#we banjo 3

[poetic-mac-n-cheese]

I've left little pieces of myself to every person I've ever loved. And I probably didn't ever love you like THAT and breaking with you didn't break my heart just bruised it up a bit... but I still haven't listened to that song since the day you left. I guess that's the piece you took with you.

PS “Haven (We Banjo 3)”

[krispyweiss]

Quarter Notes: Blurbs & Briefs from Sound Bites

- In this edition: The Steve Martin Banjo Prize; Bobby Weir & Wolf Bros; Chris Thile; Foreigner

STEVE MARTIN BANJO PRIZES AWARDED: Bill Evans and We Banjo 3’s Enda Scahill are the winners of the 2022 Steve Martin Banjo Prize.

Each musician will receive $25,000.

“We are proud to honor all of the multitudes of banjo styles,” Martin said in a statement. “So many great artists, so little time.”

WEIR SYMPHONIC: Bobby Weir & Wolf Bros feat. the Wolfpack will play three concerts - Feb. 17-19, 2023 - with the Atlanta Symphony Orchestra.

“There’s still room for imagination,” Weir said in a statement.

Ticketing info here.

CHRIS THILE TO DEBUT MANDOLIN CONCERTO: Chris Thile will debut his new mandolin concerto during three performances, May 19-21, 2023, with the Virginia Symphony Orchestra.

Ticketing info here.

FAREWELL, FOREIGNER: Foreigner, which features but one original member, who plays with the band on a part-time basis, has dubbed its finale the Historic Farewell tour.

The run will kick off in mid-2023 and extend to the end of 2024, Billboard magazine reports.

“Foreigner is a completely revitalized band with a whole new energy that has won the hearts of our fans all over the world, and I want to go out while the band is still at the top of its game,” band co-founder Mick Jones told the magazine.

Loverboy will support.

11/15/22

[king-k-ripple]

[elecman108]

If there is anything that makes me wanna say "I called it" on, it's the characterization of the Daycare Attendant (Sun specifically) in Help Wanted 2. My version of Sun's personality is almost exactly like the Sun in HW2, and I made him after playing Security Breach (the only difference being he cusses and that Moon is more chill).

I deadass looked at this cheerful weirdo we barely got to see in that game and went "he is both the only adult serving cunt and the most friendly guy to ONLY children out there". And now that's CANON. He is the exact opposite of that one meme image that has "fuck them kids" on it. Sun says "fuck them adults" lmao.

[thislovintime]

undefined

Via Historic Films, Peter Tork performing “Seeger’s Theme” at the Speakeasy in Greenwich Village, early 1980s (dated 1982 on the Historic Films website).

“I wanted to record the cut [’Seeger’s Theme‘] because I always thought that the piece had a lot of rhythm, and I hoped to display it. I keep trying.” - Peter Tork, The Birds, The Bees & The Monkees box set

“[When I was about 14] I asked for a banjo, and they went out, my folks went out and bought me a little tiny, dinky five-string banjo. And Pete Seeger’s book, How To Play the Five-String Banjo, I think I bought that myself, and learned how to play from that. Nobody said, ‘Here, take a banjo,’ or, ‘Gee, you’d be good at it,’ or anything like that. I just wanted to play it.” - Peter Tork, Headquarters radio, 1989

“I’m a great admirer of Pete Seeger." - Peter Tork, Disc and Music Echo, January 13, 1968

“‘When I was a kid, before the Monkees, I was not primarily a rock and roller,’ said Tork during a 1998 interview. ‘I was primarily an acoustic folkie. For us, as acoustic folkies, the politics were very clear. We were strongly liberal, in the Pete Seeger mold. We certainly had a strong sense of right and wrong, and we certainly believed a lot that was wrong with society was the fault of the moneyed class. I think all of us to some extent believed ourselves to be socialists.’" - We all want to change the world: Rock and politics from Elvis to Eminem (2003) (x)

[arlo-venn]

I can’t believe I live in a three dog household where Arlo is the least problematic and the most angelic of the bunch

[bluupxels]

here’s how a band themed pack can still win-

[sonic-adventure-3]

msrble blast

[piratefishmama]

Pt1

It continues, also with Robin. She leaves Steve on that floor, pathetically cycling through this random metalheads video game music repertoire, sending a silent apology for her fallen friend to the lady in the apartment below them, sure she got to hear Steve practicing his songs every now and then which was a blessing, but she also now had to deal with his pathetic puppy crush as well.

