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prettyoddfever · 1 year ago

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the sun/moon theory doesn’t actually make sense

The pictures above are from 9/23/06, which was the only time that Ryan wore blue makeup at the same time that Brendon wore yellow makeup. The guys weren’t the ones who came up with their look, either. That makeup came from Pieter M van Hattem’s heavily styled photoshoot earlier that day and then the band wore the leftover makeup to the Boost Mobile RockCorps performance.

Now fast forward almost a year to when they were working on Pretty. Odd. songs...

The Pretty. Odd. lyrics had a lot of weather references because the band wrote most of the album while sitting in Ryan’s backyard on drugs and looking at clouds or whatever you see at night in the desert. Brendon told the Boston Globe that “I’m sure if the weather was really horrible, [the new album] might’ve sounded different. It definitely needed to be what it was for us to write those songs.” Brendon also said:

“We spent a lot of time outside when we were writing the record. We wrote it in the hottest month of the year in Las Vegas. We had a weird sleeping schedule, too. We pretty much stayed up all night and slept during the day just because it is so hot there. So we spent a lot of time looking at the stars and enjoying and experiencing the weather so I think that had a very direct influence on us.”

Then weather and clouds and nature became part of the Pretty. Odd. era’s early theme that the band talked about (also look at the custom car they designed, or the set design for the Honda Civic Tour where Ryan said they wanted to make it feel like the show was happening outdoors). Flowers, weather, the sun & moon, and nature in general were part of that era because that’s what influenced the band while they were writing the songs (and also Jon Walker exists lol. he had a major influence on that album). A big theme with their songwriting in summer 2007 was to keep things simple & lighthearted.

WTDMTN was one of the early songs that they wrote that summer (the band played it for the first time on August 5th). Their interviews made it sound like the guys just watched night meet day a lot that summer, took some drugs, and wrote a cute story. Jon seemed so happy with that song’s fairy tale quality too! He said “We had this idea that the day and the night met each other… it’s basically a fairytale story about two times a day falling in love with each other and the world being day & night at the same time consecutively somehow.” Ryan said this song was like a kid’s story. He had also spent over half a year working on the cabin album’s fairytale-esque storyline (with Spencer’s help) and it had become so elaborate that he was considering writing an accompanying book. Just because they scrapped the cabin album and majorly switched directions for their second album doesn’t mean they lost all of their previous interests... it made sense that they might still gravitate towards a fairy-tale quality a bit.

I think the idea that anything on Pretty. Odd. could actually have some Ryden subtext comes from people who weren’t closely observing the season when the band wrote those lyrics. Brendon & Ryan were not that close in the last half of 2007. Ryan was way better friends with Jon by that summer... they talked about living together, watching movies or writing songs together in the middle of the night, going bowling or to see movies, etc. They were definitely close. There were pictures of them hanging out offstage. Ryan hung out with a lot of other Vegas friends throughout 2007 too. Meanwhile, Brendon talked about hanging out with Spencer and Shane that fall. Brendon & Ryan were together when they had to do band-related events (but even a few of those moments showed a shifting dynamic between the two guys). The guys were definitely still friends! But it’s a stretch when you try to paint a picture where they were in love & obsessed with each other this season to the point of writing lyrics about each other.

The only part of all the sun/moon conspiracy stuff that even slightly works is the idea that Jon Walker might have used the reference as a code in his post-split lyrics to get his own point across (ex: then his lyrics would imply that he doesn’t need Ryan & Brendon to tell him what to do). That doesn’t mean anything beyond the fact that Jon had always been super aware of what the fandom was saying and knew how to communicate on our level. Seriously, he followed the talk online in 2006-2007 SO closely and would even leave subtle references in his journal entries to things the fandom was talking about. Sometimes he was just messing with us (example at the bottom of this post). Some fans had actual “hi Jon” icons on lj towards the end of the Fever era because most people knew he was watching. In October 2006 the PATD livejournal got set to private for a short time and Jon posted on the band’s website “whats with the live journal being down, someone fix it :(” because now he couldn’t properly creep on that particular fan community while the band was on tour lol.

He shared SO much of his photography with fans (including in the band’s album and his picturesatthedisco photobucket) and was just way more involved with us than the other 3 guys. So any sun/moon reference that Jon might have made in his own lyrics later on doesn’t exactly prove anything about the whole Ryden sun/moon conspiracy. It only proves that Jon was still in touch with his fanbase and could use their references.

