#actually making some tangible record of them

[castorochiaro]

see my biggest problem as a creative mind is that I often confuse tossing an idea into the daydream spincycle and obsessively imagining things about it for days until it evolves into a fullblown concept with nuances and details for actually committing that idea to memory so i can come back to it at a later time

turns out just thinking about stuff a lot does not actually mean much if I don't write any of it down, especially when my exciting memory issues inevitably come into effect

#cast converses #I have so many ideas and stories floating around in my head at all times #but oh #actually making some tangible record of them #it is a struggle

[3416]

the funniest thing about the leafs, when people try to diagnose problems with the way they play as if it’s some systemic thing, is like... if it came down to it.... wouldn’t you rather them play well against good teams and bad against bad teams than the alternative.............. like in the long run, isn’t that better??? in the whole championship goal and how most ppl frame it, isn’t that all you care about anyway (for the people who say only the playoffs matter)...... i get that it’s the frustration with the potential of them playing well against EVERY team bc they’re good enough (although.. no one in the league really does that except boston rn, BE REAL), but at this point you know what team this is (and i suspect if you were heavily invested in any other team, they also have their frustrating inconsistencies/lore/superstitions/whatever this is), but it’s like. this isn’t even a fair assessment of why they lose the playoff games you love to talk about because THEY DOn’T PLAY BAD TEAMS THEn. when are hockey fans going to admit just how much luck goes into the sequence of events that takes someone to the stanley cup like holy fuck. it’s like either people genuinely believe they’re cursed (as in experience extremely unlucky moments when it matters most) or you genuinely think the leafs suck even when they’re evenly matched all series and go toe to toe with former stanley cup champions.... WHICH IS IT

#it's so hard to watch ppl talk about this like its a broken record #i feel like you absolutely can intellectualize ur way out of being frustrated. #bc it makes sense that they maybe dont 100% turn it on #against every team #esp teams that dont matter? #like what REALLY does it say if they dont beat the habs or coyotes #some superstitious thing??? i really dont get it. #i try and i try and i try to #i get watchin ur team not play well is like :| regardless but LIKE. DOES IT WARRAnT #THE COnSTAnT CYCLE OF DISCOURSEEE #its mostly just funny?????????? like #i absolutely will make excuses for them bc what does acting like theres some core flaw to their play do for u as a leafs fan #makes u look like an idiot for still rooting for them? #i just dont fuckin buy the way all these ppl interact with sports like #what a miserable life if there cant be upsides #sorry i rant weekly its just ..... #we need some optimism around here lol #ive thought maybe ppl get mad at these games bc it feels like a harbinger of the 1st round exit #and how they havent overcome these barriers but like. #tangibly... what are the barriers.. and are they actually on the leafs or #LIKE. ppl just talk out of their ass #i want to do an academic study on this its fascinatin #sports culture man.... the hostility and lack of fun it breeds lmaooooo #outside of the already blatant problems

[existence-is-a-liminal-space]

rant time

This is so disappointing, and the worst part is I have no one to blame but myself. I've always sorta seen the writing on the wall. Hori has always had a really weird track record with his writing; dropping plot points, being purposefully cagy and noncommittal to certain themes etc. However I do think there is a difference between something being an objectively poorly written story and just a story that, while well done, might no be something I personally enjoy (or even a overall fine story with a few flaws). For awhile I thought, like many people that mha was going to be a scathing critique on hero society and Deku & Co. would have to reccon with their places in it: how the hero-villain dichotomy does not help anyone, scapegoats those deemed undesirable, allows heroes to get aways with murder, and perpetuates the complicity of the masses leading them bring about some sort of systemic change with the help of the antagonists . When I realized it wouldn't be that I thought "OK" then it is a story about saving the have-nots and proving why they are going about things the wrong way and offering another solutions while working within society–a bit sanctimonious but sure–they become the greatest heroes because of their compassion and willingness to save. And then when the villains bring up their issues with society their continuously told to shut up or that their wrong with no further elaboration, better yet that they just dealt with what happened to them the wrong way as if was somehow their fault for reacting badly to being treated badly and given no real recourse. And then the All For One reveal happened. And god. the last minute reveal (right before he's 'killed') that all of Shigaraki's family issues and quirk were the direct result of AFO? It's a really nice way to further invalidate all the criticisms he's ever made now that nearly everything bad that's ever happened in his life was because of some really bad guy, doubling down on making everything an individual problem rather then a social one–because that way you don't have to challenge your characters core ideologies right? or think of actual solutions? And that's where I feel like MHA crosses into being an objectively poorly written story overall; to establish all these issues and themes and back out on them at the last minute for a simple solution.

I have to ask: What the fuck is going to change? Stories set in a fantastical world usually have something to actually fucking comment on in that world. We are shown explicit issues in the world of mha What has been deconstructed about the world of MHA? After all of this, what have any of these so called greatest heroes done to make an actual, tangible difference in the world they live in? The end of MHA is shaping up to be just a continuation of the same cycle it the begins with, all of it's issues going unaddressed or swept under the rug. People want to say that MHA doesn't need to address those things, that it's just a story about hope and redemption, where is the hope and redemption in killing off the people shown to be the most victimized by society? If it is a story about true heroism being intrinsically linked to saving then what does it say that some people just can't be saved, that are 'too far gone' that have to be fucking mercy killed.

In conclusion, the LOV deserved to be in a story which actually lived up to what it promised.

#mh #bnha spoilers #mha spoilers #bnha #lov #but especially #shigaraki tomura #shimura tenko #dabi #touya todoroki #toga himiko #sorry this is very ranty and bitter #I usually like to consume my media in peace but bnha has done the impossible #*long sigh* #I am incandescent with rage #idc anymore #*crickets* #might delete later

[spikezonebby]

Hi again, sorry i mess it i hope it is right now ^^, a request for song fics could you with tfp optimus prime with the song Shawn Mendes, Camila Cabello - Señorita with a fem!human!reader, genre to Romance?

Senorita - TFP!Optimus Prime/Fem!Human!Reader

Word count: 1,672

Your first meeting had actually been entirely an accident. Optimus knew some humans had an affinity for vehicles, and you were one of them. Even a Prime can only take so much fawning over his grill, rims, or decals before he gets flustered and ends up blowing his cover.

That set the tone pretty well for how your entire relationship with Optimus was going to go. The other Autobots treated their leader with all the grace and dignity deserved of a Prime, but you never let the great title dictate how you treated Optimus. You weren’t ever afraid to speak your mind or ask questions. You questioned his commands, not to undermine him but to genuinely understand and clarify. 

You seemed to find everything Optimus said fascinating, and when he’d watch you he could see the inner gears of your mind chugging along. Picking apart his words and always seeming to know exactly what was on his mind, even when he himself wasn’t entirely sure. You were the probing sort, someone Ratchet often found meddlesome and too-like Miko, but there was a grace to your inquiries. 

Optimus was, perhaps, somewhat shy to admit that he liked it when you asked about his past. Especially when you would ask about the moments that weren’t so great or grave, like his walk home in the evenings from the Hall of Records or his favorite small pleasures. There was something warm, familiar, even humbling to the idea that your two lives weren’t too different.

You used to work at a bookstore and did its inventory, spending hours organizing piles upon piles of books. He would spend cycles listening and sorting through videos and audio files to archive them in their appropriate places. You’d stop on your way home and get a donut and coffee. He’d occasionally indulge and get himself a slice of chrome-alloy cake.

Optimus did not consider himself a poet, nor any other kind of lyrical savant, but he would describe the closeness he felt to you as… magnetic. He found his gaze drawn to you in the room, your laugh made his spark skip in his chassis, and even the persistent hum of the matrix seemed more at ease around you. 

He wondered if, maybe, you knew what you did to him. It certainly seemed like you knew when you’d come close to him and lay on the lower portion of his chassis, just beneath his windshield. It seemed like you knee when you’d find a quiet moment to rest with him in his seldom-used quarters, your whole tiny body level with his face. For someone who could fit in the palm of his servo, you liked to make your physical presence known and tangible. 

He couldn’t say he minded. In fact, that was a thing that brought quite a bit of distress to the poor Prime’s mind in the moments that should be peaceful. The longer he knew you, the more enthralling the pull became. He found himself wondering if you’d hate it if he curled his servo around you, cupping you between his digits like a treasure. He thinks about the scent of your skin and the warmth of your body, should you finally close the distance between them.

You were human. You were fragile. Leaders weren’t built to have fragile things, but protect them regardless.

But he still wanted you. Enough to forgo the logical sense he had to distance himself and instead, let you keep invading his space and his mind. He couldn’t bring himself to stop this.

Not when you invited yourself into his quarters, shimmied your way up to the space on his berth right beside his neck cables and jaw, and built your own little nest of blankets and pillows there. Not when you had so much faith in him, and talked to him about all of the soft things he thought they’d killed in this war.

“That’s Neocybex, right?” You ask, snuggled up beside his audial as he laid on his back, both of you looking on up at the data pad he had in his servos. He pauses in his scrolling through, balancing the stylus in his grip as he tilts the data pad further for you to read.

“Some of it is. Other parts, like here,” He scrolls down, “Are Primal Vernacular.”

“A different dialect or a different language wholly?”

“Neither. Primal Vernacular was the predecessor of the Neocybex all Cybertronians came to speak in modern times. When I was given the Matrix of Leadership and all of its knowledge, I was also gifted the ability to speak and read this ancient Cybertronian language. I find it easier, sometimes, to take notes in.”

You sit up a little, bracing yourself with a hand on his cheek vent. “So you’re the only one that knows how to speak it?”

“Most likely.” Optimus admits, somewhat sullen, “Even before the war, it was considered a dead language on Cybertron. Transcriptions existed of people speaking the language but as Neocybex became more common, it simply was lost to time.”

You hum, and leaning this close to them, he can feel the way the small sound rumbles up through your chest.

“Teach me. At least a word or two. Something I can remember.”

“You wish to learn Neocybex? I do not know if your organic vocalizer can reproduce the sound.”

“No, no! Primal Vernacular! The letters almost remind me of… Arabic. That’s a human language so, surely I can wrap my head around some of that.”

His spark warms at that, your enthusiasm contagious. It couldn’t hurt to attempt it, it would be a good excuse to brush up on his own pronunciation.

“Ṣdyq,” He begins. “It means ‘friend.’ And if you begin it with Rjl, it becomes ‘brother.’”

“Oh so it has different rules than Earth’s version of Arabic.”

“Yes. It is fascinating, is it not? That humans have taken such an old language and made it their own?”

“Yeah, it’s kind of nice in a way. Makes things feel less…” You fish around in your thoughts for the proper word, then hum. “Lonely. Yeah. So… Rjl… Ṣdyq… means ‘brother.’ How do you say ‘sister,’ then?”

Optimus’ lip plates quirk into the shallow shape of a smile, spark warmed by your botched attempt to match his pronunciation. 

“The translations of the words are different based on their cultural meanings. Cybertronians are very rarely forged with siblings, so ‘brother’ means something closer to ‘ally.’ A feminine version of the word didn’t appear until very late, when femmes started to become more prominent. It was very rarely used though, mostly due to the… intimate implications of the word. I once listened to an interview with a linguist on the matter and he theorized that it was coined initially by Megatronus Prime of the Thirteen, as a term of endearment Solus Prime. It’s ‘Ạmrạ̉ẗ Ṣdyq.’”

Now that has you fascinated.  Optimus often chose his words carefully, using them as a tool for peace and command just as often as he used his own two servos. With you, conversation came easier. Optimus only had a select few people whom he knew and trusted to allow him to talk so easily.

You stood up, keeping one hand against his jaw as you walked around him. He could feel you use him to steady your steps as you hoisted yourself up onto his neck cables. You were so light he hardly felt the pressure at all. Instinctively his servo came down to gently cup behind your back, fearing you might fall off.

“What are you doing?” He asks, but he doesn’t sound irritated. Worried maybe, curious mostly.

“I want to see the way your mouth moves when you say those words.”

It’s an innocent goal, he insists it is. A request to turn on his first level of cooling fans pops up on his HUD view. He almost denies it, then worries that he might grow too warm for you to touch. In the end he does allow them to kick on and wholly misses the way it makes you smirk.

“Come on, boss. Say ‘em.” You coax, resting your folded arms against his chin, “Please?”

Optimus looks down past his nose, examining your face as his fans cycle a little faster. Right, it would be rude to refuse you whatever small teaching aid he could offer. Even if it was unorthodox.

“Ṣdyq.” He says. You lean forward a bit, watching the way his lips move with every sound. “‘Friend.’”

“Uh-huh.”

