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princessmisery666 · 2 months ago

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Didn't Know Then What I Know Now - Part 3 of 3

Series Summary: You and Jake have been dancing around each other for a while. The Dagger Squad set it up so that the dancing stops, but a case of miscommunication could ruin it all.

Summary: With the help of the Dagger Squad, Jake sends you on a personal scavenger hunt. He’s sure you’ll love the idea, and then you’ll have to forgive him. Right?

Warnings/Genres/Troupes: angst, fluff,

W/C: 4.8k

Characters: Unnamed female reader (you/she/her), Jake ‘Hangman’ Seresin, Natasha ‘Phoenix’ Trace, Javy ‘Coyote’ Machado. Small Parts/Mentioned: The rest of Dagger Squad, Pete ‘Maverick’ Mitchell, and Penny Benjamin.

Pairing: Hangman x Female Reader. Phoenix x Coyote.

Challenge/Bingo: Prompt/Square Filled:

Notes: Reader has a call sign.

Beta(s): @deanwinchesterswitch - thanks for saving the smut section 😄 // all mistakes are mine. Special shoutout to @writercole

Graphics: made by me on Canva.

Master Lists: Series // Top Gun Maverick // Main

I do not give consent for this or any other of my works to be reposted/reworked or translated on to any other account or platform.

The first available flight will get you home only a few hours earlier than you would have before, but you no longer care that your credit card will be taking a massive hit for this weekend. This added expense is worth every penny. The thought of sitting next to Jake the entire flight home is too much to bear.

Seething anger rolls through you in waves the whole journey home, and you can’t bear to face the Daggers, knowing they know more than they should.

You go directly to see Captain Mitchell, suitcase and bags in tow, and request a change in assignment.

“Take a couple of days,” Maverick suggests, “think about it.”

“All due respect, Captain, there’s nothing to think about,” you counter. “We are all aware Lieutenant Seresin isn’t the easiest person to work with, and I feel I’ve served my time.”

“That may be so,” he nods, “but you are a good team, whether you like it or not.”

You can’t argue that because it’s a fact you are aware of.

“Put the request in writing,” Mav tells you, “I’ll see what I can do.”

You thank him and lug your bags back out the door, kicking the wheel to get it to go in the right direction. You don’t look up until you crash into someone. Phoenix, accompanied by Coyote.

Perfect.

“Sorry,” you mutter, carrying on your way.

“Wait, Cosmo,” Natasha says, catching up to you. “Why are you back so soon? Your flight doesn’t get in until later. What happened?”

“Exactly what I thought would happen,” you say, “and I really don’t want to talk about it.”

“Oh, Cosmo,” Phoenix sighs, knowing exactly what your fears had been.

“Don’t,” you say, holding a hand up to silence her. “I don’t want your pity.”

Coyote senses the hostility in your tone and changes the subject. “What were you doing with Mav?”

“Requesting a reassignment,” you say. There’s no point in hiding it. They’ll find out eventually.

“But,” Phoenix starts, doing the mental math. “The only other person to fly with would be Harvard.”

You shrug, “So be it. I gotta go unpack and shower.”

“Wait,” Phoenix says, rushing to stand in your path. “Talk to me. What’s going on?”

“I don’t want to talk,” you snap, “least of all to you.”

The hurt on her face breaks your heart a little, but you’re hurting too. You want to take it back, but the more she looks offended, the more you remember this is partly her fault, and Coyote’s, for that matter. They both stuck their noses in your business when it wasn’t needed or wanted.

“All this,” you wave your arms as wide as you can with your bag, “is down to you two. Jake and I were fine the way we were, but you two had to meddle.”

Coyote pleads, “Cos, we were just…” but you cut him off, holding your hand up.

“Save it,” you growl. Coyote shuts his mouth with an audible pop, and you turn an accusatory finger at Phoenix. “You knew,” you accuse, “you knew how I felt, all my reservations, all the ways I thought it would go wrong, and you still set me up!”

“I didn’t think anything bad would happen,” Phoenix defends, “Javy told me how much Jake likes you, and I knew how much you like Jake and how conflicted you were about it all. But I thought if you could just have some time together… so I nudged you in the right direction. I thought I was helping you out, being a good friend.”

You scoff, aggravated, and hurt. “Well, maybe you’re not a good friend.”

“Hey,” Coyote chastises, “don’t put this on her. We all played a part.”

“Yeah, you did,” you sigh, tears filling your eyes and tingling the end of your nose. “Because, like I always suspected, you're more Jake’s friends than mine.”

You don’t give them time to respond by walking away.

Jake hopes you’ve checked into another room or a different hotel. He repeatedly called, but you rejected every one of them.

He leaves one voicemail but doubts you’ll listen to it. “Cosmo, please. Don’t shut me out. I know what it looked like, but I promise I can explain.”

On the way to the airport, he prays you're still on the same flight. A few hours of being unable to escape would be enough time to explain himself. He starts to lose hope when he checks out and finds that half of the room service bill has been paid. He finally admits defeat when he doesn’t see you in the seating area near the gate.

Still, when the flight is delayed, he roams the airport, searching for you. His search proves futile, but he continues to check the boarding queue as he shuffles forward with the other passengers.

He bounces his leg the entire flight like it will magically make the plane go faster. The only good thing about the empty seat—your seat—between him and the other passenger is that it probably keeps him from being punched for the annoyance.

He’s exhausted by the time they land, and the cab ride from the airport to his house is deafeningly silent. Finally, as the car pulls away from the curb, he gives in and messages Phoenix.

<Hangman: I know I’m probably outside your good graces, but at least tell me she’s home and okay.

>Phoenix: She’s home. And you’re not on my shit list. I’m on hers.

He begins typing a reply to question that bit of information, but a message from Coyote interrupts him.

>Coyote: If you define ‘okay’ as requesting to be reassigned, then yeah, she’s great!👍🏻

The sarcasm seems unnecessary, but he ignores it. There’s a bigger battle to be fought.

>Coyote: What happened man? One minute you were gonna tell her you liked her and the next she’s getting reassigned.

<Hangman: Just a bit of miscommunication and if I could get her to talk to me I could explain it.

He needs to do something. Calling isn’t working, and he knows if he shows up at your door, you’ll likely slam it in his face. Besides, this is bigger than an apology.

<Hangman: I’m gonna need your help.

>Coyote: name it.

The following morning, you wake early and wash off the residual anger in a hot shower. By the time you're ready to face the day, the outrage has subsided, and you’re left feeling foolish, humiliated, and a little betrayed. Despite your reservations about Jake, you trust him. He’d never done anything to make you believe you shouldn’t - until now.

You shouldn’t be all that surprised. You’ve been witness to and on the receiving end of many of his sexual encounter stories. He’s not someone to keep intimate secrets.

“Urgh, stop!” you berate your reflection in your bedroom mirror. You need to stop thinking about it. Going over it repeatedly in your mind isn’t helping.

Some retail therapy and blasting your favorite music on the drive to the mall will help. You dress in jeans and a nice shirt, put on your jewelry and then spritz yourself with perfume.

It brings tears to your eyes. Jake bought you a bottle, and now you won’t be able to smell it without thinking about him. “Fuck!”

You hear the squeak of the door opening, and shortly after, Phoenix sings, “Honey, I’m home.”

It’s an olive branch to let you know she’s disregarding yesterday’s outburst. She understands you didn’t mean it, and don’t blame her for anything. You know you were becoming insufferable when it came to your assigned pilot, and Natasha was always on the receiving end of it.

“Glad you’re back,” You smile, jogging down the stairs.

“Woo, where’s the fire?” she asks, kissing your cheek when you reach the bottom step.

“At the mall,” you say, “I need to find a new perfume I like.”

“So you forgot,” brow raised high, she reminds you. “Tuesdays are jogging and bagels?”

It’s usually more bagels than jogging but you don’t mention it because you had forgotten. Stupid Hangman, messing with your head. “Shit, sorry. I did forget, but a run might help clear my head. Give me five minutes to change?”

She waves off your apology. “Nah, it’s fine. Let’s skip it. I drank way too much last night. The last thing I wanna be doing is running around in the heat.”

You laugh, remembering that yesterday was the last Monday of the month, which meant, “Karaoke night?”

“Karaoke night,” Phoenix confirms with a firm nod and regretful sigh.

Of course, the Daggers can’t make it a normal sing-a-long. Someone, you don’t remember who, bought a decibel meter. Whoever gets the least applause after a song has to do a shot and a song of the squad’s choosing. Of course, Rooster is always the sober one. Maybe it was him who bought the meter.

“If you wanna join me, I’ll treat you to a breakfast burrito on the way,” You offer.

Her eyes light up like a Christmas tree. “Yessss!”

Natasha insists on driving, and as you get into the car, she tells you that she left her wallet in her dorm, and ‘just in case’ Apple Pay doesn’t work, she needs to pick it up before going shopping. You offer to spot her, and she can pay you back later, but she refuses.

The radio is playing quietly, and it’s a pleasant ride with not a lot of traffic, but when Nat leans in and turns off the radio, you know the pleasantness is over.

“Ready to talk about it?” she asks.

No.

But now is as good a time as any, and it’s rare these days to get her alone without Javy nearby eavesdropping.

“Don’t pretend like you don’t already know,” you sigh.

“I know Jake’s side of it,” she admits, “but I wanna hear your side.”

“I made a fool of myself. I thought Jake would be different with me, but I was wrong. Plain and simple.”

“It’s not plain and simple, Cos. You asked to be reassigned. That’s not nothing, so tell me what happened, specifics.”

You explain everything. The weekend arrangement, the promise to not let it affect work or to tell anyone. Crashing the wedding, the gifts, the pillow talk.

“I can’t explain how he made me feel,” you exhale sadly, allowing yourself a moment to reign in your emotions. “From the moment he touched me, it was like the world didn’t exist. The things he did to me, wow.” Your eyes widen to emphasize the WOW because you really don’t think she gets it. “He made my body react in ways I never knew it could.”

“Well, that’s not surprising,” Nat offers, “you don’t get an ego the size of Hangman’s by being mediocre in bed.” Quickly adding, “Don’t ever tell him I said that.”

You mimic locking your lips and throwing the key out the window. “But confirmed. There is nothing mediocre about him.” You laugh, but the jesting tone is short-lived. “I caught him staring at me a couple of times, and the way he was looking at me… It was… I don’t know, but I swear my heart skipped a beat.”

Phoenix huffs a knowing chuckle. “The small moments that are really the big moments.”

“Exactly! He asked me to stay a few more nights, and I thought it might have been to… Urgh,” you growl, sick of trying to analyze Jake’s thoughts and feelings. “It doesn’t even matter. I was an idiot to believe it would be anything but a fun memory to recall when my serotonin was low. He couldn’t even respect my privacy. He had to go shoot his mouth off to Coyote.”

“He didn’t,” Phoenix explains. The defense of Jake is so surprising you stare open-mouthed at her as she gives your ID badges to the gate staff. “Don’t get me wrong, there’s probably something in all you said that we can hate him for, but if all this is a reaction to him talking to Coyote, you’ve got it wrong.”

“What?”

“He wasn’t bragging about sleeping with you,” Natasha explains, “He was asking for advice.”

“Advice about what?”

She shakes her head, “That’s for Jake to tell you. I get why you jumped to the conclusion that you did. I’d have done the same ‘cause, let’s face it, it’s Hangman we’re talking about. But, and I hate to say this, in Jake’s defense, you overreacted, and if you had let him explain, you wouldn’t be feeling foolish.”

“So what? You’re saying I owe Jake an apology?”

“I’m saying you should at least speak to him.”

You momentarily impersonate a fish, opening and closing your mouth while trying to understand everything she’s said.

“But later,” Nat continues, “I need breakfast.”

Natasha drags you along the corridor, tugging on your hand while your eyes dart around, peeking into windows of closed doors, hoping Jake isn’t back on base yet because you aren’t ready to face him. You haven’t quite digested Natasha’s revelation. You need more time.

You bounce on the balls of your feet for the whole twenty seconds she’s gone, jumping at the slightest sound, expecting Jake to stalk around the corner like some serial killer.

Natasha emerges from her room, waving her wallet. She takes your hand again, which stops you from rushing away like the scared victim of a horror movie. “Do you trust me?”

You eye her suspiciously, and your stomach drops when she winces, preempting your less-than-happy reaction. “Jake was the last person to ask me that, Nat, and look where that got me.”

“I know,” she says, “but you know I wouldn’t do anything that I thought could potentially hurt you.”

“Natasha Trace, I swear to the all-mighty God Icarus, if Jake is about to walk around that corner, I’ll make you feel like you flew too close to the sun.”

She holds her hands up, palms out, full surrender. “I swear he’s not here, and you don’t have to talk to him.”

“Can we just go shopping?” You whine but refrain from actually stomping your foot. “Forget Jake, forget men exist for a few hours, and definitely forget setting me up again ‘cause it worked out so well the last time.”

Phoenix shakes her head, “Sorry. No. The whole Coyote text thing at the hotel is a complete misunderstanding, and if I didn’t know that, I wouldn’t be doing this.”

“Fine,” you practically growl. Forcing an overly enthusiastic smile, you say, “Curtains up on this shit show!”

“The show must go on,” She laughs but pulls you along as she makes her way to the mess hall.

Javy is in position, and Jake has a perfect view of the mess hall doors. Now, he just has to wait. He doesn’t doubt Natasha’s powers of persuasion, but he does doubt your willingness to allow her to set you up again. You’ll have figured it out. You won’t be fooled twice.

The phone is jostled, and then Javy’s face fills the screen. “My arm hurts,” he complains.

“Suck it up,” Jake says.

“How long before she arrives?”

“Are you questioning your girlfriend's ability to get someone to do what she wants? I’m telling Nat you doubted her skills.”

“Don’t you dare,” Javy points into the phone. “If anyone can convince Cosmo to give you a chance, it’s Phoenix.”

“So suck it up and turn me around.”

He does so barely in the nick of time. When the phone stops jiggling and focuses, the door opens, and Phoenix literally drags you through the entrance. You spot Javy first, and when you see him holding his phone out and Jake on the line, you begin shaking your head as Phoenix draws you closer.

“He’s not here,” you sneer at Nat. “Nice deception.”

“Wasn’t lying,” she sings, kissing Javy’s cheek.

You sigh heavily, and Jake can tell from your expression you’re already over this whole thing. You aren’t going to stick around long, and he knows he’s running out of time.

“This is the first place we met,” Jake begins. “I remember it was a Thursday. You were talking to Harvard. I clocked you the second I walked in. I interrupted, and you rolled your eyes before I even said a word. ‘Hangman, I presume.’ That was the first thing you said to me. You didn’t even give me a chance to reply, ‘I’m Cosmo, your new WSO, and if you’ll excuse me, I’m going to go somewhere else so you can’t hit on me.’ I was shocked and intrigued,” he chuckles fondly at the memory. “That was when I knew I’d do everything possible to ensure we were friends. And yes, I was hoping for more than friends. But I didn’t know then what I know now…”

There’s no opportunity for you to react before Coyote ends the call, as instructed.

