#i love this song a whole lot and it's really hard to track down

[joanofarc]

the thought, dear nora (2002).

oh, the thought is so what i can hardly get around it

[disciplined-cornfed]

Rome wasn't built in a day

Alex had never expected his college life to take this kind of turn. He’d moved to New York for school, planning to live on campus like most students, but when he found a better deal on an off-campus apartment that financial aid would cover, he jumped on it. The apartment was in a decent neighborhood, close to the subway, and the landlord didn’t ask too many questions. Seemed like a win.

What he hadn’t planned on, though, was Frank—his new roommate.

Frank was… something else. The guy was like a time capsule from a decade ago, straight out of Jersey Shore. From the gelled-back hair, the deep tan, ridiculous yelling at football and ufc matches every weekend, the flashy chains, to the relentless love of tank tops and gold watches. Alex wasn’t sure if Frank was for real or if this was just an elaborate, extended joke.

But here’s the thing: despite his douchey exterior, Frank was actually a pretty nice guy. Sure, he blasted club music at ungodly hours and flexed in the mirror every time he passed it, but Frank was always chill. He’d offer Alex food whenever he cooked, made sure the apartment was clean, and always gave him a heads-up when he had people over. Plus, Frank clearly knew what he was doing in the gym. The guy was shredded, and Alex had to admit, Frank’s discipline when it came to his diet and workout routine was impressive.

It didn’t take long before Alex’s curiosity got the best of him.

One day, after weeks of seeing Frank pound protein shakes and head to the gym religiously, Alex asked him for some advice. He had always been a casual gym-goer, but seeing Frank’s dedication made him wonder if he could up his own game.

“Yo, Frank,” Alex said one afternoon as they sat in the living room. “What do you usually eat for those gains, man? And how do you stay so consistent?”

Frank grinned, pausing the DJ Pauly D remix playing on his speakers. “Bro, it’s all about focus foods and the right lifts. Stick to lean meats, eggs, beans, lots of veggies. And you gotta hit the weights hard. No shortcuts.”

Alex nodded, scribbling down some notes on his phone. “Got any recommendations? Like content or something I can watch?”

Frank’s grin grew wider. “Oh, for sure. I’ll send you some stuff. There’s Dom Mazzetti, Vinny Guadagnino—some good shit, bro. But hey, I’ll send you my playlist too. Got a WAV file I use at the gym that keeps me hyped.”

Alex raised an eyebrow. “A playlist?”

“Yeah, yeah,” Frank said, waving his hand dismissively. “It’s got some fire tracks. Also, I threw in some personal affirmations underneath it, helps me stay focused during my lifts. You probably won’t even notice them, but they help, bro. Trust me.”

Alex wasn’t really buying into the whole “subliminal affirmation” thing. It sounded like some weird self-help nonsense. But Frank was shredded, and if these little tricks worked for him, maybe they were worth a shot.

Later that evening, Alex plugged in his headphones and hit play on Frank’s WAV file. It started with “Lucky, Lucky, Lucky Me”—a male cover that felt oddly calming. The song transitioned into upbeat remixes like “Fireball” and other club tracks that seemed to pump adrenaline into his veins. Somewhere in between, Sinatra’s smooth voice made an appearance, bringing a strange, nostalgic energy to the mix.

As the playlist played, Alex caught faint whispers beneath the music—barely noticeable. “You love the gym. You crave the weights. Tanning makes you feel amazing. You rep the Italian pride with every lift.”

He chuckled to himself. This subliminal shit can’t be real, he thought. But, whatever—Frank swears by it.

The playlist ended with “Lucky, Lucky Me” again, and as Alex dozed off that night, the tune echoed faintly in his head.

The changes didn’t happen overnight, but as the days went by, Alex began to notice subtle differences. It started with his workouts. He’d always been someone who worked out occasionally, but now there was something different. One morning, as he walked past the gym on his way to class, he felt an urge—a need to lift. It wasn’t just about getting in shape anymore. Something about the weights called to him, pulling him in.

He ended up inside, grabbing a set of dumbbells and diving into a full workout. By the time he finished, he was drenched in sweat, but instead of feeling exhausted, he felt exhilarated. There was a rush—an energy that coursed through him, leaving him wanting more.

From that point on, the gym became part of his daily routine. At first, he didn’t even realize it was happening. He started following Frank’s tips—lifting heavier, focusing on compound movements, and pushing himself harder with each session. His muscles responded quickly, growing faster than they ever had before. His shirts started to fit tighter, hugging his chest and arms in ways they never had before. Every time he looked in the mirror, he couldn’t help but flex, admiring his progress.

It wasn’t just the gym either. One afternoon, Alex caught himself in front of the bathroom mirror, noticing how pale his skin looked under the fluorescent lights. Without thinking much of it, he booked an appointment at the tanning salon down the street. After his first session, he looked at himself in the mirror, marveling at the golden glow on his skin. It made him feel good, confident—like he was stepping into a new version of himself.

Tanning became part of his routine, just like the gym. He started looking forward to that golden glow, the way it made his muscles stand out more, and how it just felt right.

One weekend, Alex found himself wandering into a clothing store, drawn to a section of tank tops with bold prints—Italian flags, American flags, vibrant colors that screamed confidence. He picked up a few without thinking twice, the fabric feeling perfect against his newly defined arms. When he got home and slipped into one of the tanks, he stood in front of the mirror, flexing his biceps. The tank hugged his body in all the right places, and as he admired his reflection, a grin spread across his face.

Damn, I look good.

It wasn’t just the clothes that made him feel this way—it was the pride, the feeling of representing his heritage with every lift, every flex. It felt right.

The most surprising change came with his voice. At first, it was barely noticeable—a slight shift in his accent, a few new words slipping into his vocabulary. But as the weeks went on, the transformation in his speech became undeniable. His voice took on a thicker Jersey inflection, and words like “bro” and “yo” started slipping out naturally, almost without him realizing it. He spoke with more confidence, more swagger, his words carrying a weight that hadn’t been there before.

He even noticed how loud he’d become, but it wasn’t obnoxious—it felt like he was owning the room. His friends started to comment on it, but Alex didn’t mind. It felt like the way he was supposed to talk, like his voice was finally matching the rest of his transformation.

One night, Alex found himself scrolling through YouTube, where he came across a Dom Mazzetti video. He clicked on it, expecting to laugh at the over-the-top persona, but something else happened. As Dom joked about gym culture, diet, and lifting, Alex found himself nodding along, relating to the lifestyle. The gym wasn’t just a place to work out anymore—it was part of who he was becoming.

The next few weeks passed in a blur. Alex’s days revolved around the gym, tanning, and repping his heritage with pride. He found himself following more content creators who embodied the same mindset—guys who lived for the grind, the lifts, and the pride in who they were.

His roommate Frank noticed the changes, too. “Bro, you’re looking jacked,” Frank said one afternoon as Alex flexed in the mirror before heading out to the gym. “You flexing the gains hard now.”

Alex grinned, running a hand through his hair, which he’d started gelling back every morning. “Yeah, man. It just feels right, you know?”

Frank clapped him on the shoulder, a proud smirk on his face. “Told ya. Once you get in the groove, there’s no going back. You’re one of us now, bro. Tanning, lifting, and heritage. Welcome to the crew.”

Alex chuckled, feeling Frank’s words sink in. Wasn’t just about the workouts or the diet no more. It was the whole package—the attitude, the pride, the way he carried himself. He’d become confident, bold, and unapologetic. The gym had become his temple, and every flex in the mirror, every perfectly tanned muscle, reminded him of how far he’d come.

He spoke with more confidence now, his voice carrying a thick Jersey accent that seemed to come naturally. Words like “bro” and “yo” slipped out effortlessly, and he found himself embracing the louder, more assertive side of himself. Even his walk had changed—there was more swagger, more presence.

----------------------------------------------------------------------

A few weeks later, Alex and Frank were sitting in the living room, scrolling through profiles of potential new roommates. Their lease was ending soon, and they needed to find someone to fill the third room. Frank leaned back in his chair, sipping a protein shake as he swiped through a list of candidates.

“Yo, check this one out,” Alex said, pausing on a profile. “Marco Ricci. Italian last name.”

Frank raised an eyebrow and leaned in, studying the screen. “Oh shit, an Italian? That’s promising.”

They opened Marco’s profile, but instead of seeing someone flexing or rocking a tan, Marco looked... pretty regular. He wasn’t out of shape, but he wasn’t exactly lifting heavy either. Pale, with a pretty average physique, he was the kind of guy who didn’t seem to spend much time at the gym. His shirt was plain, and his expression, while friendly, was far from the confident swagger Alex and Frank had come to expect in their circle.

Alex chuckled, nudging Frank. “Dude’s kinda pasty, huh?”

Frank smirked. “Yeah, bro. Definitely needs some work. But Rome wasn’t built in a day, you know? He’s got the Italian blood—that’s what counts. We can mold him.”

Alex nodded, his mind already racing. Marco might not be there yet, but with the right guidance, who knows? The guy had potential. He just needed some direction.

“Yeah,” Alex said, swiping right on Marco’s profile. “We’ll get him there. If he’s down to move in, I have the perfect playlist in mind."

Frank chuckled deeply, shaking his head. “Bro, he won’t know what hit him.”

Alex grinned, flexing in the mirror nearby. “Hey, Rome wasn’t built in a day, right?”

Frank laughed again, raising his protein shake in a mock toast. “Damn straight, bro."

WANNA BECOME A GUIDO FOR REAL? Try this subliminal:

Guido Subliminal (Accent, Mindset, Discipline, Extreme Confidence)

[urdreamgirls-dreamgirl]

i’m so in love that i might stop breathing.

i want to brainwash you into loving me forever, i want to transport you to somewhere the culture’s clever, confess my truth in swooping, sloping, cursive letters.

Eddie Munson is signed to a big-name label, one that monitors every move their artists make. The label practically runs half of LA, with so many artists under contract that Eddie’s not really sure how they can even keep track, let alone micro-manage every single one of them. But somehow they do it.

Eddie’s in the hard rock and metal division. Very rarely does he have to cross paths with artists outside of his genre. It’s not really an issue. It’s not like he’s going to collaborate with some bubblegum pink pop princess.

But then the label decides that they need to cross-market some of their artists. They’ve got lots of big names and Eddie’s on tour for his fourth studio album. He’s established, already done a world tour that was so successful the label had wanted to send him back out almost immediately, but he’d pushed back, asking for some time to write. So it’s been two years, but he’s written some of his best songs to date and the arenas are selling out.

Eddie’s so successful that the label decides that they’re going to pair him with some new up-and-coming singer-songwriter duo. The label wants at least one song, but hopes are high that Eddie will take them out as an opener for the last leg of the tour. Eddie’s given their EP a listen; he can’t really imagine that his demographic will ever overlap with theirs, but if this it what the label wants, then who is he to deny them?

It’s a sunny afternoon in LA when Eddie meets Steve Harrington and Robin Buckley at his favorite coffee shop downtown. It’s a safe place for celebrities, with a hidden back entrance and tinted windows, so he’s fairly certain they won’t be caught out together. Eddie’s ordered some lavender honey oat milk latte, something he would never admit to liking in a million years, but it tastes so good he makes the trip here at least three times a week. He’s sitting in a secluded corner, far enough from the windows that he won’t feel nervous, and he’s still got his sunglasses on, just in case.