#ryden

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mikecardensolofolkalbum · 1 month ago

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Interview with Mike Carden for Bullz-Eye.com with Mike Farley May 11, 2007

The Academy Is are currently the textbook definition of a “buzz band.” Rolling Stone named them one of their top 10 artists to watch, Blender listed their new album, Santi, as one of their top 25 reasons to love 2007, and on top of it all, they're one of the bands participating in the Honda Civic Tour that's been headlined by Fall Out Boy. As such, Bullz-Eye was pretty psyched to get a chance to talk with the band's guitarist, Mike Carden, for a few minutes. We had the opportunity to quiz him about working with producer Butch Walker on the new album, the accuracy of his Wikipedia entry, the departure of Tom Conrad from the group's ranks, whether he ever had a “rumble” with bandmate William Beckett in their younger days and if their fans can spell.

Mike Carden: Hello, hello!

Bullz-Eye: Hey, how's it going?

MC: Good, good, good.

BE: So given how quickly Christina (the label rep) got you on the phone, I take it you're actually in Atlantic Records' New York offices right now.

MC: I am, I am. You know, I guess it's Hub Central. Where it all happens, I guess.

BE: Is it buzzing with excitement?

MC: Everything. Everything's exciting. I'm learning more and more about how this business is changing, which I'm clearly aware of, but…

BE: You're learning it first hand.

MC: Of course, of course.

BE: You guys just did Jimmy Kimmel's show a couple of days ago, right?

MC: Yes. Absolutely. (hesitates) I think last week. (hesitates again) A week exactly, I think.

BE: (laughs) It's all kind of a blur?

MC: Yeah. No, it's good, it's good.

BE: How was it? Are you actually on the talk-show circuit – as it were – right now?

MC: Yeah, we're doing a bit of it. I don't know if you're aware, but the Honda Civic Tour got moved back a few weeks, so we're doing a little more press stuff, and flying around…which is all good, because I like coming to New York. Good friends, good people. You do a little stuff, and then you get to go out. So it's all good.

BE: There you go. So the new album premiered pretty well for you guys.

MC: Thank you, yeah, I agree. I was completely…it's very hard in this time right now, just because, y'know, record sales are just so different from where they've been, and they just keep changing, as far as the positioning of bands; it's hard with all the country and pop bands. A lot of that stuff, I don't really pay attention to that much. But everyone seemed really happy about it. I mean, for us, it was more from all the MySpace and emails about the record. That's really what did us over. But the number on the charts was great, too.

BE: And it was produced by Butch Walker …

MC: Uh-huh.

BE: …who clearly has the magic touch as far as producing hook-filled pop/rock.

MC: Yeah, yeah, absolutely, I would think so.

BE: Now, were you guys fans of his work already?

MC: Yeah, I mean, I grew up listening to Marvelous 3.

BE: OK, yeah, I love that band!

MC: Yeah, exactly. So I love Marvelous 3, and I liked the solo records, but I always felt like…well, Butch Walker was doing the skinny tie and the tight jeans thing when rap-rock was going on, so it was weird. He was just way before his time in the sense that his songs… you're either, “Who?” Or you're, like, “Yeah, yeah, that dude's fucking great!” Y'know what I mean? So the fact that we got to work with him was great. And he's made an amazing career for himself; he's been very smart about playing a certain game, and I respect him for that, but also I think that his latest album, with the Let's-Go-Out-Tonites, was a great record. I loved the songs on it, and everything else. So when I heard that…wow. And we just get along. I mean, everyone says this, but he's our bro. Like, for real. He's our friend. We get along very well.

BE: What was he like in the studio?