Jake blasts out a relieved breath. You didn’t turn away and ignore him, so that was a good start. Now for part two…

Finally, you’re en route to get your breakfast burrito. You ask the loved-up couple what it is that Jake didn’t know, but they both smile smugly and, as if they had practiced, in scary synchronization, tell you - “all in good time.”

You don’t have the mental capacity for games, so you let it go after Coyote promises the breakfast burritos are on him to apologize for the text misunderstanding. Though he still hasn’t explained what exactly you misunderstood.

The all-night diner always has customers. It’s the place the locals flock to for the coffee and chilled atmosphere. But at eleven on a Tuesday, only a few people sit in the booths near the windows. Natasha enters first, Javy covering your six and you're suspicious that it could be to block your exit because Jake is waiting for you.

It’s not Jake, though. It’s Bradley - floral pattern shirt over his white tank, aviators tucked in his collar, and that boyish smile with a hint of an apology. He gives a small wave, then turns his phone, holding it up to your eye level to show you Jake again on a video call.

Jake is smiling, but you see his chest puff with a deep inhale. You wonder if he’s nervous because your friends are listening or he fears your rejection, maybe both. With a soft exhale, he begins, “This is where we came to escape Rooster’s awful murder mystery night.”

“Hey!” Bradley complains.

You grimace. “Sorry, Rooster.”

“No, it’s fair,” Bradley shrugs, “it was pretty bad.”

Jake chuckles but continues, “You picked Fanboy to partner up with, and I was so damn jealous. I got stuck with Harvard, but after an hour, you convinced me to ditch it all, and we snuck off here. We spent the whole night talking. We never came up for air, we just kept swapping stories and getting to know each other. I told you about my family’s ranch back home, and you said you’d love to see it.”

“I remember,” you say, half smiling.

His smile grows. “For months after, I kept trying to work out how to make it happen. I spent most of my time daydreaming about introducing you to my family, but I didn’t want to do it as my coworker or friend.” he pauses and sighs, “I think I had some idea then, but I still didn’t know what I know now…”

Rooster turns the phone and ends the call.

So this is it, you realize, this is your grand gesture. This is the moment in your story where you get the big speech and happy ending. But maybe you shouldn’t let your hope get the better of you.

You roll your eyes. “I swear if what he knows now is some sexual innuendo or anything shy of I’m the best thing that’s ever happened to him, you’re all in big trouble!”

They all laugh, and you try to hide your smile, but it’s not easy.

“You still owe me a burrito, Javy.”

“Yes, ma’am,” he winks and walks to the counter.

You sit at the usual table the Daggers have adopted as their own. You don’t want to be that annoying person who fishes for information because A, you know they won’t tell you, and B, you need to be in the moment and enjoy it, so instead, you ask for a rundown of Karaoke night.

Bradley animatedly tells you about each of the Dagger’s very unsuccessful attempts to beat his record as Javy brings the food over. Seven burritos are stacked high on the serving tray, and before you can ask who the extra ones are for, you feel a hand on your back.

Mickey is smiling down at you, holding a single red rose. “This is an apology for the Laura incident,” he says, handing you the flower and dipping to kiss your cheek.

Reuben follows, doing exactly the same but stating, “This is an apology for the Nicole incident.”

Finally, Bob follows suit and explains, “This is an apology for the Kate incident.”

You laugh to hide the well of emotion that brings tears to your eyes. Jake is genuinely taking this seriously, and for all he knows, you might not be on the same page. He’s taking a considerable risk.

“So you’re all involved,” you say.

“Yep,” Fanboy says, sitting across from you.

“And just like Jake said,” Payback smirks, “we can see how much you hate that we know what’s going on and you don’t.”

Immaturely, you sneer mockingly at him, “Ooo, you all know a secret,” you say, accompanied by a roll of your eyes. But despite the jests and your outward irritation, something a lot like affection blooms in your chest as you realize how well Jake knows you.

Apparently, Natasha is helping with whatever is happening next because as she quickly swallows the last bite of her breakfast, she announces she has to ‘run an errand’ and leaves you in the capable hands of the guys.

You ride with Javy in his 1968 Chevy C10, realizing the next part of this scheme must be a big deal because he only brings out the deep red glossed vehicle for special occasions. Bradley follows in the Bronco with Bob, Mickey, and Reuben, and you honestly have no idea where you're headed or why everyone is tagging along.

The drive takes you out of the city. Desert and cacti are the only scenery for a while. The conversation is light, Javy mostly being a fanboy over Natasha, and it’s beautiful and endearing to hear how he talks about her. He’s completely besotted.

You see the small cluster of hangers up ahead, and you know that's your destination before Javy pulls off the road and makes his way to the furthest hanger.

“Why is this a team outing?” you ask as he drives across the airfield.

“It doesn’t need to be,” Coyote laughs. “But if all goes to plan, Bob agreed to drive Jake’s car back to town. And if it doesn’t, the others…well, they’re here to watch Jake burn-in.”

“So Jake’s here?” you ask.

“Yeah,” Javy nods, pulling into a hanger beside an old P-51 Mustang.

“Mav’s?” you ask.

“You know it,” he smiles, shuts off the engine, and turns to face you. “Look, if you don’t want to do this, I’ll drive you out of here right now. Take you wherever you wanna go. But Jake is my boy, and I’ll be the first to admit he’s got a shitty track record.” He holds his hands up in mock surrender. “But I promise, he’s different when it comes to you and deserves a chance to show you.”

You inhale deeply, holding it in for a loaded pause. “Okay,” you exhale, “but get the guys out of here. I don’t want an audience.”

“Done.”

Coyote hops out of the car, and slowly you follow. The guys grumble at being ushered away while you walk around the plane admiring the pristine condition, wondering how Maverick keeps it up with everything else he has going on.

Your step falters as you round the front of the plane. Jake is standing a few feet away, one hand behind his back with a bashful smile.

“I hear I owe you an apology,” you say.

“We both made some mistakes,” he shrugs.

“I’m sorry, Jake,” you sigh. “I should have listened to you or at least given you the chance to explain yourself. I truly am sorry.”

He strides toward you, a man with a purpose, and cups your cheek with one hand. He draws you to him as he dips to kiss you softly. It’s short but tender, and he pulls away, his bottom lip caught between his teeth.

“Sorry,” he whispers. “But I wasn’t sure you’d ever let me do that again, and I needed to…”

You cut him off with a searing kiss, deepening it with a swipe of your tongue and a hand around the back of his neck.

Way too soon, he mumbles, “Wait, wait,” against your mouth.

Reluctantly, you release him, taking a half step back to be able to see him better.

“I have this whole thing planned out, and you're ruining it,” he admonishes playfully.

You chuckle. “Sorry, I’ll stop kissing you.”

“Please,” he says, nodding, then quickly correcting himself, “but only for a minute or two.” He sweetly pecks your lips and pulls a single red rose from behind his back.

You accept, bringing it to your nose to inhale the sickly sweet aroma. “So, who’s this an apology for?”

“Not a who,” he says. “It’s an apology for me breaking the rules and going about this all wrong. When I suggested a weekend pass and promised it wouldn’t affect our work, I didn’t know what I know now.”

“Which is?”

“I know now that a weekend with you will never be enough. I know that at the time, I was willing to take whatever I could get. I wanted you in any way I could have you, and in true Hangman style, I didn’t think, or maybe care, about the aftermath.”

“Neither of us did,” you admit. You had thought about the consequences, but the idea of being with Jake, even for the briefest time, outweighed the negatives.

“I know now that I don’t want you for a weekend, Cosmo, and I don’t want you to be a secret I have to keep. I want to tell the world you’re mine, and I’m yours. I want you as more than a friend and colleague. I want to be with you for a lifetime or as long as you’ll put up with me.”

You smile, “a lifetime sounds like a good place to start.”

He snatches the flower from your hands, throwing it over your shoulder before grabbing your waist and tugging you into him. “Can I kiss you now?” you jest.

“Yes, ma’am.”

Butterflies do cartwheels in your stomach, his hands hold you tightly, and every brush of your tongues feels like a promise for the future.

Jake groans, and you melt into him. An approaching car engine is ambient noise until applause and wolf whistles drown it out. Jake doesn’t release you until Coyote slaps him on the back.

Natasha steps out of the car, smiling happily, and Javy greets her with a sweet kiss.

“You missed it,” you tell her as she approaches.

“Didn’t miss a thing,” she smirks, shaking her phone and showing you she’s connected to a video call with Javy.

You should have guessed. You yank her into a too-tight hug, “thank you.”

“You’re welcome,” she whispers, kissing the side of your head. “But you might not want to thank me yet.”

She walks back to the car and around to the trunk, where she pulls out a suitcase that Javy kindly takes from her and carries over to Jake.

“What’s going on?” you ask, suspiciously.

“I wanted more time with you at the hotel,” Jake explains. “I wasn’t ready for it to end, and I hate that it ended the way it did so,” he draws the word out, a hint of nerves in his tone. He slaps the front of the plane before flinching immediately. It takes half a second to realize that Mav is probably watching from somewhere - or at the very least, Jake can hear your commanding officer chewing him out for the inappropriate treatment of his aircraft. “What do you say to a week on my family’s ranch?”

The fact that you're standing beside Maverick’s P-51 means he’s already got the leave approved.

“I say,” you pause, keeping your face neutral just to mess with Jake a little longer. “Take me away, Cowboy.”

Jake’s smile beams brighter than you’ve ever seen. “My family are gonna love you.”

End.

Thank you for reading. If you enjoyed it please leave a comment or reblog.

Master Lists: Series // Top Gun Maverick // Main

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turnstileskyline · 1 year ago

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The Oral History of Take This To Your Grave – transcription under the cut

The pages that are just photographs, I haven't included. This post is already long enough.

Things that happened in 2003: Arnold Schwarzenegger became governor of California. Teen Vogue published its first issue. The world lost Johnny Cash. Johnny Depp appeared as Captain Jack Sparrow for the first time. A third Lord of the Rings movie arrived. Patrick Stump, Pete Wentz, Joe Trohman, and Andy Hurley released Take This To Your Grave.

"About 21 years ago or so, as I was applying to colleges I would ultimately never go to, Fall Out Boy began as a little pop-punk side project of what we assumed was Pete's more serious band, Arma Angelus," Patrick wrote in a May 2023 social media post.

"We were sloppy and couldn't solidify a lineup, but the three of us (Pete, Joe, and I) were having way too much fun to give up on it."

"We were really rough around the edges. As an example of how rough, one of my favorite teachers pulled me aside after hearing the recording that would eventually become Evening Out With Your Girlfriend and tactfully said, 'What do you think your best instrument is, Patrick? Drums. It's drums. Probably not singing, Patrick.'"

"We went into Smart Studios with the Sean O'Keefe... So, there we were, 3/5 of a band with a singer who'd only been singing a year, no drummer, and one out of two guitarists. But we had the opportunity to record with Sean at Butch Vig's legendary studio.

"Eight or so months later, Fueled by Ramen would give us a contract to record the remaining songs. We'd sleep on floors, eat nothing but peanut butter and jelly, live in a van for the next three years, and somehow despite that, eventually play with Elton John and Taylor Swift and Jay-Z and for President Obama and the NFC championship, and all these other wildly unpredictable things. But none of that would ever come close to happening if Andy hadn't made it to the session and Joe hadn't dragged us kicking and screaming into being a band."

Two decades after its release, Take This To Your Grave sits comfortable in the Top 10 of Rolling Stone's 50 Greatest Pop-Punk Albums, edging out landmark records from Buzzcocks, Generation X, Green Day, The Offspring, Blink-182, and The Ramones.

It even ranked higher than Through Being Cool by Saves The Day and Jersey's Best Dancers from Lifetime, two records the guys in Fall Out Boy particularly revere.

Fall Out Boy's proper full-length debut on Fueled by Ramen is a deceptively smart, sugar-sweet, raw, energetic masterpiece owing as much to the bass player's pop culture passions, the singers deep love of R&B and soul, and their shared history in the hardcore scene as any pioneering punk band. Fall Out Boy's creative and commercial heights were still ahead, but Take This To Your Grave kicked it off, a harbinger for the enduring songwriting partnership between Patrick Stump and Pete Wentz, the eclectic contributions from Joe Trohman, and the propulsive powerhouse that is Andy Hurley.

The recordings document a special moment when Fall Out Boy was big in "the scene" but a "secret" from the mainstream. The band (and some of their friends) first sat down for an Oral History (which doubled as an Oral History of their origin story) with their old friend Ryan J. Downey, then Senior Editor for Alternative Press, upon the occasion of the album's 10th anniversary. What follows is an updated, sharper, and expanded version of that story, newly re-edited in 2023. As Patrick eloquently said: "Happy 20th birthday, Take This To Your Grave, you weird brilliant lightning strike accident of a record."

– Ryan J. Downey.

A Weird, Brilliant Lightning Strike Of A Record. The Oral History Of Fall Out Boy's Take This To Your Grave.

As told by:

Patrick Stump

Pete Wentz

Joe Trohman

Andy Hurley

Bob McLynn - Crush Music

Sean O'Keefe - Producer/Mixer

John Janick - Fueled By Ramen

Tim McIlrath - Rise Against

Mani Mostofi - Racetraitor

Chris Gutierrez - Arma Angelus

Mark Rose - Spitalfield

Sean Muttaqi - Uprising Records

Rory Felton - The Militia Group

Richard Reines - Drive-Thru Records

"To Feel No More Bitterness Forever" - From Hardcore to Softcore, 1998-2000

PETE WENTZ: When I got into hardcore, it was about discovering the world beyond yourself. There was a culture of trying to be a better person. That was part of what was so alluring about hardcore and punk for me. But for whatever reason, it shifted. Maybe this was just in Chicago, but it became less about the thought process behind it and more about moshing and breakdowns. There was a close-mindedness that felt very reactive.

TIM MCILRITH: I saw First Born many years ago, which was the first time I saw Pete and met him around then. This was '90s hardcore - p.c., vegan, activist kind of hardcore music. Pete was in many of those bands doing that kind of thing, and I was at many of those shows. The hardcore scene in Chicago was pretty small, so everyone kind of knew each other. I knew Andy Hurley as the drummer in Racetraitor. I was in a band called Baxter, so Pete always called me 'Baxter.' I was just 'Baxter' to a lot of those guys.

JOE TROHMAN: I was a young hardcore kid coming to the shows. The same way we all started doing bands. You're a shitty kid who goes to punk and hardcore shows, and you see the other bands playing, and you want to make friends with those guys because you want to play in bands too. Pete and I had a bit of a connection because we're from the same area. I was the youngest dude at most shows. I would see Extinction, Racetraitor, Burn It Down, and all the bands of that era.

WENTZ: My driver's license was suspended then, so Joe drove me everywhere. We listened to either Metalcore like Shai Hulud or pop-punk stuff like Screeching Weasel.

MCILRITH: I was in a band with Pete called Arma Angelus. I was like their fifth or sixth bass player. I wasn't doing anything musically when they hit me up to play bass, so I said, 'Of course.' I liked everyone in the band. We were rehearsing, playing a few shows here and there, with an ever-revolving cast of characters. We recorded a record together at the time. I even sing on that record, believe it or not, they gave me a vocal part. Around that same time, I began meeting with [bassist] Joe [Principe] about starting what would become Rise Against.