He spots Robin and Steve almost immediately. They’re hard to miss, both beautiful and sun-kissed, smiling wide as they bicker before they both stop to look around the space.

“Hi!” Robin exclaims when she spots him, rushing over to his table. She grabs his hand between both of hers before he’s even had the chance to offer it to her and pumps it up and down a few times, like they’re shaking hands.

“Rob,” Steve mutters, placing a hand on her shoulder. Then, he turns his blinding smile on Eddie. Eddie had never believed in that whole ‘heart skipping a beat’ thing before but… he feels something happening in that region. “Sorry about her, she’s, like, a huge fan.” He offers his own hand to Eddie and they shake, the brush of skin on skin leaving Eddie just a little breathless, before Steve pulls out a chair and drops into it.

“Ugh, don’t make me sound like some creepy stalker, dingus.” Robin puts her hand on her hips. “What do you want?”

“Uh,” Steve squints at the menu before glancing down at the cup Eddie’s got between his hands. “What’d you get?” He directs the question at Eddie. Eddie tells him, only a little sheepish about it, and Steve smiles again. Eddie’s skin starts to feel itchy, too tight at his collarbones. “That sounds good. I’ll have that,” he tells Robin and she turns to head toward the counter, mumbling about having to order girly drinks.

Once they’re alone, Eddie slides his sunglasses off his face and up into his hair. He clears his throat before looking up into Steve’s face. Their eyes meet and something… happens. Something electric, something pulled taut between them. Eddie feels it and he’s pretty sure Steve does, too, judging by the way his lips part and his tongue darts out to wet them, quick and nervous. Eddie can’t stop staring. Neither can Steve.

Robin comes back with her hands full and glances between them. “Everything alright?” She asks slowly, cautiously, and their gazes finally snap away from each other, a blush rising in Steve’s cheeks.

Steve looks back into Eddie’s eyes like he just can’t help himself. Like he wouldn’t want to look anywhere else. “Yeah,” he says smiling. “Everything’s great.”

~*~

Eddie agrees to take them out on tour with him. The minute he saw Steve Harrington in the flesh, he knew he’d be taking them, but Robin turns out to be pretty cool too. He warns them that his fans can be pretty intense, that he can’t imagine they’ll be all that pleased with the kind of music the duo plays, but Robin and Steve assure him that they’re really just looking for some tour experience more than anything else. They’ll figure out the songwriting on the road, collaborate in a way that will bridge the gap between their style and Eddie’s.

When he gets home later that night, after a detour back to the label’s offices, Eddie can’t help but insta-stalk. He looks up Robin’s page first, upholding the pretense of ‘market research’ even in the privacy of his own mind. Most of her pictures include Steve and so it’s easy to be led away to Steve’s profile. It’s a natural progression. Totally normal.

Steve is… extremely cute. That’s usually not a word that Eddie would apply to someone he’s interested in—he tends to prefer the leather and chains variety much more than the sugary sweet type—but for some reason Eddie’s left breathless this time. He scrolls down Steve’s page, sees a picture of him with a herd of kids climbing on his back, another of him and Robin in matching sailor costumes. He hits the follow button without giving it too much thought and then slides back to his own page. Eddie is notoriously private, Instagram page consisting of only professional and promotional shots of him on tour with his band or in the studio recording. It’s not that Eddie is hiding anything, but he knows enough to know that the more you open up, the more that can be taken from you. He knows enough to know that the metal community can be somewhat closed-minded about some things, so he prefers to hide his personal life away, to keep some things precious and secret.

He wonders what Steve would think of his page, if he were to scroll through it. He wonders what it would be like to be open and honest about his personal life, about loving someone. What it would be like to not have to worry about losing fans, losing sales, losing bookings. To not worry about what the public would think of him.

He sighs and places his phone face down on his bedside table before turning out the light and drifting off to sleep.

~*~

Steve and Robin have been on tour with Eddie for two months and Eddie is almost positive that he’s falling in love with Steve. It was one thing to listen to Steve sing on their EP. It’s something totally different to watch Steve perform, to see his fingers slide up and down his guitar, the notes and his voice melancholy sweet. Eddie thinks almost anyone would fall in love with Steve if they’d just pay attention.

They haven’t done anything. Nothing has happened. But the green rooms and the tour busses have been full of lingering looks and soft brushes of skin. He’s pretty sure that Robin is close to saying something, clearly irritated by their pining. But Eddie’s still unsure. He knows it’s a lot, being on tour and in close quarters for the first time. It’s complicated and he doesn’t want to jeopardize Steve’s first big break. He doesn’t want to distract him. It’s easy to get caught up on tour, to mistake proximity for real feelings. It had happened to Eddie before; he didn’t want it to happen to Steve now.

Because this is a big deal, for Robin and Steve. Eddie had been unsure about taking them on, but, surprisingly, Eddie’s fans had embraced the duo. Their songwriting methods had complimented each other in a way Eddie hasn’t experienced since he first started writing with Gareth and the three of them had written five songs together already. Eddie would pull them both onstage halfway through his set to perform at least two of them and then again for one during the encore. The crowd went wild every time.

It’s the last night of tour when the space between them finally snaps in two. It’s the encore, they’re playing Eddie’s favorite of the five songs they’ve written together. They’ve made it through the complicated bridge, the final chorus, and now they’re closing out the last verse. The energy between Steve and Eddie practically crackles, almost visible under the harsh arena lights. Adrenaline is pumping, making Eddie feel invincible, and he can tell that Steve feels it too by the way he smiles across the stage at him. The final notes ring out and Eddie can’t help himself. He grabs for the strap of Steve’s guitar and pulls. Steve falls into Eddie’s chest, laughing, eyebrows raised, and Eddie can’t even think. His lips crash into Steve’s and it’s magical. Better than Eddie ever even dreamed it would be.

There’s a roaring in his ears as Eddie pulls back, reluctant. Steve’s eyes are still closed and he tries to follow Eddie’s mouth with his own, but Eddie laughs and gives him a little shake. Eddie glances around and realizes that the roaring he’d heard was the crowd going absolutely wild, screaming and cheering and clapping. Eddie looks back at Steve, who’s looking just a little dazed, blush on his cheeks and dopey smile on his lips. Robin’s screaming into her microphone, jumping up and down, egging the crowd on. Steve looks around the arena, still smiling, before looking back at Eddie and mouthing something in his direction. It’s too loud, Eddie can’t hear him over the crowd, so he shakes his head just a little. Steve tries again but Eddie still can’t hear him, so he raises his microphone to his lips.

“Finally,” Steve practically shouts, voice ringing out across the cavernous space. “Thought you’d never take the hint.”

All Eddie can do is laugh and pull Steve in for another kiss as the crowd continues cheering.

@grtwdsmwhr gave me “i want to brainwash you into loving me forever” and this is what I came up with i guess

[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.

[bettyshoweduptotheparty]

1989 - The story of two muses

Back to my first and forever love – Lyric analysis!

1989 is very close to my heart, and I have always found it noticeable that this album has quite a contrast between love songs about a very up and down/anxiety filled relationship on one hand, and the very raw and heartfelt romance as portrayed in ‘This Love’ and YAIL on the other.

And the 5 new vault songs we have on Taylor’s version now have added quite a bit of detail to the picture that emerges and I’m more convinced than ever that there are two distinct relationships/muses being described and I fancied doing a deep dive into how each one is described in the music and how the themes connect to other songs. (And it may even explain the beach theme 😉)

Ok, so, I have actually sorted every song from 1989 that is about a romantic relationship, including the 5 new vault tracks, into this scheme (even though I found some really hard!)

Muse 1 – “The heartbreaker” This relationship is described as very up and down, very anxiety-driven, something you can’t walk away from like an addiction, “against your better knowledge but can’t help myself” kind of way. Taylor has described this person as ‘the one that might one day interrupt your wedding, because you’re never truly over’.  Break up: ‘you left me’.

Muse 2 – “The one that came back” While this relationship is by no means described as perfect, it has a very different tone to it. It’s very much based in secure feelings, ‘us against the world’, any difficulty faced is worth it. Break up: ‘had to let it go’. And the person came back when it counted.

(Sorry about the pictures, I couldn't fit a table in any other way)

I am really impressed with how much just five new songs have furthered the story of these two relationships and I (personally) love how much this is filling in the blanks and makes everything make so much more sense. 'You can hear it in the silence' vs 'Now your silence has me screaming' almost killed me, honestly. She really found the love that needs no words. 🥰 And the direct contrast of the metaphors, one relationship as an addiction with very high highs and very low lows, and the other as the calm waves on the shore that continually come in and out with the tide, is just so masterfully done, I love it. And I think given the beach theme of the 1989 TV covers, we can guess which of the muses is being honoured in this re-branding.

Lyrical connections to later albums

Perhaps not surprisingly, these two muses and their lyrical themes show up again in Taylor’s music in later albums. The connection I’ve already seen a lot of people make is the playing cards reference from Say Don’t Go (‘I’m trying to see the cards that you won’t show’) linking to Cornelia Street (‘back when we were card sharks, playing games’). And I love how this tells the story of someone whose previous relationship impacts how they react in a new relationship. Because the person in Say Don’t Go really did lead her on and played her and then left, whereas the Cornelia Street muse didn’t but Taylor thought as much based on her previous experience (‘I THOUGHT you were leading me on…but then you called, showed your hand…’).

Another parallel to Lover songs is the ‘light in the dark’ theme that starts in This Love with “lantern burning/ flickered in my mind for only you”, which feels very similar to “chandelier still flickering here” from Death by A Thousand Cuts. This relationship/lover is the light that perseveres in the dark, even if it’s just flickering, it never goes out. It lights up the darkness (‘glowing in the dark’), whereas the other relationship is a “shot in the darkest dark”. We obviously get a whole lot more songs in later albums that reference love as light in the darkness, most prominently in Daylight, the Lover album closer. But more subtly, I also think that “Takin’ your time in the tangerine neon light” from Slut, and “hang your head low in the glow of the vending machine” from Cruel Summer follow that same pattern. Something that illuminates the darkness. And just btw, Slut and Cruel Summer give me a very similar vibe in terms of different takes on the same situation…anyone else get that? But one last, maybe more subjective, connection is the line “I’ll pay the price, you won’t”. Which everyone immediately took as a comment on double standards between men and women, but I think it could also be interpreted to mean ‘I’ll happily pay the price and take the hit, so you don’t have to’, if you interpret the song to be about dating a man in public to keep a female partner out of the public eye.  With that in mind, the line becomes very reminiscent of ‘I can never give you peace’ from folklore, both expressing that Taylor wants to shield her lover from the media scrutiny that comes with dating her.  