Sorry two (definitely not house-trained) poodle owning lady, Robin sent her condolences for her hearing. But only a little condolence, one of those dogs had left a steamer in the elevator and it was a tall-ass apartment block. Karma really, sweet sweet karma.

It continued because Robin had a mild gift for hunting people down on the internet, it was a skill she’d developed and honed purely to hunt down the assholes who occasionally popped up on Steve’s insta with threatening messages and dumb as shit behaviours that a best friend refused to abide by. Steve had never allowed her to do anything with the knowledge, but one day, one day, the dogs of war would be released, and she would rain fury down upon them for making him make the sad puppy eyes.

He was just a dude, sure he grew up with wealthy parents, sure he had connections since birth to help him get to where he wanted to be, but… that didn’t make him any less of a soft-ass with a genuine love of sports, and sweaters, and listening to audio books in reading nooks with mugs of coffee like some kind of pinterest mood board model.

That didn’t make him any less of an actual mother hen to several child actors and young musicians ensuring they got fair treatment, ensuring they were never taken advantage of by the industry or the people around them.

It continued because within an hour of sleuthing, Robin poked her head back around from Steve’s guest room (read: Robin’s second home), and proudly announced “Found him!” As loud as she could to get over the cover of the final boss battle from Banjo and Kazooie that Steve absolutely did not recognise but was clearly vibing to.

“Found who?”

“Your mystery hater! He’s a—”

“Robin!! You can’t dox people!!”

“I’m not doxing him, I’m telling you exactly where he is so you can go confront him.”

“That is exactly what doxing is. How did you even find him?!”

“Dumbass posted a pic of a newspaper article that his friend wrote, which, uhm, that’s pretty cool I guess, but it had her name on it! All I had to do was search LinkedIn for her and boom, I gottem.”

“…Okay so he’s basically asking to be found is what you’re saying right now.”

“EXACTLY, can we go? Can we? I wanna see him squirm like a little bitch baby when you turn up to confront him.”

“All you’ll see is my pathetic attempts to flirt with him because I don’t know how I’d be anything but pathetic around him I mean have you seen his hands? Do you remember the Hemsworth incident? Do you remember the Hemsworth incident, Robin?” The incident in question involving a low doorway and a concussion that left him delirious in the fantastic arms of the God of Thunder.

“Do I remember you acting like a drunk school girl with her first crush around a guy with biceps bigger than your head? Yes. Yes I do. It was hilarious and you gained a handsome Aussie as a life-long friend out of that pathetic display—"

“I was concussed.”

“Drunk school girl. That doesn’t mean you can’t manage to charm a little bitch from Indiana, we’re from Indiana, we have common ground, you can bond with him!”

“Oh, because being born within the same state makes for such a conversation starter… should we really go?” Would that be stupid? Would that be crossing a line? Would that be absolutely batshit insane?

“For true love—" and champagne in First-Class "I think we should.”

“…Fine.”

Part 3

[youghvaudough]

Wind Breaker characters have a theme to their names, a thread, part 3:

we will discuss Noroshi, a group that appears later in the manga, so, spoilers under the divide, click with discretion!

(part 1: Bōfūrin and part 2: Shishitoren)

Noroshi / 烽

the group antithesis to Bōfūrin is aptly named signal fire. with a fire radical / 火字旁, their name easily invokes the fire imagery that Endō frequently quotes

as we have established, Bōfūrin is associated with trees/plants, so it is unsurprising that a group that broke from them and wants to destroy their ideals would want to set fire to them

interestingly enough, the leader of noroshi and his second-in-command (and biggest fan) have both wood and fire in their last names:

焚石 矢 • Takiishi Chika: 焚 / to burn (with fire)

the kanji 焚 is literally made up of 林 (two wood/木 side by side, "forest/trees") on top and 火 ("fire") below it,, very straightforward