“Rjl Ṣdyq.” You reach out and trail your tiny fingers across his bottom lip. Optimus loses his train of thought.

“Which means?” You prompt him, feigning forgetfulness.

“Ah, ‘ally.’” He can see the way you bounce a little when he swallows the thick lump forming in the back of his intake.

“Cool, cool.” When had you gotten so close to him? And it didn’t seem like you minded at all as you even used his servo balancing you from behind to boost yourself up and lay across the flat plane of his chin. 

He says your name softly. His data pad is forgotten in favor of clutching onto the tarp and padding on the berth beneath him.

“And what’s the last one?”

“Ạmrạ̉ẗ Ṣdyq,” When had he started to feel so breathless? Like his fans weren’t cycling enough air.

“Mmmhm… I like that one. There’s something about the way you say it. Say it again, please?”

“Ạmrạ̉ẗ Ṣdyq,” He says again, just so he can hear the joy on your voice when you giggle, “Ạmrạ̉ẗ Ṣdyq. And it means– mhm?”

Before he can even finish his statement, your small, warm lips press to his bottom lip, silencing him quicker and easier than even the sound of blaster fire. His servo cups closer behind you and he knows he should stop this, he knows he doesn’t deserve this, but you make it so, so clear you want to give it to him.

And in the end… who was he to deny his Ạmrạ̉ẗ Ṣdyq?

#transformers #request fill #transformers prime #tfp optimus prime #tfp optimus x reader #thank you for requesting!! #song fic #tfp x reader #reader insert #yes the words are arabic i dont speak it but its an alien dialect in this case so plz believe me i mean no offense #WOO actually wrote a kiss this time #optimus prime #optimus prime x reader

[magnusbae]

If you're interested, here's a prompt from the ones who just shared:

"Then why did you do it?" "BECAUSE I LOVE YOU!"

No rush hehe I hope you get rest and have fun writing this!

Now, see, I could have taken this as an open prompt and went with something else, but I know you like dreamling and so I was good.

Thanks for the prompt dear! 💖 Also special thanks goes to @cuubism for actually going through it 🌻🌻🌻 any mistakes are me ignoring her wisdom or straight up forgetting to edit it. one of the two.

Dreamling - some flavor of hurt/comfort(?) 'you dare?' kind of situation going on there, 1,394w

▾▾▾

“I cannot fathom why—” 

Dream halts mid-sentence, his outrage rendering him speechless for a precious moment in which Hob tries, fruitlessly, to come up with a way to placate him, to explain in a way that will somehow pass as acceptable to Dream. The betrayal is tangible in the air, so charged that Hob’s hair actually stands on end as if from static. It feels like standing at your front door, still safe but seeing the hurricane on the horizon, knowing that this false safety can and will change in moments. Hob cannot think of a single thing. 

“You.” Dream grits his teeth so tightly that they scrape loudly, the sound of it making Hob’s own teeth ache uncomfortably. “Know.” Dream says each word as if it takes a great burden to even use human speech and not simply burn a hole in Hob’s mind. Given Dream’s past record, which Hob had recently learnt of, perhaps it does. “You know I do not ask.”

“I know.” Hob winces.

There’s no denying that he knew. Knew full well that asking Dream’s sibling for help was a guaranteed way to not only outrage him, but also land Hob a very creative punishment and the end of their long friendship.

He knew that, and did it anyway. 

Would again, if he had to.

He will not apologize for that.

Dream seems to come to the same conclusion, cheeks reddening in a surprising display of humanity, of lack of control over his appearance. The darkness that creeps into his eyes is distinctly not human. Hob shudders but fixes his eyes on Dream’s, refusing to avert his eyes like a reprimanded youth. He did what he did, and he’s not sorry.

''Then.” To Hob’s surprise, Dream seems to level himself, to school the darkness out of his eyes and ask with a calm that is somehow more unnerving than his rage. “Why did you do it?" There is a finality to this question, like a judge asking for one last confession to tip the scale one way or another. There will be judgment at the end of it, Hob knows. 

“Because…” he sucks in a breath, there’s a ball of nerves in his stomach and frustration, surprising him with its intensity, it feels almost like anger.

Why is he here, searching for excuses for something he believes in wholeheartedly? He doesn’t want to learn firsthand of Dream’s notorious pettiness but he’s not here to play these sort of games. 

The outraged huff is stuck in his throat— he didn’t even realize he had raised his voice this much, not until the ring of it strains his ears. He is practically shouting. And he doesn’t care. 

 ''BECAUSE I LOVE YOU.''

There’s anger in it, frustration, a measure of desperation.

“I bloody love you more than I fear you, that’s why.” His own cheeks burn, itch, tingle with the indignation of it all. “Because I’m a besotted fool who would make a pact with the devil if I had to, if it meant helping you.” He gestures curtly at Dream, then spreads his arm in an exaggerated motion of question. “Why else? Seriously, why else?!” He stops at that, breathing harshly. This is not how he had imagined, not even close. Fuck it. And fuck Lucifer, too. And Dream’s all too pleased sibling, on top.

Through his outburst Hob had stopped paying attention to Dream’s face, only his eyes, latching onto them as if they were his anchor in this universe, the only constant thing, in life, in this.

When he finally looks, really looks, he realizes with a start that Dream’s cheeks are no longer red with anger, that his eyebrows are not as tightly knitted, that his pale lips form a small and lax ‘o’. 

His friend looks taken aback, pacified and…surprised.

Like he couldn’t fathom this being the reason for Hob’s supposed betrayal of trust. Like this was the last rationale he had expected to hear, like he, an Endless being of incomprehensible wisdom, is unable to conceive this simple truth. Like he’s at a loss now.

Like he’s a bloody idiot. Hob shakes his head in amazement, his own anger evaporating as quickly as it came. Yet again he wonders how it is possible to be all knowing and yet so blind, so oblivious to such a simple truth, one Hob didn’t even try too hard to hide, really.

“I know you didn’t want me to,” he softens his voice, speaking more quietly “but I really didn’t have a choice. If I could do this on my own, you know I would have, I’d do worse for you.” He smiles at Dream, he doesn’t even try to sound self-deprecating, it’s the honest truth. He would.

His hand drops by his side and he awaits then, for his judgment.

“You love, me?”

Hob doesn't know how to respond to such a simple question other than–

“I do.”

There’s nothing else to add to that, he said it all, he did it all, even Dream must understand this is no passing fancy. One does not risk their immortal soul for something insignificant. Especially not Hob. One does it when it means everything. And in this case, it did. Dream did. 

Dream seems to again, come to the same conclusion. 

He wilts, shoulders sagging. He looks both much older and much younger at the same time, like this knowledge has stricken him, hurt him.

“You shouldn’t” is all he says. 

“But I do.” Hob answers in return. 

“I see that.” Dream’s voice is a whisper carried by the breeze, gentle, endless, aching. He looks torn in that moment, the judge whose scales no longer measure in any understandable manner. He casts his gaze down. 

“Just let me,” Hob says. He did not come here demanding boons, nor love, only to help Dream. “Forgive my impudent human inclinations to save what I love, and let us continue as we were. Friends. “

“Friends…” Dream repeats after him, as if in disbelief.

Dream opens his mouth to say more—to accept or refuse, Hob doesn’t know—but in that exact moment Matthew half-crashes, half-lands on Dream’s shoulder, a flutter of black feathers and barely muffled curses.

“Boss! Oh for fuck’s sake— I mean cracker’s sake— I mean what the hell— I mean you’re fine—you’re actually okay, I was sure that this time you’re like legit—” he notices Hob then, and cawing loudly he curses again “You actually did it you son of a bitch— you really did!” His wings open excitedly, brushing against Dream’s face, covering it up.

“Matthew.” 

“Uh-” Matthew folds his wings immediately. 

Hob looks at Dream then, the moment is decidedly broken but he has to know if he’d see him again, he can’t just go on not knowing, it’ll drive him insane. “Dream—” he starts, but Dream speaks over him.

“We will discuss this—” Dream’s lips tighten, eyes flicking to Matthew and then back at Hob. “At a later time.” He concludes rather curtly, seemingly deciding that addressing exactly what they will be discussing is not something he wants his Raven to be privy to.

“Right…” Hob murmurs, not speaking further of the topic either. It’s one thing to break Dream’s boundaries over life and death, another entirely over his own impatience and need to know. Dream wanting to see him again at all is already a damn good sign, and Hob will take it, gladly.

“I’ll see you later then, Dream” He uses the name even while not being sure he is still permitted to, that he did not lose the privilege. Dream tilts his head but doesn’t object, instead he nods once and disappears in a swirl of golden sand.

“Show off…” Hob murmurs into the empty air, shaking his head in disbelief. There’s a good feeling in his gut, he should probably be worried but he has a feeling that things will work out, that it all will be just fine. He can’t explain it, but he has learnt to trust his gut over the years. After all, it once led him to believe that he would never die.

It was right then, and it’ll be right now too. He and Dream will figure it out and will be better for it. Just like the other time, just like always. 

#Dreamling #Dreamling fic #The sandman #dream of the endless #hob gadling #dream #hob #buns.w #buns.all #carnelianmeluha #msg #It probably could have been rewritten but given the fact that it was meant to be only 20 minutes long writing and ended up being hours #i think this is as far as it goes :') #Something within me perished typing out in caplocks but i wished to stay true to the original prompt SO. #I only saw that you did specify the ship in a later message now lmao see I had forbidden myself from looking through the prompts #so I don't start picking and choosing what I felt more like #So I only read them as I actually did them--- and still chosen to be good xD

[badnewswhatsleft]

2023 september - rock sound #300 (fall out boy cover) scans

transcript below cut!

WHAT A TIME TO BE ALIVE

With the triumphant ‘So Much (For) Stardust’ capturing a whole new generation of fans, Fall Out Boy are riding high, celebrating their past while looking towards a bright future. Pete Wentz and Patrick Stump reflect on recent successes and the lessons learned from two decades of writing and performing together.

WORDS: James Wilson-Taylor PHOTOS: Elliot Ingham

You have just completed a US summer tour that included stadium shows and some of your most ambitious production to date. What were your aims going into this particular show?

PETE: Playing stadiums is a funny thing. I pushed pretty hard to do a couple this time because I think that the record Patrick came up with musically lends itself to that feeling of being part of something larger than yourself. When we were designing the cover to the album, it was meant to be all tangible, which was a reaction to tokens and skins that you can buy and avatars. The title is made out of clay, and the painting is an actual painting. We wanted to approach the show in that way as well. We’ve been playing in front of a gigantic video wall for the past eight years. Now, we wanted a stage show where you could actually walk inside it.

Did adding the new songs from ‘So Much (For) Stardust’ into the setlist change the way you felt about them?

PATRICK: One of the things that was interesting about the record was that we took a lot of time figuring out what it was going to be, what it was going to sound like. We experimented with so many different things. I was instantly really proud. I felt really good about this record but it wasn’t until we got on stage and you’re playing the songs in between our catalogue that I really felt that. It was really noticeable from the first day on this tour - we felt like a different band. There’s a new energy to it. There was something that I could hear live that I couldn’t hear before.

You also revisited a lot of older tracks and b-sides on this tour, including many from the ‘Folie à Deux’-era. What prompted those choices?

PETE: There were some lean years where there weren’t a lot of rock bands being played on pop radio or playing award shows so we tried to play the biggest songs, the biggest versions of them. We tried to make our thing really airtight, bulletproof so that when we played next to whoever the top artist was, people were like, ‘oh yeah, they should be here.’ The culture shift in the world is so interesting because now, maybe rather than going wider, it makes more sense to go deeper with people. We thought about that in the way that we listen to music and the way we watch films. Playing a song that is a b-side or barely made a record but is someone’s favourite song makes a lot of sense in this era. PATRICK: I think there also was a period there where, to Pete’s point, it was a weird time to be a rock band. We had this very strange thing that happened to us, and not a lot of our friends for some reason, where we had a bunch of hits, right? And it didn’t make any sense to me. It still doesn’t make sense to me. But there was a kind of novelty, where we could play a whole set of songs that a lot of people know. It was fun and rewarding for us to do that. But then you run the risk of playing the same set forever. I want to love the songs that we play. I want to care about it and put passion into what we do. And there’s no sustainable way to just do the same thing every night and not get jaded. We weren’t getting there but I really wanted to make sure that we don’t ever get there. PETE: In the origin of Fall Out Boy, what happened at our concerts was we knew how to play five songs really fast and jumped off walls and the fire marshal would shut it down. It was what made the show memorable, but we wanted to be able to last and so we tried to perfect our show and the songs and the stage show and make it flawless. Then you don’t really know how much spontaneity you want to include, because something could go wrong. When we started this tour, and we did a couple of spontaneous things, it opened us up to more. Because things did go wrong and that’s what made the show special. We’re doing what is the most punk rock version of what we could be doing right now.