Suburban Legends alone has so many links to later songs that I had to give it its own paragraph. The chorus ‘I didn’t come here to make friends’ is so ‘I don’t want you like a best friend’ coded, and ‘We were born to be suburban legends’ gives me big reputation/big conversation vibes. Other people have already pointed out that ‘flushed with the currency of cool’ draws links to Gold Rush and Gorgeous (‘You’re so cool it makes me hate you so much’) and ‘so magnetic it’s almost obnoxious’ is very similar to ‘magnetic force of a man’ from Lover. All painting the picture of a person who is so cool and alluring that they feel almost unattainable. The whole premise of the song being that the narrator didn’t come to make friends, but instead is on a mission to get what they want, feels very Mastermind to me. The background music over the outro confirms that, as it’s the same production as Mastermind (I call it ‘game show music’ 😊) and the lyrics saying that the muse now doesn’t knock anymore, suggests to me that maybe the masterplan has worked. Lastly, the conclusion of the song being ‘my life is ruined/I always knew it’ is a different way of saying I’ll happily ruin myself for you, as in ‘for you I’d ruin myself a million little times’ from Illicit Affairs.

We don’t get nearly as many references to the first muse’s themes in later music, but ‘fell from the pedestal, right down the rabbit hole” from Long Story Short is a nice drawback to the wonderland theme. Bottom line though, ‘It was the wrong guy…’.

And there we have it, the story of the two muses of 1989. If anybody here is even remotely as excited by lyrical analysis as I am, this one is for you, and feel free to have a friendly chat in the comments if I’ve missed anything!

[avatar-anna]

hiii, im from brazilll

you can write something like swiftie!yn going to the first show of the eras tour with harry and he is all in love looking at her all emotional and have fun

"If I don't have red lipstick all over me by the end of the night, I'll be very surprised," Harry mused, trailing behind you as you pulled him along.

You turned back to look at him, sparkly red cowboy hat catching the light. "Is that what you want?"

"It's what I expect," he clarified. "You get rather affectionate when you're in a particularly good mood."

"I've never heard you complain about that," you said, letting Harry drape an arm around your shoulders so you could walk together.

"And I never will. Why do you think I work so hard to make you happy?"

Rolling your eyes, you tipped your head back. Your hand found his chin, pulling him down for a kiss. Grinning, you said, "Well, this lipstick claims to be one hundred percent transfer proof, so no lipstick stains tonight."

To your surprise, Harry frowned. "How is anyone supposed to know I'm yours?"

"I'll look for my lipgloss when we get to our seats."

"You better."

Harry knew this was a special night for you, so he tried to let you enjoy it without being all over you. He wanted to let you dance and scream song lyrics at the top of your lungs without him getting in the way. It ended up working out for him, though. His view from behind as he watched you watch your favorite artist was more captivating to him than the concert he was currently attending.

Your white go-go boots with pink hearts on them and matching mini skirt elongated your legs, plush tan skin on display and making Harry's heart skip a beat. He was aware of course that there were people all around, so he tried his best not to stare so openly, but it wasn't easy, especially when you began dancing.

Harry half expected for you to completely ignore him the entire concert. He didn't mind, obviously. Taylor Swift was your favorite artist of all time and you were at the first night of the Eras Tour. Harry was there to enjoy a good concert, but he knew it was so much more for you.

But he was prepared. He had tissues in his pockets for when you cried, makeup wipes for when you returned to the car and eventually wanted to wipe all the glitter off your face, your comfiest pair of slippers waiting in the car, and one of his hoodies for you to slip into on the drive home.

Color him shocked when you held his hand almost the whole show. There were moments where you had too much excitement for your favorite songs, but a lot of the time you were tucked into Harry's side, singing along quietly with your eyes glued to the stage. Harry watched the show too, but he found himself watching you more. It was so cute to see you so lost in the moment, so enamored by music. Harry had seen something similar when he spotted you from onstage at his own shows, but this was different. You loved Harry's music, he knew that, but every track, every lyric, every melody that Taylor Swift had released was everything to you.

"Why didn't you wear the outfit from the music video?" Harry whispered in your ear when "You Belong With Me" came to a close. He was joking, but of course you had a serious answer.

"I'm saving it for another date. Thought I would be more dressed up for the first night." Looking over at him, you grinned before kissing his cheek. "Don't worry. I already have your outfit planned out."

Harry shook his head, exasperated but not at all surprised. "Can't wait."

During "Enchanted," you took Harry by surprise and turned to face him and rested your cheek on his chest. In your boots, you were tall enough to speak quietly in his ear despite all the noise.

"I loved this song when it first came out."

"You did?"

You nodded, one hand finding his and threading your fingers together. "I used to wonder if anyone could really feel that strongly for anyone. So...giddy and enchanted and completely and totally in love. It seemed so out of reach at the time, like an actual fairytale written as a song."

Harry bent his head down so he could look you in the eye. Yours were closed, enjoying the moment, the song being performed onstage. "Did you ever figure it out?"

"I met you." That was all you needed to say, really.

A smile spread across Harry's face as he rested his forehead against yours. His heart beat rapidly in his chest at her small confession. He knew exactly what you meant. Harry wasn't sure if you knew it, if you were even aware of it, but you'd changed his life completely. He'd been in love maybe once or twice before, but it was nothing compared to the feelings he had for you. It was...he supposed you were right, it really was something like magic.

"I love you," he said, his lips brushing against your skin as he spoke each word.

You kissed his cheek a couple times before pressing your lips to his. Harry was sure you were trying your best to make good on your promise and leave a mark, and he hoped it worked. The kiss didn't last long, seeing as you were both still aware enough of your surroundings that you knew better than to let things get too heated. But you smiled against his mouth and squeezed his hand appreciatively, happy to share one of the greatest nights of your life with the person you loved most in the world.

"I love you too," you said, then turned around, letting Harry's arm pull you close to his chest and keep you nice and snug there for the next couple songs.

[kondensaduhhh]

Brozone HCs (Post Break Up)

- first of all, i refuse to believe that John Dory was any older than 16 when the band broke up, maybe he's just baby faced, but to me, he's at most 16 years old, yall really gonna look at JD in that flashback and see a 20?? hes just a babyyy

- their ages when the band broke up are, JD: 16, Bruce: 15, Clay: 13, Floyd: 12, Branch: 4

- the tunnel escape only happened almost a year later

- Bruce found Vacay Island only months after the tunnel escape, he ran away from the rest of the trolls thinking maybe he'll find his older brother, but instead found Vacay Island.

- Bruce met Brandy and was in love at first sight, instantly tried to impress her by doing the whole Heartthrob bit, which only amused Brandy, but only when he started to mellow out and started to let down the Heartthrob title, did Brandy start to reciprocate.

- Bruce tried to do the whole courting thing with Brandy, but the second she liked him back, she was like "Mmyeah, youre my boyfriend now" and Bruce nearly screamed like one of his fangirls that he had to take a dive in the ocean.

- due to this, Bruce was the only one that didn't experience becoming gray.

- Floyd became gray after the tunnel escape, back when they were still within the cage, he still somewhat knew where his brothers were, except for JD, but he knew his big brother would be fine. so when they executed the tunnel escape, he couldn't find Clay and Bruce, and didnt know that Branch had started to isolate himself so no one has seen his younger brother either.

- he became gray and left the village, as he was going to look for himself. he didnt sing for a long time, but he did start writing songs and poems that eventually became songs, and had the spontaneous thought of singing one song and broadcasting it.

- the song became an instant hit, and slowly has he started to build his solo career did he gain his colors back.

- Clay lost his colors when they found the hold course to reside in. he lost it a few weeks living in the golf course, did reality set in that he might never see his family again, a lot of the putt putt trolls lost their colors too.

- when Viva saw this, as heartbroken as she was too, she was the firstborn of the king, and as their princess she cant let any of this sadness continue to consume her people, and she found ways to cheer the putt putt trolls up and bring their colors back, including Clay.

- Clay actually only started doing the boring stuff to get away from his previous title of The Fun One, but as things continued on, he did it to keep his mind off of being fun, because being fun reminded him of his family, the family he will never see again.

- but Clay does enjoy keeping the putt putt trolls safe and not gray, he even invented 'protocols' which were essentially games to keep them happy, which he would never admit were games

- JD's colours were on and off for a year when he left the band, and when he came to visit for Branch's birthday, everybody was gone, his colors went to a cooler colour where he cried for days in their pod, and then went gray when the tears subsided. when he left the cage, his colours were so dull, no bergen saw him leave the tree, bc he left with no caution whatsoever

- John Dory doesn't know how much time has passed. he used to have a calendar where he would cross out the days to keep track, but he forgot if he crossed the date out too early or too late and eventually just stopped.

- Floyd became a songwriter to multiple different species

- the brothers who had a hard time fitting back in the pop village from least to most was Floyd, Bruce, Clay, and JD.

- Floyd still had his social skills, better than the rest of the brothers due to the being a songwriter and all, Bruce, while not interacting with trolls, he wasnt living in the past like Clay was, and JD only had Rhonda with the occasional small talk to other trolls whenever he needed supplies that he couldnt make out of scratch.

- JD nearly died a few times. being mostly alone in nature was a lot of trial and error. he got sick/injured so severely that he would write barely intelligible notes about who his brothers were and to tell them how sorry he was and how to take care of Rhonda, pass out and completely forget about the letters. they're tucked into the nooks and crannies inside Rhonda.

- Clay tried to write letters to his brothers, if they were out there, but when it came to sending them, he didn't know how. so he just has thousands of letters addressed to his brothers, varying from asking how Branch was doing, if Floyd still bakes and how he misses his baked goods, asks if Spruce can tell him how to do his hair because it was growing out of control and he always had the best hair out of all of them, and telling John Dory how much he hated him and that it was all his fault and that he misses the soup JD used to make for him specifically, and how tight JD hugged him and missed his stories and how he missed him. How he missed all of them.

- Bruce had a bit of a hard time in raising his kids, not realising that the Vacay Puppets aged differently from trolls. that while most trollings could hold a whole conversation with understanding at the age of a year and a half, some even just after hatching, while his children only babbled and said very few words and short, broken sentences at age 3. he was very worried about their development until Brandy told them that they actually developing pretty quickly for a Vacay Puppet (idk wtf to call them😭😭)

- ppl think that JD is stupid, but the truth is he just misses social cues, and has been out in the wilderness mostly alone so, what is common sense to most trolls, John Dory has completely forgotten about

- Floyd is obviously the most sensitive, but this not only means he is quick to shed a tear, he is also quick to be offended/mad. sometimes it scares Floyd how much he sees JD in himself, but this also made Floyd empathise with JD somewhat, knowing the shame that comes after the anger that came too quick and left just as quickly

- accessory HCs: Floyd has a total of 4 ear piercings, all in one ear,

Branch has got both his ears pierced, the left being a small, mint green gem, and the right a magenta barbell,

Bruce def a navel piercing, a shell necklace with 14 shells on it to represent his wife and kids, and a teal, yellow, pink, and blue woven anklet,

Clay doesn't have any piercings but he does have tats on his legs of those fuck ass stars, hearts, and diamonds on his legs, all below the knee, bc Viva wanted to try tattooing,

JD has a tongue and nipple piercings, he doesn't remember getting them, all he knows he that he got really sad, and then next thing he knows he's awake somewhere he knew he didnt fall asleep in, he kept them anyway

- pop trolls' hair can change when they undergo extreme negative emotions, which was why Clay's hair went from straight and yellow, to curly and green

- when Bruce had an all girl quintuplets (bc i refuse to believe that they had all those children one by one😭😭) he named them Jane Dolly, Clair, Flora, and Briar ((btw i only just found out that Bruce only has one daughter but shhh))

- Floyd has written songs for/about all his brothers, but never said their names in them or even mentioned that it was about Brother specifically, always a vague family member or loved one.