CHRIS GUTIERREZ: Wentz played me the Arma Angelus demo in the car. He said he wanted it to be a mix of Despair, Buried Alive, and Damnation A.D. He told me Tim was leaving to start another band - which ended up being Rise Against - and asked if I wanted to play bass.

TROHMAN: Pete asked me to fill in for a tour when I was 15. Pete had to call my dad to convince him to let me go. He did it, too. It was my first tour, in a shitty cargo van, with those dudes. They hazed the shit out of me. It was the best and worst experience. Best overall, worst at the time.

GUTIERREZ: Enthusiasm was starting to wane in Arma Angelus. Our drummer was really into cock-rock. It wasn't an ironic thing. He loved L.A. Guns, Whitesnake, and Hanoi Rocks. It drove Pete nuts because the scene was about Bleeding Through and Throwdown, not cock rock. He was frustrated that things weren't panning out for the band, and of course, there's a ceiling for how big a metalcore band can get, anyway.

MANI MOSTOFI: Pete had honed this tough guy persona, which I think was a defense mechanism. He had some volatile moments in his childhood. Underneath, he was a pretty sensitive and vulnerable person. After playing in every mosh-metal band in the Midwest and listening exclusively to Earth Crisis, Damnation A.D., Chokehold, and stuff like that for a long time, I think Pete wanted to do something fresh. He had gotten into Lifetime, Saves The Day, The Get Up Kids, and bands like that. Pete was at that moment where the softer side of him needed an outlet, and didn't want to hide behind mosh-machismo. I remember him telling me he wanted to start a band that more girls could listen to.

MCILRATH: Pete was talking about starting a pop-punk band. Bands like New Found Glory and Saves The Day were successful then. The whole pop-punk sound was accessible. Pete was just one of those guys destined for bigger things than screaming for mediocre hardcore bands in Chicago. He's a smart guy, a brilliant guy. All the endeavors he had taken on, even in the microcosm of the 1990s Chicago hardcore world, he put a lot of though into it. You could tell that if he were given a bigger receptacle to put that thought into, it could become something huge. He was always talented: lyrics, imagery, that whole thing. He was ahead of the curve. We were in this hardcore band from Chicago together, but we were both talking about endeavors beyond it.

TROHMAN: The drummer for Arma Angelus was moving. Pete and I talked about doing something different. It was just Pete and me at first. There was this thuggishness happening in the Chicago hardcore scene at that time that wasn't part of our vibe. It was cool, but it wasn't our thing.

MCILRITH: One day at Arma Angelus practice, Pete asked me, 'Are you going to do that thing with Joe?' I was like, 'Yeah, I think so.' He was like, 'You should do that, dude. Don't let this band hold you back. I'll be doing something else, too. We should be doing other things.' He was really ambitious. It was so amazing to me, too, because Pete was a guy who, at the time, was kind of learning how to play the bass. A guy who didn't really play an instrument will do down in history as one of the more brilliant musicians in Chicago. He had everything else in his corner. He knew how to do everything else. He needed to get some guys behind him because he had the rest covered. He had topics, themes, lyrics, artwork, this whole image he wanted to do, and he was uncompromising. He also tapped into something the rest of us were just waking up to: the advent of the internet. I mean, the internet wasn't new, but higher-speed internet was.

MOSTOFI: Joe was excited to be invited by Pete to do a band. Joe was the youngest in our crew by far, and Pete was the 'coolest' in a Fonzie sort of way. Joe deferred to Pete's judgement for years. But eventually, his whole life centered around bossy big-brother Pete. I think doing The Damned Things was for Joe what Fall Out Boy was for Pete, in a way. It was a way to find his own space within the group of friends. Unsurprisingly, Joe now plays a much more significant role in Fall Out Boy's music.

WENTZ: I wanted to do something easy and escapist. When Joe and I started the band, it was the worst band of all time. I feel like people said, 'Oh, yeah, you started Fall Out Boy to get big.' Dude, there was way more of a chance of every other band getting big in my head than Fall Out Boy. It was a side thing that was fun to do. Racetraitor and Extinction were big bands to me. We wanted to do pop-punk because it would be fun and hilarious. It was definitely on a lark. We weren't good. If it was an attempt at selling out, it was a very poor attempt.

MCILRITH: It was such a thing for people to move from hardcore bands to bands called 'emo' or pop-punk, as those bands were starting to get some radio play and signed to major labels. Everyone thought it was easy, but it's not as easy as that. Most guys we knew who tried it never did anything more successful than their hardcore bands. But Pete did it! And if anyone was going to, it was going to be him. He never did anything half-assed. He ended up playing bass in so many bands in Chicago, even though he could barely play the bass then, because simply putting him in your band meant you'd have a better show. He was just more into it. He knew more about dynamics, about getting a crowd to react to what you're doing than most people. Putting Pete in your band put you up a few notches.

"I'm Writing You A Chorus And Here Is Your Verse" - When Pete met Patrick, early 2001.

MARK ROSE: Patrick Stump played drums in this grindcore band called Grinding Process. They had put out a live split cassette tape.

PATRICK STUMP: My ambition always outweighed my ability or actual place in the world. I was a drummer and played in many bands and tried to finagle my way into better ones but never really managed. I was usually outgunned by the same two guys: this guy Rocky Senesce; I'm not sure if he's playing anymore, but he was amazing. And this other guy, De'Mar Hamilton, who is now in Plain White T's. We'd always go out for the same bands. I felt like I was pretty good, but then those guys just mopped the floor with me. I hadn't been playing music for a few months. I think my girlfriend dumped me. I was feeling down. I wasn't really into pop-punk or emo. I think at the time I was into Rhino Records box sets.

TROHMAN: I was at the Borders in Eden's Plaza in Wilmette, Illinois. My friend Arthur was asking me about Neurosis. Patrick just walked up and started talking to me.

STUMP: I was a bit arrogant and cocky, like a lot of young musicians. Joe was talking kind of loudly and I overheard him say something about Neurosis, and I think I came in kind of snotty, kind of correcting whatever they had said.

TROHMAN: We just started talking about music, and my buddy Arthur got shoved out of the conversation. I told him about the band we were starting. Pete was this local hardcore celebrity, which intrigued Patrick.

STUMP: I had similar conversations with any number of kids my age. This conversation didn't feel crazy special. That's one of the things that's real about [Joe and I meeting], and that's honest about it, that's it's not some 'love at first sight' thing where we started talking about music and 'Holy smokes, we're going to have the best band ever!' I had been in a lot of bands up until then. Hardcore was a couple of years away from me at that point. I was over it, but Pete was in real bands; that was interesting. Now I'm curious and I want to do this thing, or at least see what happens. Joe said they needed a drummer, guitar player, or singer, and I kind of bluffed and said I could do any one of those things for a pop-punk band. I'd had a lot of conversations about starting bands where I meet up with somebody and maybe try to figure out some songs and then we'd never see each other again. There were a lot of false starts and I assumed this would be just another one of those, but it would be fun for this one to be with the guy from Racetraitor and Extinction.

TROHMAN: He gave me the link to his MP3.com page. There were a few songs of him just playing acoustic and singing. He was awesome.

WENTZ: Joe told me we were going to this kid's house who would probably be our drummer but could also sing. He sent me a link to Patrick singing some acoustic thing, but the quality was so horrible it was hard to tell what it was. Patrick answered the door in some wild outfit. He looked like an emo kid but from the Endpoint era - dorky and cool. We went into the basement, and he was like, trying to set up his drums.

TROHMAN: Patrick has said many times that he intended to try out on drums. I was pushing for him to sing after hearing his demos. 'Hey! Sing for us!' I asked him to take out his acoustic guitar. He played songs from Saves The Day's Through Being Cool. I think he sang most of the record to us. We were thrilled. We had never been around someone who could sing like that.

WENTZ: I don't think Patrick thought we were cool at all. We were hanging out, and he started playing acoustic guitar. He started singing, and I realized he could sing any Saves The Day song. I was like, 'Wow, that's the way those bands sound! We should just have you sing.' It had to be serendipity because Patrick drumming and Joe singing is not the same band. I never thought about singing. It wasn't the type of thing I could sing. I knew I'd be playing bass. I didn't think it'd even go beyond a few practices. It didn't seem like the thing I was setting myself up to do for the next several years of my life in any way. I was going to college. It was just a fun getaway from the rest of life kind of thing to do.

STUMP: Andy was the first person we asked to play drums. Joe even brought him up in the Borders conversation. But Andy was too busy. He wasn't really interested, either, because we kind of sucked.

WENTZ: I wanted Hurley in the band, I was closest to him at the time, I had known him for a long time. I identified with him in the way that we were the younger dudes in our larger group. I tried to get him, but he was doing another band at the time, or multiple bands. He was Mani's go-to guy to play drums, always. I had asked him a few times. That should clue people into the fact that we weren't that good.

ANDY HURLEY: I knew Joe as 'Number One Fan.' We called him that because he was a huge fan of a band I was in, Kill The Slavemaster. When Fall Out Boy started, I was going to college full-time. I was in the band Project Rocket and I think The Kill Pill then, too.

MOSTOFI: After they got together the first or second time, Pete played me a recording and said, 'This is going to be big.' They had no songs, no name, no drummer. They could barely play their instruments. But Pete knew, and we believed him because we could see his drive and Patrick's potential. Patrick was prodigy. I imagine the first moment Pete heard him sing was probably like when I heard 15-year-old Andy Hurley play drums.

GUTIERREZ: One day at practice, Pete told me he had met some dudes with whom he was starting a pop-punk band. He said it would sound like a cross between New Found Glory and Lifetime. Then the more Fall Out Boy started to practice, the less active Arma Angelus became.

TROHMAN: We got hooked up with a friend named Ben Rose, who became our original drummer. We would practice in his parents' basement. We eventually wrote some pretty bad songs. I don't even have the demo. I have copies of Arma's demo, but I don't have that one.

MOSTOFI: We all knew that hardcore kids write better pop-punk songs than actual pop-punk kids. It had been proven. An experienced hardcore musician could bring a sense of aggression and urgency to the pop hooks in a way that a band like Yellowcard could never achieve. Pete and I had many conversations about this. He jokingly called it 'Softcore,' but that's precisely what it was. It's what he was going for. Take This To Your Grave sounds like Hot Topic, but it feels like CBGBs.

MCILRITH: Many hardcore guys who transitioned into pop-punk bands dumbed it down musically and lyrically. Fall Out Boy found a way to do it that wasn't dumbed down. They wrote music and lyrics that, if you listened closely, you could tell came from people who grew up into hardcore. Pete seemed to approach the song titles and lyrics the same way he attacked hardcore songs. You could see his signature on all of that.

STUMP: We all had very different ideas of what it should sound like. I signed up for Kid Dynamite, Strike Anywhere, or Dillinger Four. Pete was very into Lifetime and Saves The Day. I think both he and Joe were into New Found Glory and Blink-182. I still hadn't heard a lot of stuff. I was arrogant; I was a rock snob. I was over most pop-punk. But then I had this renaissance week where I was like, 'Man, you know what? I really do like The Descendents.' Like, the specific week I met Joe, it just happened to be that I was listening to a lot of Descendents. So, there was a part of me that was tickled by that idea. 'You know what? I'll try a pop-punk band. Why not?'

MOSTOFI: To be clear, they were trying to become a big band. But they did it by elevating radio-friendly pop punk, not debasing themselves for popularity. They were closely studying Drive-Thru Records bands like The Starting Line, who I couldn't stand. But they knew what they were doing. They extracted a few good elements from those bands and combined them with their other influences. Patrick never needed to be auto-tuned. He can sing. Pete never had to contrive this emotional depth. He always had it.

STUMP: The ideas for band names were obnoxious. At some point, Pete and I were arguing over it, and I think our first drummer, Ben Rose, who was in the hardcore band Strength In Numbers, suggested Fall Out Boy. Pete and I were like, 'Well, we don't hate that one. We'll keep it on the list.' But we never voted on a name.

"Fake It Like You Matter" - The Early Shows, 2001

The name Fall Out Boy made their shortlist, but their friends ultimately chose it for them. The line-up at the band's first show was Patrick Stump (sans guitar), Pete Wentz, Joe Trohman, drummer Ben Rose, and guitarist John Flamandan in his only FOB appearance.

STUMP: We didn't have a name at our two or three shows. We were basically booked as 'Pete's new band' as he was the most known of any of us. Pete and I were the artsy two.

TROHMAN: The rest of us had no idea what we were doing onstage.

STUMP: We took ourselves very seriously and completely different ideas on what was 'cool.' Pete at the time was somewhere between maybe Chuck Palahniuk and Charles Bukowski, and kind of New Romantic and Manchester stuff, so he had that in mind. The band names he suggested were long and verbose, somewhat tongue-in-cheek. I was pretty much only into Tom Waits, so I wanted everything to be a reference to Tom Waits. The first show was at DePaul [University] in some cafeteria. The room looked a lot nicer than punk rock shows are supposed to look, like a room where you couldn't jump off the walls. We played with a band called Stillwell. I want to say one of the other bands played Black Sabbath's Black Sabbath in its entirety. We were out of place. We were tossing a few different names around. The singer for Stillwell was in earshot of the conversation so I was like 'Hey, settle this for us,' and told him whatever name it was, which I can't remember. 'What do you think of this name?' He goes, 'It sucks.' And the way he said it, there was this element to it, like, 'You guys probably suck, too, so whatever.' That was our first show. We played first and only had three songs. That was John's only show with us, and I never saw him again. I was just singing without a guitar, and I had never just sung before; that was horrifying. We blazed through those songs.

ROSE: Patrick had this shoulder-length hair. Watching these guys who were known for heavier stuff play pop-punk was strange. Pete was hopping around with the X's on his hands. Spitalfield was similar; we were kids playing another style of music who heard Texas Is The Reason and Get Up Kids and said, 'We have to start a band like this.'

MOSTOFI: The first show was a lot of fun. The musical side wasn't there, but Pete and Patrick's humor and charisma were front and center.

TROHMAN: I remember having a conversation with Mani about stage presence. He was telling me how important it was. Coalesce and The Dillinger Escape Plan would throw mic stands and cabinets. We loved that visual excitement and appeal. Years later, Patrick sang a Fall Out Boy song with Taylor Swift at Giants Stadium. It was such a great show to watch that I was reminded of how wise Mani was to give me that advice back then. Mani was like a mentor for me, honestly. He would always guide me through stuff.

MOSTOFI: Those guys grew up in Chicago, either playing in or seeing Extinction, Racetraitor, Los Crudos, and other bands that liked to talk and talk between songs. Fall Out Boy did that, and it was amazing. Patrick was awkward in a knowing and hilarious way. He'd say something odd, and then Pete would zing him. Or Pete would try to say something too cool, and Patrick would remind him they were nerds. These are very personal memories for me. Millions of people have seen the well-oiled machine, but so few of us saw those guys when they were so carefree.

