#baby boy does not like u!!!

[povlnfour]

in regards to the current wattpad plagiarism situation:

aside from the asks, i haven’t spoken about it myself and i’m going to briefly address it away from everything.

plagiarism is NEVER OKAY. so much hard work goes into what is created on tumblr, and i admire every single one of my fellow writers for the effort they put into their stories. for someone to take advantage of this and us posting for others enjoyment is, frankly, disgusting. to also claim that the writers were ‘asked’ before posting as such a bold faced lie is GROSS.

whilst i’ve only personally been affected by one collection, i am aware there are multiple people on wattpad rn posting the work of other incredible writers on this app and if anyone has any links to them, please do send them my way so i can report.

i have been incredibly busy with, well, being pregnant, so i haven’t had the time to reach out to any of the writers personally affected myself — however if this applies to you please don’t be afraid to reach out to speak. you deserve to know how incredible you are (you also deserve plenty of follows and i’m terrible at following so make sure i follow you back).

i would love to take this time to thank those tirelessly fighting against this whilst i’ve been offline. i appreciate you all so much🤍

[yuwuta]

you ask yuuta if he wants a bite of your food and when he says yes you offer your plate to him, but he’s just sat there looking at you with his dumb big bambi boy eyes and his mouth slightly open and he will not look away or blink or close his mouth until you lift your fork to his lips to feed him and then he grins like shit’s sweet and hums about how good the food is like nothing happened like he’s not ridiculously attractive. gonna chew on steel

[luck-of-the-drawings]

[<==PREV PAGES] [NEXT PAGE==>(not out yet.wait a year.or maybe more.imagine.]

saw alot of comments on prev pages; saying 'i HATE that mean teacher! im gonna FIGHT HIM!!' & i LOVE the energy!! it WOULD be nice. to have that catharsis. but the story of young tidestrider is Not one of catharsis. it is a story of being so small and so special and sucking so bad.

[theloveinc]

There's a lot of validity in the idea that older Bakugo is a traumatized pro-hero with major PTSD... but you know what's kinda fucked up to think about? The fact that Bakugo is also a 22-year-old pro-hero with major PTSD even before that, too.

It's almost easy to imagine that things are actually better when he's older (the therapy finally a routine, the trauma long set and on the path to being healed)... and that it's his whole 20s that are spent as a pool of disaster trying to recover from the war(s).

He looks back and barely even remembers being twenty, much less twenty-five or twenty-seven. Barely remembers how little he slept, not at the hands of trying to balance hero work and getting a degree at the same time, but just out of the pure insomnia that came from trying to move on and every nightmare attached.

Hardly ever showering, never shaving (not that he ever grew much of a beard, but the facial hair was definitely there. There's pictures of him on the news with an awkward, grown out haircut and patches on facial hair that make him look positively... immature), barely even eating more than a few protein bars or an energy jelly drink-a day. It's a blur, and his friends are hardly there to pick him up out of it because they're all going through it, too. Somewhat.

It's definitely weird if you meet him during this period. He's not all there, at least, not all of the time. He doesn't really register your interactions, the friendship you extend to him (a younger, or ever older, version of him would've shown you that deep seeded ferocity in response, tried to bite the hand that fed him, even if it were love... but 20s Bakugo... doesn't seem to notice). Even though only one of his eyes is clouded over, the good one never seems to brighten up.

There's definitely moments when the old him shines through: when he's with Deku, when he's in the midst of battle, when he finds out that Todoroki still does a shitty job at chopping scallions. But it's a long time before he's even close to the same, able to step out from underneath the fog of simply surviving and into the sunshine of recovering.

But I think sticking through it with him is worth it.

(It's a weird moment, a happy moment, the first time you realize that Bakugo has changed. That the pouring rain outside hasn't bothered him since he showed up at your apartment. He forgot his umbrella, he's been quite careless ever since the war—wet and shaggy hair frizzed up, cheeks red from cold—but he doesn't seem to mind, with his bare feet up on your coffee table, his eyes gazing out the window. You hand his tea, and instead of gulping it down in one go, letting it burn in his throat, he winces at the heat.