- John Dory was the best at any culinary skill out of all of them, he's the one that taught Floyd how to bake, from how to make the fluffiest chiffon cake, how to laminate pastries, to knowing how to do everything from scratch, to how to do everything without any baking equipment, like a thermometer or a timer.

- However, Bruce, despite being a father and owning a restaurant, is the shittiest cook out of all of them, he either forgets an ingredient and/or under/overdoes it.

- nature is oddly nice to Floyd. not bc of anything in particular, they just really like him. JD used to call Floyd their lucky charm whenever they go camping.

- JD, Clay, and Floyd are adrenaline junkies.

- Clay knows pretty much everything there is in fabric making, from crocheting, knitting to tapestry making, he can do it.

- Floyd absolutely LOVES denim. he will most likely have one piece of his outfit be denim, be it his pants or a bracelet

- after years of being alone, and only having Rhonda be his constant companion, JD has a concerningly high pain tolerance, and being around such a big creature like Rhonda and no one else to compare pain to, whenever he does react to pain, he thinks he's just being over dramatic bc when Rhonda had a splinter the same size as the one he is currently injured with (AKA HUGE) she merely limped, so hed probably be fine.

- Clay looks the most like their mother

- And John Dory is their half brother

[storms-path]

So, How 'bout That Arcadion?

So I had (and still have) plans to do a write-up on Dawntrail's final dungeon and how it contrasts so interestingly with Amaurot and The Dead Ends after my analysis of Dawntrail and Conquerors, but then Arcadion decided to spring out of nowhere, grab me in a headlock and demand I talk about the music and how it reflects our new darling challengers.

So I'm gonna. As always, spoilers below, read at your own risk, etc. etc. Also I know very little about actual music theory so a lot of this is based on vibes and how things relate to themes and characters and all that. I'll leave the proper music analysis to the musicians. I'm here for the fighters!

So, let's start at the beginning with the cunning, cutting Black Cat. You might be surprised to know that Yaana and her theme were what inspired me to write about this in the first place! While her battle theme might not blow away anyone, that's kind of the point. She's a rookie, unestablished in Arcadion and just as hungry as you are, if not moreso, to prove herself a rising fighter.

The lack of any real lyrics aside from the crowd chants are very effective at displaying how the Black Cat lacks a proper identity at this point. That and the shared leitmotif with her sister (we'll get to her later) foreshadow that she is trying and failing to escape Eutrope's shadow. It's clear that even now Yaana's older sister's disappearance haunts her, to the point that she's following in Eutrope's footsteps to find the missing fighter, or failing that, answers.

Honey B. Lovely, on the other hand, is about as in-your-face as she can get. There's very little subtlety to this one, she wants your love and adoration forever and ever. And she wants so much more than only you can give. I do love the contrast between her song's incredibly chipper, saccharine sweet melodies and singing voice... as she's singing about essentially turning you into a mindless drone who will wait on her hand and foot, right down to threatening terrible violence if you manage to break free of it.

Charming lady, this one. Just look at all her new fans. Someone please get her song out of my head I can't stop hearing it while I try to work I just want to be a good little drone please stop

Speaking of contrasts, Brute Bomber is about as far from Honey B. Lovely's chipper little ditty as you can get. Another song without any vocals, unless you count guttural growling and roaring as vocals (though sidenote, I adore how they degrade into chiptune towards the end of it, that's so good). But unlike Black Cat, Brute Bomber very much has his own identity and purpose. In his case, the lack of lyrics are because he simply doesn't need them.

Where Honey B. Lovely is desperately trying to win you over and failing to hide the venom beneath, Brute Bomber is just here to beat you up until you stop moving. He's the champion! What does he need with some stupid lyrics? You don't need to understand him, you just need to understand that he's better than you and he's going to prove it by beating you bloody. His is a refreshingly simple track. Hard, heavy, no frills. Just like him.

And then there's our surprise final challenger, Wicked Thunder. She's in a whole other league compared to the others and she knows it. Really, there's not much to say about her that her song doesn't spell out. She's desperate, driven to try the unthinkable thanks to her slowly eroding soul. She's tasted glory but the aftertaste has her choking, and only claiming our soul for her own will cleanse the palate.

That being said, the sheer confidence in her vocals are what really sells her as a serious threat. While most of the song focuses on what she's lost, the chorus is a battle cry, a ringing roar of protest against anyone who thinks she's beaten. The repetition is used excellently throughout, hammering home both her desperation and her conviction. She will win, even if it costs her everything she once held dear.

Anyway, all of this is really to say that I completely adore Arcadion so far and I can't wait to see how the new tiers fold me over a table and shatter my spine from the top rope. They absolutely nailed the wrestling vibes with this tier, right down to the electric theme songs. And to think, this is only the beginning!

[sh0ek0]

miss you (part 3)

part 1, 2

genre: angst, smut, dark content, all over the place content warning: 18+ !MINORS + AGELESS BLOGS DO NOT INTERACT! As I forgot to mention in part I + II: aged up characters OF COURSE (college setting), mentions of alcohol and drug use, name calling, toxic relationship, abusive relationship, violent behavior, emotional abuse, choking, dj!choso, rough!megumi, hints of narcissism, obvious mental problems, maddy and nate (euphoria) kinda dynamic, euphoria inspired dialogue, DARK CONTENT, I really don’t know how to do these content notes, I’m sorry, I’m trying pairing: Choso x Reader, Megumi x Reader (kinda???) word count: about 10k

A/N: I really love to include some songs that inspire me while writing, I love music (that’s such a basic thing to say lol) so if you're up for it click on the lyrics. Also I really hope this was worth the wait, I am so sorry 🫠 this is kind of all over the place, like always, but I want to stop being so critical with myself, soooooo yeah. Here you go 🤭

Everything just felt so wrong. It was so hot down here and you were constantly bumping into people. The alcohol in your blood was making you dizzy with every step you took through the crowd and it was definitely messing with your sense of balance. You felt kind of nervous, but it was your own fault.

You were the one who hid in your bed for a whole week, your anxiety now at an all-time high. 

And you were the one who accepted all those drinks that Yuji had mixed for you upstairs.

However, those drinks seemed to fulfil their promise of freeing you from your inner torment, and as soon as the people around you were starting to look a little blurry, you start to move to the loud music blaring from the speakers.

I don't ever wanna see you / And I never wanna meet you again / One thing / When you're angry, you're a jerk / And then you treat me like I'm worth nothin'

"This track goes so hard." 

You open your eyes as you hear a familiar voice screaming in your ear. You see Nobara grinning from ear to ear as she dances to the music, the parts of her body that are not covered were glistening with sweat as the fluorescent lights hit her skin. She looked so damn beautiful.

How much you loved your friends.

This time it was Maki who dragged Nobara and you along with her to a house party off campus so the three of you found yourself in some guys huge basement, loud techno music blasting from the speakers and lots of sweaty people pressing up against each other. It was hot and completely dark except for a few neon lights that made it possible to at least distinguish a few faces. 

Not a single person down here seemed to be in any real control of their senses anymore, most of them were completely out of it already, while you could only imagine what kind of drugs they had in their systems by now. But hey, it was none of your business and you wouldn't judge, so the only thing that mattered was that the three of you were having a fantastic time.

I don't ever wanna see you / And I never wanna meet you again / It’ll happen again / I watch it happen over and over again

Another thing that brought you down here to this shady basement was a rumor that this new DJ was doing a pretty good job. And you knew he was pretty cute too - from where you were standing you could see his face hidden behind a MacBook screen, his hands effortlessly dancing across the array of buttons, knobs and sliders in front of him. Watching him, his body moving in sync with the music, his head bobbing as he worked his magic, you couldn't help but notice how good he looked. His lip was visibly split from last weekend's events and the pale hint of a black eye still marked his skin, but if you were being honest, it made him look even hotter.

You find yourself staring in his direction for a second too long and before you can look away, his eyes lock with yours and you see the realization in them just seconds later.

You feel a jolt of electricity run through your veins as your eyes lock.

Choso turns his eyes back to the DJ set in front of him a few times, but each time he looks up, you can feel him searching for you in the crowd. You can feel his gaze sticking to you like the bodies of Nobara and Maki who were dancing near you.

The heat around you envelops you like a suffocating blanket, while the bass pounds through the walls, pulsing in your chest and guiding your movements.

Don't try to find me / I’m better left alone than in this / It doesn't surprise me / Do you really think that I could care? / If you really don't like me / Find somebody else, it could be anyone else out there

The next time you turn in his direction, it was you who sought his gaze, flashing him a mischievous grin as your eyes locked again. 

Choso raises an eyebrow, but the grin on his lips gives him away. He winks at you, and as you continue to watch, you notice him smiling to himself as his hands skillfully move over the equipment, fading the old track into a new one. A few people immediately start to cheer.

Say yes to Heaven / Say yes to me / If you dance I’ll dance / d-dance / I’ve got my eye on you / you / you / you

The moment you recognise the song, a squeal escapes your lips. Your hips sway effortlessly from side to side, perfectly in sync with the rhythm. Nobara has her arms loosely wrapped around your neck, joining in and mirroring your every move. 

Choso knew you loved this song. 

You fell in love with it the first time you both heard it. That was a few weeks ago in his and Yuji's apartment, you were talking about music and you told him that you absolutely adored Lana Del Rey. It seems that he didn't forget that, because he mixed the song into something completely different, but just as beautiful.

You couldn't help but think that it felt like he'd done that for you. 

But did he?

Either way, he's managed to sweep you off your feet with a little gesture like that, and you can't remember the last time a man did that for you.

It feels like hours have passed before you realise that another DJ has taken over. As the current track slowly fades out into a new one, you notice how the vibe changes and most of the people who came for something with more bpm start to leave to go back upstairs.

Nobara grabs your hand and pulls you with her, Maki follows.

"Hey, I like that song—", you protest but Nobara and Maki were on a mission to get some fresh air. 

You notice how fast your heart was beating as the three of you make your way to the stairs, the pounding music slowly fading into the background.

"That was so good," Nobara sighs and you nod in agreement, still dizzy from all the sensations around you that your drunken brain was having trouble processing, "Choso did a damn good job, I didn't even know he could do that."

"Neither did I," you add, leaning down to take a sip from the straw in Maki's drink, "but he has skilled hands, so it makes sense."

"Oh shut up," Maki groans and you take the drink from her. You couldn't really tell what was in it, but you've reached a point where everything tastes the same to you anyway.

"I still don't understand why those idiots prefer to stay upstairs with Gojo and Getou and play beer pong," Nobara sneers, making you laugh. She was so right.

"Well, they missed a healing experience," you say, staying close to the two girls while more and more people leave the basement, "I thought all I needed was some random guy to fuck me in the bathroom to get Megumi out of my head, but actually this was just as good."

Nobara turns around and stares at you in shock as you take a sip of the unknown drink, causing you both to burst out laughing. 

"A win is a win, I guess," she says and you high-five her. 

"I'm actually so proud of you," Maki says, nudging your side before wrapping her arm around your waist.