MC: Fast, man! He works like a…well, he's a nasty man! He just works very fast. We did the record in about 22 days. And he's done the whole shuffle of doing records long, and he's made a ton of his own records, and everything else, and I think, but…well, with Almost Here, we made the record just as fast, but it was more because of the budget. But with Butch, he was, like, “Well, listen, I like Almost Here, I like what you do live, so let's talk about the demos, and then let's just start recording.” And I think that, for a lot of it, he was right. He didn't want to change the band too much. With Almost Here, we had the success that, really, no one expected. I mean, we were barely signed to a label when we made that record, we had no management. It was basically just me and William, and the next thing you know (pauses). We did that whole thing for, like, 12 grand or something, and I bagged his guy James (Paul Wisner) to do the record, which he did, which is great. But now, here we are in the studio, we've got a great engineer, Butch Walker's sitting there, and I'm thinking, “Here we go, it's gonna take us four months to make this record,” or whatever. But, no, it was good. And I think that, as players, we kind of surprised ourselves, because we were a lot more prepared than we thought. It's one of those things where you don't know how tall you've grown if you see yourself in the mirror every day? And when you get in the studio, it's, like, “Wow, after two and a half years of touring non-stop, I'm much more comfortable as a guitar player!” And Butch would do really cool things where…well, I mean, a lot of producers have done this, but he'd say, “OK, well, we're just gonna run through it, so just stand up and play it like you'd play it onstage or in the rehearsal room. I just wanna see some sounds.” And we'd run the song, and a lot of times, he'd use that. We'd do a regular take of it, and he'd say, “Y'know, the first take was better.” I'm, like, “What do you mean?” And he'd say, “No, I was rolling on the practice take.” And that was cool, y'know what I mean? That not-overthinking-things really helped me out, because I'm much more methodical, and I'm at this age where I like to think about every decision we make, and I like to twist the arrangements of the songs and make sure, but I think Butch has been to the movies so many times that he helped me a lot. It was a good blend of just trusting your instincts.

BE: Now, were there any songs with arrangements that did end up getting switched up in the studio?

MC: Yeah, well, not so much with lyrics, but with some of the phrasing and stuff like that, because William has such respect for Butch, and Butch has the same for William. I think they worked really well together. Butch is not just a great vocalist, but he's got a knack for interesting melodies and also just good pop hooks. And for William, I think it was important to keep that blend. So I definitely think he was instrumental for William. Singing in the studio is a weird kind of thing, because it's not a very natural thing, compared to being on the stage in front of a crowd. We'd just gotten so used to that. There needs to be a vibe in the room. And that's what Butch… (pauses) I'm not sure if you've ever met Butch.

BE: I've talked to him, but I've never met him.

MC: OK, well, you know how there are some dudes who, when they walk into a room, they've just got a good vibe? Where you're, like, “This guy's cool. For some reason, I trust this dude with a lot.” And he's got that thing. And in the sense of the pop world where he does his thing, once I really started working with him, I could see why certain people would want to keep working with this guy. In music, a lot of times, it's the relationships that you have with each other. Like, myself and William, we trust each other so much. I trust his judgment, he trusts my judgment, and that's why we write so well together. And it's the same with Butch. But, I mean, it's the same with any partnership, really, be it business or art or whatever.

BE: The one time I talked to Butch was when “Freak of the Week” was just getting big for the Marvelous 3, and he just struck me as the kind of guy who, if you met him, he'd immediately have his hand outstretched and be saying, “How ya doin'?”

MC: Yeah, exactly! No, he is, he absolutely is. And he still goes out on the road, he still puts on a hell of a show. He's a hell of a guitar player, too. Nasty.

BE: You guys just released “We've Got A Big Mess On Our Hands” as a single…

MC: Yes.

BE: …but as a 7-inch single!

MC: Yes!

BE: You do realize that you're a member of the generation that's supposed to ask, “What's vinyl?”

MC: I know, I know. But, you know, it's a piece. I agree with you, and, trust me, we're playing both fronts, but I think it's more for people who want to collect things. I mean, it's weird, and I go back and forth on it, because you're absolutely right. On one hand, we're growing into this minimalistic society where kids just want an iPod, they want their songs, and they don't even want the artwork. Or if they do, they'll just download it off of iTunes. But, then, there's a piece of you…I mean, for me, the Smashing Pumpkins were the band for me where, even now, if I go into a record store and I find some weird single – like, we were in Germany and I found something or other – and I'll just get it. You know what I mean? I'm not like that with everyone, but there's that one particular band. And I'm not trying to put us on that level at all, but I would figure that if someone wanted to purchase something like that of ours, it's always good to have.

BE: I actually got to talk to Gabe, Ryland, and Alex from Cobra Starship several weeks back…

MC: Yes!

BE: …and they were very psyched to hear Santi at that time, but they hadn't heard it yet. Have you heard from them about it since then?

MC: Yeah, absolutely! I saw them just on Tuesday. We had a good time; we went out. With Gabe, we toured with (his former band) Midtown quite a bit, so I know Gabe, and I was also a fan of Midtown for awhile. Also, Butch Walker worked on their record! It's all twisted and very much incestual. But, yeah, Alex and Ryland are also great dudes, and they have heard it. I've always gotten along with all those guys…and we're gonna spend eight weeks together soon, so everyone's really excited. And Gabe…I don't know how your vibe was with him, but he's always just a riot, so I always have a good time with him.