TROHMAN: We had this goofy, bad first show, but all I can tell you was that I was determined to make this band work, no matter what.

STUMP: I kind of assumed that was the end of that. 'Whatever, on with our lives.' But Joe was very determined. He was going to pick us up for practice and we were going to keep playing shows. He was going to make the band happen whether the rest of us wanted to or not. That's how we got past show number one. John left the band because we only had three songs and he wasn't very interested. In the interim, I filled in on guitar. I didn't consider myself a guitar player. Our second show was a college show in Southern Illinois or something.

MCILRITH: That show was with my other band, The Killing Tree.

STUMP: We showed up late and played before The Killing Tree. There was no one there besides the bands and our friends. I think we had voted on some names. Pete said 'Hey, we're whatever!'; probably something very long. And someone yells out, 'Fuck that, no, you're Fall Out Boy!' Then when The Killing Tree was playing, Tim said, 'I want to thank Fall Out Boy.' Everyone looked up to Tim, so when he forced the name on us, it was fine. I was a diehard Simpsons fan, without question. I go pretty deep on The Simpsons. Joe and I would just rattle off Simpsons quotes. I used to do a lot of Simpsons impressions. Ben was very into Simpsons; he had a whole closet full of Simpsons action figures.

"If Only You Knew I Was Terrified" - The Early Recordings, 2002-2003

Wentz's relationships in the hardcore scene led to Fall Out Boy's first official releases. A convoluted and rarely properly explained chain of events resulted in the Fall Out Boy/Project Rocket split EP and Fall Out Boy's Evening Out with Your Girlfriend. Both were issued by California's Uprising Records, whose discography included Racetraitor's first album and the debut EP by Burn It Down. The band traveled to Wisconsin to record their first proper demo with engineer Jared Logan, drummer for Uprising's 7 Angels 7 Plagues.

TROHMAN: This isn't to be confused with the demo we did in Ben's basement, which was like a tape demo. This was our first real demo.

STUMP: Between booking the demo and recording it, we lost Ben Rose. He was the greatest guy, but it wasn't working out musically. Pete and Joe decided I should play drums on the demo. But Jared is a sick drummer, so he just did it.

TROHMAN: We had gotten this great singer but went through a series of drummers that didn't work out. I had to be the one who kicked Ben out. Not long after, our friend Brett Bunting played with us. I don't think he really wanted to do it, which was a bummer.

STUMP: I showed up to record that demo, feeling pulled into it. I liked hanging out with the guys, but I was a rock snob who didn't really want to be making that type of music. The first few songs were really rough. We were sloppy. We barely practiced. Pete was in Arma Angelus. Joe was the guy determined to make it happen. We couldn't keep a drummer or guitar player, and I could barely play guitar. I didn't really want to be in Fall Out Boy. We had these crappy songs that kind of happened; it didn't feel like anything. Joe did the guitars. I go in to do the vocals, I put on the headphones, and it starts playing and was kind of not bad! It was pretty good, actually. I was shocked. That was the first time I was like, 'Maybe I am supposed to be in this band.' I enjoyed hearing it back.

SEAN MUTTAQI: Wentz and I were pretty tight. He sent me some demos, and while I didn't know it would get as big as it did, I knew it was special. Wentz had a clear vision. Of all the guys from that scene, he was the most singularly focused on taking things to the next level. He was ahead of the game with promotion and the early days of social media.

STUMP: Arma Angelus had been on Eulogy. We talked to them a bit and spoke to Uprising because they had put out Racetraitor. At some point, the demo got to Sean, and he decided to make it half of a split with Andy's band, Project Rocket. We were pretty happy with that.

HURLEY: It was kind of competitive for me at the time. Project Rocket and Fall Out Boy were both doing pop-punk/pop-rock, I met Patrick through the band. I didn't really know him before Fall Out Boy.

TROHMAN: We got this drummer, Mike Pareskuwicz, who had been in a hardcore band from Central Illinois called Subsist.

STUMP: Uprising wanted us to make an album. We thought that was cool, but we only had those three songs that were on the split. We were still figuring ourselves out. One of the times we were recording with Jared in the studio, for the split or the album, this guy T.J. Kunasch was there. He was like, 'Hey, do you guys need a guitarist?' And he joined.

MUTTAQI: I borrowed some money to get them back in the studio. The songwriting was cool on that record, but it was all rushed. The urgency to get something out led to the recording being subpar. Their new drummer looked the part but couldn't really play. They had already tracked the drums before they realized it didn't sound so hot.

STUMP: The recording experience was not fun. We had two days to do an entire album. Mike was an awesome dude, but he lived crazy far away, in Kanakee, Illinois, so the drive to Milwaukee wasn't easy for him. He had to work or something the next day. So, he did everything in one take and left. He played alone, without a click, so it was a ness to figure out. We had to guess where the guitar was supposed to go. None of us liked the songs because we had slapped them together. We thought it all sucked. But I thought, 'Well, at least it'll be cool to have something out.' Then a lot of time went by. Smaller labels were at the mercy of money, and it was crazy expensive to put out a record back then.

MUTTAQI: Our record was being rushed out to help generate some interest, but that interest was building before we could even get the record out. We were beholden to finances while changing distribution partners and dealing with other delays. The buck stops with me, yes, but I didn't have that much control over the scheduling.

WENTZ: It's not what I would consider the first Fall Out Boy record. Hurley isn't on it and he's an integral part of the Fall Out Boy sound. But it is part of the history, the legacy. NASA didn't go right to the moon. They did test flights in the desert. Those are our test flights in the desert. It's not something I'm ashamed of or have weird feelings about.

STUMP: It's kind of embarrassing to me. Evening Out... isn't representative of the band we became. I liked Sean a lot, so it's nothing against him. If anybody wants to check out the band in that era, I think the split EP is a lot cooler. Plus, Andy is on that one.

TROHMAN: T.J. was the guy who showed up to the show without a guitar. He was the guy that could never get it right, but he was in the band for a while because we wanted a second guitar player. He's a nice dude but wasn't great to be in a band with back then. One day he drove unprompted from Racine to Chicago to pick up some gear. I don't know how he got into my parents' house, but the next thing I knew, he was in my bedroom. I didn't like being woken up and kicked him out of the band from bed.

STUMP: Our friend Brian Bennance asked us to do a split 7" with 504 Plan, which was a big band to us. Brian offered to pay for us to record with Sean O'Keefe, which was also a big deal. Mike couldn't get the time off work to record with us. We asked Andy to play on the songs. He agreed to do it, but only if he could make it in time after recording an entire EP with his band, The Kill Pill, in Chicago, on the same day.

MOSTOFI: Andy and I started The Kill Pill shortly after Racetraitor split up, not long after Fall Out Boy had formed. We played a bunch of local shows together. The minute Andy finished tracking drums for our EP in Chicago, he raced to the other studio in Madison.

STUMP: I'm getting ready to record the drums myself, getting levels and checking the drums, pretty much ready to go. And then in walks Andy Hurley. I was a little bummed because I really wanted to play drums that day. But then Andy goes through it all in like two takes and fucking nailed the entire thing. He just knocked it out of the park. All of us were like, 'That's crazy!'

WENTZ: When Andy came in, It just felt different. It was one of those 'a-ha' moments.

STUMP: Sean leaned over to us and said, 'You need to get this guy in the band.'

SEAN O'KEEFE: We had a blast. We pumped It out. We did it fast and to analog tape. People believe it was very Pro Tools oriented, but it really was done to 24-track tape. Patrick sang his ass off.

STUMP: The songs we had were 'Dead On Arrival,' 'Saturday,' and 'Homesick at Space Camp. There are quite a few songs that ended up on Take This To You Grave where I wrote most of the lyrics but Pete titled them.

WENTZ: 'Space Camp' was a reference to the 1986 movie, SpaceCamp, and the idea of space camp. Space camp wasn't something anyone in my area went to. Maybe they did, but it was never an option for me. It seems like the little kid version of meeting Jay-Z. The idea was also: what if you, like Joaquin Phoenix in the movie, took off to outer space and wanted to get home? 'I made it to space and now I'm just homesick and want to hang out with my friends.' In the greater sense, it's about having it all, but it's still not enough. There's a pop culture reference in 'Saturday' that a lot of people miss. 'Pete and I attack the lost Astoria' was a reference to The Goonies, which was filmed in Astoria, Oregon.

HURLEY: I remember hearing those recordings, especially 'Dead on Arrival,' and Patrick's voice and how well written those songs were, especially relative to anything else I had done - I had a feeling that this could do something.

WENTZ: It seemed like it would stall out if we didn't get a solid drummer in the band soon. That was the link that we couldn't nail down. Patrick was always a big musical presence. He thinks and writes rhythmi-cally, and we couldn't get a drummer to do what he wanted or speak his language. Hurley was the first one that could. It's like hearing two drummers talk together when they really get it. It sounds like a foreign language because it's not something I'm keyed into. Patrick needed someone on a similar musical plane. I wasn't there. Joe was younger and was probably headed there.

HURLEY: When Patrick was doing harmonies, it was like Queen. He's such a brilliant dude. I was always in bands that did a record and then broke up. I felt like this was a band that could tour a lot like the hardcore bands we loved, even if we had to have day jobs, too.

"(Four) Tired Boys And A Broken Down Van" - The Early Tours, 2002-2003

STUMP: We booked a tour with Spitalfield, another Chicago band, who had records out, so they were a big deal to us. We replaced T.J. with a guy named Brandon Hamm. He was never officially in the band. He quit when we were practicing 'Saturday.' He goes, 'I don't like that. I don't want to do this anymore.' Pete talked with guitarist Chris Envy from Showoff, who had just broken up. Chris said, 'Yeah, I'll play in your band.' He came to two practices, then quit like two days before the tour. It was only a two-week tour, but Mike couldn't get the time off work from Best Buy, or maybe it was Blockbuster. We had to lose Mike, which was the hardest member change for me. It was unpleasant.

TROHMAN: We had been trying to get Andy to join the band for a while. Even back at that first Borders conversation, we talked about him, but he was too busy at the time.

STUMP: I borrowed one of Joe's guitars and jumped in the fire. We were in this legendarily shitty used van Pete had gotten. It belonged to some flower shop, so it had this ominously worn-out flower decal outside and no windows [except in the front]. Crappy brakes, no A/C, missing the rearview mirror, no seats in the back, only the driver's seat. About 10 minutes into the tour, we hit something. A tire exploded and slingshot into the passenger side mirror, sending glass flying into the van. We pulled over into some weird animal petting zoo. I remember thinking, 'This is a bad omen for this tour.' Spitalfield was awesome, and we became tight with them. Drew Brown, who was later in Weekend Nachos, was out with them, too. But most of the shows were canceled.

WENTZ: We'd end up in a town, and our show was canceled, or we'd have three days off. 'Let's just get on whatever show we can. Whatever, you can pay us in pizza.'

STUMP: We played in a pizza place. We basically blocked the line of people trying to order pizza, maybe a foot away from the shitty tables. Nobody is trying to watch a band. They're just there to eat pizza. And that was perhaps the biggest show we played on that tour. One of the best moments on the Spitalfied tour was in Lincoln, Nebraska. The local opener wasn't even there - they were at the bar across the street and showed up later with two people. Fall Out Boy played for Spitalfield, and Spitalfield played for Fall Out Boy. Even the sound guy had left. It was basically an empty room. It was miserable.

HURLEY: Even though we played a ton of shows in front of just the other bands, it was awesome. I've known Pete forever and always loved being in bands with him. After that tour, it was pretty much agreed that I would be in the band. I wanted to be in the band.

WENTZ: We would play literally any show in those days for free. We played Chain Reaction in Orange County with a bunch of metalcore bands. I want to say Underoath was one of them. I remember a lot of black shirts and crossed arms at those kinds of shows. STUMP: One thing that gets lost in the annals of history is Fall Out Boy, the discarded hardcore band. We played so many hardcore shows! The audiences were cool, but they were just like, 'This is OK, but we'd really rather be moshing right now.' Which was better than many of the receptions we got from pop-punk kids.

MOSTOFI: Pete made sure there was little division between the band and the audience. In hardcore, kids are encouraged to grab the mic. Pete was very conscious about making the crowd feel like friends. I saw them in Austin, Texas, in front of maybe ten kids. But it was very clear all ten of those kids felt like Pete's best friends. And they were, in a way.

MCILRITH: People started to get into social networking. That kind of thing was all new to us, and they were way ahead. They networked with their fans before any of us.

MOSTOFI: Pete shared a lot about his life online and was intimate as hell. It was a new type of scene. Pete extended the band's community as far as fiber optics let him.

ROSE: Pete was extremely driven. Looking back, I wish I had that killer instinct. During that tour; we played a show in Colorado. On the day of the show, we went to Kinko's to make flyers to hand out to college kids. Pete put ‘members of Saves The Day and Screeching Weasel’ on the flyer. He was just like, 'This will get people in.'

WENTZ: We booked a lot of our early shows through hardcore connections, and to some extent, that carries through to what Fall Out Boy shows are like today. If you come to see us play live, we're basically Slayer compared to everyone else when we play these pop radio shows. Some of that carries back to what you must do to avoid being heckled at hardcore shows. You may not like our music, but you will leave here respecting us. Not everyone is going to love you. Not everyone is going to give a shit. But you need to earn a crowd's respect. That was an important way for us to learn that.

MOSTOFI: All those dudes, except Andy, lived in this great apartment with our friend Brett Bunting, who was almost their drummer at one point. The proximity helped them gel.

STUMP: There were a lot of renegade last-minute shows where we'd just call and get added. We somehow ended up on a show with Head Automatica that way.

MCILRITH: At some point early on, they opened for Rise Against in a church basement in Downers Grove. We were doing well then; headlining that place was a big deal. Then Pete's band was coming up right behind us, and you could tell there was a lot of chatter about Fall Out Boy. I remember getting to the show, and there were many people there, many of whom I had never seen in the scene before. A lot of unfamiliar faces. A lot of people that wouldn't have normally found their way to the seedy Fireside Bowl in Chicago. These were young kids, and I was 21 then, so when I say young, I mean really young. Clearly, Fall Out Boy had tapped into something the rest of us had not. People were super excited to see them play and freaked out; there was a lot of enthusiasm at that show. After they finished, their fans bailed. They were dedicated. They wanted to see Fall Out Boy. They didn't necessarily want to see Rise Against play. That was my first clue that, 'Whoa, what Pete told me that day at Arma Angelus rehearsal is coming true. He was right.' Whatever he was doing was working.

"My Insides Are Copper, And I'd Like To Make Them Gold" - The Record Labels Come Calling, 2002

STUMP: The split EP was going to be a three-way split with 504 Plan, August Premier, and us at one point. But then the record just never happened. Brian backed out of putting it out. We asked him if we could do something else with the three songs and he didn't really seem to care. So, we started shopping the three songs as a demo. Pete ended up framing the rejection letters we got from a lot of pop-punk labels. But some were interested.

HURLEY: We wanted to be on Drive-Thru Records so bad. That was the label.