You seem generally a lot more comfortable celebrating your past success at this point in your career.

PETE: I think it’s actually not a change from our past. I love those records, but I never want to treat them in a cynical way. I never want there to be a wink and a smile where we’re just doing this because it’s the anniversary. This was us celebrating these random songs and we hope people celebrate them with us. There was a purity to it that felt in line with how we’ve always felt about it. I love ‘Folie à Deux’ - out of any Fall Out Boy record that’s probably the one I would listen to. But I just never want it to be done in a cynical way, where we feel like we have to. But celebrating it in a way where there’s the purity of how we felt when we wrote the song originally, I think that’s fucking awesome. PATRICK: Music is a weird art form. Because when you’re an actor and you play a character, that is a specific thing. James Bond always wears a suit and has a gun and is a secret agent. If you change one thing, that’s fine, but you can’t really change all of it. But bands are just people. You are yourself. People get attached to it like it’s a story but it’s not. That was always something that I found difficult. For the story, it’s always good to say, ‘it’s the 20th anniversary, let’s go do the 20th anniversary tour’, that’s a good story thing. But it’s not always honest. We never stopped playing a lot of the songs from ‘Take This To Your Grave’, right? So why would I need to do a 20-year anniversary and perform all the songs back to back? The only reason would be because it would probably sell a lot of tickets and I don’t really ever want to be motivated by that, frankly. One of the things that’s been amazing is that now as the band has been around for a while, we have different layers of audience. I love ‘Folie à Deux’, I do. I love that record. But I had a really personally negative experience of touring on it. So that’s what I think of when I think of that record initially. It had to be brought back to me for me to appreciate it, for me to go, ‘oh, this record is really great. I should be happy with this. I should want to play this.’ So that’s why we got into a lot of the b-sides because we realised that our perspectives on a lot of these songs were based in our feelings and experiences from when we were making them. But you can find new experiences if you play those songs. You can make new memories with them.

You alluded there to the 20th anniversary of ‘Take This To Your Grave’. Obviously you have changed and developed as a band hugely since then. But is there anything you can point to about making that debut record that has remained a part of your process since then?

PETE: We have a language, the band, and it’s definitely a language of cinema and film. That’s maintained through time. We had very disparate music tastes and influences but I think film was a place we really aligned. You could have a deep discussion because none of us were filmmakers. You could say which part was good and which part sucked and not hurt anybody’s feelings, because you weren’t going out to make a film the next day. Whereas with music, I think if we’d only had that to talk about, we would have turned out a different band. PATRICK: ‘Take This To Your Grave’, even though it’s absolutely our first record, there’s an element of it that’s still a work in progress. It is still a band figuring itself out. Andy wasn’t even officially in the band for half of the recording, right? I wasn’t even officially the guitar player for half of the recording. We were still bumbling through it. There was something that popped up a couple times throughout that record where you got these little inklings of who the band really was. We really explored that on ‘From Under The Cork Tree’. So when we talk about what has remained the same… I didn’t want to be a singer, I didn’t know anything about singing, I wasn’t planning on that. I didn’t even plan to really be in this band for that long because Pete had a real band that really toured so I thought this was gonna be a side project. So there’s always been this element within the band where I don’t put too many expectations on things and then Pete has this really big ambition, creatively. There’s this great interplay between the two of us where I’m kind of oblivious, and I don’t know when I’m putting out a big idea and Pete has this amazing vision to find what goes where. There’s something really magical about that because I never could have done a band like this without it. We needed everybody, we needed all four of us. And I think that’s the thing that hasn’t changed - the four of us just being ourselves and trying to figure things out. Listening back to ‘Folie’ or ‘Infinity On High’ or ‘American Beauty’, I’m always amazed at how much better they are than I remember. I listened to ‘MANIA’ the other day, and I have a lot of misgivings about that record, a lot of things I’m frustrated about. But then I’m listening to it and I’m like ‘this is pretty good.’ There’s a lot of good things in there. I don’t know why, it’s kind of like you can’t see those things. It’s kind of amazing to have Pete be able to see those things. And likewise, sometimes Pete has no idea when he writes something brilliant, as a lyricist, and I have to go, ‘No, I’m gonna keep that one, I’m gonna use that.’

On ‘So Much (For) Stardust’, you teamed up with producer Neal Avron again for the first time since 2008. Given how much time has passed, did it take a minute to reestablish that connection or did you pick up where you left off?

PATRICK: It really didn’t feel like any time had passed between us and Neal. It was pretty seamless in terms of working with him. But then there was also the weird aspect where the last time we worked with him was kind of contentious. Interpersonally, the four of us were kind of fighting with each other… as much as we do anyway. We say that and then that myth gets built bigger than it was. We were always pretty cool with each other. It’s just that the least cool was making ‘Folie’. So then getting into it again for this record, it was like no time has passed as people but the four of us got on better so we had more to bring to Neal. PETE: It’s a little bit like when you return to your parents’ house for a holiday break when you’re in college. It’s the same house but now I can drink with my parents. We’d grown up and the first times we worked with Neal, he had to do so much more boy scout leadership, ‘you guys are all gonna be okay, we’re gonna do this activity to earn this badge so you guys don’t fucking murder each other.’ This time, we probably got a different version of Neal that was even more creative, because he had to do less psychotherapy. He went deep too. Sometimes when you’re in a session with somebody, and they’re like, ‘what are we singing about?’, I’ll just be like, ‘stuff’. He was not cool with ‘stuff’. I would get up and go into the bathroom outside the studio and look in the mirror, and think ‘what is it about? How deep are we gonna go?’ That’s a little but scarier to ask yourself. If last time Neal was like a boy scout leader, this time, it was more like a Sherpa. He was helping us get to the summit.

The title track of the album also finds you in a very reflective mood, even bringing back lyrics from ‘Love From The Other Side’. How would you describe the meaning behind that title and the song itself?

PETE: The record title has a couple of different meanings, I guess. The biggest one to me is that we basically all are former stars. That’s what we’re made of, those pieces of carbon. It still feels like the world’s gonna blow and it’s all moving too fast and the wrong things are moving too slow. That track in particular looks back at where you sometimes wish things had gone differently. But this is more from the perspective of when you’re watching a space movie, and they’re too far away and they can’t quite make it back. It doesn’t matter what they do and at some point, the astronaut accepts that. But they’re close enough that you can see the look on their face. I feel like there’s moments like that in the title track. I wish some things were different. But, as an adult going through this, you are too far away from the tether, and you’re just floating into space. It is sad and lonely but in some ways, it’s kind of freeing, because there’s other aspects of our world and my life that I love and that I want to keep shaping and changing. PATRICK: I’ll open up Pete’s lyrics and I just start hearing things. It almost feels effortless in a lot of ways. I just read his lyrics and something starts happening in my head. The first line, ‘I’m in a winter mood, dreaming of spring now’, instantly the piano started to form to me. That was a song that I came close to not sending to the band. When I make demos, I’ll usually wait until I have five or six to send to everybody. I didn’t know if anyone was gonna like this. It’s too moody or it’s not very us. But it was pretty unanimous. Everyone liked that one. I knew this had to end the record. It took on a different life in the context of the whole album. Then on the bridge section, I knew it was going to be the lyrics from ‘Love From The Other Side’. It’s got to come back here. It’s the bookends, but I also love lyrically what it does, you know, ‘in another life, you were my babe’, going back to that kind of regret, which feels different in ‘Love From The Other Side’ than it does here. When the whole song came together, it was the statement of the record.

Aside from the album, you have released a few more recent tracks that have opened you up to a whole new audience, most notably the collaboration with Taylor Swift on ‘Electric Touch’.

PETE: Taylor is the only artist that I’ve met or interacted with in recent times who creates exactly the art of who she is, but does it on such a mass level. So that’s breathtaking to watch from the sidelines. The way fans traded friendship bracelets, I don’t know what the beginning of it was, but you felt that everywhere. We felt that, I saw that in the crowd on our tour. I don’t know Taylor well, but I think she’s doing exactly what she wants and creating exactly the art that she wants to create. And doing that, on such a level, is really awe-inspiring to watch. It makes you want to make the biggest, weirdest version of our thing and put that out there.

Then there was the cover of Billy Joel’s ‘We Didn’t Start The Fire’, which has had some big chart success for you. That must have taken you slightly by surprise.

PATRICK: It’s pretty unexpected. Pete and I were going back and forth about songs we should cover and that was an idea that I had. This is so silly but there was a song a bunch of years ago I had written called ‘Dark Horse’ and then there was a Katy Perry song called ‘Dark Horse’ and I was like, ‘damn it’, you know, I missed the boat on that one. So I thought if we don’t do this cover, somebody else is gonna do it. Let’s just get in the studio and just do it. We spent way more time on those lyrics than you would think because we really wanted to get a specific feel. It was really fun and kind of loose, we just came together in Neal’s house and recorded it in a day. PETE: There’s irreverence to it. I thought the coolest thing was when Billy Joel got asked about it, and he was like, ‘I’m not updating it, that’s fine, go for it.’ I hope if somebody ever chose to update one of ours, we’d be like that. Let them do their thing, they’ll have that version. I thought that was so fucking cool.

It’s also no secret that the sound you became most known for in the mid-2000s is having something of a commercial revival right now. But what is interesting is seeing how bands are building on that sound and changing it.

PATRICK: I love when anybody does anything that feels honest to them. Touring with Bring Me The Horizon, it was really cool seeing what’s natural to them. It makes sense. We changed our sound over time but we were always going to do that. It wasn’t a premeditated thing but for the four of us, it would have been impossible to maintain making the same kind of music forever. Whereas you’ll play with some other bands and they live that one sound. You meet up with them for dinner or something and they’re wearing the shirt of the band that sounds just like their band. You go to their house and they’re playing other bands that sound like them because they live in that thing. Whereas with the four of us and bands like Bring Me The Horizon, we change our sounds over time. And there’s nothing wrong with either. The only thing that’s wrong is if it’s unnatural to you. If you’re AC/DC and all of a sudden power ballads are in and you’re like, ‘Okay, we’ve got to do a power ballad’, that’s when it sucks. But if you’re a thrash metal guy who likes Celine Dion then yeah, do a power ballad. Emo as a word doesn’t mean anything anymore. But if people want to call it that, if the emo thing is back or having another life again, if that’s what’s natural to an artist, I think the world needs more earnest art. If that’s who you are, then do it. PETE: It would be super egotistical to think that the wave that started with us and My Chemical Romance and Panic! At The Disco has just been circling and cycling back. I  remember seeing Nikki Sixx at the airport and he was like, ‘Oh, you’re doing a flaming bass? Mine came from a backpack.’ It keeps coming back but it looks different. Talking to Lil Uzi Vert and Juice WRLD when he was around, it’s so interesting, because it’s so much bigger than just emo or whatever. It’s this whole big pop music thing that’s spinning and churning, and then it moves on, and then it comes back with different aspects and some of the other stuff combined. When you’re a fan of music and art and film, you take different stuff, you add different ingredients, because that’s your taste. Seeing the bands that are up and coming to me, it’s so exciting, because the rules are just different, right? It’s really cool to see artists that lean into the weirdness and lean into a left turn when everyone’s telling you to make a right. That’s so refreshing. PATRICK: It’s really important as an artist gets older to not put too much stock in your own influence. The moment right now that we’re in is bigger than emo and bigger than whatever was happening in 2005. There’s a great line in ‘Downton Abbey’ where someone was asking the Lord about owning this manor and he’s like, ‘well, you don’t really own it, there have been hundreds of owners and you are the custodian of it for a brief time.’ That’s what pop music is like. You just have the ball for a minute and you’re gonna pass it on to somebody else.

We will soon see you in the UK for your arena tour. How do you reflect on your relationship with the fans over here?