BE: Oh, yeah. And Ryland just couldn't believe that I wrote for Bullz-Eye.com. It's apparently been one of his favorite sites for awhile.

MC: Oh, that's great, that's great! And we're all about it as well! Those dudes…I'm actually going to try and see them, but we've got to catch a flight at 8, so I don't know. It's funny: those dudes – Gabe, Ryland and Alex – they're the sweetest dudes, and we get along with them so well. We don't see each other too often, but when we do, it just snaps on. They're good dudes.

BE: Like you said, the Honda Civic tour got pushed back a few weeks, but the new date is now good to go?

MC: Yeah! Yeah, yeah, yeah, yeah, yeah. Which is good, in a sense, with the weather being what it is. Where are you?

BE: Norfolk, Virginia. You'll be here in, like, late May.

MC: I hear you, man, I hear you. But a lot of the dates are in outside venues, and it's just been so cold everywhere. Well, at least, here in New York, anyway.

BE: Hey, it's in the 40s here in Norfolk today.

MC: Dude, it's so bad, my friend. I don't even know. So I'm glad it got pushed back, in a sense, because a lot of the pavilions are outdoors. And for the kids, I think it's great. It's kind of an after-school thing now. I think a lot of graduations for colleges are in the first week of May. But, y'know, to be honest with you, I've always said that the tour should be moved back, and that April was a weird month to be starting a summer tour. You know what I mean? It's that month where you're, like, what is this? What's April? You can't really do stuff outdoors.

BE: It's too unpredictable.

MC: Exactly.

BE: So I went and checked out your Wikipedia entry, and it says that you once turned down an offer to join Fall Out Boy. True?

MC: Well, I mean, “turned down”? (scoffs) I grew up with those dudes! I had another year of high school left, and they were talking about it, and Patrick used to just sing, and I knew Joe and Pete, and we joked about it, but I don't know that I really “turned it down.” I guess the cards just didn't fall in the right place at the time. Which is totally cool. (laughs)

BE: By the way, your entry also says that you smoke Marlboros, like sushi, are fond of water slides, and that you used to be a lifeguard. (laughs)

MC: (Seemingly not as amused.) Well, I mean, that's all correct.

BE: Any other former jobs in the closet that you want to come clean about?

MC: Uh, you know, I lifeguarded, like, every summer. I swam in high school, so that was kind of my jam; I could swim, and I had no problem being by water. I mean, I still don't, but these days, I don't so much have the time anymore. But, yeah, that's basically what I did. You know, I worked at The Gap for a quick second, but that didn't last too long.

BE: In the pre-Academy days, most articles tend to describe you and William as being “musical rivals.”

MC: Uh-huh.

BE: Did you ever come close to a rumble?

MC: Day to day, my friend. (laughs) No, when we were younger, we played shows…VFW shows, church basements. When we were growing up, Limp Bizkit was big, and all this other rap-rock kind of stuff, so we went down and saw all these punk rock bands. I don't know how punk rock they really were, but they were punk rock in the sense that they weren't on the radio with everything else. So we had our own little clique, which I guess has bubbled up to be emo now. This little scene that had been around in some form or other, now, you walk into a mall and the fashion has completely taken it over…which is as it should be. That's how trends bubble up and whatnot. But, yeah, I knew him from there, so we'd just go to shows together, and we were little salty kids that wanted to have bands. And, finally, I was just, like, “Hey, William, you wanna start a band with me?” And we did. And so far, so good.

BE: I know it hasn't really been that long ago, but when you look back at your earliest recordings and compare them to what you've just done, how much growth do you see?

MC: Oh, tons! Tons! I mean, some of the bands I was listening to then. The Pumpkins were always important to me, Weezer's Pinkerton was a big record for me and still is, and Clarity, by Jimmy Eat World. But the thing is, on this record, it was the Replacements and the Clash. It's weird, because I grew up in the '90s, so, obviously, a lot of grunge bands like STP, Pearl Jam, and obviously Nirvana, those were my jams, so in a weird way, I kind of miss the '80s. They were just too close. It's like kids today are, like, “The Smashing who?” You know what I mean? They're just not classic yet. It takes a second to get to a place where you'll say, “OK, you should definitely listen to this.” So I think now, with the Replacements and the Clash and the Jam, even early U2 stuff, I think that influenced my playing on Santi. Just the attitude, and, well, I was really getting behind it, for some reason. When I was a kid, I saw the Get-Up Kids and the Promise Ring and Alkaline Trio and Cursive or whatever, it was the same vein when I started latching onto these punk bands from the late '70s and early '80s. And that changed my tastes. That's growth, I guess. And as a songwriter, I listen to more and more music now; with the iPod, everybody's got a soundtrack to their life, so when we're on the bus, I listen to a lot of music.