RICHARD REINES: After we started talking to them, I found the demo they had sent us in the office. I played it for my sister. We decided everything together. She liked them but wasn't as crazy about them as I was. We arranged with Pete to see them practice. We had started a new label called Rushmore. Fall Out Boy wasn't the best live band. We weren't thrilled [by the showcase]. But the songs were great. We both had to love a band to sign them, so my sister said, 'If you love them so much, let's sign them to Rushmore, not Drive Thru.'

HURLEY: We did a showcase for Richard and Stephanie Reines. They were just kind of like, 'Yeah, we have this side label thing. We'd be interested in having you on that.' I remember them saying they passed on Saves The Day and wished they would have put out Through Being Cool. But then they [basically] passed on us by offering to put us on Rushmore. We realized we could settle for that, but we knew it wasn't the right thing.

RORY FELTON: Kevin Knight had a website, TheScout, which always featured great new bands. I believe he shared the demo with us. I flew out to Chicago. Joe and Patrick picked me up at the airport. I saw them play at a VFW hall, Patrick drank an entire bottle of hot sauce on a dare at dinner, and then we all went to see the movie The Ring. I slept on the couch in their apartment, the one featured on the cover of Take This To Your Grave. Chad [Pearson], my partner, also flew out to meet with the band.

STUMP: It was a weird time to be a band because it was feast or famine. At first, no one wanted us. Then as soon as one label said, 'Maybe we'll give 'em a shot,' suddenly there's a frenzy of phone calls from record labels. We were getting our shirts printed by Victory Records. One day, we went to pick up shirts, and someone came downstairs and said, 'Um, guys? [Owner] Tony [Brummel] wants to see you.' We were like, 'Did we forget to pay an invoice?' He made us an offer on the spot. We said, 'That's awesome, but we need to think about it.' It was one of those 'now or never' kinds of things. I think we had even left the van running. It was that kind of sudden; we were overwhelmed by it.

HURLEY: They told me Tony said something like, 'You can be with the Nike of the record industry or the Keds of the record industry.'

STUMP: We'd get random calls at the apartment. 'Hey, I'm a manager with so-and-so.' I talked to some boy band manager who said, 'We think you'll be a good fit.'

TROHMAN: The idea of a manager was a ‘big-time' thing. I answered a call one day, and this guy is like, 'I'm the manager for the Butthole Surfers, and I'd really like to work with you guys.' I just said, Yeah, I really like the Butthole Surfers, but I'll have to call you back.' And I do love that band. But I just knew that wasn't the right thing.

STUMP: Not all the archetypes you always read about are true. The label guys aren't all out to get you. Some are total douchebags. But then there are a lot who are sweet and genuine. It's the same thing with managers. I really liked the Militia Group. They told us it was poor form to talk to us without a manager. They recommended Bob McLynn.

FELTON: We knew the guys at Crush from working with Acceptance and The Beautiful Mistake. We thought they'd be great for Fall Out Boy, so we sent the music to their team.

STUMP: They said Crush was their favorite management company and gave us their number. Crush's biggest band at the time was American Hi-Fi. Jonathan Daniels, the guy who started the company, sent a manager to see us. The guy was like, "This band sucks!' But Jonathan liked us and thought someone should do something with us. Bob was his youngest rookie manager. He had never managed anyone, and we had never been managed.

BOB MCLYNN: Someone else from my office who isn't with us anymore had seen them, but I hadn't seen them yet. At the time, we'd tried to manage Brand New; they went elsewhere, and I was bummed. Then we got the Fall Out Boy demo, and I was like, Wow. This sounds even better. This guy can really sing, and these songs are great.' I remember going at it hard after that whole thing. Fall Out Boy was my consolation prize. I don't know if they were talking to other managers or not, but Pete and I clicked.

TROHMAN: In addition to being really creative, Pete is really business savvy. We all have a bullshit detector these days, but Pete already had one back then. We met Bob, and we felt like this dude wouldn't fuck us over.

STUMP: We were the misfit toy that nobody else wanted. Bob really believed in us when nobody else did and when nobody believed in him. What's funny is that all the other managers at Crush were gone within a year. It was just Bob and Jonathan, and now they're partners. Bob was the weird New York Hardcore guy who scared me at the time.

TROHMAN: We felt safe with him. He's a big, hulking dude.

MCLYNN: We tried to make a deal with The Militia Group, but they wouldn't back off on a few things in the agreement. I told them those were deal breakers, opening the door to everyone else. I knew this band needed a shot to do bigger and better things.

TROHMAN: He told us not to sign with the label that recommended him to us. We thought there was something very honest about that.

MCLYNN: They paid all their dues. Those guys worked harder than any band I'd ever seen, and I was all about it. I had been in bands before and had just gotten out. I was getting out of the van just as these guys got into one. They busted their asses.

STUMP: A few labels basically said the same thing: they wanted to hear more. They weren't convinced we could write another song as good as 'Dead On Arrival.' I took that as a challenge. We returned to Sean a few months after those initial three songs, this time at Gravity Studios in Chicago. We recorded ‘Grenade Jumper' and 'Grand Theft Autumn/Where is Your Boy' in a night or two. 'Where is Your Boy' was my, 'Fine, you don't think I can write a fucking song? Here's your hit song, jerks!' But I must have pushed Pete pretty hard [arguing about the songs]. One night, as he and I drove with Joe, Pete said, 'Guys, I don't think I want to do this band anymore.' We talked about it for the rest of the ride home. I didn't want to be in the band in the first place! I was like, 'No! That's not fair! Don't leave me with this band! Don't make me kind of like this band, and then leave it! That's bullshit!' Pete didn't stay at the apartment that night. I called him at his parent's house. I told him I wasn't going to do the band without him. He was like, 'Don't break up your band over it.' I said, 'It's not my band. It's a band that you, Joe, and I started.' He was like, 'OK, I'll stick around.' And he came back with a vengeance.

WENTZ: It was maybe the first time we realized we could do these songs titles that didn't have much do with the song from the outside. Grand Theft Auto was such a big pop culture franchise. If you said the phrase back then, everyone recognized it. The play on words was about someone stealing your time in the fall. It was the earliest experimentation with that so it was a little simplistic compared to the stuff we did later. At the time, we'd tell someone the song title, and they'd say, 'You mean "Auto"'?

JOHN JANICK: I saw their name on fliers and thought it was strange. But I remembered it. Then I saw them on a flyer with one of our bands from Chicago, August Premier. I called them and asked about this band whose name I had seen on a few flyers now. They told me they were good and I should check it out. I heard an early version of a song online and instantly fell in love with it. Drive-Thru, The Militia Group, and a few majors tried to sign them. I was the odd man out. But I knew I wanted them right away.

HURLEY: Fueled By Ramen was co-owned by Vinnie [Fiorello] from Less Than Jake. It wasn't necessarily a band I grew up loving, but I had so much respect for them and what they had done and were doing.

JANICK: I randomly cold-called them at the apartment and spoke to Patrick. He told me I had to talk to Pete. I spoke to Pete later that day. We ended up talking on the phone for an hour. It was crazy. I never flew out there. I just got to know them over the phone.

MCLYNN: There were majors [interested], but I didn't want the band on a major right away. I knew they wouldn't understand the band. Rob Stevenson from Island Records knew all the indie labels were trying to sign Fall Out Boy. We did this first-ever incubator sort of deal. I also didn't want to stay on an indie forever; I felt we needed to develop and have a chance to do bigger and better things, but these indies didn't necessarily have radio staff. It was sort of the perfect scenario. Island gave us money to go on Fueled By Ramen, with whom we did a one-off. No one else would offer a one-off on an indie.

STUMP: They were the smallest of the labels involved, with the least 'gloss.' I said, 'I don't know about this, Pete.' Pete was the one who thought it was the smartest move. He pointed out that we could be a big fish in a small pond. So, we rolled the dice.

HURLEY: It was a one-record deal with Fueled By Ramen. We didn't necessarily get signed to Island, but they had the 'right of first refusal' [for the album following Take This To Your Grave]. It was an awesome deal. It was kind of unheard of, maybe, but there was a bunch of money coming from Island that we didn't have to recoup for promo type of things.

JANICK: The company was so focused on making sure we broke Fall Out Boy; any other label probably wouldn't have had that dedication. Pete and I talked for at least an hour every day. Pete and I became so close, so much so that we started Decaydance. It was his thing, but we ended up signing Panic! At The Disco, Gym Class Heroes, Cobra Starship.

GUTIERREZ: Who could predict Pete would A&R all those bands? There's no Panic! At The Disco or Gym Class Heroes without Wentz. He made them into celebrities.

"Turn This Up And I'll Tune You Out" - The Making of Take This To You Grave, 2003

The versions of "Dead on Arrival," "Saturday," and "Homesick at Space Camp" from the first sessions with Andy on drums are what appear on the album. "Grand Theft Autumn/Where is Your Boy" and "Grenade Jumper" are the demo versions recorded later in Chicago. O'Keefe recorded the music for the rest of the songs at Smart Studios once again. They knocked out the remaining songs in just nine days. Sean and Patrick snuck into Gravity Studios in the middle of the night to track vocals in the dead of winter. Patrick sang those seven songs from two to five in the morning in those sessions.

STUMP: John Janick basically said, ‘I'll buy those five songs and we'll make them part of the album, and here's some money to go record seven more.'

MCLYNN: It was a true indie deal with Fueled by Ramen. I think we got between $15,000 and $18,000 all-in to make the album. The band slept on the studio floor some nights.

STUMP: From a recording standpoint, it was amazing. It was very pro, we had Sean, all this gear, the fun studio accoutrements were there. It was competitive with anything we did afterward. But meanwhile, we're still four broke idiots.

WENTZ: We fibbed to our parents about what we were doing. I was supposed to be in school. I didn't have access to money or a credit card. I don't think any of us did.

STUMP: I don't think we slept anywhere we could shower, which was horrifying. There was a girl that Andy's girlfriend at the time went to school with who let us sleep on her floor, but we'd be there for maybe four hours at a time. It was crazy.

HURLEY: Once, Patrick thought it would be a good idea to spray this citrus bathroom spray under his arms like deodorant. It just destroyed him because it's not made for that. But it was all an awesome adventure.

WENTZ: We were so green we didn't really know how studios worked. Every day there was soda for the band. We asked, 'Could you take that soda money and buy us peanut butter, jelly, and bread?' which they did. I hear that stuff in some ways when I listen to that album.

HURLEY: Sean pushed us. He was such a perfectionist, which was awesome. I felt like, ‘This is what a real professional band does.' It was our first real studio experience.

WENTZ: Seeing the Nirvana Nevermind plaque on the wall was mind-blowing. They showed us the mic that had been used on that album.

HURLEY: The mic that Kurt Cobain used, that was pretty awesome, crazy, legendary, and cool. But we didn't get to use it.

WENTZ: They said only Shirley Manson] from Garbage could use it.

O'KEEFE: Those dudes were all straight edge at the time. It came up in conversation that I had smoked weed once a few months before. That started this joke that I was this huge stoner, which obviously I wasn't. They'd call me 'Scoobie Snacks O'Keefe' and all these things. When they turned in the art for the record, they thanked me with like ten different stoner nicknames - 'Dimebag O'Keefe' and stuff like that. The record company made Pete take like seven of them out because they said it was excessively ridiculous.

WENTZ: Sean was very helpful. He worked within the budget and took us more seriously than anyone else other than Patrick. There were no cameras around. There was no documentation. There was nothing to indicate this would be some ‘legendary' session. There are 12 songs on the album because those were all the songs we had. There was no pomp or circumstance or anything to suggest it would be an 'important’ record.

STUMP: Pete and I were starting to carve out our niches. When Pete [re-committed himself to the band], it felt like he had a list of things in his head he wanted to do right. Lyrics were on that list. He wasn't playing around anymore. I wrote the majority of the lyrics up to that point - ‘Saturday,' 'Dead on Arrival,' ‘Where's Your Boy?,’ ‘Grenade Jumper,' and ‘Homesick at Space Camp.' I was an artsy-fartsy dude who didn't want to be in a pop-punk band, so I was going really easy on the lyrics. I wasn't taking them seriously. When I look back on it, I did write some alright stuff. But I wasn't trying. Pete doesn't fuck around like that, and he does not take that kindly. When we returned to the studio, he started picking apart every word, every syllable. He started giving me [notes]. I got so exasperated at one point I was like, ‘You just write the fucking lyrics, dude. Just give me your lyrics, and I'll write around them.' Kind of angrily. So, he did. We hadn't quite figured out how to do it, though. I would write a song, scrap my lyrics, and try to fit his into where mine had been. It was exhausting. It was a rough process. It made both of us unhappy.

MCLYNN: I came from the post-hardcore scene in New York and wasn't a big fan of the pop-punk stuff happening. What struck me with these guys was the phenomenal lyrics and Patrick's insane voice. Many guys in these kinds of bands can sing alright, but Patrick was like a real singer. This guy had soul. He'd take these great lyrics Pete wrote and combine it with that soul, and that's what made their unique sound. They both put their hearts on their sleeves when they wrote together.

STUMP: We had a massive fight over 'Chicago is So Two Years Ago.' I didn't even want to record that song. I was being precious with things that were mine. Part of me thought the band wouldn't work out, and I'd go to college and do some music alone. I had a skeletal version of 'Chicago...'. I was playing it to myself in the lobby of the studio. I didn't know anyone was listening. Sean was walking by and wanted to [introduce it to the others]. I kind of lost my song. I was very precious about it. Pete didn't like some of the lyrics, so we fought. We argued over each word, one at a time. 'Tell That Mick...' was also a pretty big fight. Pete ended up throwing out all my words on that one. That was the first song where he wrote the entire set of lyrics. My only change was light that smoke' instead of ‘cigarette' because I didn't have enough syllables to say 'cigarette.' Everything else was verbatim what he handed to me. I realized I must really want to be in this band at this point if I'm willing to put up with this much fuss. The sound was always more important to me - the rhythm of the words, alliteration, syncopation - was all very exciting. Pete didn't care about any of that. He was all meaning. He didn't care how good the words sounded if they weren't amazing when you read them. Man, did we fight about that. We fought for nine days straight while not sleeping and smelling like shit. It was one long argument, but I think some of the best moments resulted from that.

WENTZ: In 'Calm Before the Storm,' Patrick wrote the line, 'There's a song on the radio that says, 'Let's Get This Party Started' which is a direct reference to Pink's 2001 song 'Get the Party Started.' 'Tell That Mick He Just Made My List of Things to Do Today' is a line from the movie Rushmore. I thought we'd catch a little more flack for that, but even when we played it in Ireland, there was none of that. It's embraced, more like a shoutout.

STUMP: Pete and I met up on a lot of the same pop culture. He was more into '80s stuff than I was. One of the first things we talked about were Wes Anderson movies.

