Steel was there and I wasn't... "Don't Let Me Be Misunderstood" was followed by a more minor single, a cover of Sam Cooke's "Bring it on Home to Me", which would be the last single by the group to feature Alan Price. On the twenty-eighth of April 1965, the group were about to leave on a European tour. Chas Chandler, who shared a flat with Price, woke Price up and then got in the shower. When he got out of the shower, Price wasn't in the flat, and Chandler wouldn't see Price again for eighteen months. Chandler believed until his death that while he was in the shower, Price's first royalty cheque for arranging "House of the Rising Sun" had arrived, and Price had decided then and there that he wasn't going to share the money as agreed. The group quickly rushed to find a fill-in keyboard player for the tour, and nineteen-year-old Mick Gallagher was with them for a couple of weeks before being permanently replaced by Dave Rowberry. Gallagher would later go on to be the keyboard player with Ian Dury and the Blockheads, as well as playing on several tracks by the Clash. Price, meanwhile, went on to have a number of solo hits over the next few years, starting with a version of "I Put A Spell On You", in an arrangement which the other Animals later claimed had originally been worked up as an Animals track: [Excerpt: The Alan Price Set, "I Put A Spell On You"] Price would go on to make many great solo records, introducing the songs of Randy Newman to a wider audience, and performing in a jazz-influenced R&B style very similar to Mose Allison. The Animals' first record with their new keyboard player was their greatest single. "We Gotta Get Out Of This Place" had been written by Barry Mann and Cynthia Weill, and had originally been intended for the Righteous Brothers, but they'd decided to have Mann record it himself: [Excerpt: Barry Mann, "We Gotta Get Out Of This Place"] But before that version was released, the Animals had heard Mann's piano demo of the song and cut their own version, and Mann's was left on the shelf. What the Animals did to the song horrified Cynthia Weill, who considered it the worst record of one of her songs ever -- though one suspects that's partly because it sabotaged the chances for her husband's single -- but to my mind they vastly improved on the song. They tightened the melody up a lot, getting rid of a lot of interjections. They reworked big chunks of the lyric, for example changing "Oh girl, now you're young and oh so pretty, staying here would be a crime, because you'll just grow old before your time" to "Now my girl, you're so young and pretty, and one thing I know is true, you'll be dead before your time is due", and making subtler changes like changing "if it's the last thing that we do" to "if it's the last thing we ever do", improving the scansion. They kept the general sense of the lyrics, but changed more of the actual words than they kept -- and to my ears, at least, every change they made was an improvement. And most importantly, they excised the overlong bridge altogether. I can see what Mann and Weill were trying to do with the bridge -- Righteous Brothers songs would often have a call and response section, building to a climax, where Bill Medley's low voice and Bobby Hatfield's high one would alternate and then come together. But that would normally come in the middle, building towards the last chorus. Here it comes between every verse and chorus, and completely destroys the song's momentum -- it just sounds like noodling: [Excerpt: Barry Mann, "We Gotta Get Out Of This Place"] The Animals' version, by contrast, is a masterpiece of dynamics, of slow builds and climaxes and dropping back down again. It's one of the few times I've wished I could just drop the entire record in, rather than excerpting a section, because it depends so much for its effect on the way the whole structure of the track works together: [Excerpt: The Animals, "We Gotta Get Out Of This Place"] From a creators' rights perspective, I entirely agree with Cynthia Weill that the group shouldn't have messed with her song. But from a listener's point of view, I have to say that they turned a decent song into a great one, and one of the greatest singles of all time "We Gotta Get Out Of This Place" was followed by another lesser but listenable single, "It's My Life", which seemed to reinforce a pattern of a great Animals single being followed by a merely OK one. But that was the point at which the Animals and Most would part company -- the group were getting sick of Most's attempts to make them more poppy. They signed to a new label, Decca, and got a new producer, Tom Wilson, the man who we heard earlier experimenting with Dylan's sound, but the group started to fall apart. After their next single, "Inside -- Looking Out", a prison work song collected by the Lomaxes, and the album Animalisms, John Steel left the group, tired of not getting any money, and went to work in a shop. The album after Animalisms, confusingly titled Animalism, was also mostly produced by Wilson, and didn't even feature the musicians in the band on two of the tracks, which Wilson farmed out to a protege of his, Frank Zappa, to produce. Those two tracks featured Zappa on guitar and members of the Wrecking Crew, with only Burdon from the actual group: [Excerpt: The Animals, "All Night Long"] Soon the group would split up, and would discover that their management had thoroughly ripped them off -- there had been a scheme to bank their money in the Bahamas for tax reasons, in a bank which mysteriously disappeared off the face of the Earth. Burdon would form a new group, known first as the New Animals and later as Eric Burdon and the Animals, who would have some success but not on the same level. There were a handful of reunions of the original lineup of the group between 1968 and the early eighties, but they last played together in 1983. Burdon continues to tour the US as Eric Burdon and the Animals. Alan Price continues to perform successfully as a solo artist. We'll be picking up with Chas Chandler later, when he moves from bass playing into management, so you'll hear more about him in future episodes. John Steel, Dave Rowberry, and Hilton Valentine reformed a version of the Animals in the 1990s, originally with Jim Rodford, formerly of the Kinks and Argent, on bass. Valentine left that group in 2001, and Rowberry died in 2003. Steel now tours the UK as "The Animals and Friends", with Mick Gallagher, who had replaced Price briefly in 1965, on keyboards. I've seen them live twice and they put on an excellent show -- though the second time, one woman behind me did indignantly say, as the singer started, "That's not Eric Clapton!", before starting to sing along happily... And Hilton Valentine moved to the US and played briefly with Burdon's Animals after quitting Steel's, before returning to his first love, skiffle. He died exactly four weeks ago today, and will be missed.