BE: Talking about bands who've influenced you, do you have a favorite obscure band that you like to champion?

MC: Obscure band…you know, I like this band called…I don't know how obscure they are now, but they're called Mew?

BE: Yeah!

MC: Yeah, I like them a lot…but I don't know how obscure they are. I mean, I'm in New York, so there's gotta be something way fucking cooler than that that I don't know about yet. But, yeah, I like them. And I'm trying to think: what else have I been listening to? Again, I don't know how big they are here now, but I like Phoenix. I like Phoenix a lot. I think a lot more people should listen to them. They're good. I also like a lot of the British stuff now. Like, I like the new Bloc Party record. It reminded me of (Jimmy Eat World's) Clarity a lot. If I was 15 or 16, this would be my jam. I would be listening to this all the time…which I am, anyway.

BE: So, um, are you talking about Tom Conrad's departure at all yet?

MC: Oh, sure, yeah.

BE: What was the story with that?

MC: Well, I mean, we went through a bit of a…it's funny, it's a bit of a cliché, but we went through a bit of a dark place for the band for a quick second. Now, it sounds so trivial, but at the time, we weren't getting along too well. The Warped Tour was a hard tour, kind of a messed up tour. You basically play for half an hour, you don't know when you're going to play, and we were kind of a band who was on the fence on that tour, in the sense of what we do. Which is fine, because the Warped Tour has changed over the years. We did the tour, and it's a great vehicle, but The Academy Is… isn't exactly…we aren't exactly a Warped Tour kind of band. So that was a little part of it. We were ready to make another record, though. Obviously, we signed onto the tour, and everyone's going, “This is a great opportunity,” but we're out there and everyone's going, “We really should just go make another record.” But you're signed up, and you get into that mode of touring, and I think William went down a little bit. It was just too much. And I think Tom…well, see, Tom never recorded anything with us. He joined the band after Almost Here was done, so he was always sort of a touring guy in the sense of my relationship with him. And, then, afterwards, we got off that tour and there were some problems, the vibes weren't right, we had a talk, and he left. And, y'know, I don't know what kind of terms it's on. I think he's salty. I mean, I'm not really sure what's the deal. But, see, I knew Michael (Guy Chislett, Conrad's replacement), and Michael played with Butch, and I met Michael at the “Slow Down” video that we did for Almost Here. I sat down with the dude, we just talked about music, we played guitar. It's funny. I was with a friend that night, and I go back, we're shooting this video, and I go, “Dude, that dude Michael is awesome. I know I'm gonna play guitar with him someday. I just don't know when it's going to be.” And I've just kept in touch with him about records, so when Butch was kind of slowing down with his thing…see, Michael's not just a good guitar player, but he's also got good taste, good intuitions, everything else. And when we started to make Santi, I called him and I was, like, “You should come out to Chicago, because I want you to hear this stuff that William and I are writing.” And he liked the band – he was a fan of Almost Here, I sent him a few demos – and he said, “Yeah, yeah, yeah!” And, then, it was about 10 days, and he came out here, and we just kinda started playing and stuff, and he said, “I really like this!” And it was weird, because it was like he was the guitar player I never got to play with, but, now, finally he's here! It was so cool. And we had that whole honeymoon period, where you play with someone and the chemistry's in the room, with no heavy bullshit stuff going on, and it's, like, “Man, this is so great! These songs are coming out so easy!” And, then, finally, he was, like, “Dude, let's just do this! I want to go on tour, and I want to do this!” So I said, “Great!” So that's kind of that.

BE: And my last question.

MC: Go ahead.

BE: Based on the comments left on your MySpace page, I have some real concerns about the spelling abilities of some of your fans.

MC: (laughs)

BE: Do you ever see some of those and just go, “Can I buy you a copy of SpellCheck?”