PETE: I remember the first time we went to the UK, I wasn’t prepared for how culturally different it was. When we played Reading & Leeds and the summer festivals, it was so different, and so much deeper within the culture. It was a little bit of a shock. The first couple of times we played, I was like, ‘Oh, my God, are we gonna die?’ because the crowd was so crazy, and there was bottles. Then when we came back, we thought maybe this is a beast to be tamed. Finally, you realise it’s a trading of energy. That made the last couple of festivals we played so fucking awesome. When you really realise that the fans over there are real fans of music. It’s really awesome and pretty beautiful. PATRICK: We’ve played the UK now more than a lot of regions of the states. Pretty early on, I just clicked with it. There were differences, cultural things and things that you didn’t expect. But it never felt that different or foreign to me, just a different flavour… PETE: This is why me and Patrick work so well together (laughs).  PATRICK: Well, listen; I’m a rainy weather guy. There is just things that I get there. I don’t really drink anymore all that much. But I totally will have a beer in the UK, there’s something different about every aspect of it, about the ordering of it, about the flavour of it, everything, it’s like a different vibe. The UK audience seemed to click with us too. There have been plenty of times where we felt almost more like a UK band than an American one. There have been years where you go there and almost get a more familial reaction than you would at home. Rock Sound has always been a part of that for us. It was one of the first magazines to care about us and the first magazine to do real interviews. That’s the thing, you would do all these interviews and a lot of them would be like ‘so where did the band’s name come from?’ But Rock Sound took us seriously as artists, maybe before some of us did. That actually made us think about who we are and that was a really cool experience. I think in a lot of ways, we wouldn’t be the band we are without the UK, because I think it taught us a lot about what it is to be yourself.

Fall Out Boy’s ‘So Much (For) Stardust’ is out now via Fueled By Ramen.

#the cover is so funny. like theyre cute but that is genuinely bug angle. that is bugs under a rock angle. THEYRE ALREADY SHORT KINGS #fall out boy #pete wentz #patrick stump #andy hurley #joe trohman #time capsule #read the charts #ANYWAY GO HERE. GO READ HERE. BECAUSE I SPENT A LONG TIME TRANSCRIBING EVEN THO TRNASNCRIBING SUCKKSSS #i looped the spell soundtrack like 5 times and got jusmpscared by track9 every time. and then i put on smfs<3 #patrick's comments about the mythologising of fob lore is so interesting #listen baby i know ur fed up and it's not ur fault but u have to understand. the story of ur band is on some genuine fanfic ass other level #the way they talk about neal avron is sooo funny #imagine being producer for this young band. and theyre brilliant but theyre also twentysomethings(derogatory) #also the way pete talks abt swift. lol. also why does he answer the q when patrick was the one in the studio lol??? #ALSO also. pete being afraid of british ppl (valid and true) #and patrick pretty much taking to the uk like a duck to water (also valid and tru) is sooo funny #i rlly liked this interview i wiiiiish i got the bundle w the photobook and whatever but i was way too late :(((((((((

[sapionic]

The Beauty Of Scorpio Placements

Scorpio sun, moon, venus, mars, mercury

Scorpio Sun - They live a structured life with stability and likes successful planning that goes through. They likely had major responsibilities ear on so as their life goes on, they tap more into their playful and childish side. They most likely had to grow up early for a variety of reasons. If you ever felt like a Scorpio Sun adult was childish in any way, it's because they are living out their inner child from having to run things early on in life. They didn't have a choice when they were met the pressure they had to deal with so they make up for it as they get older.

Scorpio Moon - They like when things are going as they planned or when things at least have a structure. They enjoy the practical things in life. They usually have an emotional connected to people that have goals, especially when these people goals are similar to theirs. They deal with tough emotions, mainly when things are out of order. They are satisfied with commitments and find it easy to do so. They like structure in their relationships. They like keeping records of many things. They love taking pictures and they usually do keep them. They make friends or buddies at work. They like people who have their stuff together. They like handling business and can handle it. Probably do find themselves making the right connections for their goals. Remembers things from long ago.

Scorpio Mercury - They are factual and concrete with their words and reasoning. Their truth is very concrete based on actuality. Conversations about the mundane or there is some realism attached in some way. Can have a voice full of command and authority. Likely to have conversations that can intimidate certain people. These are the people that need to be speaking at the business meetings. When spying, will screenshot. May talk when really needed. Travel is based on priority or urgency level. Could work with or around money. Remembers things from long ago.

Scorpio Venus - Expensive taste. Keeps themselves up. Wears high quality things and buys high quality things. Makes real business moves with their partner. Loyal and want marriage or something tangible from their relationship. Likely to have financial accounts. Life insurance and savings accounts could be of interest to them. Could have a lot of money they have or manage. Fancy and upscale dining. Parties with real detail and memorable decor. Skillset is that of daily life needs and more. Likely handy. Show them, don't tell them. Realistic in relationships. Connections to elite people. Most likely respected or honored in their connections. Likes when their relationship has some air of spontaneity.

Scorpio Mars - Moves they make pack a punch. When fighting, they do real damage or leave notable marks that may take a while to heal. Motivated and takes actions when there is a sure chance they are moving up the ladder. Does things based on the long-term. Very spontaneous choices if it means they can make good memories. Usually have very notable memories as well. Likely in shape. Always outside.

#astrology #astro community #astro notes #scorpio ascendant #scorpio aesthetic #scorpio mars #scorpio #scorpio season #astro rambles #astro placements

[vampylily]

Transcription of Fall Out Boy's interview with Rock Sound

Since I was going to read the article anyways, I thought I'd transcribe in case it'll be more accessible to read for others. The interview with Pete and Patrick goes in depth on the topics of tourdust, evolving as a band, So Much (For) Stardust, working with Neal Avron, and more.

Thank you to @nomaptomyowntreasure who kindly shared the photos of the article! Their post is linked here.

PDF link here. (more readable format & font size)

article in text below (and warning for long post.)

Rock Sound Issue #300

WHAT A TIME TO BE ALIVE

WITH THE TRIUMPHANT ‘SO MUCH (FOR) STARDUST’ CAPTURING A WHOLE NEW GENERATION OF FANS, FALL OUT BOY ARE RIDING HIGH, CELEBRATING THEIR PAST WHILE LOOKING TOWARDS A BRIGHT FUTURE. PETE WENTZ AND PATRICK STUMP REFLECT ON RECENT SUCCESSES AND THE LESSONS LEARNED FROM TWO DECADES OF WRITING AND PERFORMING TOGETHER. 

WORDS: James Wilson-Taylor

PHOTOS: Elliott Ingham

You have just completed a US summer tour that included stadium shows and some of your most ambitious production to date. What were your aims going into this particular show? 

PETE: Playing stadiums is a funny thing. I pushed pretty hard to do a couple this time because I think that the record Patrick came up with musically lends itself to that feeling of being part of something larger than yourself. When we were designing the cover to the album, it was meant to be all tangible, which was a reaction to tokens and skins that  you can buy and avatars. The title is made out of clay, and the painting is an actual painting. We wanted to approach the show in that way as well. We've been playing in front of a gigantic video wall for the past eight years. Now, we wanted a stage show where you could actually walk inside it. 

Did adding the new songs from ‘So Much (For) Stardust’ into the setlist change the way you felt about them?

PATRICK: One of the things that was interesting about the record was that we took a lot of time figuring out what it was going to be, what it was going to sound like. We experimented with so many different things. I was instantly really proud. I felt really good about this record but it wasn’t until we got on stage and you’re playing the songs in between our catalogue that I really felt that. It was really noticeable from the first day on this tour - we felt like a different band. There's a new energy to it. There was something that I could hear live that I couldn't hear before. 

You also revisited a lot of older tracks and b-sides on this tour, including many from the ‘Folie à Deux’-era. What prompted those choices? 

PETE: There were some lean years where there weren't a lot of rock bands being played on pop radio or playing award shows so we tried to play the biggest songs, the biggest versions of them. We tried to make our thing really airtight, bulletproof so that when we played next to whoever the top artist was, people were like, ‘oh yeah, they should be here.’ The culture shift in the world is so interesting because now, maybe rather than going wider, it makes more sense to go deeper with people. We thought about that in the way that we listen to music and the way we watch films. Playing a song that is a b-side or barely made a record but is someone’s favourite song makes a lot of sense in this era.

PATRICK: I think there also was a period there where, to Pete’s point, it was a weird time to be a rock band. We had this very strange thing that happened to us, and not a lot of our friends for some reason, where we had a bunch of hits, right? And it didn’t make any sense to me. It still doesn’t make sense to me. But there was a kind of novelty, where we could play a whole set of songs that a lot of people know. It was fun and rewarding for us to do that. But then you run the risk of playing the same set forever. I want to love the songs that we play. I want to care about it and put passion into what we do. And there’s no sustainable way to just do the same thing every night and not get jaded. We weren’t getting there but I really wanted to make sure that we don’t ever get there. 

PETE: In the origin of Fall Out Boy, what happened at our concerts was we knew how to play five songs really fast and jumped off walls and the fire marshal would shut it down. It was what made the show memorable, but we wanted to be able to last and so we tried to perfect our show and the songs and the stage show and make it flawless. Then you don’t really know how much spontaneity you want to include, because something could go wrong. When we started this tour, and we did a couple of spontaneous things, it opened us up to more. Because things did go wrong and that’s what made the show special. We’re doing what is the most punk rock version of what we could be doing right now. 

You seem generally a lot more comfortable celebrating your past success at this point in your career. 

PETE: I think it’s actually not a change from our past. I love those records, but I never want to treat them in a cynical way. I never want there to be a wink and a smile where we’re just doing this because it’s the anniversary. This was us celebrating these random songs and we hope people celebrate them with us. There was a purity to it that felt in line with how we’ve always felt about it. I love ‘Folie à Deux’ - out of any Fall Out Boy record that's probably the one I would listen to. But I just never wanted it to be done in a cynical way, where we feel like we have to. But celebrating it in a way where there’s the purity of how we felt when we wrote the song originally. I think that’s fucking awesome. 

PATRICK: Music is a weird art form. Because when you’re an actor and you play a character, that is a specific thing. James Bond always wears a suit and has a gun and is a secret agent. If you change one thing, that’s fine, but you can’t really change all of it. But bands are just people. You are yourself. People get attached to it like it’s a story but it’s not. That was always something I found difficult. For the story, it’s always good to say, ‘it’s the 20th anniversary, let’s go do the 20th anniversary tour’, that’s a good story thing. But it’s not always honest. We never stopped playing a lot of the songs from ‘Take This To Your Grave’, right? So why would I need to do a 20-year anniversary and perform all the songs back to back? The only reason would be because it would probably sell a lot of tickets and I don’t really ever want to be motivated by that, frankly. 

One of the things that’s been amazing is that now as the band has been around for a while, we have different layers of audience. I love ‘Folie à Deux’, I do, I love that record. But I had a really personally negative experience of touring on it. So that’s what I think of when I think of that record initially. It had to be brought back to me for me to appreciate it, for me to go, ‘oh, this record is really great. I should be happy with this. I should want to play this,’ So that’s why we got into a lot of the b-sides because we realised that our perspectives on a lot of these songs were based in our feelings and experiences from when we were making them. But you can find new experiences if you play those songs. You can make new memories with them. 

You alluded there to the 20th anniversary of ‘Take This To Your Grave’. Obviously you have changed and developed as a band hugely since then. But is there anything you can point to about making that debut record that has remained a part of your process since then? 

PETE: We have a language, the band, and it’s definitely a language of cinema and film. That’s maintained through time. We had very disparate music tastes and influences but I think film was a place we really aligned. You could have a deep discussion, because none of us were filmmakers. You could say which part was good and which part sucked and not hurt anybody’s feelings, because you weren’t going out to make a film the next day. Whereas with music, I think if we’d only had that to talk about, we would have turned out a different band.  

PATRICK: ‘Take This To Your Grave’, even though it’s absolutely our first record, there’s an element of it that’s still a work in progress. It is still a band figuring itself out. Andy wasn’t even officially in the band for half of the recording, right? I wasn’t even officially the guitar player for half of the recording. We were still bumbling through it. There was something that popped up a couple times throughout the record where you got these little inklings of who the band really was. We really explored that on ‘From Under the Cork Tree’’. So when we talk about what has remained the same… I didn’t want to be a singer, I didn’t know anything about singing, I wasn’t playing on that. I didn’t even plan to really be in this band for that long because Pete had a real band that really toured so I thought this was gonna be a side project. So there’s always been this element within the band where I don’t put too many expectations on things and then Pete has this really big ambition, creatively. There’s this great interplay between the tour of us where I’m kind of oblivious, and I don’t know when I’m putting out a big idea and Pete has this amazing vision to find what goes where. There’s something really magical about that because I never could have done a band like this without it. We needed everybody, we needed all four of us. And I think that’s the thing that hasn’t changed - the four of us just being ourselves and trying to figure things out. Listening back to ‘Folie’ or ‘Infinity On High’ or ‘American Beauty’. I’m always amazed at how much better they are than I remember. I listened to ‘MANIA’ the other day. I have a lot of misgivings about that record, a lot of things I’m frustrated about. But then I’m listening to it and I’m like, ‘this is pretty good.’ There’s a lot of good things in there. I don’t know why, it’s kind of like you can’t see those things. It’s kind of amazing to have Pete be able to see those things. And likewise, sometimes Pete has no idea when he writes something brilliant, as a lyricist, and I have to go, ‘No, I’m gonna keep that one, I’m gonna use that.’ 