WENTZ: Another thing driving that song title was the knowledge that our fanbase wouldn't necessarily be familiar with Wes Anderson. It could be something that not only inspired us but something fans could also go check out. People don't ask us about that song so much now, but in that era, we'd answer and tell them to go watch Rushmore. You gotta see this movie. This line is a hilarious part of it.' Hopefully some people did. I encountered Jason Schwartzman at a party once. We didn't get to talk about the movie, but he was the sweetest human, and I was just geeking out. He told me he was writing a film with Wes Anderson about a train trip in India. I wanted to know about the writing process. He was like, 'Well, he's in New York City, I'm in LA. It's crazy because I'm on the phone all the time and my ear gets really hot.' That's the anecdote I got, and I loved it.

O'KEEFE: They're totally different people who approach making music from entirely different angles. It's cool to see them work. Pete would want a certain lyric. Patrick was focused on the phrasing. Pete would say the words were stupid and hand Patrick a revision, and Patrick would say I can't sing those the way I need to sing this. They would go through ten revisions for one song. I thought I would lose my mind with both of them, but then they would find it, and it would be fantastic. When they work together, it lights up. It takes on a life of its own. It's not always happy. There's a lot of push and pull, and each is trying to get their thing. With Take This To Your Grave, we never let anything go until all three of us were happy. Those guys were made to do this together.

WENTZ: A lot of the little things weren't a big deal, but those were things that [felt like] major decisions. I didn't want 'Where Is Your Boy' on Take This To Your Grave.

JANICK: I freaked out. I called Bob and said, 'We must put this song on the album! It's one of the biggest songs.' He agreed. We called Pete and talked about it; he was cool about it and heard us out.

WENTZ: I thought many things were humongous, and they just weren't. They didn't matter one way or another.

"Our Lawyer Made Us Change The (Album Cover)" - That Photo On Take This To Your Grave, 2003

STUMP: The band was rooted in nostalgia from early on. The '80s references were very much Pete's aesthetic. He had an idea for the cover. It ended up being his girlfriend at the time, face down on the bed, exhausted, in his bedroom. That was his bedroom in our apartment. His room was full of toys, '80s cereals. If we ended up with the Abbey Road cover of pop-punk, that original one was Sgt. Pepper's. But we couldn't legally clear any of the stuff in the photo. Darth Vader, Count Chocula…

WENTZ: There's a bunch of junk in there: a Morrissey poster, I think a Cher poster, Edward Scissorhands. We submitted it to Fueled by Ramen, and they were like, 'We can't clear any of this stuff.’ The original album cover did eventually come out on the vinyl version.

STUMP: The photo that ended up being the cover was simply a promo photo for that album cycle. We had to scramble. I was pushing the Blue Note jazz records feel. That's why the CD looks a bit like vinyl and why our names are listed on the front. I wanted a live photo on the cover. Pete liked the Blue Note idea but didn't like the live photo idea. I also made the fateful decision to have my name listed as 'Stump' rather than Stumph.

WENTZ: What we used was initially supposed to be the back cover. I remember someone in the band being pissed about it forever. Not everyone was into having our names on the cover. It was a strange thing to do at the time. But had the original cover been used, it wouldn't have been as iconic as what we ended up with. It wouldn't have been a conversation piece. That stupid futon in our house was busted in the middle. We're sitting close to each other because the futon was broken. The exposed brick wall was because it was the worst apartment ever. It makes me wonder: How many of these are accidental moments? At the time, there was nothing iconic about it. If we had a bigger budget, we probably would have ended up with a goofier cover that no one would have cared about.

STUMP: One of the things I liked about the cover was that it went along with something Pete had always said. I'm sure people will find this ironic, but Pete had always wanted to create a culture with the band where it was about all four guys and not just one guy. He had the foresight to even think about things like that. I didn't think anyone would give a fuck about our band! At the time, it was The Pete Wentz Band to most people. With that album cover, he was trying to reject that and [demonstrate] that all four of us mattered. A lot of people still don't get that, but whatever. I liked that element of the cover. It felt like a team. It felt like Voltron. It wasn't what I like to call 'the flying V photo' where the singer is squarely in the center, the most important, and everyone else is nearest the camera in order of 'importance.' The drummer would be in the very back. Maybe the DJ guy who scratches records was behind the drummer.

"You Need Him. I Could Be Him. Where Is Your Boy Tonight?" - The Dynamics of Punk Pop's Fab 4, 2003

Patrick seemed like something of the anti-frontman, never hogging the spotlight and often shrinking underneath his baseball hat. Wentz was more talkative, more out front on stage and in interviews, in a way that felt unprecedented for a bass player who wasn't also singing. In some ways, Fall Out Boy operated as a two-headed dictatorship. Wentz and Stump are in the car's front seat while Joe and Andy ride in the back.

STUMP: There is a lot of truth to that. Somebody must be in the front seat, no question. But the analogy doesn't really work for us; were more like a Swiss Army knife. You've got all these different attachments, but they are all part of the same thing. When you need one specific tool, the rest go back into the handle. That was how the band functioned and still does in many ways. Pete didn't want anyone to get screwed. Some things we've done might not have been the best business decision but were the right human decision. That was very much Pete's thing. I was 19 and very reactionary. If someone pissed me off, I'd be like, 'Screw them forever!' But Pete was very tactful. He was the business guy. Joe was active on the internet. He wouldn't stop believing in this band. He was the promotions guy. Andy was an honest instrumentalist: ‘I'm a drummer, and I'm going to be the best fucking drummer I can be.' He is very disciplined. None of us were that way aside from him. I was the dictator in the studio. I didn't know what producing was at the time or how it worked, but in retrospect, I've produced a lot of records because I'm an asshole in the studio. I'm a nice guy, but I'm not the nicest guy in the studio. It's a lot easier to know what you don't want. We carved out those roles early. We were very dependent on each other.

MCLYNN: I remember sitting in Japan with those guys. None of them were drinking then, but I was drinking plenty. It was happening there, their first time over, and all the shows were sold out. I remember looking at Pete and Patrick and telling Pete, ‘You're the luckiest guy in the world because you found this guy.' Patrick laughed. Then I turned to Patrick and said the same thing to him. Because really, they're yin and yang. They fit together so perfectly. The fact that Patrick found this guy with this vision, Pete had everything for the band laid out in his mind. Patrick, how he can sing, and what he did with Pete's lyrics - no one else could have done that. We tried it, even with the Black Cards project in 2010. We'd find these vocalists. Pete would write lyrics, and they'd try to form them into songs, but they just couldn't do it the way Patrick could. Pete has notebooks full of stuff that Patrick turns into songs. Not only can he sing like that, but how he turns those into songs is an art unto itself. It's really the combination of those two guys that make Fall Out Boy what it is. They're fortunate they found each other.

"I Could Walk This Fine Line Between Elation And Success. We All Know Which Way I'm Going To Strike The Stake Between My Chest" - Fall Out Boy Hits the Mainstream, 2003

Released on May 6, 2003, Take This To Your Grave massively connected with fans. (Fall Out Boy's Evening Out with Your Girlfriend arrived in stores less than two months earlier.) While Take This To Your Grave didn't crack the Billboard 200 upon its release, it eventually spent 30 weeks on the charts. From Under the Cork Tree debuted in the Top 10 just two years later, largely on Grave's momentum. 2007's Infinity on High bowed at #1.

WENTZ: I remember noticing it was getting insane when we would do in-stores. We'd still play anywhere. That was our deal. We liked being able to sell our stuff in the stores, too. It would turn into a riot. We played a Hollister at the mall in Schaumburg, Illinois. A lot of these stores were pretty corporate with a lot of rules, but Hollister would let us rip. Our merch guy was wearing board shorts, took this surfboard off the wall, and started crowd-surfing with it during the last song. I remember thinking things had gotten insane right at that moment.

HURLEY: When we toured with Less Than Jake, there were these samplers with two of their songs and two of ours. Giving those out was a surreal moment. To have real promotion for a record... It wasn't just an ad in a 'zine or something. It was awesome.

MCLYNN: They toured with The Reunion Show, Knockout, and Punch-line. One of their first big tours as an opening act was with MEST. There would be sold-out shows with 1,000 kids, and they would be singing along to Fall Out Boy much louder than to MEST. It was like, 'What's going on here?' It was the same deal with Less Than Jake. It really started catching fire months into the album being out. You just knew something was happening. As a headliner, they went from 500-capacity clubs to 1500 - 2000 capacity venues.

WENTZ: We always wanted to play The Metro in Chicago. It got awkward when they started asking us to play after this band or that band. There were bands we grew up with that were now smaller than us. Headlining The Metro was just wild. My parents came.

MCLYNN: There was a week on Warped Tour, and there was some beel because these guys were up-and-comers, and some of the bands that were a little more established weren't too happy. They were getting a little shit on Warped Tour that week, sort of their initiation. They were on this little, shitty stage. So many kids showed up to watch them in Detroit, and the kids rushed the stage, and it collapsed. The PA failed after like three songs. They finished with an acapella, 'Where is Your Boy,’ and the whole crowd sang along.

WENTZ: That's when every show started ending in a riot because it couldn't be contained. We ended up getting banned from a lot of venues because the entire crowd would end up onstage. It was pure energy. We'd be billed on tour as the opening band, and the promoter would tell us we had to close the show or else everyone would leave after we played. We were a good band to have that happen to because there wasn't any ego. We were just like, "Oh, that's weird.' It was just bizarre. When my parents saw it was this wid thing, they said, 'OK, yeah, maybe take a year off from college.' That year is still going on.

MCLYNN: That Warped Tour was when the band's first big magazine cover, by far, hit the stands. I give a lot of credit to Norman Wonderly and Mike Shea at Alternative Press. They saw what was happening with Fall Out Boy and were like, 'We know it's early with you guys, but we want to give you a cover.' It was the biggest thing to happen to any of us. It really helped kick it to another level. It helped stoke the fires that were burning. This is back when bands like Green Day, Blink-182, and No Doubt still sold millions of records left and right. It was a leap of faith for AP to step out on Fall Out Boy the way they did.

STUMP: That was our first big cover. It was crazy. My parents flipped out. That wasn't a small zine. It was a magazine my mom could find in a bookstore and tell her friends. It was a shocking time. It's still like that. Once the surrealism starts, it never ends. I was onstage with Taylor Swift ten years later. That statement just sounds insane. It's fucking crazy. But when I was onstage, I just fell into it. I wasn't thinking about how crazy it was until afterward. It was the same thing with the AP cover. We were so busy that it was just another one of those things we were doing that day. When we left, I was like, 'Holy fuck! We're on the cover of a magazine! One that I read! I have a subscription to that!'

HURLEY: Getting an 'In The Studio' blurb was a big deal. I remember seeing bands 'in the studio' and thinking, Man, I would love to be in that and have people care that we're in the studio.' There were more minor things, but that was our first big cover.

STUMP: One thing I remember about the photo shoot is I was asked to take off my hat. I was forced to take it off and had been wearing that hat for a while. I never wanted to be the lead singer. I always hoped to be a second guitarist with a backup singer role. I lobbied to find someone else to be the proper singer. But here I was, being the lead singer, and I fucking hated it. When I was a drummer, I was always behind something. Somehow the hat thing started. Pete gave me a hat instead of throwing it away - I think it's the one I'm wearing on the cover of Take This To Your Grave. It became like my Linus blanket. I had my hat, and I could permanently hide. You couldn't see my eyes or much of me, and I was very comfortable that way. The AP cover shoot was the first time someone asked me to remove it. My mom has a poster of that cover in her house, and every time I see it, I see the fear on my face - just trying to maintain composure while filled with terror and insecurity. ‘Why is there a camera on me?'

JANICK: We pounded the pavement every week for two years. We believed early on that something great was going to happen. As we moved to 100,000 and 200,000 albums, there were points where everything was tipping. When they were on the cover of Alternative Press. When they did Warped for five days, and the stage collapsed. We went into Christmas with the band selling 2000 to 3000 a week and in the listening stations at Hot Topic. Fueled By Ramen had never had anything like that before.

MOSTOFI: Pete and I used to joke that if he weren't straight edge, he would have likely been sent to prison or worse at some point before Fall Out Boy. Pete has a predisposition to addictive behavior and chemical dependency. This is something we talked about a lot back in the day. Straight Edge helped him avoid some of the traps of adolescence.

WENTZ: I was straight edge at the time. I don't think our band would have been so successful without that. The bands we were touring with were partying like crazy. Straight Edge helped solidify the relationship between the four of us. We were playing for the love of music, not for partying or girls or stuff like that. We liked being little maniacs running around. Hurley and I were kind of the younger brothers of the hardcore kids we were in bands with. This was an attempt to get out of that shadow a little bit. Nobody is going to compare this band to Racetraitor. You know when you don't want to do exactly what your dad or older brother does? There was a little bit of that.

"Take This To Your Grave, And I'll Take It To Mine" - The Legacy of Take This To Your Grave, 2003-2023

Take This To Your Grave represents a time before the paparazzi followed Wentz to Starbucks, before marriages and children, Disney soundtracks, and all the highs and lows of an illustrious career. The album altered the course for everyone involved with its creation. Crush Music added Miley Cyrus, Green Day, and Weezer to their roster. Fueled By Ramen signed Twenty One Pilots, Paramore, A Day To Remember, and All Time Low.

STUMP: I'm so proud of Take This To Your Grave. I had no idea how much people were going to react to it. I didn't know Fall Out Boy was that good of a band. We were this shitty post-hardcore band that decided to do a bunch of pop-punk before I went to college, and Pete went back to opening for Hatebreed. That was the plan. Somehow this record happened. To explain to people now how beautiful and accidental that record was is difficult. It seems like it had to have been planned, but no, we were that shitty band that opened for 25 Ta Life.

HURLEY: We wanted to make a record as perfect as Saves The Day's Through Being Cool. A front-to-back perfect collection of songs. That was our obsession with Take This To Your Grave. We were just trying to make a record that could be compared in any way to that record. There's just something special about when the four of us came together.

WENTZ: It blows my mind when I hear people talking about Take This To Your Grave or see people including it on lists because it was just this tiny personal thing. It was very barebones. That was all we had, and we gave everything we had to it. Maybe that's how these big iconic bands feel about those records, too. Perhaps that's how James Hetfield feels when we talk about Kill 'Em All. That album was probably the last moment many people had of having us as their band that their little brother didn't know about. I have those feelings about certain bands, too. 'This band was mine. That was the last time I could talk about them at school without anyone knowing who the fuck I was talking about.' That was the case with Take This To Your Grave.

TROHMAN: Before Save Rock N' Roll, there was a rumor that we would come back with one new song and then do a Take This To Your Grave tenth-anniversary tour. But we weren't going to do what people thought we would do. We weren't going to [wear out] our old material by just returning from the hiatus with a Take This To Your Grave tour.

WENTZ: We've been asked why we haven't done a Take This To Your Grave tour. In some ways, it's more respectful not to do that. It would feel like we were taking advantage of where that record sits, what it means to people and us.

HURLEY: When Metallica released Death Magnetic, I loved the record, but I feel like Load and Reload were better in a way, because you knew that's what they wanted to do.

TROHMAN: Some people want us to make Grave again, but I'm not 17. It would be hard to do something like that without it being contrived. Were proud of those songs. We know that’s where we came from. We know the album is an important part of our history.