You were surprised at how easy it was for you to talk about him. You hadn't heard from him in well over a week, and you weren't about to keep feeding your own delusion by telling yourself that  that hookup in his car was enough to rekindle your relationship. The two of you were over, and not just since he had dropped you off at your apartment at 4am last weekend. Those had been empty words, everything he had said to you that night. You had lied to yourself, thinking you could change his mind by having sex with him. He hadn't even waited until you were safely inside, instead you heard his tires squealing right after you slammed the door of his car shut.

"Who says you can't have both?" a deep voice whispers in your ear, snapping you out of your thoughts.

Well, that was embarrassing.

You immediately recognise his voice. 

Maki and Nobara start to giggle while you just freeze. They couldn't possibly have understood what he was saying at this volume, but the suggestiveness in his voice was enough to make you blush.

You turn and look up at Choso, who was looking back at you with a smirk on his lips. Up close, he looked even more battered than before, but you refrain from saying anything. An apology wouldn't help him and Megumi didn't look too good either.

He hugs you briefly, his hand remaining on your lower back even after you pulled away.

"Your set was great," you say, suddenly feeling a bit shy. Even though you meant it, you just wanted to fill the awkward silence. The fact that Maki and Nobara were standing right behind you didn't help, and Choso caught you so off guard that you didn't really know what to say or do. 

In the end, overthinking was what you did best.

Choso smiles at your comment and you catch his eyes roaming over your body for a second. 

"Thanks, I could see you enjoyed it," he replies, looking you straight in the eye. 

You can barely stand his gaze, your face could hardly get any redder and just as you open your mouth to say something, he clears his throat, his hand still on your back.

"Let's go upstairs, I need something to drink," he motions to Maki and Nobara to take the lead, "it's so damn hot down here."

"Oh, it really is," Nobara says, taking Maki's hand and dragging her through the crowd and up the stairs.

You and Choso follow, him being so gentle as he makes sure you don't bump into anyone, as you still have trouble walking a straight line in your knee high boots.

"Oh - careful," he says, catching you just before you could stumble up the stairs, "you know I'd do anything to get that goddamn asshole out of your head, but you really can't make me take advantage of a drunk girl."

Again, the words were only meant for you as you fell back against his chest, strong arms holding you, his hot breath brushing your neck, his lips just below your ear. 

He managed to get you up, and once you were both surrounded by even more people and loud music, you turn to face him.

"I might be drunk, but I'm not a girl," you say, looking at him challengingly.

"Oh," he laughs, "did I miss anything?" He looks at you for a moment, the grin never leaving his lips.

You just glare back at him.

"Fine, excuse me, ma'am," he says, making you giggle.

"But you are drunk," he observes. 

"Then let's get even more drunk together," you decide, taking his hand to lead him into the kitchen. 

"Sounds like a plan," Choso says, laughing, "Lead the way."

If you had turned around, you would have seen the adoration with which he looked at you. At that moment, he would have followed you anywhere. 

Maki was already sitting on the kitchen counter and Nobara was standing next to her, giggling at something she said. The two were drinking from red plastic cups when Yuta made his way over to them, waving at you. 

You wave back at him before you look around to see Yuji still mixing cocktails.

You and Choso push past some people to keep Yuji company, who hands you both two cups. Yuji grins as you taste his secret recipe and you immediately grimace. Right now you can definitely taste more than four different kinds of alcohol and that should be enough of a statement to make a final judgement about his creation

"I mean, it does it’s job but please don't ever start bartending anywhere," you groan and take another sip.

"Yeah, listen to her," Choso says, but he empties his drink before you do.

"Hey, don't hurt me like that," Yuji protests, "you weren't complaining earlier, though." 

"Well yeah," you say, "But I don't take any responsibility for the fact that you had the plan to get me drunk."

"Oh, I would never do such things," the pink-haired boy says, pouring another cup for Choso before changing the subject.

"My brother was doin’ a pretty good job down there in that basement, huh?"

"Yes, he definitely was," you gush as he reminds you, "but where were you? You missed something."

"Oh, I didn't," he replies, "I was right next to him, watching all the magic happen right in front of me."

"Really?" The music changes and you had to shout over it.

"Yeah, but I guess you only had eyes for someone else," Yuji grins, making you blush.

You sip from your cup, cheeks red and the grin still on your lips, but you don't say anything, instead looking up at Choso. 

"I'm going outside for a smoke, join me if you want," he says in a low voice, letting go of your hand, only now realising that you've been holding it the whole time.

You nod and watch him until he disappears through the kitchen door and out onto the patio. You see him join Gojo and Getou who had been sitting outside with Hakari, Kirara, Nanami and Haibara for a while. Before Choso could even sit down, Hakari was already holding a joint out to him.

Yuji snaps you out of your thoughts and you take another sip of your drink.

"Hey, what's going on, huh?"

You weren't sure what he was hinting at.

"What?" you ask, trying to concentrate on what he is saying.

"You and my brother," he replies, getting straight to the point, "what's going on with you two?"

"I don't know," you say, not even lying, "nothing? Something? I don't think I can say."

"Mhm," Yuji pauses and looks around before turning back to you, "Megumi's here tonight, I saw him earlier."

"Great," you say and put down your cup, "I don't care."

"I think I've heard that before," he sighs while looking at you with worry in his eyes.

"Yeah, well, I don't really care," you say, slightly disappointed, "he doesn't care about me either."

"I doubt that," Yuji tells you, without specifying what exactly he doubted. 

You lean against the counter next to him and watch the people standing around in the kitchen. Most of them were talking, shouting at each other over the loud music, dancing or laughing.

You had already drunk a lot and no decision you would make now would be a good one. Your senses were far too clouded for that, but you needed that kind of ease, you wanted to turn off your racing thoughts. So you didn't have too many options, either you could bang your head against the wall to stop thinking about him, or…

"Let's do some shots," you suggest, almost immediately hearing Yuji groan. You grab a bottle of tequila from the bar and pour yourself and Yuji two glasses.

"What about lemon or salt?", Yuji protests, but you just clink glasses with him.

"What an amateur," you retort, raising the glass to your lips, downing the contents and immediately refilling it, "works just fine without it."

"I hate you," you hear Yuji groan as he does the same, "this is fucking disgusting."

You both start to laugh at Yuji's disgusted expression. The tequila burns as it runs down your throat and you realize just how much you overdid it already.

But wasn't that half the fun? You always had the best nights when you and Maki would stumble into your apartment early in the morning, still completely drunk, with Yuta struggling to somehow try and get you two into your beds.

You start to refill your glasses when Yuji puts the half-empty bottle aside and looks at you with that worried look on his face. Before you can protest or tell him off for looking at you like that, someone else catches your attention.

That couldn’t be.

"Oh, he wouldn't do that…", you say under your breath, completely in disbelief, "that fucking..." 

Yuji holds you by your wrist. The two of you just stand there and watch as Megumi stumbles into the kitchen.

He was holding the hand of a blonde stranger. A stranger, at least until she turns around and sits down on the kitchen island in the middle of the room. You see Maki and Nobara turn to them as well, with Yuta looking at you instead.

You recognize the blonde girl right away.

And just when you think this scene couldn't get any more absurd, you watch as Megumi kisses Yue. Yue, the girl from the party last weekend, the one who went to the same class as you. The girl who tried to stop you from looking for Megumi. 

The girl who was so "worried" about you.

"What the fuck," you curse, trying to free yourself from Yuji's grip, "I'm going to fucking claw her eyes out, I fucking mean it."

Yuji was the only one who could hear you, loud music was still blaring from several speakers throughout the house.

"Am I fucking dreaming?" you yell over the music, "fucking let me go Yuji, I'm gonna..."

"That's his ex-girlfriend." Yuji says. Nothing else, just 'That’s his ex-girlfriend.

Ex-girlfriend?

"I saw him talking to her right after he tried to beat up Choso," he adds.

He didn’t. That couldn’t be—

"No, he..." That couldn’t be true.

"I saw his car outside her dorm the morning after the party when I was walking over to football practice."

It took you a moment to process this information.

"He didn't..." You wanted to throw up. Maybe it was just the tequila, but there was still the tiny chance that this bizarre scene was to blame for you suddenly feeling sick to your stomach.

"Get a fucking room, you disgusting piece of shit." You hear Nobara screaming over the music while Megumi and Yue were tightly entwined, standing right in the middle of the fucking room.

You were still standing next to Yuji, leaning against the kitchen counter and if looks could kill, the two of them would probably have turned to dust by now. You stared at Megumi, watching him as his hands wandered up her thighs and ass, caressing her waist while they made out as if they were the only people in the room.

Finally, after what seemed like an eternity, your eyes met. 

You could swear he was looking you straight in the eye as his lips trailed down her neck. His eyes were as dark as ever, almost pitch black, and if you were being honest you couldn't be sure if he was just drunk or if he took something else. Even by his standards, the show he was putting on was truly out of character

If that was one of his sick fucking games he liked to play he definitely did not give you a heads-up. What was he trying? Getting back at you for last weekend? What was he trying to achieve? And Yue was his ex-girlfriend? How come you're only finding out now, and how did she have the audacity to even look you in the eye last weekend, let alone try to comfort you?

"You don’t threaten someone you love with a gun."

Well, good for her that he was obviously treating her completely fucking different.

He seemed unfazed by Nobara's comment, and after your brief eye contact, he closed his eyes again, focusing entirely on the blonde in front of him. 

You were almost boiling with rage and the faces you made, made it really difficult to hide your anger.

"Let go of me," you say again with such emphasis that Yuji actually let go of your wrist.

"Don't do anything stupid," he says, clearly overwhelmed by the situation.

"Oh, I would never." Your voice dripped with sarcasm.

'Don’t do anything stupid.' - You didn't even know what to do. For a moment you thought about going up to Yue and ripping out her ugly blonde extensions and telling Megumi how pathetic he was, but instead you did...

Nothing.

You gave Nobara and Maki a quick look, then turned on your heel and stormed out the kitchen door. The cool night air helped you to calm down and it managed to clear the chaos in your head a little.

You take a quick look around before you realize that Choso is still sitting outside with the others, who have spread out over the various seating areas on the patio.

You walk over to them with a determined stride, Kirara sees you from afar and greets you, causing Choso to turn around in your direction. He was sitting comfortably in a two-seater and as he looked at you, you immediately notice his heavy eyelids and dark red eyes. You smile at him and as soon as he realizes it was you, a wide grin appears on his lips.

He makes some room for you, but before he could move to the side you were already sitting next to him, leaning against him, your legs casually stretched across his lap. Not averse to the sudden physical contact, he puts his arm, which had been resting on the back of the two-seater, around your waist and his other hand on your thigh.

"Hi," he says quietly, "what took you so long?"

"Oh, you wouldn't believe me," you whisper back, "your brother really hates tequila and I felt bad for making him do shots with me."

Choso laughs, not asking any more questions. 

"But I’m here now," you say, placing a hand on his chest, "guess I missed you."

"Did you smoke already?", you tease, looking up at him.

"Well, do I look like it?", he asks, that big grin not leaving his lips.

"Mhm, couldn’t tell," you lie while trying your best to hide your feelings from him.