棪堂 哉真斗 • Endō Yamato: 棪 / (archaically) a red fruit of a tree that looks like crabapples

the kanji 棪 is made up of 木 (wood radical) and 炎 (two fire/火 stacked on top of each other, "flames"),, again, very straight(?)forward

other named members of noroshi:

they have elements of wood in their last names, likely a leftover from their previous association with Fūrin, but they are specifically wooden tools instead of living trees:

杓子 千宙 · Banjo Kanon: 杓 / wooden ladle

(he looks like scaramouche from genshin i say this and run tf away so fast)

盤杖 奏音 · Shakushi Chihiro: 杖 / (wooden) walking stick

樽味 清太郎 · Tarumi Seitaro: 樽 / wooden barrel (for alcohol/soy sauce, etc.)

柱尾 修士 · Hashirao Shuji: 柱 / (wooden) column, pillar

(yup the same kanji 柱/Hashira that's used in Demon Slayer; also this is why i kept calling the hashiras "pillars" and had to explain myself when talking about KNY with my very confused English-speaking friends)

梳地 弦治 · Sugichi Genji: 梳 / (wooden) comb

(he's weirdly Grease coded makes sense he has "comb" in his last name lmao)

that's what i got so far! hope you found this interesting. ty for reading if you got this far!!

[ultimate-queen-of-fandoms2]

Cats, in order:

First 3 images are my cats - mainly white calico is Sansa, tabby is Zelda and black and white is Aska. Next black and white is my grandpas cat Smiley, and the following 2 tabbies are my dads cats Mario (long hair) and Simba (short hair). The grey in a shark is a cat called Banjo belonging to a friend of my friend. Then we have my friend a bunch of cats belonging to my friends! ginger is Kiri, white is Bone Farmer, black is Smokey, second ginger is Hamish and tortoise is Ivy!

[thebramblewood]

Julia Zhao in The Mystery of the Copperdale Creep

Previous / Next

Julia's Playlist: 1 / 2 / 3 / 4

Location and music overlays by @pxltown

Julia: [lowers headphones] Double scoop of strawberry, please.

Elli: Dude, have you even read past the headlines? There's no way that thing's human!

Guy: Yes, I can read, and it doesn't sound like any animal I've ever heard of.

Elli: What is it then, some sort of eldritch creature of the dark?

Alma: Does it matter? The lesson, burnouts, is stop getting high as fuck in the woods at night.

Elli: Well, then where are we supposed to do it?

Julia: What the heck are you guys talking about?

Alma: Oh, hey, Jules!

Guy: We figured you were too cool for us lowly pier-dwellers.

Elli: Yeah, now that you're a style icon and all. [snickers]

Julia: Shut up! I'm never going to live that down, am I?

Elli, Guy, and Alma in unison: NOOOOOPE.

Julia: It was an online exclusive. Hardly anyone even saw it!

Alma: Your Social Bunny follower count says otherwise.

Julia: Whatever. So are the tourists making Sasquatch claims again?

Elli: Aren't they always?

Alma: It's the terminal brain rot, I fear.

Guy: Joke about the out-of-towners all you want, but I take the word of locals like gospel.

Alma: Especially when it's your druggie friends rambling about their bad trips.

Guy: It's not just them, okay? It's in the papers! Something is attacking people in the woods after dark. It comes from out of

nowhere. All anyone recalls is being tackled by a flying black blur then pinned to the ground with inhuman force and fucking pierced

by needle-sharp teeth. This thing takes enough blood to leave them just barely alive, and the crazy part is it seems sorry after, like it just can't help itself. It dumps them by the roadside where they'll be seen

so they don’t bleed out. They call it the Copperdale Creep.

Julia: [scoffs in disbelief] This town is nuts. And you guys have been watching too many scary movies.

Guy: If you don't believe me, just check the front page of the Courier!

Elli: Skate solo at your own peril, Jules!

Alma: It's broad daylight, cowards. She'll be fine.

-

Julia: Banjo, we’d better run inside before the Copperdale Creep snatches us up! Wait till Helena gets a load of this, huh, boy?