STUMP: There's always going to be a Take This To Your Grave purist fan who wants that forever: But no matter what we do, we cannot give you 2003. It'll never happen again. I know the feeling, because I've lived it with my favorite bands, too. But there's a whole other chunk of our fans who have grown with us and followed this journey we're on. We were this happy accident that somehow came together. It’s tempting to plagarize yourself. But it’s way more satisfying and exciting to surprise yourself.

MCILRITH: Fall Out Boy is an important band for so many reasons. I know people don't expect the singer of Rise Against to say that, but they really are. If nothing else, they created so much dialog and conversation within not just a scene but an international scene. They were smart. They got accused of being this kiddie pop punk band, but they did smart things with their success. I say that, especially as a guy who grew up playing in the same Chicago hardcore bands that would go on and confront be-ing a part of mainstream music. Mainstream music and the mainstream world are machines that can chew your band up if you don't have your head on straight when you get into it. It's a fast-moving river, and you need to know what direction you're going in before you get into it. If you don't and you hesitate, it'll take you for a ride. Knowing those guys, they went into it with a really good idea. That's something that the hardcore instilled in all of us. Knowing where you stand on those things, we cut our teeth on the hardcore scene, and it made us ready for anything that the world could throw at us, including the giant music industry.

#long post #lke. VERY long post #fall out boy #fob #take this to your grave #tttyg #patrick stump #pete wentz #joe trohman #andy hurley #if theres any typos lmk and i'll fix em this. hust took fucking forever to transcribe.

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man-down-in-hatchet-town · 11 months ago

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You know, I get that not all Starkid fans have chosen to make the leap over to join the Tin Can fam as well. A lot of the newer Hatchetfield fans in particular are just here for that one particular tiny town in Michigan. And that's fine! Like what you like! Fandom how you want! Still, I would like to say two things:

1) Now is the perfect time to give all the awesome stuff TCB has to offer a chance, and

2) Starkid, and therefore our beloved Hatchetfield, owe so much specially and specifically to Joey, Corey, AND Brian.

Obviously Joey is one of the main Faces of Hatchetfield and his performances as Ted, Wilbur, Pete, Ethan, and Dan are all so iconic and beloved. Seriously, can you imagine Ted being as watchable in the hands of someone else? He’s also done great work in so many other Starkid projects.

Meanwhile Corey has been so vital behind the scenes. He designed the iconic sets for TGWDLM and Black Friday (the mind-blowing moment when the set BECOMES Wiggly? That was HIM)! Over the years this man has designed most of the sets, he has directed (VHSCC! ❤️), he has assistant directed, he has overseen social media and massive kickstarters, he has produced. As one of Starkid’s main behind-the-scenes creatives, Corey has done a huge amount of the extremely vital but not particularly fun or flashy work. His job is traditionally a pretty thankless one and we should pour gratitude in his direction.

And Brian. He gave us the Award-winning sound design for TGWDLM, but also I personally think he is one of the main actors responsible for Starkid existing the way it does. This whole company and fandom all go back to AVPM, that lightning-in-a-bottle show that was so strangely magnetic we’ve been able to build everything else on top of it. I’ve seen a lot of Potter parodies over the years, and I genuinely believe that the number one factor that gave AVPM its unparalleled magic was the Voldemort and Quirrell storyline. Without Quirrellmort, I’m not sure AVPM would have taken off as it did, and it’s quite likely Starkid would never have existed. And Brian, as Quirrel, was essential to pulling off and selling that extraordinary bit of plot.

So, yeah, even if you’re only a Starkid fan, or even just a Hatchetfield fan, you’ve benefitted massively from the tireless work Joey, Corey, and Brian have put into those things we love. If you can, giving even 3 or 4 bucks to their Tinlightenment kickstarter would be a lovely way to say “thanks” for bringing us fifteen years of Starkid magic and especially that Tiny Town of Hatchetfield.

TLDR; The Tin Can Bros have all specially and specifically contributed to the existence of Hatchetfield and Starkid as a company, and, if you can, giving to their kickstarter is a great way for Starkid fans, even those who don’t follow TCB, to say thanks!😊

#tin can brothers #npmd #starkid #nerdy prudes must die #npmd spoilers #hatchetfield #tin can bros #tgwdlm #Joey richter #Brian Rosenthal #corey lubowich #AVPM #quirrellmort #tinlightenment

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thollandsgirl2013 · 13 days ago

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𝐁𝐫𝐨𝐰𝐧𝐢𝐞 𝐓𝐡𝐞 𝐂𝐚𝐭

Parings → Peter Parker x Reader

Warnings → fluff

Summary → Peter isn't really fond of cats but you love them.

You had always loved cats. Their soft purrs, their little meows, and the way they curled up in your lap, making everything feel instantly better. Growing up, you'd never had one because of your dad's allergies, but now, living with Peter, nothing was stopping you. Well, almost nothing.

"Y/n, are you sure about this?" Peter asked, leaning against the doorframe with crossed arms, watching you fuss over the small kitten in your lap. The kitten—a tiny brown ball of fur you’d already named Brownie—was busy pawing at your fingers, playfully nibbling on them.

You looked up at him, a soft smile on your face. "Of course, I’m sure. Look at him, Peter! He’s adorable!"

Peter squinted at the kitten, his lips pressed into a tight line. "I don’t know… cats and I don’t really get along."

"That’s because you’ve never had one! The only cat you know is Mr. Delmar’s cat, Murph," you teased.

Peter shrugged. "Murph’s cool. She doesn’t need much, just sits on the shelf at Delmar’s and watches everyone."

You laughed. "Well, Brownie isn’t Murph, but give him a chance, Pete. You’ll like him."

Peter sighed, running a hand through his messy curls. "Fine, but he better not touch my Lego sets."

You grinned, gently picking up Brownie and walking over to Peter. You held the kitten up, offering him to Peter. "Just hold him. You’ll see how great he is."

Peter leaned back slightly, eyeing the kitten warily. "Do I have to?"

"Yes," you insisted, practically shoving Brownie into Peter’s arms.

Reluctantly, Peter took the kitten, holding him awkwardly at arm's length. Brownie blinked up at Peter with wide, innocent eyes before letting out a small, squeaky meow. Peter stared at him for a long moment, and then, slowly, brought him closer to his chest.

"Okay," Peter muttered, "he’s kind of cute."

You grinned triumphantly. "See? I told you!"

Peter gave a half-smile, scratching the kitten’s head with one finger. "Yeah, yeah, don’t get too excited. But remember, this doesn’t mean I’m all in on this whole ‘cat parenting’ thing."

But as the days passed, it became clear that Peter was very much not all in on the ‘cat parenting’ thing. Brownie demanded a lot of your attention, and Peter… well, Peter wasn’t too happy about it.

“Babe, we were supposed to watch that movie together,” Peter grumbled one evening, standing in the doorway of the living room as you sat on the couch, cradling Brownie in your arms.

“We can still watch it,” you said absentmindedly, your attention focused on scratching behind Brownie’s ears. “Just bring the popcorn.”

Peter frowned. “Every time I look, you’re with the cat.”

You blinked, looking up at him. “What?”

“Brownie this, Brownie that. I feel like I’m the third wheel in my own apartment,” he muttered, crossing his arms.

You laughed softly. “Oh, come on. You’re being dramatic.”

“No, seriously, Y/n/n,” Peter said, a little more firmly. “It’s like the cat’s more important to you than I am.”

You sighed, putting Brownie down on the couch beside you. “Peter, you know that’s not true. I just… I love him. He’s new, and he’s still getting used to everything.”

“And what about me?” Peter asked, his voice tinged with frustration. “I’m your boyfriend, and I feel like I’ve been replaced by a furball.”

You rolled your eyes. “Peter, don’t be ridiculous. It’s not like that.”

Peter shook his head, sitting down on the couch beside you. “I just… I don’t get it. He’s a cat. What’s so special about him?”

You paused, looking down at Brownie, who was now curled up in a little ball, fast asleep. “I’ve always wanted a cat, Pete. My whole life. And now that I finally have one, it just makes me really happy.”

Peter was quiet for a moment, then sighed. “I know. I guess I just feel left out.”

You smiled softly, reaching over to take Peter’s hand. “You’re not left out. You just need to give him a chance. You’ll see how great he is.”

Peter didn’t look convinced, but he nodded. “Alright. I’ll try.”

For the next few weeks, Peter really did try, but it wasn’t easy. Brownie seemed to have a knack for getting into Peter’s stuff. First, it was Peter’s Lego sets.

“Babe! The cat’s eating my Lego pieces!” Peter yelled from the other room one afternoon.

You rushed in, only to find Brownie sitting innocently on the floor beside Peter’s half-finished Lego Death Star. One of the tiny Lego pieces was stuck to his fur.

“He’s not eating them, Peter,” you said, trying to stifle a laugh as you gently picked the piece off of Brownie’s fur. “He’s just curious.”

Peter scowled. “He’s ruining everything.”

Next, it was Peter’s laptop. Brownie loved sitting on it whenever Peter tried to work on something.

“Bug, why does the cat always sit on my keyboard?” Peter groaned one night, pushing Brownie off his laptop for the third time that hour.

“He likes the warmth,” you explained, smiling at the sight of Brownie trying to climb back onto the laptop. “It’s cozy for him.”

Peter gave the kitten a deadpan look. “Well, it’s not cozy for me.”

Despite all the frustrations, though, you could tell that Peter was slowly warming up to Brownie. It started with little things—like how Peter would absentmindedly pet the kitten whenever he walked by, or how he’d scratch behind Brownie’s ears when he thought you weren’t looking.

And then, one morning, you woke up to find Peter still asleep beside you, Brownie curled up on his chest.

You couldn’t help but smile at the sight. Peter, who had been so adamant about not liking the cat, was now snuggled up with him like they were best friends.

"Hey," you whispered, gently nudging Peter’s shoulder. "What’s going on here?"

Peter stirred, blinking sleepily. "Huh? Oh… Brownie wouldn’t leave me alone last night, so I just let him stay."

You grinned. "Looks like someone’s warming up to the cat."

Peter scoffed, but there was a small smile tugging at the corners of his lips. "Yeah, well, he’s not so bad, I guess."

From that moment on, things started to change. Peter and Brownie were inseparable. Whenever you came home from work, you’d find the two of them together—whether it was Peter playing video games with Brownie perched on his lap, or Peter working on his laptop with Brownie curled up beside him.

One evening, you walked into the living room to find Peter lying on the floor, tossing a little ball for Brownie to chase.

"You’re such a cat person now," you teased, leaning against the doorway with a grin.

Peter rolled his eyes, though his expression was fond as he watched Brownie bat at the ball. "I am not a cat person."

"Oh, really?" You said, raising an eyebrow. "Because it sure looks like you are."

Peter shrugged, still smiling. "Okay, fine. Maybe I like him a little."

You walked over and sat beside Peter, resting your head on his shoulder. "I knew you’d come around."

Peter sighed, wrapping an arm around you. "Yeah, yeah. But let’s be clear—I’m still your favorite, right?"

You laughed, reaching over to scratch behind Brownie’s ears. "You’re both my favorites."

Peter groaned dramatically. "I knew it. I’ve been replaced by a cat."

You leaned up and kissed his cheek. "Never."

Peter smiled, his hand resting on your back as he looked down at the kitten now curled up between you both. "Alright. I guess Brownie can stay."

---

In the end, Peter had not only come around but was completely smitten with Brownie. The two were inseparable, and you couldn’t help but smile every time you saw them together. It was funny how the boy who insisted he wasn’t a cat person had become Brownie’s biggest fan.

Maybe having a cat wasn’t so bad after all.

‎∗ ࣪ ˖༺ 𓆩☆𓆪 ༻˖ ࣪ ∗

#peter parker x reader #peter parker fanfiction #peter parker spiderman #peter parker #peter parker fluff #peter parker imagine #peter parker x fem!reader #peter parker x y/n #peter parker x you #peter parker oneshot #tomholland2013 #tom holland #thollandsgirl2013 #tom holland spiderman #tom holland fanfiction #spider man

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lock-my-feelings-in-a-jar · 1 year ago

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#badfinger #baby blue #rollin on the river #kenny rogers show #1972 #THE SPECIAL LOOOOVE #I HAVE FOR YOUUU #(i have special love for you pete)#MY BABY BLUUUUUUE #WHAT CAN I DOOOOoooooOOOOOoooOOoOOOoOO #WHAT CAN I SAAAAAAYYYYYYY #'CEPT I WANT YOU #BY MY SIIIII IIIIIDE

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t1red-twilight · 6 months ago

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i just realized you already wrote for the shower hc so if you saw the previous ask, that was me and pls ignore it 😭

i’ll request something else thoughh! i’d love to read more about domestic!peter, nothing specific just something super fluffy <3

you’re my home

summary: being domestic with peter.

content/warnings: gn!reader, andrew!peter, fluff, chicken alfredo as a plot point (i love chicken alfredo)

notes: i <3 domesticity. and dw about it queen (gender neutral). tysm for your request:)

word count: 1k

masterlist p. parker masterlist

you and peter had moved in together about nine months ago, and you had quickly settled into domestic routines and habits. it was as if the two of you were puzzle pieces that fit together perfectly. your lives melted together to create something that was soft and comforting.

you could feel peter’s breath against your face. it was saturday, so you were able to sleep in instead of getting up at the break of dawn for classes or for work.

you usually managed to sleep in longer than peter; waking to see his soft eyes looking at you lovingly with a dopey smile spreading across his face.

today, however, you woke up before him. his hair was rustled in a way only he could make look cute. his eyebrows were slightly furrowed, and his arms were wrapped around your waist as tightly as they could go.

you bit the inside of your cheek as you fought the urge to squeeze him. seeing peter asleep was always a bit novice, as he insisted on getting up before you so that he could take care of you.

he woke up when you brushed a piece of hair off of his forehead. his eyes fluttered open and you bit your lip to fight back a huge grin. he was unintentionally adorable.

“hey,” he said quietly. his morning voice was a bit lower than it normally was, and oh how you loved it. “morning, darling.”

“good morning,” you smiled. “do you want coffee or tea?”

you looked at peter through the bathroom mirror. when your eyes met, he raised his eyebrows and smiled around his toothbrush. in response, you smiled as best you could.

you bumped your shoulder into his gently. he bumped you back with his.

peter had insisted that you had matching pajamas when you moved in together. so, you were wearing matching skeleton pajama pants. you had opted for one of peter’s old t-shirts rather than wearing something from your own closet. slowly, over time, your closets had melded into one massive super-closet.

peter spat out his toothpaste and you copied. “should we watch our show before bed?”

this was another thing: you and peter had chosen a random sitcom to watch together. the only rule was that you couldn’t watch it without the other person. “i think we should be able to get through one or two episodes. are we on season three now?” you turned to face him. the fuzz of the purple bathroom rug was soft against your feet.

“yeah, i think so. i think we finished season two on friday.” he grabbed your hand and walked out of the bathroom and through the bedroom to the sofa that sat in front of the tv.

you grabbed a yellow blanket (that you had only purchased after you and peter had laughed at how ugly it was) and nestled into peter’s side before draping it over the both of you.