You turn to look at the others and notice that Kirara is watching you. Gojo also looks at you from time to time, his gaze wandering from Choso's hand on your thigh to your hand on his chest. He raises an eyebrow, but you ignore him.

"Hi, y/n," Kirara says with a warm smile on their lips, "how are you? I missed you in class this week."

You could feel that they was really just concerned about you. After all, Kirara had been at the party last weekend as well.

"Yes, I'm better, I think," you answer and try to fake a smile, "Thanks for asking.

Kirara smiles at you again, "I can send you all the important stuff we did. It's not much though."

You watch as Hakari pulls them closer to him, his large body making them look so much smaller in comparison. Hakari and Kirara were one of your two favourite couples, the other one being Yuta and Maki, of course. He adored Kirara and wasn’t afraid to show that every chance he got.

You hear Getou clear his throat and you turn your gaze away from the two to look at him. You see that he is holding a joint out to you.

"You want some?", he asks and you politely decline.

"Oh, no, I think I need to chill for a bit." You smile at him. Your head was already spinning and you couldn't handle the sensation of another drug right now.

"Come on, you've got to try it, Hakari brought the good stuff," Gojo says, making you think for a moment before you reach out for Getou's hand.

"You're so easy to convince," you hear Gojo snort. He grins at you as you take a drag, but you just stick out your tongue.

"Or, maybe you’re just really convincing," you tell him, taking another drag before passing it to Choso.

"I'll remind you who's easy later tonight," Getou says, coming to your defence. You and the others break into laughter at his comment and watch as Gojo crosses his arms over his chest.

You hear the two of them start bickering and notice that the others, Hakari, Kirara, Nanami and Haibara, were also returning to their heated conversation.

"Did something happen in there?", Choso asks a little while later. He was observant even when he wasn't. Of course he had noticed something. You sigh, Hakari has just handed you the joint again and you hold it between your fingers. You take a drag, then a second one.

"Yeah," you say, blowing out thick, white smoke, "but I really just want to forget about it." 

It had already worked. Since you went outside, you had pushed the thought of Megumi and Yue far away from you. It was all so confusing, this time you couldn't understand what his motive could be. Of course he was angry that you had made out with Choso at the party last weekend, but you two had broken up. Why had he waited for you that night in the first place, was he really so shallow that all he wanted from you was sex? And what did he need you for anyway if he had spent the night with her after he dropped you off? 

The look he gave you earlier had been intentional. He wanted to make sure you were watching him, no doubt about that.

"It doesn't seem to be working very well," Choso says as you rest your head on the arm he has wrapped around you. You look up at him as your hand moves to caress his cheek for a moment but as soon as you notice, you pull it back. Even though Choso doesn't seem to mind. It just felt natural, you wanted to touch him as you enjoyed the feel of his hand on your skin as well.

"Being with you helps," you say, without breaking eye contact. That was the truth. Being with him felt peaceful, you didn't have to be afraid that he would snap at any moment, at something you said or did.

You didn't even notice that Nanami and Haibara had already gone inside, presumably to leave the party. Only when Hakari puts out the joint and says goodbye to take Kirara home, you look away from Choso to look at the others. 

Gojo does not make any effort to leave until Getou gets up, standing next to Gojo and looking at him expectantly.

"Come on, Satoru," you hear Getou say, "it's almost two o'clock, we have training tomorrow."

"Yes, but not until ten," the man with the white hair replies, not understanding why he should move now. Getou gives him a meaningful look and Gojo's eyes widen as he rose to his feet.

"Oh, uh - let's see what's going on inside then, I guess," he says, propping himself up on his knees to get out of the chair he was sitting in, "see you guys." 

Getou waves goodbye before pushing Gojo in front of him towards the patio door.

You’re all alone now, besides a few people standing outside and talking. You admire the night sky for a moment while neither of you says a word. It’s so quiet outside, peaceful even.

"Just the two of us, huh?", you say as you look up at Choso. You think for another moment but then, before he's has a chance to even say anything, you kiss him.

Choso wasn’t exactly surprised and instead kissed you back. His hand, which had just rested on your thigh, moved a little further up until it cupped your ass, moving up under your tiny skirt in a swift motion. 

You put your hand on his chest to support yourself and Choso pulls away for a brief moment. 

"You're so beautiful," he mutters, looking down at you through heavy eyelids and making you giggle, "I missed you." 

Then, your lips meet again. You move to straddle his lap, now sitting on top of him you were the one looking down at him.  

"You’re not so bad yourself, y’know," you whisper into his ear as you cradle his face in your hands, your thumb gently caressing the split in his lip.

When he said he missed you, you knew what he meant. 

Because you did, too.

Last weekend wasn't the first time you two had kissed. When Megumi had broken up with you, Maki had to study for some important exams and you had forbidden her from rotting with you in your depression cave. To make it easier for her, you had taken yourself out for a few evenings to Yuji’s place. He welcomed you with open arms in his new apartment, which he had just moved into with his brother. This was also the first time you got to know Choso properly, away from parties or those few casual encounters on campus.

It started innocently enough, your movie nights, the two of them watching every romcom with you that you had picked out beforehand. However, Yuji usually had training the next day, so he had to go to bed early. Choso promised to drive you home later, and as soon as Yuji disappeared into his room, you moved on to other things. He showed you some new songs, and sometimes a friend  of his would come over and Choso would sell him some weed. 

And at the end of the night you would find yourself spread out on his black leather couch, with his head buried between your thighs. 

It became a habit until Maki's exams were done and she wanted to spend more time with you.

You were glad that the couch you were sitting on had its back to the window in the kitchen, protecting you from the prying eyes of those who went outside to smoke or enjoy the cool night air. As you climbed onto Choso's lap, your skirt had risen up quite high, almost to your waist but you were past the point of caring what others would think.

You’re planting small kisses up his neck and jaw, watching him and how he enjoyed having you in his embrace. After a little while he pulls you into another kiss, this time you’re feeling exactly how hungry he was for you. You bite down on his bottom lip, hard, before you pull away for a moment to gasp for air. While you were grinding down on him, you could feel the thin fabric of your panties slowly getting coated with your slick as you were searching for some kind of friction. 

"How about…", you pause, while kissing his neck up to his earlobe, feeling him slowly but surely getting hard beneath you.

"How about we take this inside, maybe look for an empty room?", you finish your sentence.

You didn't have to ask twice before Choso had already grabbed you. He had one arm around your waist, his other hand digging into your hips while you let out a little squeal before wrapping your legs around his middle. He carried you a few steps until he gently set you down in front of the door into the kitchen.

"You’re going to have to walk real close in front of me," he mutters into your ear as he turns you around to take the lead. You could feel how hard he was already as he was pressed up against you and you couldn’t help but giggle at his remark. 

"I promise they’ll be way too drunk to notice," you say, "but let’s get inside and help you with that." 

***

"Shit—" You hear Choso curse under his breath as he was standing behind you, pumping his dick in his fist a few times before lining himself up with your entrance. He had you bent over the bathroom sink right in front of him, his other hand digging into the flesh of your hips, surely leaving bruises on your skin.

You hear a loud bang at the door, but decide to ignore it. The person could find another bathroom, you were sure the house was big enough to have a few other options. As the person knocks a second time, this time even louder than the first, you feel Choso getting impatient.

"What the—", he mutters, turning towards the door. "Fuck off," he shouts, getting distracted for just a second while you were so desperate for him to fuck you already. You scoot your ass back against him, feeling the leaking tip of his cock sliding through your dripping wet folds and turning his attention back to you.

"Hold - fuck - hold still," he groans before pushing you down with his hand on your back, holding you in place so you were unable to squirm under his touch. 

"How about you hurry up a bit?", you tease from underneath him, earning yourself a slap on your ass almost immediately. You jerk forward a little, not expecting him to do that, but enjoying the stinging sensation to your skin all the same.

You let out a small moan as he pulls you back up against his chest, cupping your breast with one hand while pinching your nipple, "You’re in a hurry now, huh?", he groans and without giving you another heads-up, he pushes into you slowly. 

He was stretching you out already without even being all the way in, locking eyes with you in the mirror before bottoming out completely, letting out a loud groan as he did.

Choso watches as your lips formed an O, needy moans escaping your mouth while he is thrusting into your wet pussy at a devilishly slow pace. You could feel the perfect curve and every ridge of his dick, stretching you out so well before he pulls out almost entirely, just the tip prodding at your needy hole.

"Tell me what you want," he whispers into your ear, sending goosebumps all over your body. His hand squeezes your breasts and you moan at his request, his low voice going straight to your core, making you even wetter than you already were.

"Tell me, did you miss me?," he groans, not breaking eye contact with you, "did you miss my dick?" He plants kisses down your neck and before you could give him an answer he pushes into you again, picking up his pace this time. You cry out at the sudden sensation, the stretch making your eyes roll back while loud moans were falling from your lips. 

"I miss— fuck…", you whine, "'missed you, 'missed your cock inside of me" You had to grab onto the edge of the sink, unable to form another thought besides how good it felt to have him bully his dick into you. 

"Please…", you beg as he continues to fuck into you, holding your trembling body tight against his own.

He watches how your body reacts to him as he was pounding in and out of your pussy relentlessly, your walls squeezing down on his cock so hard he had to use everything he had to not cum into you right then and there. 

"Look at you," he moans right into your ear, "look at yourself taking this dick so fucking good." 

His hand that was just digging into the soft skin of your hips moves further down, his fingers meeting your slick just seconds after. His thumb starts drawing harsh circles on your clit, earning  him a few loud moans that fell from your lips.

"Fuck— Choso, right there, plea—", you whine, eyes squinted shut, "please, 'wanna cum - fuck— don’t stop." 

"I said look at yourself," Choso groans into your ear as you suddenly feel him pulling his hand away, forcing you to obey him and open your eyes. You swallow at the reflection you see in the mirror in front of you.

You were already looking so fucked out, mascara smeared along your undereyes. Your tiny denim skirt was dangling around your waist and that high neck, sleeveless crop top was pulled up above your breasts, squeezing them together. 

"Good girl," he praises, pressing a kiss to your sticky temple while his fingertips continue to rub and pinch at your clit without any mercy. You cry out, louder than anticipated, and watch how tears start to prickle in the corners of your eyes. 

It was too much for you, you were barely able to contain yourself beneath him and you felt yourself getting tighter around him with every harsh thrust of his hips against your ass. Thank god the music outside was so loud, the heavy bass lining up with the lewd noises the both of you made. 

"Shit - you’re getting so fucking tight," he grunts before you hear low moans falling from his lips, "you wanna cum, pretty girl?"

All you can do is whine in response, as you already lost your ability to form meaningful sentences a while ago. "I’m gonna - gonna—", you cry, brows knit together at the overwhelming feeling of him hitting your cervix over and over again. 

You watch how Choso stares at you through the reflection in the mirror, your body almost going limp as you feel your core tightening and the only thing you were being able to do was moan his name, again and again.