[knocking vigorously] Helena, open up! You'll never believe what I just heard. There’s some sort of violent maniac on the loose!

Banjo: [scratching and whining]

Julia: Helena, are you okay? [wiggles doorknob] You've been locked in there since last night.

Banjo: [aggressive barking]

Julia: Can't you hear how much Banjo wants to see you? Helena?...

Helena: Go away, Julia!

Julia: But-

Helena: Leave me alone. I'm fine.

[sholangagaga]

What do you think happened to Glamrock Bonnie, using all of your info that you gathered through the game? your analysis on Bonnie's disappearance was really indepth

I was putting off this ask for a while because I wanted to properly gather my thoughts (and I wanted to replay Ruin like another 2 or 3 times just to make sure I got all the lore I could) but I think I have a grasp on what I want to say

BTW, Spoilers under the cut per usual, also, this theory is going by the premise of Ruin's ending. I'll reference my previous theory as well. This is also a carry over of this post.

Now, I had said in that previous post that the three Dufflebag notes told a patchy and incomplete story. Because to me, they do. But in order to decipher the story they tell, you need to think about what was happening in the Pizzaplex during that timeframe. (there's also a couple more Dufflebag notes that help the story as well, I totally forgot to put them in my earlier post)

as I said before, Bonnie and Monty were already co-existing at this point. Bonnie was the bassist, and Monty was just an animatronic with his own attraction (like how Foxy is the animatronic at the theatre and Sun/Moon/Eclipse are the animatronic for the Daycare)

Now I'm gonna preface all of this theory and information with the fact that I do not believe Monty killed/attacked Bonnie.

I simply don't.

I know what the OG Security Breach story wants us to assume, but from a logical standpoint, it simply makes no sense.

Now, let's go through this chronologically. There will be some conjecture here using the information we've seen outright, so please don't strangle me if this doesn't necessarily match canon or what-not.

First, Bonnie was the original bassist of the band. Alongside Freddy, Roxy, and Chica, they were the original cast. (I don't know why Foxy wasn't part of the original band. Maybe he WAS, long before Roxy took over, or maybe they decided Foxy would be better in the theatre/child area since prior incarnations of Foxy weren't considered bandmates, they were simply side attractions for kids)

I think it's pretty safe to say that Monty was enamored with Bonnie in some regard. At the very least, he looked up to him. In the Gator Golf attraction that shows you Monty's rise to fame, you see Monty playing something akin to a bass or a banjo all alone in his swamp. He was a One Man Band, as they say.

I think his One Man Jug Band probably played in the Gator Golf, maybe he had his own little party bookings there judging by how popular his attraction is. (Like how Roxanne's parties can be booked at Roxy Raceway/Glamrock Salon or Freddy's parties can be booked at the Atrium and main stage)

At some point, Monty became acutely aware of the main band and the stardom they enjoyed. Of course he did, they were the main focus of the Pizzaplex, and the main band had their own greenrooms along Rockstar Row, the FNAF equivalent to the Hollywood Walk of Fame, if we had to compare it to something in the real world.

It seems very obvious that Monty looked up to Bonnie. Bonnie, who shared the same instrument as him, who probably was friendly to him and maybe gave him some pointers on how to refine his playing.

You can see Monty looking up towards the band, but his gaze is localized on the star and Bonnie. Bonnie is also the only one looking at Monty. I think that, at least at this point, they were on good terms in some regard.

Now, for what happened to Bonnie. When we look at Bonnie's body, you can see that he was apparently clawed open and parts of his endoskeleton and machinery was removed and taken away.

You might be thinking, "Well, he got clawed open. So that means that Monty did it, of course."

and You'd be wrong.

If you recall, Monty got his claws in order to play the bass. Now why would he need to play bass if the band was still full and there was no need to replace Bonnie since he was still active? This is mentioned in the note MONTY UPGRADE

MAINT LOG: MONTY - Montgomery's Claw upgrades allow him to play the bass. Following performances, he mostly uses them to cause damage. The fence repairs are getting costly.

So, whoever clawed up Bonnie couldn't have been Monty. And if Monty had clawed up Bonnie, why did he rip out his hardware when he'd have no need for it?