“pete, i’m home,” you called out. “i got the mail. we’re still getting advertisements for ‘adam’s realty.’” you turned the paper over in you hand as you walked into the kitchen.

“really? i mailed them trying to get them to stop sending ads.” he grabbed your bag and jacket out of your hands and set them down on the counter. he then pulled you in for a hug.

“i thought you did. i don’t want to have to go to their office to tell them to lose our address. we already live somewhere.” you laughed into his chest.

“every place that they showed us had broken air conditioning and had the landlord special.” he pulled away from you to look at the rest of the mail.

you snorted. it was true; the lightswitches and vents had been painted over with the same color that the walls were. “i know! remember that one place that had the mold that was just painted over? i can’t believe they thought we wouldn’t catch that.”

“it was disgusting. anyway, we’re still good for dinner, right?” he looked away from the mail to look at you instead.

“of course! you know i never miss date night. who’s week is it to pick?” you smiled softly up at him, and grabbed his hands. you very gently swung them back and forth.

he paused in thought for a moment. “i think it’s yours. if i remember correctly, we went to that diner last week on my request.” now you remembered. peter had chosen a diner and you split a giant pancake platter.

“let’s get greek food. on my way home i saw a food truck that’s open late.”

recently, you had expressed the desire to become better at cooking. peter offered to learn some recipes and cook with you.

at present, you were attempting to make chicken alfredo. peter had found the recipe and was placed on chicken duty while you made the sauce. every now and then, you would see peter out of the corner of your eye sit and stare at you before returning to the task at hand.

without looking up, you asked, “do i have something on my face?”

almost immediately, he responded. “no. i just think you’re pretty.”

you smiled in amusement at this, and looked up to see him with a sappy smile plastered on his face. “yeah? thank you, pete.”

“i like cooking with you.” the same smile sat on his face. his brown puppy eyes almost looked like they had the stars in them. you didn’t stop stirring the sauce so as to not burn it, but you gestured him over.

he took the two steps over to you, and without touching your face (raw chicken juice) he leaned in. he never ‘forced’ a kiss onto you. he almost always leaned in close enough so that you could bridge the gap very easily between the two of you.

it was a short kiss, but not any less special. you stopped and looked at his puppy eyes for just a moment. “get back to your chicken, bugboy.”

#lee’s writing <3 #tasm!peter parker #tasm!peter x reader #andrew garfield!peter #andrew garfield!peter x reader #peter parker fluff #peter parker x reader #fluff

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m1ssunderstanding · 2 months ago

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Midas Man Reaction

I watched this using a google drive version from @skydiamonded thank you, thank you!

Spoilers under the cut!!!

Weird looking at this guy and trying to tell myself he's Brian. He's a very Brian type of guy but still he's not Brian.

I do love the first person narration and the instantly shattered fourth wall.

I love seeing his Jewish faith and culture in a way that wasn't publicly as prominent when he was alive.

Honestly didn't know adding a significant record store to their furniture store was Brian's idea. I'm looking every new thing I learn up because biopics can be very misleading, but this is fun!

I am absolutely Reveling in the contrast between crisp, classy Brian and the squalor of the cavern. So good!

Guys I'm a sucker for this stuff. John comes on stage swigging something talking in awful German and then there's Paul whoring it up flirting having a personal conversation with some girl in the crowd. And the John/Paul banter! I'm falling for it so hard.

(John girls I will give it to you, you guys got shafted with the looks of this actor)

Same, Brian. I get it. I'd be in love with them too.

The incessant mocking of his posh accent Thank You!

Paul's face. I've definitely seen this irl. He loves watching John do his acerbic wit thing. Reminds me of that one quote that basically said Paul used John's cruelty to his own advantage.

The confidence of Brian just deciding to be a manager. The actor is doing such a good job of capturing that duality in Brian of part timid awkwardness part brazen optimism.

The Spain dialogue! How can they tease that and not include the trip?!?! Also John dropping Hemingway and Brian's pleasant surprise. Just you wait, Brian.

“My Gran takes pills for that” genuinely got me.

The way they look at each other is accurate even if John doesn't look a thing like himself

“I think you're special. I think you'll go all the way. And I promise I will look after you.” Whether Brian said it that way out loud at the time or not it's what he felt. And that was so so important. They needed someone to say that and mean it so badly. Look how he's looking at them!

“Like family. Only better. No secrets from each other.” Break my fucking heart not even twenty minutes in why don't you? Brian you deserved to live in the future. I'm so sorry you had to be put here in the time you were.

I will say the makeover breaks my heart. I get that it was necessary, but it hurts.

Ringo's grey steak and his accent and his friendly tough older cousin demeanor!!!

You hear Paul singing as they drive up, fantastic. And the little shoulder pat as they go in, “alright Brian.” John's little line about the time jump is fun too.

Pete's drumming is patently bad. Thank You!

The whole John railing on Brian and Paul telling him to leave off I think is probably accurate, but. With all the quotes I have in my documents about Paul actually being the one who gave Brian the most trouble, I have to wonder if we're going to see that complexity or if we're going to stick to the “mean John, nice Paul” stereotypes.

But also Paul definitely does not stick up for Pete. (Who he also picked at much more than John irl) Anyway I love to see the strategic reigning in or letting loose of John's temper for me.

Again with the class contrasts!!! These fucking snobs talking down to Brian I can't. It's just another proof of the boys’ need for him and his management. And not just because he's socially higher than them, but can you see John handling that shit well? No. That ass hat would get decked.

The pride with which he says “My boys” to those douchebags after all of that!!!

“Asked you and Daddy for a car” is a great line.

I got so scared when that guy came up so suddenly like that because I know how violent some of those encounters were. It breaks my heart for him.

And then the pills. It got so cold so fast.

Those secretaries should be in charge of those record companies is what I'm getting here.

I knew he was going to lie and say that he got them the contract. I wonder if he did irl. Something else I'll have to look up but it does make sense with what I know of Brian. He just loves them so so much. “I can't bear their disappointment when they feel I've let them down.”

The George actor overdoes the accent a bit but I really love the facial expressions. I've seen that one a million times.

Also love that John and Paul are facing each other. Very nice.

No one is going to hold a candle to the actual Paul's voice but what are you going to do?

They've got Paul's need for John's approval right though. John's already said all sorts of positive things and Paul's immediately fishing for more.

Yes! Paul is George Martin's very special favorite baby boy and it would be wrong to play it otherwise.

I should've said this before but it's driving me crazy in this scene. Why is George's hair significantly lighter than John's?

Interesting that it doesn't even show Brian talking to the others about sacking Pete.

“It's my sound. They're all doing it now. Ringo.” What is this bullshit? Insinuating Ringo copied Pete's sound? Why did they put that in there? Ew, take it out!

Look at him, already so at ease and happy. I love you, Ringo!

See I knew it was going to get more violent. Ugh it twists my stomach. And his poor terrified face when the guy says he knows him. He was so scared of his secret life having a negative affect on the boys career. And then Brian telling us straight to our faces about being brutally beaten and helping the man afterwards. It's cutting. Such a contrast from the upbeat, prideful Brian of many of the other camera-facing narrations.

The sharp turnaround of Alastair overhearing the end of Brian's little aside here though! I love the way this movie is playing with perspective and curtains. Very much a nod to Brian's behind the scenes work on behalf of the biggest group in the history of the world.

Love how the Beatles are annoyed that Brian doesn't offer any details about them when he's going through his lineup! Very clever, very them!

Cilla clearly knows Brian's gay and she's the first one that's made that clear. At least to me! Maybe the scene with the prellies and the Beatles teasing him about that was something. But she's the first where it's obvious she knows. And he's so moved that she's just casually okay with his sexuality.

Then we get him apologizing to his family right after. It's getting to the point where I'm like I don't know what there is to say.

Paul being the class-conscious one. Very good, very good.

John “might even swear” Brian “please don't” Paul “he won't” Okay I know where they're going with this it's obviously going to be the rattle your jewelry” line. But they're going with the stereotype here of Paul reigning John in when really he was backstage daring John to say it.

Achhhh this does bug me. Okay I know I'm the most insufferable Paul girl and it's Brian's movie. But! John's little look to the side as he says that line is at Paul, not Brian. Because, like I said before, Paul had been egging him on, and he's like “see I'm doing it”

The scene with Ed Sullivan in the burger joint is reminding me of the Elvis movie. And it's nice. If anyone else is reminded of that it'll be a stark contrast between Brian and the general or whatever his name is.

So happy that he can connect with Nat in this way even though they're from completely different worlds in every way other than their Jewish backgrounds.

Still overwhelmingly annoyed they took out the romance with John to invent this Tex character. For multiple reasons. It's just not the truth for one thing. For another, it's a less interesting story. Brian is less complicated. The romance is flatter. Not a fan.

But. In one way it's nice that he gets to be in a less complicated real relationship. Unless this is going to be like the Tex from the comic book which doesn't end well at all :/. What am I saying of course it can't end well. Ugh.

Ringo’s tummy troubles! Ringo calling John a posh puddin! Thank Fuck!

It is very much driving home the fact that they're a rare bright spot in his life.

John starting the pillow fight all agro and then instantly backing off “now lads take it easy” we love the accuracy!

Oh. Colonel. I knew that.

Another thing I'm going to have to look up. Did they really have to stop the show twice due to a jelly bean barrage? Actually so many fun details in this little narration. A fish truck? Really? You couldn't have chosen any other vessel? hashtag acab.

“I” made it clear? They're saying it's Brian's decision they won't perform to segregated audiences? Mkay. He's fantastic enough with his actual progressive actions and ideals. You can give the boys some credit for their own actions without losing anything for Brian.

Brian screaming with all the girls. Cute! I do just have to say this is a George Martin story. But I'm sure Brian did it at some point too.

That stings! Going from all this huge success Brian of Brian's to his dad looking proud, making a toast, and I assumed it must be a party in Brian's honor but no. It's his brother's wedding.

Wait I'm confused now. Does Cilla not know?

I do love that she's concerned for him and expressing that. Because we know the boys aren't going to do that.

Poor baby he's absolutely elated that Tex is here.

I don't want to shame like I have read that Brian liked it rough although who knows if the writers of these statements are homophobes leaning into stereotypes of the time anyway there's obviously nothing wrong with rough sex. But I want Tex to be sweet and gentle with him because it looks like Brian is flinching and why wouldn't he be after what he's been through?

Also I hate that he's like “how can I get him to love me and stay with me etc” and he says he'll make him a star even though obviously he can't promise that and he's so so stretched thin already.

Yep I hate Tex more and more. The yelling is awful holy shit.

Clearly Brian is only happy when he's with the Beatles.

So this is them trying to put a little “vibe” between John and Brian? Having them have a "deep looking" discussion from a safe distance at a crowded party? Not really working imo.

But this is nice. I've seen this picture before. Look at cute cuddly Ringo. I adore that about him. For the one of them with the toughest background to be the most comfortable and easy with his affection. It's beautiful.

What the fuck!!! Tex is openly just chatting up someone else at Brian's party and Brian sees him as he's bringing them drinks and just retreats like that's what he deserves. Somebody give this sweet man some actual love!

The stark contrast between the silly, upbeat -- hectic yes -- but happy 64 tour narration and this. It's almost black and white it's so dim and muted and though the music is slow, Brian is talking very very fast and the drinks and pills are much faster than last time too.

Again. Interesting that it's presented as Brian who declined Marcos in the Philippines. “They grab the boys and they drag them away.” I've never heard an account say it was that bad, but maybe it was? I don't know, I think if it was, John and George would've said so at some point post break-up.

This is very interesting cinematic work. I don't know shit about anything but it strikes me as a very interesting choice to make this terrible time gradually fade into extremely sharp colorless chaos. The cute little maps and cut aways to contextualizing scenery are gone and it’s just Brian panicking backed by silhouetted violence.

And then he forces himself to get it together, talks slower, straightens himself out, presumably because he does what he has to do to protect the boys.

“Right. Are you coming in?” “Do you think that I would let you out of my sight, John?” It's so good. I hope this is what it was.

Paul's protective press conference answer comes off a bit more "team player" than "angry boyfriend" for one reason. IRL he jumps in, on this occasion and many others, without being addressed at all. Here, they ask specifically for a comment from the other three and George's comment comes first. Annoying. But overall t's very well done. And Brian is so proud of them all for being so strong in the face of all this stupidity.

I love that Brian is protective of them and supportive of their decision to stop touring. I wonder how much of a say they actually gave him in that.

“The press misquotes them, they can't be themselves, and if you can't be yourself . . .” He's so sweet. This takes me back to the family without secrets thing at the beginning. It's all so “well I know how awful this or that can be so I'm going to spare them from that”

I didn't know creme or the who were involved with Brian too. Another thing to look up!

Thank goodness for Nat Weiss. If only he and Brian could've been together.

I know it's not fair to expect too much of them with everything they were going through but I kind of hate all four Beatles right now. Brian crying about Paul not coming to a party and Paul's letter (well- meant that man had a very fucked up perspective on love and other complexities himself) about Brian just choosing not to be depressed is echoing in my head.

Yes, Brian's shit father. There was something you didn't give your son. Only the most important thing there is.

Eek they look so shockingly different. I wonder if it was that jarring for him. Why is it John that doesn't have the mustache? It was just Paul that had it, then the other three immediately followed, then just Paul that shaved it. Who knows what they're thinking here. Probably just didn't think about it, or maybe the John actor was just too hideous with a mustache?

“And I have a proposal.” “Brian, I do.” “Finally!” See, that dialogue could've worked so much better if they'd been truthful about the sexual side to John and Brian's relationship.

“I think I'll be leaving the band now,” says George, at the mention of a film. I'm dead.

Why is Ringo wearing tons of blush and eyeshadow?

This little moment is great though just because it's John and Paul interested and participating in the direction of the band and George and Ringo along for the ride.

The Paul actor did such a great job. His little giggle at John's dad joke is perfect. That's exactly what Paul sounds like.

Why are they leaning so hard into George being the funny one in this movie? This whole movie it's him with the little quips. The phone thing is very Paul's humor though. Good, good. God I'm so annoyingly obsessed with him.

It's very much leaning into the argument that Brian's death was accidental. I like to think that's the truth and there's certainly a strong case. The big plans with the Beatles and outside them too. The fact that his mother very much needed him after his father's death and he's got plans to take care of her. But there are also sources that say he was actually hospitalized due to suicide attempts. So. I don't know.

Now we do the Buddhist bit. Arms around. That's something very different. But this makes me think of that quote, and I hope they did this too and I hope they included Brian.

John's just so tiny lmao I'm actually obsessed!

I love that the last line was about Brian saying he was “on top of the world”.

You know what, I think we can choose to believe what we want about Brian’s death, and until someone presents me with empirical untenable objective evidence, I’m choosing to believe it was accidental. Doesn’t mean it’s not absolutely tragic. Doesn’t mean he didn’t have serious mental health problems. But it does mean he wanted to stick around despite all the hardships in his life for the good he was able to do and the joy he took in doing it.

#midas man #brian epstein #paul mccartney #the beatles #john lennon #mclennon #george harrison #ringo starr #pete best #george martin #nat weiss

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