"Then cum for me, babygirl," he whispers, his fingertips circling your nipples and pinching your swollen clit while he fucks into your throbbing cunt, getting you closer and closer to your release, until…

"There you go," Choso coos as he feels your walls pulsating around him. Your fingernails claw and scratch at the arm that he had wrapped around you, while you were trying to hold onto something, anything…

Then your orgasm washes over you and it made your thighs shake almost immediately. Choso doesn't stop fucking you through your overwhelming peak, giving you no time to breathe until he finally cums into you as well, thick ropes of hot and sticky cum painting your pussy white while  you had your eyes closed again and you hear him moan into your ear.

You lean back against his muscular chest as the two of you try to catch your breath, raspy moans and small whimpers fall from both of your mouths while neither of you was able to say anything.

You shiver as Choso slides out of you, goosebumps prickling across your body, before he turns you around and you open your eyes to look at him. Your cheeks were flushed and your legs almost too weak to stand on, but you manage to pull your top down, covering yourself up as Choso presses a kiss to your lips. 

He helps adjusting your skirt after you put your panties back on, stumbling against him as you were standing on one leg.

"Careful—", he says and catches you, almost giving you a Déjà vu. 

"You alway got my back, huh?", you ask playfully while you’re trying to fix your hair and makeup in the mirror. 

"Doing my best," he chuckles, pulling up his pants and putting on the hoodie he took off earlier. The shirt he was wearing underneath had stains at the bottom - well, his fault for not taking it off as well. "Let’s get out before they break in the door."

You reach for your bag, now that you can stand in your knee-high boots without holding on to anything, and just as you are about to head for the door, Choso beats you to it.

He holds the door knob as he looks down at you.

"Hey, let’s do that again sometime," he grins and brushes a strand of hair out of your face, "and text me if you want me to get you home."

"You're a gentleman after all," you say and take his hand, grinning as you stand on your tiptoes to give him another kiss on the cheek. "Actually, 'lemme just find Nobara and tell her I’m leaving, I won’t be taking long," you mutter before pulling back. 

"I’ll wait outside for you," Choso says after the both of you have left the bathroom. Not a lot of people were still left and those who were, were not paying attention to the both of you. You feel him squeeze your hand once more before he lets go of it and disappears into the hallway. 

***

You try and make your way into the kitchen, as a familiar voice startles you.

"Stop using my brother to make him jealous," Yuji says, his voice unusually cold as he suddenly pulls up behind you.

You freeze and turn around, slowly.

"What?", you ask, not willing to believe what you’ve just heard. 

"I'm sorry, y/n, but you heard me right," He was serious. Where had he suddenly come from? Had he seen or... heard you? 

"It’s not - it’s not like that, I mean, I," you stammered, completely taken by surprise, "I’m not using Choso."

"Honestly, Y/N, I don't care what you say, I care about my brother, and all you've been doing lately is destroying yourself. You don't give a fuck about your friends, we're always here for you, and yet you go back to him every chance you get."

Ouch.

You could tell he was drunk. This was unusual for him, he was an athlete and although he liked to go to parties, he rarely drank alcohol himself, apart from a few shots for fun. And it took a lot to get Yuji drunk, you were speaking from experience.

The words that came out of Yuji's mouth hurt you. He was right, but none of your friends had called you out on your bullshit yet.

"I can't save you, Y/N. I've given up on that, but don't drag Choso into this. He has no bad intentions and he would actually treat you well, I know you don't want that." Yuji was so serious and you couldn't even argue with him because he was right.

"Your brother is a grown man," you reply coldly, not even able to look him directly in the eyes.

"Yeah, exactly, he’s a man. Plus - he likes you." 

It wasn't as if you denied the way Choso looked at you with absolute adoration in his eyes. You knew he would move heaven and earth if you asked him for something, and even if he wasn't pushy, you could count on him. He was thoughtful and gentle, he knew what you liked and didn't like, and sex with him was fun, so what exactly were you missing?

"Listen, Yuji, this in none of your business," you say, trying your best to keep your calm, "I don’t need saving and your brother is perfectly capable of looking after himself, so—"

"Yeah, whatever," Yuji barks, taking a sip from the bottle in his hand that you only noticed now, "don't come back crying if he hits you again."

Wow. 

You watch him leave as you realize that you've never seen your best friend so upset. You take a step back, startled by the feel of the wall behind you. You feel your way along the cold wall, down the dimly lit hallway, not sure where you want to go, but you wanted to get away from here. Looking for a door to get out, you pass a few couples making out. 

You push down the door handles of a number of locked rooms and people coming towards you bumped into you. Some of them apologise, others look you up and down, whistling or shouting something at you, but your tunnel vision prevented you from noticing anything. 

You had your guard down while the things Yuji had said to you played over and over in your head. 

Just as you reached the door at the end of the corridor, it was a glass door and you could see the starry night sky through it, someone slammed you hard into the wall. You were pushed into the chest of a much taller person who opened the door to your right with one hand and pushed you in with the other. 

"Hey—", you protested, but you had no chance. The man was much stronger than you and at least two heads taller. The familiar scent that rose to your nostrils as you were pressed against his chest set off alarm bells ringing in your head. 

And as you looked up, even the last doubts you naively had were erased.

"Megumi…", you gasp, and immediately try to get a few steps between the both of you. You hear him lock the door behind him and you instantly feel like a cornered animal. Your eyes scan the room for ways to escape, but unless you wanted to climb out the window, the door was the only way out. 

He looked you straight in the eye, all emotion gone from his face. It was obvious that you, on the other hand, were scared. You hadn't seen anyone outside and you were alone in some guest bedroom that was located in a part of the house where you couldn’t even hear anymore music playing.  

You clutched your bag and pulled your big leather jacket, which you had put on on the way out, tightly around you.

As if that would somehow protect you.

Megumi was still standing by the door, motionless. The grin on his lips never reached his eyes as he stared at you.

"I heard you were having fun in there," he says as you watch him closely.

Fuck.

"Yeah, and I want to leave now," you reply, trying your best to contain your voice, "why don’t you go back to Yue and leave me alone?" 

"Mhm." He seems like he’s thinking about it for a moment. "I don’t think so."

You gather all your courage as you decide to walk towards him.

"Cut your bullshit, Megs," you demand, "let me out of here."

He grabs you roughly as you try to reach for the door, pushing you back into the room.

"Who the fuck do you think you are?", you hiss, not willing to hold back anymore.

"You show up here, with your ex-girlfriend, making out with her, in front of me, in front of all my friends, and when you don't get the reaction you want, you jump me?" You almost yell at him and he was still just standing there in front of you with no reaction.

"I'm not doing this anymore Megumi, this isn't one of your little games anymore," you add, on the verge of tears, "why are you doing this to me?"

"I'll do whatever I want to you," his voice was as calm as always, scaring the living shit out of you as he walks towards you.

"I don't care about Yue, she was just, well, there," he says, watching you closely, "I wanted to know if you meant any of what you were saying last weekend, but as soon as your cute ego gets hurt you’re letting the next best guy fuck you in the bathroom."

You feel tears prickling in your eyes, and your attempts to blink them away only cause them to trickle down your cheeks.

"Oh," he mocks you, "now you’re crying." 

"Fuck you," you hiss and wipe the tears from your face. 

When he was standing right in front of you, you could smell not only his familiar scent, but also the smell of alcohol as he spoke to you. He was tense, you could feel it, and in the darkness his eyes looked almost pitch black as he stared at you.

"Watch how you talk to me," he says through clenched teeth, "just because you can't stand that you act like a fucking slut every time, just to get my attention."

What he said made you cry even more and you didn't bother trying to wipe off the tears anymore.

"I don’t wanna talk to you right now," you sob, but of course he doesn’t care what you want.

"But I wanna talk to you," he barks, grabbing you by your wrists as you try to shuffle away from him, "what is it about him that you go back for a second and a third, huh? Want me to beat him up for good this time?"

He was squeezing your wrists so hard that it hurt. 

"I’ll kill him if he ever touches you again," he spits, "fucking dirty whore."

You weren't sure what hurt more, his words, or the way he twisted your arms to bring you closer to his face.

"Shut the fuck up and leave me alone," you manage to get out, "you’re pathetic. I don’t need you."

You try to break free of his grip a second time, only this time he lets go of you to push you away from him. He does this with such force that you lose your balance and stumble backwards into the bed frame, which was now right behind you.  

You land on the mattress and before you know it, you feel his hand clench around your throat, pulling you up to his eye level again. You have to stand on your tiptoes to take some of the pressure off your neck.

He didn’t squeeze much but it still hurt. His grip was strong as ever and you couldn't move, so you stayed still, hoping he wouldn't hurt you any more.

You grimaced in pain and tried to look him straight in the eye. Somehow he had to realize what he was doing, didn't he? He was delirious and that frightened you. You knew this kind of situation all too well and it made you freeze. There was nothing you could do about it, you could only beg him to stop or try and keep still.

"Megumi, please, I’m sorry, you’re— you’re right," you sob, cheeks wet with tears, "just let me go, please…"

Suddenly you feel his hand tighten around your throat, but you don't realize it until he grabs you  by your neck and slams you right back into the mattress behind you. You have no time to react, you just feel a sharp pain as your head hits the headboard and then he finally presses down hard on your throat. You're helpless, gasping for air, barely able to process what he's just done.

"You’re such a fucking whore, Y/N," he fumes, shaking you and pushing you even deeper into the mattress, "you deserve to get treated exactly like the little fucking slut you are."

You whimper and cry, while hearing the blood rushing through your ears as you struggle against his grip.

Panic rises in you and you feel your eyes begin to sting with more hot tears running down your cheeks. In your desperate struggle you feel your muscles ache and your body give in, the shock knocking the last bit of air out of your lungs and you can't breathe, you know you're about to pass out.

"Tell me again who’s pathetic?" His face was right next to yours as he whispered into your ear.

You couldn't stop crying, even though you couldn't even make a sound. You were sure he was going to kill you this time. 

You had to fight back, but he was so much stronger than you.

"Megumi…", you groan.

"I— I need to—", you cough, desperately trying to claw at his arms, "breathe…please…stop—"

You cry and plead and try to free yourself, all while your strength slowly but surely leaves your body. And then, just milliseconds before you were about to lose consciousness, you feel the air flowing back into your lungs. 

You're so out of breath, coughing and choking and crying all at the same time, while your throat burns so badly, that for a moment you're not even sure he's really let you go.

The moment he lets go of you and stands up, you pull your legs towards you and crawl as far away from him as you can, putting your hands around your neck for protection, pulling the high-neck of your top up over the bruises that were probably already starting to form. 

You shake uncontrollably and can hardly stop crying, while he just stands there watching you. You wrap your arms around your legs, concentrating on your breathing as your body continues to shake.

Then he turns and leaves the room without another word to you.

And you wonder if this is your fault.

***

"I'm so sorry," you say, standing behind Choso after you finally found your way out of the house. He was sitting on the steps outside the main entrance, a bottle of beer in his hand, waiting for you. You snuggle into your much too large jacket as you sit down next to him.

"You've been gone for half an eternity." Choso gently nudged into your side and you wince, barely noticeable.

"Nobara was throwing up downstairs," you lie, "I couldn’t leave her."

"Oh, really," he says, you couldn't know he'd seen her leave almost an hour ago, "poor girl, I hope she's feeling better now.

You say nothing, tugging at the high neckline of your top, your legs bouncing nervously.

Choso notices and puts a hand on your thigh. You flinch again and this time he feels it.