MC: Absolutely. Without a doubt. It's funny, but with this texting generation, and these slangs, and these shortcuts, and everything else. Well, because I'm not exactly on IM, like, ever, some of the abbreviations and crazy stuff, I'm, like, “I don't know what that means! What does that stand for?” But I think you're right. I think you're absolutely right.

BE: OK, well, it's been a pleasure talking to you.

MC: Cool! You, too, man!

BE: Hopefully, I'll be able to meet up with Cobra Starship again when this tour comes through Virginia Beach, so maybe I can meet up with ya'll, too.

MC: Absolutely! Please stop by, say “hello,” and whatever. I'm sure we'll be up to no good with the Cobra guys. Take it easy!

#goin thru my files and found this #i think i found this with wayback machine bc its not on bullz-eye's site anymore #hes a certified yapper

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paulmccartneyismywife · 8 months ago

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So I maintain that Mark Hoppus and Pete Wentz were an item during the Honda Civic Tour in 2007

#mark hoppus #blink 182 #tomark #pete wentz #fall out boy

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dykehayleywilliams · 2 years ago

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now presenting.... a showdown for the most iconic hayley williams outfit of all time!

Currently in round 2!

Active Polls: Hangout Music Fest 2015 v. SXSW 2013 | House of Blues 2009 v. Paraween 2022

#now presenting my latest insomnia fueled project democracy edition!#i love how you can tell when i'm experiencing some kind of career crisis because i do shit like this anyways slay!#y'all better participate or i will rig this whole thing for my picks to win #hayley williams #most iconic outfit of all time #<- i suck at organized tagging but i figure i should use a dedicated tag for this lol

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zuzsenpai · 2 months ago

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Infinity on High

Has it... really been 18 years since I was 18 years old? I'm only now realizing this on the 18th birthday of Infinity on High??? I posted about this in some tags earlier today but I feel like I should expand upon just how important that album was for me.

My uncle/godfather died suddenly around my 18th birthday, and I inherited his car (affectionately named Edgeworth for any IRL friends who remember that car). My uncle loved both playing and listening to music, so the car had a 6-disc CD changer as well as extra speakers installed. The sound in that car was incredible to say the least, especially for someone like me, who had only listened to music on shitty early 2000s computer speakers and even shittier iPod headphones.

I had been introduced to FUTCT and Fall Out Boy in general a year or so earlier when my friends started getting into pop punk. But when Infinity on High came out, that was MY album. The first album from ANY band/musician that I was there for from the moment it released. I heard "Thriller" for the first time at the same time as everyone else and when I say the music on that album rocked my world at 18, I'm not just saying that for dramatic effect. That album solidified FOB as my favorite band for the rest of my life.

The first time I heard Infinity on High, I decided that instead of listening on my computer or iPod, I would use the CD to its full potential and uhhh actually use the CD. I inserted it into tray 3 of the CD changer in my car and just fucking sat there in the driveway listening to at least half the album. I wanna say I stopped after "Thnks fr th Mmrs" because my brain couldn't comprehend how bisexual that song was. I had crushes on girls for the first time that year (and also I was/am a fucking fujoshi), so you can imagine how wild that song was for me.

"Fame<Infamy" is by far my favorite song on that album (fucking.... minute 2:30...). By December of 2007 when I had seen Death Note for the first time, I remember wondering just how insanely well that song fit as a Light Yagami anthem. But anyway, rewinding back to February... I remember it took me exactly three Infinity on High songs to drive to school (and I think four or five to get back home, because of traffic or whatever). But I had the album on repeat for MONTHS. I'm sure you can guess which CDs were in trays 1 and 2, but I barely touched them again until at least the summer of that year.

That summer my friends and I drove out to New Jersey for the Honda Civic Tour. I was the driver, and I remember my friend getting mega pissed that I didn't have a cassette player in my car so she couldn't use the adapter and play music from her iPod. I was like girl, nope. We're playing Infinity on High for the lead up to a concert promoting Infinity on High. In hindsight it's odd that my uncle didn't install a cassette player into that car, but I like to think he was just forward thinking enough to buy all his old faves on CD.

For the rest of that car's lifespan (R.I.P. Edgeworth, 2005-2018), the other 5 CD trays in that changer shuffled between FOB albums and convention road trip mix CDs. But Infinity on High only left tray 3 when I finally had to give up the car.