Now what exactly happened to Bonnie can be tracked through his last night active in the Pizzaplex. Seen in the notice MISSING, we are able to see Bonnie's final movements.

SECURITY REPORT - 12:24AM - Bonnie is seen leaving his green room in Rockstar Row heading East towards the atrium. 2:40AM - Bonnie enters the East Arcade. 4:12AM - Bonnie enters Monty Golf.

Now I went into deep analysis of this in my post explaining how Bonnie is considered missing in canon, so I'll summarize it here.

Bonnie spent 3 hours and 48 minutes following a specific path in the Pizzaplex only to disappear after entering the Monty Gator Golf attraction. It took him 2hr16mins to enter the Fazcade from Rockstar Row, and then 1hr32mins to get to Monty Golf.

There's no reason it should have taken Bonnie so long to move from Point A to B. So there must've been something that he was doing during that long walk.

So my theory is that Bonnie was already injured when he exited his green room and started his journey towards the Fazcade.

My reasoning for this is mostly because of how long it took Bonnie to get to the Fazcade, but also because it doesn't make sense for him to take the path he did in the first place in the middle of the night.

I believe Bonnie sustained his injury and then left his greenroom to find help or someone to help get him to Parts and Service. He trudged his way to the Fazarcade and then went towards Monty Golf. And then something happened in Monty Golf that must've fully incapacitated Bonnie, making it so that he was unable to leave. And then at some point, he was abandoned at the back of the Bonnie Bowl and left to rot.

Now, as for what attacked him, I'm a bit up in the air about it since I don't know what exactly is the true canon-line for the game. I've heard some people imply the Burntrap and Blob ending was deemed noncanon and instead the ending of Ruin involving the Mimic IS the true ending. That confused me because the Mimic didn't appear at all in SB (as far as I recall, and I poured over that game pretty intensely) and in the Ruin ending, you see the area where the final battle against Burntrap took place. (And this isn't even touching on what exactly Malhare/M.X.E.S is, I'm assuming hes some remnant of Glitchtrap?)

After playing Ruin (and using Ruin as the main plotline) I have two theories of what attacked Bonnie.

Bonnie was attacked by the Mimic (who does have huge, sharp claws) in an effort to either build on itself or repair itself, and then maybe followed or lured him across the Pizzaplex towards Monty Golf. And then it fully shattered him there, maybe using the Hurricane Bucket that was mentioned in the Monty Mischief notice. Then in an effort to hide the "body" and be able to take it apart without technicians or FazEnt getting in the way, the Mimic brought Bonnie so the back of the Bonnie Bowl and further removed his endo and parts.

My other theory is that Bonnie injured himself. Remember, Monty didn't have claw upgrades by that point so he couldn't have been the one to claw open Bonnie. But you know who DID have claw upgrades? Bonnie.

I think in some way, Mimic or some glitch entity (maybe Malhare/M.X.E.S) got into Bonnie's head in an attempt to lure him somewhere secluded so they could harvest him for parts, but Bonnie fought the conditioning much like Freddy had and ripped himself apart to get these strange voices/entities out of him. And then he wandered the Pizzaplex presumably looking for help before he was finished off in the Monty Golf and brought to Bonnie Bowl to be harvested.

This would explain Bonnie's injuries, why the Mimic (or Burntrap if you want to go that route) looks so brand new and put together, and also why Bonnie apparently disappeared without a trace.

BONUS

There's another notice in the Dufflebags that seemingly adds more to Bonnie's fate, Understudy

MANAGEMENT REPORT - With Bonnie out of commission, we are making Monty the new bass player. Parts and Service has already done the proper adjustments. This could be a good thing. Monty could be even more popular than Bonnie.

This notice apparently takes place before the notice Re-Theme since it takes place DIRECTLY before Monty gets established as the new bass player in the aftermath of Bonnie's disappearance/shattering. However, Bonnie being "out of commission" doesn't allude to anything about his actual fate. It must be that Bonnie disappeared suddenly, and in an effort to smooth things over and re-complete the band, they pushed Monty into the role. As we know, repairing and fixing an animatronic is not a hard thing to do. There's no way Bonnie would be so destroyed that it'd be impossible to put him back together, and from what we saw of Bonnie's condition, it was certainly bad but it's not like he was completely turned to ash or destroyed and unrepairable. They could have repaired him if they got a hold of his body. But it was apparent they didn't, and they had no idea where it was. So instead of rebuilding/remaking an entirely new shell and endo from scratch, they simply grabbed the next best thing and put him into the role.