On ‘So Much (For) Stardust’ you teamed up with producer Neal Avron again for the first time since 2008. Given how much time has passed, did it take a minute to reestablish that connection or did you pick up where you left off? 

PATRICK: It really didn’t feel like any time had passed between us and Neal. It was pretty seamless in terms of working with him. But then there was also the weird aspect where the last time we worked with him was kind of contentious. Interpersonally, the four of us were kind of fighting with each other…as much as we do anyway. We say that and then that myth gets built bigger than it was. We were always pretty cool with each other. It’s just that the least cool was making ‘Folie’. So then getting into it again for this record, it was like no time had passed as people but the four of us got on better so we had more to bring to Neal. 

PETE: It’s a little bit like when you return to your parents’ house for the holiday break when you’re in college. It’s the same house but now I can drink with my parents. We’d grown up and the first times we worked with Neal, he had to do so much more boy scout leadership, ‘you guys are all gonna be okay, we’re gonna do this activity to earn this badge so you guys don’t fucking murder each other.’ This time, we probably got a different version of Neal that was even more creative, because he had to do less psychotherapy. 

He went deep too. Sometimes when you’re in a session with somebody, and they’re like, ‘what are we singing about?’, I’ll just be like, ‘stuff’. He was not cool with ‘stuff’. I would get up and go into the bathroom outside the studio and look in the mirror, and think ‘what is it about? How deep are we gonna go?’ That’s a little bit scarier to ask yourself. If last time Neal was like a boy scout leader, this time, it was more like a Sherpa. He was helping us get to the summit. 

The title track of the album also finds you in a very reflective mood, even bringing back lyrics from ‘Love From the Other Side’. How would you describe the meaning behind that title and the song itself?

PETE: The record title has a couple of different meanings, I guess. The biggest one to me is that we basically all are former stars. That’s what we’re made of, those pieces of carbon. It still feels like the world’s gonna blow and it’s all moving too fast and the wrong things are moving too slow. That track in particular looks back at where you sometimes wish things had gone differently. But this is more from the perspective of when you’re watching a space movie, and they’re too far away and they can’t quite make it back. It doesn’t matter what they do and at some point, the astronaut accepts that. But they’re close enough that you can see the look on their face. I feel like there’s moments like that in the title track. I wish some things were different. But, as an adult going through this, you are too far away from the tether, and you’re just floating into space. It is sad and lonely but in some ways, it’s kind of freeing, because there’s other aspects of our world and my life that I love and I want to keep shaping and changing. 

Patrick: I’ll open up Pete’s lyrics and I just start hearing things. It almost feels effortless in a lot of ways. I just read his lyrics and something starts happening in my head. The first line, ‘I’m in a winter mood, dreaming of spring now’, instantly the piano started to form to me. That was a song that I came close to not sending the band. When I make demos, I’ll usually wait until I have five or six to send to everybody. I didn’t know if anyone was gonna like this. It’s too moody or it’s not very us. But it was pretty unanimous. Everybody liked that one. I knew this had to end the record. It took on a different life in the context of the whole album. Then on the bridge section, I knew it was going to be the lyrics from “Love From The Other Side’. It’s got to come back here. It’s the bookends, but I also love lyrically what it does, you know, ‘in another life, you were my babe’, going back to that kind of regret, which feels different in  ‘Love From The Other Side’ than it does here. When the whole song came together, it was the statement of the record. 

Aside from the album, you have released a few more recent tracks that have opened you up to a whole new audience, most notably the collaboration with Taylor Swift on ‘Electric Touch’. 

PETE: Taylor is the only artist that I’ve met or interacted with in recent times who creates exactly the art of who she is, but does it one such a mass level. So that’s breathtaking to watch from the sidelines. The way fans traded friendship bracelets, I don’t know what the beginning of it was, but you felt that everywhere. We felt that, I saw that in the crowd on our tour. I don’t know Taylor well, but I think she’s doing exactly what she wants and creating exactly the art that she wants to create. And going that, on such a level, is really awe-inspiring to watch. It makes you want to make the biggest, weirdest version of our thing and put that out there. 

Then there was the cover of Billy Joel’s ‘We Didn’t Start The Fire’, which has had some big chart success for you. That must have taken you slightly by surprise. 

PATRICK: It’s pretty unexpected. Pete and I were going back and forth about songs we should cover and that was an idea that I had. This is so silly but there was a song a bunch of years ago I had kind of written called ‘Dark Horse’ and then there was a Katy Perry song called ‘Dark Horse’ and I was like, ‘damn it’, you know, I missed the boat on that one. So I thought if we don’t do this cover, somebody else is gonna do it. Let’s just get in the studio and just do it. We spent way more time on those lyrics than you would think because we really wanted to get a specific feel. It was really fun and kind of loose, we just came together in Neal’s house and recorded it in a day. 

PETE: There's irreverence to it. I thought the coolest thing was when Billy Joel got asked about it, and he was like, ‘I’m not updating it, that’s fine, go for it.’  I hope if somebody ever chose to update one of ours, we’d be like that. Let them do their thing, they’ll have that version. I thought that was so fucking cool. 

It’s almost no secret that the sound you became most known for in the md-2000s is having something of a commercial revival right now But what is interesting is seeing how bands are building on that sound and changing it. 

PATRICK: I love when anybody does anything that feels honest to them. Touring with Bring Me The Horizon, it was really cool seeing what’s natural to them. It makes sense. We changed our sound over time but we were always going to do that. It wasn’t a premeditated thing but for the four of us, it would have been impossible to maintain making the same kind of music forever. Whereas you’ll play with some other bands and they live that one sound. You meet up with them for dinner or something and they’re wearing the shirt of the band that sounds just like their band. You go to their house and they’re playing other bands that sound like them because they live in that thing. Whereas with the four of us and bands like Bring Me The Horizon, we change our sounds over time.  And there’s nothing wrong with either. The only thing that’s wrong is if it’s unnatural to you. If you’re AC/DC and all of a sudden power ballads are in and you’re like, ‘Okay, we’ve got to do a power ballad’, that’s when it sucks. But if you’re a thrash metal guy who also likes Celine Dion then yeah, do a power ballad. Emo as a word doesn’t mean anything anymore. But if people want to call it that, if the emo thing is back or having another life again, if that’s what’s natural to an artist, I think the world needs more earnest art. If that’s who you are, then do it. 

PETE: It would be super egotistical to think that the wave that started with us and My Chemical Romance and Panic! At The Disco has just been circling and cycling back. I remember seeing Nikki Sixx at the airport and he was like, ‘Oh you’re doing a flaming bass? Mine came from a backpack.’ It keeps coming back but it looks different. Talking to Lil Uzi Vert and Juice WRLD when he was around, it’s so interesting, because it’s so much bigger than just emo or whatever. It’s this whole big pop music thing that’s spinning and churning, and then it moves on, and then it comes back with different aspects and some of the other stuff combined. When you’re a fan of music and art and film, you take different stuff, you add different ingredients, because that’s your taste. Seeing the bands that are up and coming to me, it’s so exciting, because the rules are just different, right? It’s really cool to see artists that lean into the weirdness and lean into a left turn when everyone’s telling you to make a right. That’s so refreshing. 

PATRICK: It’s really important as an artist gets older to not put too much stock in your own influence. The moment right now that we’re in is bigger than emo and bigger than whatever was happening in 2005. There’s a great line in ‘Downton Abbey’ where someone was asking the Lord about owning this manor and he’s like ‘well, you don’t really own it, there have been hundreds of owners and you are the custodian of it for a brief time.’ That’s what pop music is like. You just have the ball for a minute and you’re gonna pass it on to somebody else. 

We will soon see you in the UK for your arena tour. How do you reflect on your relationship with the fans over here? 

PETE: I remember the first time we went to the UK, I wasn’t prepared for how culturally different it was. When we played Reading & Leeds and the summer festivals, it was so different, and so much deeper within the culture. It was a little bit of a shock. The first couple of times we played, I was like, ‘Oh, my God, are we gonna die?’ because the crowd was so crazy, and there was bottles. Then when we came back, we thought maybe this is a beast to be tamed. Finally, you realise it’s a trading of energy. That made the last couple of festivals we played so fucking awesome. When you realise that the fans over there are real fans of music It’s really awesome and pretty beautiful. 

PATRICK: We’ve played the UK now more than a lot of regions of the states. Pretty early on, I just clicked with it. There were differences, cultural things and things that you didn’t expect. But it never felt that different or foreign to me, just a different flavour…

PETE: This is why me and Patrick work so well together (laughs). 

PATRICK: Well, listen; I’m a rainy weather guy. There is just things that I get there. I don’t really drink anymore all that much. But I totally will have a beer in the UL, there’s something different about every aspect of it, about the ordering of it, about the flavour of it, everything, it’s like a different vibe. The UK audience seemed to click with us too. There have been plenty of times where we felt almost like a UK band than an American one. There have been years where you go there and almost get a more familial reaction than you would at home. 

Rock Sound has always been a part of that for us. It was one of the first magazines to care about us and the first magazine to do real interviews. That’s the thing, you would do all these interviews and a lot of them would be like ‘so where did the band’s name come from?’ But Rock Sound took us seriously as artists, maybe before some of us did. That actually made us think about who we are and that was a really cool experience. I think in a lot of ways, we wouldn’t be the band we are without the UK, because I think it taught us a lot about what it is to be yourself. 

Fall Out Boy’s ‘So Much (For) Stardust’ is out now via Fueled By Ramen

#fall out boy #fob #tourdust #pete wentz #patrick stump #fob interview #so much for stardust #smfs era #your unemployed friend at 2pm on a monday: #anyways. hope this is helpful i loved the interview!

[createserenity]

Ficlet - A Time of Wanting

I've had some writer's block recently and have been making super slow progress with my wips. Then I saw these lovely kiss drawings by @mrghostrat and ended up being very inspired and writing not one but two new stories. The other is below if you're interested:

Thank you so much Bilvy for making such lovely artwork! (Also their Good Omens AUs are incredible, if you haven't read them I highly recommend them!) This is a ficlet inspired by the fifth kiss in the collage (this one). It's basically Crowley being silly and soft. (Set post an imaginary season 3 where they've saved the world and are talking again.)

~~~~~~~~~~~~~~~~~

Here on AO3 - or below

A Time of Wanting

Crowley wants.

He wants so badly and he's wanted for so long that it's a physical ache in his chest now.

He wonders how he's not broken in half with the sheer force of his wanting. He wonders how Aziraphale doesn't notice how much he wants. Surely it should be a tangible thing now, this longing that pulses through him every moment of his existence. This urge to reach out, to touch, to take.

But it seems it isn't, because Aziraphale is busy reshelving books, apparently oblivious to the demon sprawled out over the couch. He hasn't even noticed that Crowley has woken from the nap he was taking, hasn't noticed that Crowley feels as if he could shake apart with the sheer force of his emotions.

How has he survived this long without taking this silly fussy angel for his own? How has he survived without knowing his touch, his taste, the way the angel might look at him if he finally dared to do what he longed to do?

His sleep addled brain tries to imagine what those things would be like, it's nothing he hasn't imagined a million times before, again and again over thousands of years. This time though the images his mind conjures are so affecting, so very real, that they draw a whimper from Crowley's throat before he can stifle it, before he can push it down where it belongs so that he can get through another day of wanting.

Aziraphale obviously hears the noise because he turns, despite being atop the small chair ladder he uses to reach the high shelves, balancing precariously with one hand on the shelf as he looks over at Crowley and gives him a soft smile.

It's that smile that does it.

All at once Crowley's entire brain comes back online and suddenly what he thought were his own wild imaginings coalesce into memories. Actual memories. And he realises that he doesn't need to lie here and want without taking anymore. And that ache in his chest isn't his heart about to break apart, but merely where he's fallen asleep with his mobile phone jammed against his ribs.

Fuck he's an idiot.

He flails madly for a moment whilst his brain remembers how to control overly long limbs, and barely hears the clatter as the phone falls to the floor unheeded, but then he's on his feet, bounding across the bookshop.

“Angel.” The word falls from his lips almost reverently as he crosses the space and Aziraphale seems to recognise that there's something amiss, even if he probably doesn't realise just how stupid Crowley can be sometimes.

How could he have forgotten? Six thousand years of longing, and now he can have whenever he wants and his stupid brain can't seem to hold onto that fact.

By the time Crowley has closed the distance between them Aziraphale is on the lowest step of the chair ladder. Crowley slips his arms around his angel's waist, fully intending to bury his head in the softness of Aziraphale's shoulder but instead the movement is arrested by Aziraphale's hands. They come up to rest either side of his jaw, holding him gently, yet firmly in place.

“Crowley. Darling,” says Aziraphale, his tone impossibly fond and yet with that underlying hint of strength, as he searches Crowley’s face with eyes that don't even bother trying to hide their adoration.

And now there is an ache inside Crowley’s chest that's nothing to do with sleeping awkwardly smushed against his phone. This ache is his heart trying to contain too many feelings, too much love. It feels like it's bursting with it.

“Angel.” He breathes out the word softly, as if saying it again might somehow help.

Aziraphale smiles and pulls him closer, one hand slipping from his jaw to wrap around his head, whilst the fingers of the other hand press lightly, tilting his face upwards with a gentle insistence that thrills Crowley to his core. 

“You silly thing,” Aziraphale says, as if he knows exactly how daft Crowley was being a minute ago. Crowley thinks he should probably object to that. Snap back a sarcastic comment to the patronising bastard of an angel that knows him far too well, that sees the vulnerability under his carefully crafted exterior.

But then Aziraphale’s lips are on his and all protests fizzle away before they've even made it to his throat.

This is what he has wanted for so long. This is his now. He can ask for this whenever he wants. 

He shuffles forward, tightening his arms to mould their bodies closer together, mindful not to pull Aziraphale from his precarious perch. The kiss deepens just slightly and he feels Aziraphale's fingers dancing over his cheek as the angel tightens his hold on Crowley’s head.

There's a soft whimper and then an equally soft moan and Crowley is surprised to realise he isn't responsible for either noise. For a second he flutters his eyes open and focuses on the expression that’s crept across Aziraphale's features. It's open and vulnerable, filled with adoration and love and contentment, as if this is the one thing Aziraphale has always longed for and wants to keep forever.

The realisation, that this means as much to Aziraphale as it does to him, makes Crowley’s heart swell with emotion, even as the ache in his chest is dispelled, dissolving away into a warm fuzziness that seems to wrap around them both. 

He lets his eyes drop closed again and leans a little more into the kiss. There’s a hum of contentment and this time he knows it's come from him.

He wanted for so long and now finally he’s exactly where he wants to be.

#good omens #good omens fanfic #fanart inspired fic #ineffable husbands #good omens fanart #no beta - mistakes are all my own fault #crowley loves aziraphale #aziraphale loves crowley #fluff #my writing

[softnsquishable]

Thanks to this lovely post, I have been able to transcribe the entirety of the new Rock Sound magazine interview with Pete and Patrick. Find the entire transcript below the cut!

WHAT A TIME TO BE ALIVE

WITH THE TRIUMPHANT ‘SO MUCH (FOR) STARDUST’ CAPTURING A WHOLE NEW GENERATION OF FANS, FALL OUT BOY ARE RIDING HIGH. CELEBRATING THEIR PAST WHILE LOOKING TOWARDS A BRIGHT FUTURE. PETE WENTZ AND PATRICK STUMP REFLECT ON RECENT SUCCESSES AND THE LESSONS LEARNED FROM TWO DECADES OF WRITING AND PERFORMING TOGETHER. 

You have just completed a US summer tour that included stadium shows and some of your most ambitious production to date. What were your aims going into this particular show?

Pete: Playing stadiums is a funny thing. I pushed pretty hard to do a couple this time because I think that the record Patrick came up with musically lends itself to that feeling of being part of something larger than yourself. When we were designing the cover to the album, it was meant to be all tangible, which was a reaction to tokens and skins that you can buy and avatars. The title is made out of clay, and the painting is an actual painting. We wanted to approach the show in that way as well. We’ve been playing in front of a gigantic video wall for the past eight years. Now, we wanted a stage show where you could actually walk inside it.

Did adding the new songs from ‘So Much (For) Stardust’ into the setlist change the way you felt about them?

Patrick: One of the things that was interesting about the record was that we took a lot of time figuring out what it was going to be, what it was going to sound like. We experimented with so many different things. I was instantly really proud. I felt really good about this record but it wasn’t until we got on stage and you’re playing the songs in between our catalogue that I really felt that.It was really noticeable from the first day on this tour - we felt like a different band. There’s a new energy to it. There was something that I could hear live that I couldn’t hear before.

You also revisited a lot of older tracks and b-sides on this tour, including many from the ‘Folie à Deux’-era. What prompted those choices?

Pete: There were some lean years where there weren’t a lot of rock bands being played on pop radio or playing award shows so we tried to play the biggest songs, the biggest versions of them. We tried to make our thing really airtight, bulletproof so that when we played next to whoever the top artist was, people were like, ‘oh yeah, they should be here.’ The culture shift in the world is so interesting because now, maybe rather than going wider, it makes more sense to go deeper with people. We thought about that in the way that we listen to music and the way we watch films. Playing a song that is a b-side or barely made a record but is someone's favorite song makes a lot of sense in this era.

Patrick: I think there also was a period there where, to Pete’s point, it was a weird time to be a rock band. We had this very strange thing that happened to us, and not a lot of our friends for some reason, where we had a bunch of hits, right? And it didn’t make any sense to me. It still doesn’t make sense to me. But there was a kind of novelty, where we could play a whole set of songs that a lot of people know. It was fun and rewarding for us to do that. But then you run the risk of playing the same set forever. I want to love the songs that we play. I want to care about it and put passion into what we do.  And there’s no sustainable way to just do the same thing every night and not get jaded. We weren’t getting there but I really wanted to make sure that we don’t ever get there.

Pete: In the origin of Fall Out Boy, what happened at our concerts was we knew how to play five songs really fast and jumped off walls and the fire marshal would shut it down. It was what made the show memorable, but we wanted to be able to last and so we tried to perfect our show and the songs and the stage show and make it flawless. Then you don’t really know how much spontaneity you want to include, because something could go wrong. When we started this tour, and we did a couple of spontaneous things, it opened us up to more. Because things did go wrong and that’s what made the show special. We’re doing what is the most punk rock version of what we could be doing right now. 

You seem generally a lot more comfortable celebrating your past success at this point in your career.

Pete: I think it’s actually not a change from our past. I love those records, but I never want to treat them in a cynical way. I never want there to be a wink and a smile where we’re just doing this because it’s the anniversary. Thai was us celebrating these random songs and we hope people celebrate them with us. There was a purity to it that felt in line with how we always felt about it. I love ‘Folie à Deux’ - out of any Fall Out Boy record that’s probably the one I would listen to. But I just never want it to be done in a cynical way, where we feel like we have to. But celebrating it in a way where there’s the purity of how we felt when we wrote the song originally, I think that’s fucking awesome.

Patrick: Music is a weird art form. Because when you’re an actor and you play a character, that is a specific thing. James Bond always wears a suit and has a gun and is a secret agent. If you change one thing, that’s fine, but you can’t really change all of it. But bands are just people. You are yourself. People get attached to it like it’s a story but it’s not. That was always something that I found difficult. For the story, it’s always good to say, ‘it’s the 20th anniversary, let’s go do the 20th anniversary tour,’ that’s a good story thing. But it’s not always honest. We never stopped playing a lot of the songs from ‘Take This To Your Grave’, right? So why would I need to do a 20-year anniversary and perform all the songs back to back? The only reason would be because it would probably sell a lot of tickets and I don’t really ever want to be motivated by that, frankly. 

One of the things that’s been amazing is that now as the band has been around for a while, we have different layers of audience. I love ‘Folie à Deux’, I do, I love that record. But I had a really personally negative experience of touring on it. So that’s what I think of when I think of that record initially. It had to be brought back to me for me to appreciate it, for me to go, ‘oh, this record is really great. I should be happy with this. I should want to play this.’ So that’s why we got into a lot of the b-sides because we realized that our perspectives on a lot of these songs were based in our feelings and experiences from when we were making them. But you can find new experiences if you play those songs. You can make new memories with them. 

You alluded there to the 20th anniversary of ‘Take This To Your Grave’. Obviously you have changed and developed as a band hugely since then. But is there anything you can point to about making that debut record that has remained as a part of your process since then?

Pete: We have a language, the band, and it’s definitely a language of cinema and film. That’s maintained through time. We have very disparate musical tastes and influences but I think film was a place we really aligned. You could have a deep discussion, because none of us were filmmakers. You could say which part was good and which part sucked and not hurt anybody’s feelings, because you weren’t going out to make a film the next day. Whereas with music, I think if we’d only had that to talk about, we would have turned out a different band. 

Patrick: ‘Take This To Your Grave’, even though it’s absolutely our first record, there’s an element of it that’s still a work in progress. It is still a band figuring itself out. Andy wasn’t even officially in the band for half of the recording, right? I wasn’t even officially the guitar player for half of the recording. We were still bumbling through it. There was something that popped up a couple times throughout that record where you got these little inklings of who the band really was. We really explored that on ‘From Under The Cork Tree’. 

So when we talk about what has remained the same…I didn’t want to be a singer, I didn’t know anything about singing. I wasn’t planning on that. I didn’t even plan to really be in this band for that long because Pete had a real band that really toured so I thought this was gonna be a side project. So there’s always been this element within the band where I don’t put too many expectations on things and then Pete has this really big ambition, creatively. There’s this great interplay between the two of us where I’m kind of oblivious, and I don’t know when I’m putting out a big idea and Pete has this amazing vision to find what goes where. There’s something really magical about that because I never could have done a band like this without it. We needed everybody, we needed all four of us. And I think that’s the thing that hasn’t changed. - the four of us just being ourselves and trying to figure things out. Listening back to ‘Folie’ or ‘Infinity On High’ or ‘American Beauty’, I’m always amazed at how much better they are then I remember. I listened to ‘MANIA’ the other day. I have a lot of misgivings about that record, a lot of things that I’m frustrated about. But then I’m listening to it and I’m like, ‘this is pretty good.’ There’s a lot of good things in there. I don’t know why, it’s kind of like you can’t see those things. It’s kind of amazing to have Pete be able to see those things. And likewise, sometimes Pete has no idea when he writes something brilliant, as a lyricist, and I have to go, ‘No, I’m gonna keep that one, I’m gonna use that.’ 

On ‘So Much (For) Stardust’ you teamed up with producer Neal Avron again for the first time since 2008. Given how much time has passed, did it take a minute to reestablish that connection or did you pick up where you left off?

Patrick: It really didn’t feel like any time had passed between us and Neal. It was pretty seamless in terms of working with him. But then there was also that weird aspect where the last time we had worked with him was kind of contentious. Interpersonally, the four of us were kind of fighting with each other…as much as we do anyway. We say that and the myth gets built bigger than it was. We were always pretty cool with each other. It’s just that the least cool was making ‘Folie’. So then getting into it again for this record, it was like no time had passed as people but the four of us got on better so we had more to bring to Neal.