"Tastes like shit," he says, and you laugh because it always does. Just this time, he noticed.)

[sluckythewizard]

THEY could give me the surgurey i need (inspired alot by evojellys designs for em. GREAT STUFF)

[blluespirit]

TL;DR: Zuko is not winning any Liar of the Year awards here, but he's by not a ‘bad liar’ either. He's also (apparently surprisingly) not sharing his every deep-seated thought and feeling to anyone and everyone and can in fact, keep a secret.

a canon vs fanon Zuko thing thing I see fairly often that I personally disagree with is that Zuko is constantly over-sharing and telling people too much about himself and his problems.

People love to use the Book 1 finale incident when he talks to Aang's unconscious body in the cave, but that feels like a bizarre example because... he's more talking to himself. He's not really talking to Aang. Aang can't hear him. Aang is literally none the wiser. It's not an inappropriate time or person or unreciprocated, and honestly the whole thing is more for the audience to get a sense of what in gods green earth is going through Zuko's mind considering how reckless this action was. And even if Aang was awake I still don't know if you could call it oversharing considering Aang has genuinely tried to reach out to Zuko before and tried to understand him (e.g., the Blue Spirit). Of all people, Aang would likely be the most receptive. Like... net zero information gained...

I've seen people use some examples with Iroh which I personally think is pretty ridiculous to count because it's not like he's saying anything Iroh doesn't already know??? Iroh is like the only one in Zuko's orbit who actually knew all the details about his banishment and trauma. I don't know how any scene Zuko could have with Iroh that you could call over-sharing. Zuko also never said shit to his crew about any of his past for like. two whole years. The most they thought of him was angry and spoiled. They didn't actually know anything about him. like... at all. Jee thought his scar was from a training accident.

People like to also use the scene on the ship with Mai in Book 3 when Zuko is returning to the Fire Nation, but even that feels like a bit of a stretch. Yeah, Mai dismisses him and tries to play it off, but nothing Zuko says feels 'too personal' especially when Mai is supposed to be his girlfriend and Zuko has literally not been home in three years. Telling your girlfriend/someone you trust how you feel in a obviously emotionally turbulent situation is not sharing too much, no matter their reaction or whether they asked first.

MAI: Aren't you cold? ZUKO: I've got a lot on my mind. It's been so long, over three years since I was home. I wonder what's changed. I wonder how I've changed. MAI: [Yawns.] I just asked if you were cold, I didn't ask for your whole life story. [Zuko frowns at her sarcastic response. Mai giggles and holds his face in her hands.] MAI: Stop worrying.

Another example I see is when Zuko rants to the badgerfrog. Again, not really an example since the badgerfrog is not a person and the story needed Zuko to Say Things Out Loud so we have some clue about what he's thinking. It's the same thing with the unconscious Aang. It's not oversharing. It's venting. And once again - net zero information achieved!!

Like, none of these instances feel like he's revealed too much information. None of it feels inappropriate in the context of the story.

I think people get 'over-sharer' and 'openly wearing your emotions' lines confused sometimes, but even that gets misconstrued in fandom.

I don't think that Zuko being more open with his emotions than other characters is an incorrect conclusion to make, however, I think there's something to be said about Zuko in book 1 and 2 using anger and rage as a coping mechanism rather than being vulnerable with his emotions.

Zuko will talk about his feelings a lot more in Book 3, which is actually super important to his arc, since he doesn't actually talk about his feelings in a real way in Book 1 and 2 (he's angry most of the time, and the only times I can remember when he does really talk about how he actually feels is usually when things have gotten Real Bad like when Zhao takes his ship or it's the anniversary of his banishment). In Book 3, he's really thinking and reflecting on how he feels and how he felt in different situations.

Even the 'Zuko is a bad liar' gets WAY over-played in fanon!

Yeah Zuko is not great at thinking on his feet when confronted, but it seems very context dependent, actually.