Which explains why Monty seems to openly use Bonnie's old props, like his glasses and his bass. Monty never had a problem with Bonnie, he idolized him. And after his idol disappeared, he took his place and used his props to allow Bonnie to live vicariously through him. Not to mention how maybe Monty feels responsible for Bonnie's disappearance since it happened in his own attraction, but if Monty was the one who hurt Bonnie then I sincerely doubt the other animatronics would be okay with him taking his place and using his props. Especially Freddy, who was the closest to Bonnie.

[pocketramblr]

How abt a crack au where after the cultural festival class 1a decide to all quit school and be a band full time, and they become so popular that most villains give up villaining to go to shows instead and to make sure 1a dont feel the need to switch back to being heroes

1- a quarter of the class has already committed vigilantism, Izuku just encountered two more and is musing on the meeting while riding the high of Jiro's song being able to do for Eri what several heroes couldn't, so a lot of the class is like "well it'll be fine, we can do music and help people on the side, technically until they cancel our provisional licenses or they expire in three years, it won't even be illegal."

2- Todoroki, who doesn't have his licence yet, weighs the pros and cons. He'd like to not have to go to any more remedial lessons where his dad shows up when when he's not supposed to. He asks Jiro about more ice and fire effects, and agrees to go. Tensei was in the family audience and tells Tenya he did an amazing job, which Tenya takes as permission and encouragement to go even though that's absolutely not what Tensei meant and he had no suspicion of the plan at the time. Uraraka looks at the streaming numbers and how much they can earn even with low priced tickets, and agrees. Etc etc etc

3- Bakugou only agrees because Kaminari needled him about being too good to. Unlike Todoroki, he does still attend remedial classes and sends in his normal assignments to UA, somehow while in the band full time, and in the group constantly on the run from Nedzu and various others trying to hunt them down.

4- crime rates plummet to pre-Kamino levels due to villains realizing if the kids stop the band, they're all screwed. The fact that several different villains go to a show and somehow aren't seen again doesn't really get out though to warn anyone off, probably because nobody cared about the Chimera and Mummy, and because when Tomura sent Dabi to find out where Twice and Toga had vanished to, he didn't bother to look.

5- Most of the vestiges are unhappy with this decision to join a band, Second and Third loudly complaining about the immaturity, Yoichi quietly confused and disappointed, Hikage nursing a permanent headache, but Banjo is thrilled, En doesn't say anything either way but wanted to be in a band himself when he was alive, and Nana's just glad Izuku's having fun and helping people smile. For his part, Toshinori is having a blast and is amazed at how Izuku is getting stronger with his quirk even focused as he is at using it for shows and dancing. AfO is a distant threat but one he knows Izuku can handle if he ever breaks out of prison, and in the meantime he needs to make sure all his former students are eating enough to keep up their strength. Hey what's that black stuff coming out of young Midoriya's arm-

[thislovintime]

Bruce Farwell and Peter Tork onstage in Greenwich Village, early 1960s.

“As a matter of fact, the interesting thing is that it [Tork] came about because in my Greenwich Village days, I was wearing my father’s high school sweatshirt and it said ‘Tork’ on the back of it because it was his nickname. [Thorkelson] got shortened that way, and for a long time, I wasn’t even Peter Tork, I was just Tork. And some of my friends from back then still just call me Tork as though it were my first name, which is kind of funny.” - Peter Tork, DGB, February 12, 2006

Q: “Why did you get into the music business?” Peter Tork: “Approval. Respect. Love. Girls.” Q: “How did you get into the music business?” PT: “I was in Greewich Village in 1963, with some college buddy of mine, listening to some folksinger, when my buddy said, ‘go back uptown and get your banjo, you can do at least as well as this character.’ So I did, and I could and I never looked back.” - Beachwood Confidential newsletter, 1995