Pete: It’s a little bit like when you return to your parents’ house for a holiday break when you’re in college. It’s the same house but now I can drink with my parents. We’d grown up and the first times we worked with Neal, he had to do so much more boy scout leadership, ‘you guys are all gonna be okay, we’re gonna do this activity to earn this badge so you guys don’t fucking murder each other.’ This time, we probably got a different version of Neal that was even more creative, because he had to do less psychotherapy. 

He went deep too. Sometimes when you’re in a session with somebody, and they’re like, ‘what are we singing about?’, I’ll just be like, ‘stuff’. He was not cool with ‘stuff’. I would get up and go into the bathroom outside the studio and look in the mirror, and think ‘what is it about? How deep are we gonna go?’ That’s a little bit scarier to ask yourself. If last time Neal was like a boy scout leader, this time, it was more like a Sherpa. He was helping us get to the summit. 

The title track of the album also finds you in a very reflective mood, even bringing back lyrics from ‘Love From The Other Side’. How would you describe the meaning behind that title and the song itself?

Pete: The record title has a couple of different meanings, I guess. The biggest one to me is that we basically all are former stars. That’s what we’re made of, those pieces of carbon. It still feels like the world’s gonna blow and it’s all moving too fast and the wrong things are moving too slow. That track in particular looks back at where you sometimes wish things had gone differently. But this is more from the perspective of when you’re watching a space movie, and they’re too far away and they can’t quite make it back. It doesn’t matter what they do and at some point, the astronaut accepts that. But they’re close enough that you can see the look on their face. I feel like there’s moments like that in the title track. I wish some things were different. But, as an adult going through this, you are too far away from the tether, and you’re just floating into space. It is sad and lonely but in some ways, it’s kind of freeing, because there’s other aspects of our world and my life that I love and that I want to keep shaping and changing.

Patrick: I’ll open up Pete’s lyrics and I just start hearing things. It almost feels effortless in a lot of ways. I just read his lyrics and something starts happening in my head. The first line, ‘I’m in a winter mood, dreaming of spring now’, instantly the piano started to form to me. That was a song that I came close to not sending to the band. When I make demos, I’ll usually wait until I have five or six to send to everybody. I didn’t know if anyone was gonna like this. It’s too moody or it’s not very us. But it was pretty unanimous. Everybody liked that one. I knew this had to end the record. It took on a different life in the context of the whole album. Then on the bridge section, I knew it was going to be the lyrics from ‘Love For The Other Side’. It’s got to come back here. It’s the bookends, but I also love lyrically what it does, you know, ‘in another life, you were my babe’, going back to that kind of regret, which feels different in ‘Love For The Other Side’ than it does here. When the whole song came together, it was the statement of the record. 

Aside from the album, you have released a few more recent tracks that have opened you up to a whole new audience, most notably the collaboration with Taylor Swift on ‘Electric Touch’. 

Pete: Taylor is the only artist that I’ve met or interacted with in recent times who creates exactly the art of who she is, but does it on such a mass level. So that’s breathtaking to watch from the sidelines. The way fans traded friendship bracelets, I don’t know what the beginning of it was, but you felt that everywhere. We felt that, I saw that in the crowd on our tour. I don’t know Taylor well, but I think she’s doing exactly what she wants and creating exactly the art she wants to create. And doing that, on such a level, is really awe-inspiring to watch. It makes you want to make the biggest, weirdest version of our thing and put that out there. 

Then there was the cover of Billy Joel’s ‘We Didn’t Start The Fire’, which has had some big chart success for you. That must have taken you slightly by surprise.

Patrick: It’s pretty unexpected. Pete and I were going back and forth about songs we should cover and that was an idea that I had. This is so silly but there was a song a bunch of years ago I had kind of written called ‘Dark Horse' and then there was a Katy Perry song called ‘Dark Horse’ and I was like, ‘damn it’, you know, I missed the boat on that one. So I thought if we don’t do this cover, somebody else is gonna do it. Let’s just get in the studio and just do it. We spent way more time on those lyrics than you would think because we really wanted to get a specific feel. It was really fun and kind of loose, we just came together in Neal’s house and recorded it in a day.

Pete: There’s irreverence to it. I thought the coolest thing was when Billy Joel got asked about it, and he was like, ‘I’m not updating it, that’s fine, go for it.’ I hope if somebody ever chooses to update one of ours, we’d be like that. Let them do their thing, they'll have that version. I thought that was so fucking cool. 

It’s also no secret that the sound you became most known for in the mid-2000s is having something of a commercial revival right now. But what is interesting is seeing how bands are building on that sound and changing it. 

Patrick: I love when anybody does anything that feels honest to them. Touring with Bring Me The Horizon, it was really cool seeing what’s natural to them. It makes sense. We changed our sound over time but we were always going to do that. It wasn’t a premeditated thing but for the four of us, it would have been impossible to maintain making the same kind of music forever. Whereas you’ll play with some other hands and they live that one sound. You meet up with them for dinner or something and they’re wearing the shirt of the band that sounds just like their band. You go to their house and they’re playing other bands that sound like them because they live in that thing. Whereas with the four of us and bands like Bring Me The Horizon, we change our sounds over time. And there’s nothing wrong with that either. The only thing that’s wrong is if it’s unnatural to you. If you’re AC/DC and all of a sudden power ballads are in and you’re like, ‘Okay, we’ve got to do a power ballad’, that’s when it sucks. But if you’re a thrash metal guy who also likes Celine Dion then yeah, do a power ballad. Emo as a word doesn’t mean anything anymore. But if people want to call it that, if the emo thing is back or having another life again, if that’s what’s natural to an artist, I think the world needs more earnest art. If that’s who you are, then do it.

Pete: It would be super egotistical to think that the wave started with us and My Chemical Romance and Panic! At The Disco has just been circling and cycling back. I remember seeing Nikki Sixx at the airport and he was like, ‘Oh, you’re doing a flaming bass? Mine came from a backpack.’ It keeps coming back but it looks different. Talking to Lil Uzi Vert and Juice WRLD when he was around, it’s so interesting, because it’s so much bigger than just emo or whatever. It’s this whole big pop music thing that’s spinning and churning, and then it moves on., and then it comes back with different aspects and some of the other stuff combined. When you’re a fan of music and art and film, you take different stuff, you add different ingredients, because that’s your taste. Seeing the bands that are up and coming to me, it’s so exciting, because the rules are just different, right? It’s really cool to see artists that lean into the weirdness and lean into a left turn when everyone’s telling you to make a right. That’s so refreshing. 

Patrick: It’s really important as an artist gets older to not put too much stock in your own influence. The moment right now that we’re in is bigger than emo and bigger than whatever was happening in 2005. There’s a great line in ‘Downton Abbey’ where someone was asking the Lord about owning this manor and he’s like, ‘well, you don’t really own it, there have been hundreds of owners and you are the custodian of it for a brief time.’ That’s what pop music is like. You just have the ball for a minute and you’re gonna pass it on to somebody else.

We will soon see you in the UK for your arena tour. How do you reflect on your relationship with the fans over here?

Pete: I remember the first time we went to the UK, I wasn’t prepared for how culturally different it was. When we played Reading & Leeds and the summer festivals, it was so different, and so much deeper within the culture. It was a little bit of a shock. The first couple of times we played, I was like, ‘Oh my God, are we gonna die?” because the crowd was so crazy, and there was bottles. Then when we came back, we thought maybe this is a beast to be tamed. Finally, you realize it’s a trading of energy. That made the last couple of festivals we played so fucking awesome. When you really realize that the fans over there are real fans of music. It’s really awesome and pretty beautiful. 

Patrick: We’ve played the UK now more than a lot of regions of the states. Pretty early on, I just clicked with it. There were differences, cultural things and things that you didn’t expect. But it never felt that different or foreign to me, just a different flavor…

Pete: This is why me and Patrick work so well together (laughs).

Patrick: Well, listen; I’m a rainy weather guy. There is just things that I get there. I don’t really drink anymore all that much. But I totally will have a beer in the UK, there’s something different about every aspect of it, about the ordering of it, about the flavor of it, everything, it’s like a different vibe. The UK Audience seemed to click with us too. There have been plenty of times where we felt almost more like a UK band than an American one. There have been years where you go there and almost get a more familial reaction than you would at home. 

Rock Sound has always been a part of that for us. It was one of the first magazines to care about us and the first magazine to do real interviews. That’s the thing, you would do all these interviews and a lot of them would be like ‘so where did the band’s name come from?” But Rock Sound took us seriously as artists, maybe before some of us did. That actually made us think about who we are and that was a really cool experience. I think in a lot of ways, we wouldn’t be the band we are without the UK, because I think it taught us a lot about what it is to be yourself.

Fall Out Boy’s ‘So Much (For) Stardust’ is out now via Fueled By Ramen. 

#fall out boy #fob #patrick stump #pete wentz #rock sound #so much for stardust #so much (for) stardust #rock sound issue 300 #fueled by ramen

[erstwhilesparrow]

god there are so many little bits of outsiders that make me want to chew glass. in an effort to exorcise some thoughts:

there's something really fantastically horrifying about how much visual and mental space the maze takes up for almost all of the server's run, contrasted with the fact that we learn in the owenge q&a that the maze is one of multiple scenarios, built by STARR for a handful of seasons and ultimately meaning nothing. all this about learning the maze, this structure that was the outsiders' whole world for what they believed to be years, and it was a set piece that might not ever be used again. i can't stop thinking about the fact that on the literal actual minecraft server, the maze was built floating in the sky, and like, yeah. it was for this one server and nothing else. i get why you'd build it like that, in terms of practical concerns, but god. to know that thing never even touched the 'actual' ground.

hey. cc!owen PLAYS A GOOD FUCKING HEEL. oh my god he's good at playing the bad guy. this is not like thoughtful analysis at all but being able to hear so clearly the shift in tone when he goes into hunting mode, the willingness to just let things sit in silence, the way he completely sells a character's absolute conviction. the way when he has a knife in his mostly-empty hotbar during Spill Your Guts the distance between the currently selected slot and the knife right next to it feels like a tangible weight somehow!

speaking of which. please tell me the berries in his hotbar during his demon killing spree aren't raspberries. i can't actually identify them because i'm not familiar with the mod but i think if they're raspberries i would simply explode into a million bits of confetti.

hey remember how there was a giant underground reservoir beneath the clearing containing the skeleton of some enormous creature? was that fucked up or what.

hey also remember how one of the last written records left by the people who died in the frozen clearing was about how at least their friends got to die peacefully, in their sleep? remember how the maze was full of notes scribbled on pieces of paper and scrawled in blood on the walls trying to warn them, begging them to get out, hoping against hope that their last words might mean something? remember how mohwee's last words to the outsiders were take care of each other? they tried so hard to look out for each other, and whether they ever did it especially well is an open question but MAN. you can't say they didn't try.

even after deciding apo can rot down in the prison, owen still says, "the next time i see him is when i go shackle his hands together, and drag him through that maze to get him out." in the wake of the [don't dirty my name again] conversation, owen promises rasbi, "we came up together, we're gonna get out of here together." even with his faith in -- and i think i will argue that this is accurate phrasing -- the world shattered, owen has no concept of actually leaving either of them behind. he can't even imagine it. ;-; .

i don't know what the event is called in canon so i'm going to refer to it as [the clearing event with the scuffed mcc energy], the one where acho drowns, and it delights me that the nature of the medium is such that sometimes when owen says something, it becomes true because he said it. (i mean, this is true for all of them, but i say owen because he's the one i watched and he has an interesting degree of narrative control by virtue of having such a comprehensive pov.) acho didn't die in a way that minecraft the game would necessarily call a death, i'm not convinced what happened to him was distinguishable from what the characters call being 'downed' in the maze, but because owen said it, on some level, yeah, acho did die in there. isn't it so fun how you can kill someone by saying they died? reach back through linear time and make true what wasn't before? and i think about this and i think about how often owen declared apo dead, and how it makes apo not just a ghost but a sort of schrodinger's cat. apo is alive except no he isn't except yes he is. reality is so frighteningly malleable in mcrp.

#sparrowsong #i might make a greater effort to make that last point make more sense some other time. who knows #i'm in a chatty mood lately #outsiders smp

[edutainer2022]

I don't know where this came from - probably from pondering the ever elusive math of there being Mercury Seven, yet five Tracy boys.

CW: mention of pregnancy and miscarriage (nothing graphic); mention of a character death (Tracy Mom).

Jeff Tracy randomly talked in my head. He loves his boys so, so much. That's it, that's the story.

MERCURY SEVEN

As far as Jeff Tracy was concerned, he did have seven children - the full Mercury Seven. He just got to meet only five of them - a gift he cherished more than air in a cosmic vacuum, more than life itself.

He knew he wanted to marry Lucy Evans and spend every better or worse the world had to offer with her, till death them did part, some time by the middle of their first date. He actually proposed by their third - going down on one knee and all. It was a whirlwind romance, spinned even faster by him being enlisted and due at an AirForce base, with a clear eye on the ultimate prize - astronaut training. One of the nights he woke up from muffled keening in the bathroom - she was curled on the tiles, obviously in pain. Lucy thought she was cramping, going on her period - it was a bit late, but within a margin for her not to wonder anything else. By the time she made it out of bed and to the sink she was bleeding and dizzy, and in a world of pain. Jeff scooped her up and rushed them to the overnight ER, without waiting for 911 to arrive. That's how they learned they lost a baby they didn't have the time to know and process they had.