When in dangerous situations, while he's definitely not winning any Best Liar Ever Awards, he's not a bumbling fool either -

Zuko lies to Zhao about the Blue Spirit swords:

ZHAO: I didn't know you were skilled with broadswords, Prince Zuko. ZUKO: I'm not. They're antiques. Just decorative.

While not ultimately convincing, his delivery of it is far from terrible. The circumstances are against him here, though, after all, there are few people who hate Zhao enough to commit treason to stop him from capturing the Avatar than Zuko.

Zuko lies to Zhao about having found the Avatar:

ZHAO: [Pulls up alongside Zuko and smirks.] Two years at sea have done little to temper your tongue. So, how is your search for the Avatar going? ZUKO: [Aggressively.] We haven't found him yet. ZHAO: Did you really expect to? The Avatar died a hundred years ago. [Close-up of Zuko, as he slants his eyes.] Along with the rest of the airbenders. [Close-up of Zhao, whose face contorts in an evil expression.] Unless you have found some evidence that the Avatar is alive? ZUKO: [Faces Zhao and responds very clearly.] No. [Stares back in front of him.] Nothing. ZHAO: [With an expression of disbelief on his face, as he rises from his chair.] Prince Zuko, the Avatar is the only one who can stop the Fire Nation from winning this war. [Leans in and faces Zuko.] If you have an ounce of loyalty left, you'll tell me what you found. ZUKO: I haven't found [Looks up at Zhao and his tone becomes slightly more aggressive.] anything. [Close-up, as he continues on a softer tone, slightly mockingly.] It's like you said. The Avatar probably died a long time ago. [Gets up.] Come on, Uncle, we're going.

I'm not trying to say Zuko is secretly this great liar, but his effort here is commendable. It's his directness that gives him away, but he's not afraid, or nervous, or stumbling over his words like he's often portrayed to be.

Zuko confidently lies to Jet about not being a firebender:

[while on the ferry; you can see Zuko thinks for a second Jet knows who he really is. Jet doesn't pick up on this, and Zuko plays off his fear].

JET: You know, as soon as I saw your scar, I knew exactly who you were. You're an outcast, like me. And us outcasts have to stick together. We have to watch each other's backs. Because no one else will. ZUKO: I've realized lately that being on your own isn't always the best path.

[during Zuko and Jet's fight]

JET: Bet you wish he'd help you out with a little fire blast right now. [As Jet swings at Zuko's feet, Zuko stabs one of his broadswords through the hilt, pinning it to the ground. Jet looks at it with annoyance before focusing back on Zuko.] ZUKO: You're the one who needs help.

Zuko, throughout these interactions, plays off Jet's comments. He's learnt to be vague sometimes (like on the ferry to Ba Sing Se) and be confident when refuting someone. Yeah Zuko did go straight for Bodily Harm but that's very on brand to me.

Zuko lies to Chit Sang about the escape plan without hesitation:

SUKI: But how are you going to get the cooler out? CHIT SANG: [From the staircase.] Yeah, how are you going to get the cooler out? [Jumps down.] SOKKA: [Covering up.] What? We didn't ... w-we didn't say that. ZUKO: Yeah, you heard wrong. CHIT SANG: I heard you hatching an escape plan, and I want in. ZUKO: [stern] There's nothing to get in on. SOKKA: Yeah, the only thing we're hatching is ... an egg? [Zuko lowers his head and Suki covers her eyes while they both sigh in annoyance.]

Zuko comes up with a lie to tell the guards at the Boiling Rock about keeping his helmet on:

MALE GUARD: Hey, new guy! I know it's the rule to have your helmet on at all times, but this is the lounge. Relax. ZUKO: [plays it up] But what if there's an incident? If I'm not prepared, someone could strike me on the head. [The guards laugh.] FEMALE GUARD: Give it a week, he'll loosen up.

However, Zuko most often has the most difficulty lying to people who are kind to him (and who are Azula tbh) -

In Crossroads of Destiny, Zuko and Iroh are now refugees and Zuko bungles this conversation with Song:

ZUKO: [Nervously] Yes, we're travellers. SONG: you have names? ZUKO: Names? Of course we have names. I'm, uh ... Lee and this is my Uncle, uh ... Mushi?