“When I left college the second time, I went to New York — Greenwich Village — where I scrounged around trying to make dimes and quarters to make enough to eat. Some weeks I made six or seven dollars, and I never made more than fifty. Sometimes I needed a handout from home — my father teaches at the University of Connecticut — but I got along without very much. Once I had a day job as an office boy for a music agent but got fired after a month because I couldn’t get there on time — I was burning the candle at both ends. I finally left the Village. There was only so much of that scene I could stand. I took off for the West Coast when a friend invited me out to stay with him. I began looking around for work as a singer. One place I walked into offered me a job as a dishwasher and I took it. I saved a hundred dollars in a month, making fifty dollars a week. I don’t need money. Money doesn’t mean anything to me. If you can’t be happy poor, you can’t be happy rich.” - Peter Tork, Seventeen, August 1967

“He was a funny kind of a guy. He ran around in an old sweat shirt with ‘TORK’ lettered on the back of it and always carried his five-string banjo á la Pete Seeger. He also had what was considered ‘lots of hair’ in those days. […] Peter had a way about it. I mean, he could soften up the toughest audience. If people didn’t like his serious songs, he would play his funny ones. If they didn’t like his funny ones, he would play romantic ones. If they didn’t like his romantic songs, he would sing his ‘provocative’ ones. Usually, the audience was pretty warmed up by then — but just in case it wasn’t, Peter would throw in a spate of funny gags, followed by a series of the most comic faces one could ever see. […] In spite of all his clowning, Peter was a rather serious chap. […] Peter was a loud, powerful singer (I used to call him a romp’em, stomp’em type of singer), while I was a soft ballad singer. He had enormous stage presence and I had very little. He played the banjo, I played the guitar. […] He was restless and intense, while I was calm. He loved to be with a lot of people all of the time, whereas I liked to be completely alone some of the time. And last, but not least, Peter Tork had quite a way with the girls. […] One night at the Why Not?, the owner came over and told us business wasn’t too good. ‘I think,’ she said, ‘that if you guys can make a little more noise, we can get more people in off the streets. Why don’t you sing together — and loud?’

Peter and I went over to the corner and talked it over and came up with several tunes which we both knew. Soon, we were up on the stage singing Fennario, Dark As A Dungeon and Blowin’ In The Wind. We took turns wailing away a lead and then harmonizing together. Afterwards, Peter was exuberant. ‘Hey, I thought we were great, man!’ he exclaimed. I admitted to myself that I owed it a lot at the time, but I remembered that my main interest was to become a soulful folk singer. ‘Hey,’ Peter raved on, ‘let’s become a duet.’ Well, it took me a couple of days to make up my mind, but there wasn’t much money and when I got good and hungry I found Peter and we started rehearsing together at his apartment on Bedford Street. Overnight, we became the unfamous, unknown duo — Tork & Farwell. Where did we work? Where didn’t we work would be more like it. We worked at the Why Not?, The Basement, The Cyclops, The Third Side, The Four Winds, The Samurai, The Dragon’s Den, The Raven, The Id — and all the time we kept adding to our repertoire. […] I had moved into an apartment on Broome Street and Peter had had to give up his Bedford Street pad due to a lack of funds. So he started rooming at my place, occasionally. Let me tell you, it was really ‘enchanting.’ A five story walk-up, just off New York’s infamous Bowery. […] Things got tougher and tougher, and Peter finally had to take a job writing music arrangements, just to pay his share of the rent. One night Peter got sick and went home to Connecticut to stay for a few days. I went off to the mid-west on a gig, and when we both came home we found that our apartment had been robbed. All of my instruments were gone. Fortunately, Peter had taken his banjo and guitar with him. […] He is a great guy and he was like a brother to me. I will never forget him — intense, friendly, frank, very funny and clever with an intelligence that goes beyond book learning, and an understanding that goes beyond the surface. And as for the girls — it’s a cinch that Peter still has a way with them. He’s just doing the same thing he used to do — standing up there, making faces, grinning, jumping up and down, singing and laughing and running all about — only now he is doing it for 20 million people all over America, instead of just for a handful of tourists in Greenwich Village.” - Bruce Farwell, 16’s The Monkees: Here We Are (1967)