They held each other for hours, after, sharing grief and love, and now a newfound fear that their dream of a family may not come to pass. It did. By the time Jeff had to leave for training, they knew they were expecting again. The pregnancy had no complications and baby Scotty arrived just perfect, if in a rush. Decades down the line Jeff would never stop to marvel at the feeling of overwhelming joy and humility, like he was in a presence of a true miracle, when he could hold the first child he got to meet. Not even going to space for the first time or setting foot on Mars could come close. But he would always carry rue in his heart for Scotty's big brother or sister that they lost.

He knew his wife shared the sense of wonder and could never get enough of the heady rush of love. So four more children lit up their world in all colors and sounds of happiness. Their incredible, beautiful boys. His amazing beloved shining through in each one of them.

The seventh child was, of course, the one they never got to have together, when the avalanche ripped her away from their world, tearing his heart out in the process. He mourned them too. The what if of yet another gift of a miracle, lost for good.

Loss haunted, hunted him for eight long years, snarling at his heart, threatening to shatter his soul into frozen shards. Once safely back from his exile, the records of his boys' lives and work would sometimes make his blood run cold again. Every minute account of a barely dodged chance he could have lost a son. The ones they were aware of, and the ones they dismissed (or glossed over). So many it felt, at times, like he could drown in grief. The loss never came to pass, or he wouldn't have survived, but the grief? Oh the grief and fear were real. It took a conscious effort to remind himself the boys were all there, in one piece, tangible within his reach. He certainly never missed a chance to reassure himself with a touch, or a squeeze of the hand, or a hug, or a kiss on the forhead (some way too hard to reach now), or a silent vigil over a sleeping form, or just watching them go about their usual daily routine. He would never again miss a slightest chance to be close to his children, letting the overwhelming warmth and wonder settle in, expelling the chill of the deep space void. Expelling the paralyzing loss of the five precious sons he got to meet again.

#thunderbirds are go #jeff tracy #lucy tracy #jeff tracy needs a license update in fathering #jeff tracy needs a hug #methinks i have astronomy #my fic

[andpierres]

as we approach the upcoming voting season i feel the need to get up on my soapbox and talk about voting shame, becuase your angry posts insisting people vote blue no matter who are NOT what gets people to vote.

statistically, the things that get people to vote are emphasizing their previous voting history & reminding them that whether or not they voted is public record, and encouraging civic duty to their community by voting, implying that their friends and neighbors will be able to see if they don't. (source 1) (source 2)

voting shame on an anonymous website like tumblr is not going to work. all you're doing is making other people feel like shit. what pressures people is feeling that obligation to their community, and thus what makes MORE sense is to encourage people to vote in local elections/votes for their local school board/etc. tangible, actionable things that will directly affect their community, and a history of having voting previously will ALSO encourage people to vote in other elections in the future!

i've already seen a few posts cropping up that fundamentally piss me off in the way they go about trying to encourage voting -- its the same shit ive seen people spread year after year!!

so instead of just yelling at people to vote a certain way, here's how you can ACTUALLY help encourage people to vote. you can even start in your local community before lecturing strangers online, too.

(and before someone gets pissed at me, ive voted blue in every election despite my own feelings on the matter. b/c thats what it takes to get any credibility on this website with some fucking people)

#text #us politics #voting

[acourtofantumbra]

Was doing a deep dive for a future post about *gestures wildly* witches... Manon's lineage... cross-world connections... something I've found that feels actually tangible, maybe. Anyway, despite only dipping a toe into the ToD reread so far (I am not a ToD hater lol I'm just busy) I found myself checking a moment from KoA and took a nosedive into something immediately shinier. But it was so sudden I didn't have time to do my usual highlights/scribbles on my (currently dead) ipad so... enjoy my measly Kindle highlights.

I KNOW many folks have beautifully analyzed SJM's repeated character names because at one point SJM herself basically said, "I keep a record of all of them and I know what I've used."

I've seen folks flag important repeats for years now (we've seen this film before, A+ work, it keeps me up at night!), but the heavy hitters have been Briar, Thanatos, Cormac and even Ruhn (you know... the Erilean mountains and the hottie who knows 3 things).

So it stands to reason that repeated names might deserve some extra scrutiny... And I pray we get some pay off with that in CC3.

Anyway, as I'm pulling at the thread of ToG witches via our (my) favorite queen - Manon - I hadn't realized I fully forgot her dad's name. Frankly, of all the plot points from ToG, Manon's story's specifics were the haziest... except where Dorian is concerned I'm a mere mortal... and that has me suspicious regardless. Anywayyyy, as you can see above, it's Tristan. Tristan Crochan.

I cannot fully explain the cartwheel flip my brain did thumbing through the roladex of SJM's characters... because Tristan Flynn was not the energy my brain was ready for after reading this really sad passage about Manon's murdered family.

On my first read of the SJMU I went ACOTAR (long break between the original and ACOSF) -> CC -> TOG. And on my first TOG read, this passage triggered no alarm bells. I probably just didn't remember Flynn all that much. But after my CC reread... oh. I remember him. Don't you worry.

Now I am fan of Flynn. He's got a rakishness I simp for, I root for him and the dragon, and clocked his lordship woes despite having what we've all decided is a "hot dad". He's a good time. And Flynn feels like someone to watch! He makes an appearance in not one, but two, CC bonus chapters... and he's got a crush on the aforementioned dragon, who either was introduced for no reason or is gonna be a key player going forward. Or SJM is fucking with us. I don't have the answers.

But what I'm struck by Tristan-wise is a) the similarity in the little physical descriptors we get - brown hair, brown eyes and b) not actually Flynn-related... but a deeply similar sounding story to none other than the Autumn King. Daughter you didn't know was born to a woman you claim was your real love... check. Searching far and wide with a singular focus on recovering your daughter... check. Having another kid out of obligation and duty to continue on important bloodlines... check!!!

It might not have anything to do with Flynn at this current moment... but it's not implausible. Lord Flynn is of course a beloved frat-pack member living in a dump with his fellow bros. He specifically pops up in these bonus chapters going through the motions necessitated by his aristocratic bloodline. His mom/family is eager to marry him and his sister off - of course he seems miserable about the whole idea. But also resigned to it? It seems complicated. TLDR there's a world where Flynn's like "woof, yeah I gotta get married off but the heart wants what it wants!" There is precedent!

Also, I've been 👀 Flynn since it was flagged that he has "super rare earth powers" not commonly seen in Valbaran Fae... first off, what does that mean? Second, hot?!

Well I've done it again, so many words and nothing really of note to take away haha. I'll be honest, my mind was not in a Tristan Flynn headspace!! I'm kind of bogged down in my own thoughts about the witchier women of this multiverse... but in my dragon theory speculation Flynn popped up again and I really can't explain why random dead ends are turning up Tristan!!! I'm not mad about it, but I wish I understood.

#sjm multiverse #throne of glass #cc3 #sjm multiverse spoilers #sjm theory #manon blackbeak #tristan flynn #tristan crochan #crochan witches #rhiannon crochan #crescent city #house of sky and breath #kingdom of ash #autumn king #bryce quinlan

[saintescuderia]

excerpt from my notes app #053

spotify comment word limit exceeded

hello. 

so i've actually drafted something that i will record you before i send the link to your mixtape. i'm actually reading off of it right now. it’s a bit long and sappy so just bear with me. 

i guess it was just because i was thinking about how i always loved the good old days when we used to record mixtapes. and i mean literally record mixtapes. people would record themselves speaking between each song with a ‘this is how you make me feel’ or a ‘this song reminds me of this night’ or whatever it is. i've always loved that we used to do that. and i miss that sense of permanence, the tangible object of a thing, whether a CD or a cassette, that contains songs carefully selected that someone compilated just for you. your very own tracklist. just between you and that person. and, of course, the voice recordings to go along with them. 

because even though we still have these little voice recordings in our texts… well, when you get a new phone and everything is gone. then again, we can make a whole case about how this is life! and everything changes! and nothing is permanent! i mean, what do people still do with those mixtapes we made back in the day? do they still have them? do they still use them? 

i have made many a playlist for many a people. i have also made mixtapes. i downloaded songs from youtube with good old clip converter and then transferred them onto a blank CD disc. a legitimate mixtape. and it’s funny because every single person i made a mixtape for… well, they’re gone from my life.

but, who knows? maybe the songs i gave them stayed with them? maybe. just maybe. who knows. can’t regret these things. though, i must say, i came into a point in my life where i was sick and tired of making mixtapes for people. 

no, not even mixtapes. but playlists. 

why should i give my songs to people, why should i share these pieces of my soul to people who will inevitably leave? i mean i saw no point.

it was just a interesting time and, i mean, we both said each other that we both ended up in each other's lives in a time when we kinda needed the other. because you came and we connected and, honestly, you remind me what warmth and hope feels like. 

i know you're going through a tough time a lot has happened and you burnt out and it may feel like you can barely keep it together… but let this music soothe your soul. i choose a bit of a mellow start for that reason. then we move into some funky tunes and then it mellows out, but to some bedroom tunes. then, of course, it finishes with SWEET. because me drunkenly screaming out the lyrics to that brockhampton song was what started this.

however, if only one of these songs sticks with you… then that's all that matters. of course you may hate all of them. just tell me and i'll be your personal algorithm and give you more of what you like and what didn’t. i won't be offended. i’ve learned to stop taking these playlists too seriously. 

because, in the end, people may come and go but music always remains. it’s the same those three or four minutes. those seconds don’t change. we do. 

and if i get the chance to share some with you then that's the most important thing. 

even if just for now.

#saintescuderia #writer #writers on tumblr #writer stuff #writing #writers and poets #writeblr #female writers #writerscommunity #creative writing #the tortured poets department #poetic #poet #poem #poetry #poets on tumblr #original poem #poesia #art and poetry #poems and poetry #poems on tumblr #poems #poems and quotes #love poem #words words words #journalling #journal #diary entry #journal entry #my journal

[joannerowling]

Man PinkNews really can't stay away from Jo for too long lol, they're back at it again with more slander, this time with a supposed like of a pretty offensive tweet. And as always people are eating it all up.

Now I went to check and that supposed like wasn't there which makes me think it's fake(either that or much like few years ago when she liked and then unliked that one tweet-I forget what was it about, and if her like was real then it could be the same case again, an acidental like).

But like, I really don't get these people...I get it, they hate her, but why make up stuff? Is it cause perhaps normies are waking up and seeing that Jo isn't this evil person the likes of PinkNews and TRAs are trying to paint her as...it's so weird.

Well they can't exactly go and talk about anything wrong she would have actually done, can they, since when you look up what Jo really does with her money it's all charity and paying her taxes. We're still waiting on that list of anti-trans organisations she would have supposedly funded or donated to - you'd think they would line up to claim her patronage, and yet! Crickets! Strange, isn't it?

So they are reduced to this: dishonesty, defamation, and just making shit up when they run out of ideas. Take this week's example of what has the gendiboos shitting themselves: Jo liking a darkly humourous tweet saying "at least the Talibans know what a woman is". Someone tried to paint that as a) original tweeter was supporting the Talibans (yes, in this era where people can just say "kill yourself" to a celebrity over them claiming to like raisins); b) JKR herself implicitly supports the Talibans by proxy because she liked the tweet. Now, the person who said that claims to have received a cease and desist order. Gee, why would that ever happen??

… Yeah, i guess Jo's a little sensitive about that particular brand of defamation of her character. It's almost like, unlike these bozos, she actually cares about hate crimes against women.

Honestly i wish she'd actually take them to court, just once. She would absolutely wipe the floor with them and that would set the record straight for any more who wants to try her. And i'm not even saying that with her sake in mind tbh.

But for the sake of the ACTUAL WOMEN IN THE MIDDLE EAST SUFFERING THROUGH ISLAMIC REGIMES RIGHT THE FUCK NOW.

Like hey!! guys, gals and nonbinary pals! Maybe… just maybe?? we shouldn't use victims of horrible religious tyranny as pawns in some stupid gender wars?? ¯\_(ツ)_/¯ I know we're all convinced in our heart of hearts that JK Rowling is a big bad meanie, but maybe we could act like the better people we pretend to be for once and treat this topic with the seriousness it warrants?? ufuckingwu!

And since i had the unpleasant surprise to see that in the tag this morning: same thing with Ukraine. No, JK Rowling is not friend with Putin, she has actually helped Ukrainian refugees since the start of the war, and the fucking Harry Potter store being maybe still up in Moscow on Google Maps is the last of Ukraine's problems even if she had the actual power to shut it down (assuming GM's infos are even actualised).

Like, i can sort of laugh it out when these idiots make up bullshit about the Goblins being antisemitic caricatures. (Except, it's not actually funny, not when you take two seconds to think about the implications that a whole generation of people apparently think that this is what antisemitism is, OR, care so little about antisemitism that they are happy to pretend that this is it.) It's a whole 'nother business to pick victims of current wars and religious extremism and make up a story about how it's all some writer you don't like's fault. Those are real people ffs. Whom JKR is tangibly helping. What the fuck is Pink News doing for them, hmm? Not even showing them an OUNCE of decency and respect, that's what.

Anyways, apologies for this outburst. To answer your question : why do they do it? Hatred. Hatred is the point. It goes nowhere deeper than this i'm afraid.

#replies #anon #jk rowling #jkr #afghanistan