In Tales of Ba Sing Se, Zuko struggles to find even ground with Jin and doesn't know how to answer her questions:

ZUKO: You have ... quite an appetite for a girl. [He fiddles his thumbs awkwardly.] JIN: [Uncomfortably.] Umm ... thanks? So, Lee, where were you and your uncle living before you came here? ZUKO: Umm ... well, we've been traveling around for a long time. JIN: Oh. Why were you traveling so much? ZUKO: We were ... uh, part of this traveling circus. JIN: Really? What did you do? Wait, lemme guess. [She thinks for a moment and quickly points at him.] You juggled! ZUKO: [Zuko folds his arms and looks annoyed.] Yes, I juggled.

In Zuko Alone, he's at a loss for words when asked his name:

SELA: Does this guy have a name? ZUKO: [Nervously.] I'm... uh... GANSU: [Off-camera.] He doesn't have to say who he is if he doesn't want to, Sela. [Cuts to shot of him standing with his family.] Anyone who can hold his own against those bully soldiers is welcome here. Those men should be ashamed to wear Earth Kingdom uniforms.

Listen, he's not weaving any incredible tales here, but he's not this bumbling little uwu boy who's completely helpless without Iroh or the Gaang that for some reason is incredibly persistent in fan depictions of him.

[badnewswhatsleft]

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

transcript below cut!

WHAT A TIME TO BE ALIVE

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

WORDS: James Wilson-Taylor PHOTOS: Elliot Ingham

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[thekidsarentalright]

orange leaves but we're the ones falling off trees

[carebeardean]

edwin in the manga my beloved. he’s autistic. he’s gay. he’s in love with his best friend. he’s even blonde

[sophiethewitch1]

www!reader WILL call batman a pussy for not killing on her private twitter. she does it like every other day. its cathartic

[schnaf]

22 days until jooyeon's 22nd birthday

day 20 aka THE COUNTDOWN IS OVER - jooyeon's past birthday brrrr ppoppos

[whirlybirdwhat]

would be writing fic rn but my 130 lb dog is on my lap and i love him. forgive me world but some loves are greater than others and i must submit to their power

[yuwuta]

yuuta is the boyfriend BAWLING when he has to drop you off at the airport. it doesn’t really matter how long you’ll be gone, he will be crying, and he’s gonna cry just as hard when he picks you up again too. but that’s not surprising, neither is saying that satoru smothers you in affection and soft gazes but waits until you’re gone and he’s back home to let the tears out. the real gag is that toji is also crying. it doesn’t happen when he drops you off, or when he gets home, and honestly he’s fine for the first few days—crabbier than usual, slower than usual, groggier than usual—but, fine. it’s somewhere around the third or fourth day of your absence that he finds himself crying, unintentionally. he feels the tears on his lips before he realizes they’re falling from his eyes, and there’s a moment of confusion and then a soft laughter of disbelief before he lets the rest of them fall. he doesn’t really know why he’s crying even while he’s crying. he doesn’t sob or make noise or smush his head into a pillow, but when he gets up to wipe his face, he’s confronted with his reflection in the mirror and that’s when it hits him: he’s sad. if you’d asked toji, he’d say he hasn’t experienced true sadness before that moment. despite all the shitty things in his life, he held a sort of neutral, it is what is attitude about it all—but that’s not the case with you. toji’s sad because he misses you and it’s probably the first time in his life he cries because he can Feel something is missing inside of him

[feline-evil]

Never gonna be over how unutterably pathetic and in dire need of ANY kind of companionship or friendship that doesn't revolve around their band the entirety of dethklok are. I love these horrible idiots who are so devoid of any real connections outside of themselves that they will latch onto anyone unfortunate enough to get too close to any one of them! And GOD help anyone they latch onto!!

[littleplantfreak]

good morning i wanna team up with chika to make ume worse again today

[dhmis-autism]

Coming out as a duck disliker 🫣 I’m sorry he’s mean

and you're allowed to feel that way dude :] u are not any less welcome to look at my 20 duck playlists or my art or animations muwah