[sunbeamstress]

i've noticed an increasing trend in game names that are like

TITLE OF GAME: ENTIRE OTHER SEPARATE TITLE OF GAME

and it's kinda fascinating to see! i'm a little obsessed with naming trends, names themselves, and their natures, being a subject of endless personal fascination; for most of my entire life, works of media in the US were typically given just a single TITLE. if you make a sequel, that's TITLE 2. if you make a spinoff? sometimes it's a different TITLE, but sometimes it's TITLE: SUBTITLE.

except now we have tons of games in the public space that are called TITLE: SUBTITLE as singular works!

the evolution of the SUBTITLE component of these names is so interesting. usually it was something descriptive that hinted the work was derivative (The Elder Scrolls: Daggerfall; Banjo & Kazooie: Nuts & Bolts; Cyberpunk 2077: Phantom Liberty; etc.), but the SUBTITLE's role is changing.

here's a fun trend: games with simplistic (possibly difficult to trademark) names, with a tacked-on subtitle whose job it is to better illustrate the primary title

is "smalland" the actual name of the game, or do we say "smalland: survive the wilds" every time in accordance with the 2005 Pimp Named Slickback ruling? do you say "divinity original sin" as a singular noun or are you meant to inject a little micro-pause where the colon should be?

better yet though, what if the SUBTITLE didn't have to clarify the TITLE? what if it could just be a whole-ass other name for the game?

i totally get why you can't just name your game "metal," that isn't what makes this game name so deliciously weird. the name's components are clearly related, but they seem to point to different spheres of information.

what is this game actually called? do you just call it "metal hellsinger"?

is "metal" meant to hint at the musical lexicon and the game is just "hellsinger"?

is the main character the hellsinger and is she herself implied to hellsing?

does "metal:" imply that this is a singular title in the Metal series?

what if they make a sequel with an EDM or a rap soundtrack? do we get "Drill: Barspitter"? actually i'd play the shit out of that.

btw you should try this game, it fucking rips and it's on sale for like USD$12 right now

by this point i think i got across what i was going for, so now we're just taking a tour. this one's fun because both of these are pretty good names for games, but they couldn't seem to settle on one so they just took both. i respect it!

bleak faith is a game of putting on airs; it wears the trappings of a soulsborne but like most derivative soulsbornes, it assigns its own rules to combat, character building, etc.

it also wears the trappings of my favorite TITLE: SECOND TITLE naming convention, but decides to toss the rules out the fucking window. there is no other Bleak Faith game, so this isn't simply the "Forsaken" offering of that series. and "Forsaken" kinda illustrates "Bleak Faith" like, a little? it pays lip service to it? they both give vaguely Judeo-Christian vibes but honestly the Forsaken bit isn't pulling a lot of weight here.

if Read Only Memories glommed on to two perfectly serviceable titles, this is a great example of a game that really only needed one. "Bleak Faith" sounds pretty cool; "Bleak Faith: Forsaken" sounds like i'm about to enjoy 2-3 hours of a 20-hour indie title

and yet Faith: The Unholy Trinity says "ah but what if the game's primary title was so meaningless you literally couldn't even hold it in your head?" i don't know about you but i am looking at this screenshot i took from Steam myself, i'm reading the name, and my brain is still telling me that this game is called "The Unholy Trinity."

now we're talking! these ones are fun because the subtitle isn't a subtitle at all, it's describing what the game is like - and yet you gotta have it there. it's a style thing.

remember when you'd fire up Metal Gear Solid and it'd SLAM the title on the screen and then there was that stylish "TACTICAL ESPIONAGE ACTION" thing at the bottom alongside some minimal katakana? fucking peak aesthetics

this is a game name that feels like there should be a colon there. it absolutely should be called "Bomb Rush: Cyberfunk". artistic integrity, and a less-than-subtle nod to the precursor (Jet Set Radio) have rescued this title from the Tyranny of the Colon.

unfortunately the latte i made this morning has not rescued me from the Tyranny of the Colon, so if you'll excuse me this is probably a good place to stop