#fall out boy #infinity on high #fob #fob posting #zuzu needs to shut up about music review youtube;#that's my general music tag and I refuse to change it #memories;

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clubnate · 2 years ago

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I am not the anon who followed for cobra and now will accept my fate as a tai fan, but please, please, please explain the connection between The Academy Is and Cobra Starship.

Unabridged is preferred tbh.

i got 2 anons about this and this is literally the thing i'm the most insane about omg ok warning this is gonna be long cause i'm just gonna include everything ive got on my google doc about this

TLDR; same record labels, snakes on a plane, lots of tours together, music videos, webshows and general friendship is the conncection

It starts pre-cobra with midtown. iirc, tai were just fans of midtown pre-tai and in the early days, they're from chicago and came up in the same scene as fob, mike carden (tais guitarists) old band had fob open for them and he was even asked to join fob in an early version of it, so fob, tai and midtown all eventually become friends which is when they met gabe and eventually they toured with midtown twice in 04-05.

2006- midtown dies in 05 and from the ashes rises COBRA STARSHIP. Cobras gets signed to fueled by ramen and decaydance records, which is the same 2 labels as TAI. while gabe's working on the music, tai's bassist, sisky finds out about snakes on a plane and suggested submitting their song to be on the soundtrack. Then william beckett the singer of TAI suggested to gabe that this would be perfect for cobras and he should put a song forward, which he does. Gabe makes some changes to the lyrics, adds william, travie and maja and Bring it (snakes on a plane) was born. (source) Sometime around 2006-2005 gabe briefly featured in the music video for 'the phrase that pays'

2007- things ramp up and they start touring together. Both bands are supporting acts on the honda civic 2007 tour and are featured at 3 separate Decaydance fest shows in Paris, Kohn and London. They also do a series of international festivals together like reading and leeds, pukkelpop, summer sonic, ect AND they do an australia tour just the 2 of them, this was all through summer. At the end of the year cobras jump on TAI's headliner tour, they weren't supposed to butviva la cobra came out earlier than planned so they had no tour to promote it so tai let them open for the last month or so. Both were also apart of the MTVu campus takeover this year. TAI had a webshow and cobra are featured multiple times from 2007-2008, this is actually where they got the idea for cobra cam and even stole TAI's camera man to film it. also somewhere someone released official merch that included cobra, TAI and fob that said 'gabe is not a ynonym for sisky' and they promoted it together.

2008- Both bands are part of the lineup for warped tour this year, snakes was played a lot and when suarez had to leave the tour for a couple days, sisky and the butcher (TAI's drummer) covered for him. TAI's album was released in august and featured backing vocals from Ryland, Alex and Gabe, and every member of cobra is mentioned in the thank yous. Right after warped both bands go to australia and opened for panic at the disco (bonus info: victoria, sisky and ryan went bar hopping for ryans 22nd), then right after they go and do a japan tour with the hush sound and the cab. For welcome to the new administration, suarez remixed TAI's song 'automatic eyes'

2009 onwards- Things slowed down after this. The butcher is briefly featured in the good girls go bad music video. in 2011 both band play at the 15th anniversary of fueled by ramen, this ended up being TAI's last show before they split. After they split, butcher was the drum tech for cobra from 2011-2012. When TAI had a reunion in 2015, suarez played bass for sisky with carly rae jepsen so he could play on their reunion tour. Also around 2015 Gabe and Mike started TAG music together, i think mike has left since then though.

Extras: at every TAI show since their 2022 reunion they have played snakes on a plane, with gabe or without. Gabe also always does backing vocals for the song 'classifieds' if he's there. Sisky used to do travies rap during snakes if he wasn't there, he did it a bunch on warped 2008.

Sisky commented this during cobrakkah in 2021 and i think about it a lot tbh. I think they were just best friends who got to tour the world together in their youth and are still friends and still hold a lot of love for eachother :,)

hope that wasn't too much, i'm pretty sure i covered everything that i know about. Decaydance is my favourite thing so i have a google doc of all their connections so i remember them all :D

something to add would be that TAI are opening for fob on the 3rd in LA and a few cobras live there, so i wouldn't be suprised if they show up for snakes on a plane!

EDIT: if you want photos of any of these things I mentioned I probably have some so please ask! and if you don't want to, search my tag #thepolycule and there's a bunch of photos of decaydance bands hanging out together, including TAI and cobra

#i like to think of it as if 2 bands could date tai and cobra wouldve been married by now #ask #anon #cobra starship #the academy is #the academy is...#the polycule #decaydance records

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