No puede ser más rico el archivo de Neil Young. Ahora anuncia la edición de un trabajo coetáneo al "Trans" de 1982 y que grabó con el mismo equipo que esa otra entrega. se llamará "Johnny's Island" aunque pudo titularse "Island in the sun" y se registró en Hawai.Mientras, Kris Kristofferson se despide. Ha estado tocando con The Strangers, la banda de Merle Haggard hasta febrero del año pasado pero la crisis de salud ha adelantado una retirada que llega a sus 84 años y después de medio siglo de actividad artística.Hemos rendido tributo a la figura de Hilton Valentine, guitarrista de la primera alineación titular de los Animals y al que fichó Eric Burdon después del paso por The Heppers y The Wildcats. ha sonado una pieza con su inconfundible sonido del álbum "Animalism" de 1966 y luego una de sus últimas canciones grabadas después de que hace diez años saliese un disco navideño. Una pena que no tuviera repercusión su "ll in your head" del 69.Noticia del día es también que Nancy Sinatra se congratule de la victoria de Joe Biden y que comente que hasta hubiera abandonado los EEUU si llega a volver a triunfar Trump aparte de recordar los desencuentros del ya ex presidente con su padre Frank Sinatra.También nos hemos hecho eco de la catarata de versiones que están dejando el matrimonio formado por Robert Fripp King Crimson y Toyah Wilcoxx (ha sonado música de la banda de ella, Toyah) en su cocina en la serie "Sunday lunch").Seis novedades de aquí. Un tema más con aire ochentero de Alexanderplatz; el proyecto Luw desde Girona de Luis Costa; lo que ellos (Aina y Jordi) llaman indie electrónico pop punk post folk de Aina Palmer, la sátira y crítica de los roles masculinos de Asunción; el EP que sale el 19 de Lentillas de Colores y el avance del EP de octubre con sabor sonidos sesenteros de nuestras bandas de esa década.El recuerdo vino de la mano de George Harrison y el himno para Bangla Desh que llegó en 1971 después de su triunfal triple "All things must pass". Escuchar audio
In a World Gone Mad, when we can no longer hear each other's voices over the incessant drumbeat of *OUTRAGE* it's time to gather around the digital campfire for Story Time. Find out more about Sound Healing at Wildwood Gardens and get your copy of the Human Experience Quick-Start Guide at www.KayleneMcCaw.com
Positives of Number Four (4) - Practical, Good Worker, Honest, Organized, Disciplined, Patriotic, Patient, Family Lover, Reliable. Negatives of Number Four (4) - Opinionated, Humorless, Dry, Stern, Narrow-Minded, Workaholic, Argumentative. Destructive Number Four (4) - Hatred, Violent, Vulgar, Jealous, Crude, Animalism. For more info, please visit https://ayterrell.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/ayterrell/message Support this podcast: https://anchor.fm/ayterrell/support
Despite our fancy clothes, ability to use forks, and love of dragon-filled fantasy shows, human beings are just animals. That's the essence of the argument put forth by Animalism and it has implications for how we understand our personal identity and how we choose to interact with other sentient beings in the world. How will Connor react to being called a dirty, filthy animal? Pretty well, actually.
Midday theater critic J. Wynn Rousuck joins senior producer Rob Sivak with her review of a new production of Animal Farm, a stage adaptation of George Orwell's dystopian 1945 novella, now running at Baltimore's Center Stage.This adaptation of the novella was written in 1982 by Ian Woolridge and is being co-produced in its new run at Center Stage with the Milwaukee Repertory Theater. It re-imagines Orwell's anti-Stalinist allegory, in which the animals of Manor Farm rise up against their human masters and the tyranny of their forced labor, inspired by the revolutionary ideas that an old boar named Major shared with the animals before his death. They establish a new order based on Major's commandments of ----Animalism,---- in which all humans are enemies, all animals are comrades, and all animals are equal. But the revolutionary doctrines are soon twisted to empower a ruling clique led by a brutal, authoritarian boar named Napoleon. The citizens of Animal Farm begin to realize that some animals are more equal than others.Directed at Center Stage by May Adrales, the eight-member ----Animal Farm---- cast includes Melvin Abston as Napoleon, Jonathan Gillard Daly as Benjamin, Tiffany Rachelle Stewart as Squealer, Brendan Titley as Snowball, and Stephanie Weeks as Major. Playing multiple roles, the actors deploy unique animal-head armatures created by Costume Designer Izumi Inabi to portray the creatures of Manor Farm.Animal Farm continues at Baltimore's Center Stage through Sunday, April 1st.
In which we discuss the merits of Trigger's Broom, the dangers of the Star Trek transporter and the philosophical implications of transferring Tim's mind into Ru Paul's body, over a bottle of Chateau St. Germain.
Three Lessons from the South Pacific: 1. The importance of giving and receiving - Phil.4:15-20 2. Christianity is about relationship 3. The truth of God's word sets people free
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