"Are you all right?", he asks worriedly, looking at you. Your long hair hides the bruises on your neck, but what it can't hide is your blank stare, your swollen lips and your red, watery eyes.

You nod. 

"Yeah, I'm just cold," you say, trying to smile. Your throat's still hurting when you speak.

He puts the bottle to the side and shuffles closer to you. 

The both of you were sitting on the stairs for a while, neither one of you saying a single word. Choso sensed that something must have happened, but what could he do? He knew you lied to him about Nobara, so he figured you wouldn't tell him anything he didn't want to hear.

"Sometimes I just want what they have, y’know?", you sigh after a while and lean into Chosos side, resting your head on his shoulder for a moment.

"I know I will never find that kinda love."

You're talking about the scene that took place in front of you, a scene that caught your attention immediately. Yuta and Maki were about to leave the party together, and Maki was completely drunk. Yuta had his arm around her to manoeuvre her into the car. They both giggled while Maki tried to wrestle her boyfriend, making it harder than it had to be for the poor boy to get her home quickly.

As you look away, you notice that Yuji was sitting in the passenger’s seat with the window down.

He was getting impatient, waiting for them to finally get into the car, and as he turned to see what was taking them so long, your eyes met briefly. 

You saw him open his mouth as if to say something, but then he noticed Choso sitting next to you and he immediately turned away.

He was still mad at you.

Yuta had finally made it and Maki was sitting safe and sound in the back seat. He planted a kiss on her forehead before gently closing the door behind her and walking around the car. You looked away but he caught you watching the scene and stopped for a moment, flashing you both a smile before he waved goodbye, got into the car and drove off.

"What do you mean?" you hear Choso's voice after you have sat in silence for another while. The car disappeared and you just stared into the distance, trying to find the right words.

"I don't know, there's just no...", you pause for a moment, thinking how pathetic you're going to sound, "there's just no darkness."

That's it. Everything about their relationship was genuine, they cared for each other. There was not a hint of jealousy, no one was trying to control or manipulate the other.

"It's just sweet, they're just... sweet," you swallow, feeling so vulnerable in that moment, "they don't hate each other, there's just so much love. I don't know if that would ever be enough for me. Doesn't it get boring?"

Once again, you feel tears welling up in your eyes.

"Sometimes it feels like I'm going crazy," you mumble.

None of you says a word after that. At some point, you lift your head from Choso's shoulder to look at him, almost as if you want him to say something.

"You’re not," he says, his voice sounding determined.

"I mean, you're pretty fucked up, but you're not crazy." Choso pulls two cigarettes out of a pack and hands you one, lighting yours first. He stuffs the pack back into his jacket and takes a few puffs, immediately blowing the smoke out into the cool night air before turning back to you,

"I don’t fuck with insane chicks, learned my lesson." 

He nudges your side again to make sure you understand that he was joking, but you were already too far up in your head. You smoke your cigarette, breathing in the smoke as if it might bring you some kind of clarity.

"I think I'm going to get back together with him," you whisper, almost as if you don't want to hear what's coming out of your own mouth.

Choso does not answer. 

Of course he doesn’t. 

What was he supposed to say? He didn't know what exactly was going on between you and him, but at this point he knew that there was something, at least from his side. It was unfair of you to talk to him about it, of all people, and at the same time he knew that you couldn't talk to anyone else at the moment.

"Y/n, tell me, what do you want to hear from—" 

You cut him off before he could finish his sentence.

"It's a mistake, right?"

"Don't do it, just…", he pauses and takes a drag, "don't do it."

"I don't know if I can help it," you tell him, sounding defeated. 

Inhaling, you feel what you had been blocking out all along. Your throat hurts. The cigarette smoke that keeps pouring into your lungs only makes it worse, and the sudden pain in your chest when you inhale too deeply makes you wince.

You knew that those bruises would form. Like splashes of blue and green paint they would cover your neck, spreading all around your throat. 

Choso doesn’t reply to this, either. 

His head was hanging low. Not because he was disappointed or pissed off that he wasn’t able to make another move on you tonight, but because he was afraid to lose you. 

Because he knew he couldn’t really do anything to save you.

"I wish you could see yourself the way I do or the rest of the world does, really," he sighs and pulls you in, wrapping his arm around your waist and letting you rest your head against his chest. He wanted to say so much more but he stopped himself before opening his mouth. 

He knew it wouldn’t change a thing. 

@bao-yu-sarah-morningstar-wang-9 @arminsgfloll @chifuyusfingers @kokonoiscoconut thx for motivating me to keep on writing <3

[perfectlyfinespacebacon]

everything now netflix

some spoilers!! and apologies for the long post.

i honestly really enjoyed it! it was almost like a skins/euphoria but imbued with like a heartstopper/sex education vibe in the sense that it dealt with serious teenage issues/mental health but light enough that it doesn't weigh down on you. my character thoughts:

mia was so infuriating almost at all times. obviously under the circumstances, it makes sense but there's this level of likeability that was missing for me. maybe it was the writing or the acting who knows but in my mind it's like this: im making an albeit an unfair comparison to effy from skins or even rue from euphoria, but they were battling their demons and making all the wrong choices but there was still this level of “i want to root for them” that's missing with mia personally.

in a similar vein with alison, she is meant to be this popular rich mean girl archetype who surprises you but obviously in the first half of the season she's supposed to be kind of unlikeable but i found her very endearing. as for the relationship, alison and mia DO NOT belong together. like at all. i am not rooting for them. alison in a way forced a relationship with mia and then also mia was like too scared to say anything about it. its clear that alison liked mia waaaaay more than mia liked alison. like carli says in the last ep as well, “to learn to not be a fantasy to each other”, alison needs to take mia off this pedastal she has for her. i'm very interested to learn more about her character outside of mia though if they hopefully continue the show. i have a feeling that we are supposed to think that she and cameron hooked up at the end or something but i'm rlly hoping its a red herring.

carli is also a character i would love to learn more about. she definitely has more chemistry with mia and i love her for standing her ground against mia, as she needs to help herself before she can be in a healthy relationship. but i will say it was pretty shitty stringing cameron along.

speaking of cameron, i didn't quite expect to like his character as much as i did. in a way his arc in the season is battling toxic masculinity as he kinda seems to come off as this laid back, bro kinda guy but he cares and loves so deeply. it wasn't right calling bec a "sket". i'm not british but obviously its like equivalent to slut, and im very glad he owned up to it. i'm also really interested to know more about his family and stuff.

i love bec as well. she deserves all the happiness in the world. im glad she was able to air out her things with mia, albeit in a very treacherous way and i also love how her mom was supportive of the abortion. i'm honestly kinda tired seeing the mom kicking out the daughter for getting pregnant trope so it was nice to see a mom just being supportive. bec is just such a wonderful friend and mia honestly has a lot to make up for. re not telling mia about her and cam, it was honestly frustrating seeing mia be so petty. i understand that its a big secret and she felt like everyone was hiding things from her but its also right to have secrets amongst friends, idk that really stuck out to me.

will for me had the weakest arc as in it wasn't the most interesting to me. don't get me wrong, i love the character but it just wasnt giving a whole lot to me. i recognize him as more than the comic relief but also at the same time he was stirring the pot in a lot of the arguments / blowups the group had, consciously and unconsciously. though i will say will x theo <3 but comedic duo of the century is will x alison. the little song they did for mia's birthday is stuck in my head.

tldr; great characters and great show. it's really hard to find a show about teens as a 25yo living in a 16yo body that i enjoy and don't find annoying. i just love how each character was able to be so nuanced despite being an ensemble cast.

but knowing netflix's track record it's gonna get cancelled because a) it's good b) has wlw content... but i really hope not.

[13eyond13]

Hey Bloz! How r u? I cannot even begin to express how fun it’s been to see ur Beatles posts on my dash. the minute I saw the Real Love demo I was like ok… she’s fallen down the rabbit hole XD I was fixated on them last year for a good few months. It was a lot of fun reading about them, watching their movies, and reading fan analyses online. There’s so much out there! And Beatles rpf is a whole world unto itself lol at first I was skeptical of it but then… I was intrigued haha

Do u have any fave songs or albums? :)

Omg hello Jess!! I miss you and it's so nice to hear from you 🫂

Hahaha YES I'm pretty deep into The Beatles lore rabbit hole already, it's been my main fixation for entertainment for the past month or so. You're right, there's just so much to dig into. Caught me totally by surprise, I feel like I'm so late to the game to just be having a Beatles phase now... I never felt extremely interested in learning about them before, but a randomly recommended YouTube video (x) about how it's reductive to blame the band's breakup solely on Yoko Ono drew me into this whole fascination a few weeks back.

😆 And hah, you must have sent this ask to me right before I deleted that "Real Love" demo reblog, because I thought I'd better delete it after I looked in the notes of the post and saw the OP wasn't taking kindly to anybody questioning if John was actually giggling instead of sobbing there (which is what I think he was doing, personally... but it still sounded like he was writing something about Paul? 🤷‍♀️ idk, doesn't need to be crying for it to still be a bit of an eyebrow raiser, imo)

I haven't actually really looked into any rpf yet, just digesting the "canon" material and whatnot (listening chronologically to their discography and not completely finished with that yet, up to halfway through the White album rn). Been watching their movies and behind the scenes stuff and documentaries (the Get Back one by Peter Jackson was fascinating even for a relatively new fan to watch, imo), reading a bigass biography about them (Tune In by Mark Lewisohn, it's like this great slowburn real-time mosey through the band's childhoods and earliest days together), and watching the occasional YouTube video deep dives (this one series in particular is p beautifully made and impressively researched and really got me in the feels regarding the shippy theories about J&P: [x])

As for my faves of their music, I haven't finished listening to 100% of their albums yet, BUT right now I'm actually very partial to some of their earliest records. I feel like some of their more normie stuff from the early 60s is actually the most fantastic fun to listen to, and Please Please Me and A Hard Day's Night might be the two albums with the most bangers that I never want to skip so far. Their more experimental and psychedelic and surreal later stuff is also interesting and arguably more unique and groundbreaking or creative or whatever, but I'm not as familiar with them outside of the main extremely famous tracks on them yet, and I'll need to finish listening and let them grow on me a bit before I can probably say for sure. However I think so far my faves from their later stuff would probs be Magical Mystery Tour, Abbey Road, and possibly the White Album (once I actually finish listening to it).

John is definitely my favourite Beatle, which was actually a complete surprise to me, I thought he'd be my least fave. And there are so many good bops that it's hard to narrow it down, but some of my personal faves so far are I Saw Her Standing There, I Should Have Known Better, I Want to Hold Your Hand, It Won't be Long, A Hard Day's Night, Do You Want to Know a Secret, Oh! Darling, I Want You (She's So Heavy) and If I Fell... hmm, I think maybe I'm just kinda a sucker for their simple and enthusiastic and joyful love songs the most, usually?

Thank you for sending me this sweet ask! I'd love to hear what some of your faves are too 🧡

[eternallyblight]

Highlights from the Talk is Jericho Podcast w/Brendon Small and Gene Hoglan

Listen to the podcast here

Hatredcopter was the first song that Gene and Brendon ever worked together, recorded, and completed in an entire day.

How Brendon came up with Pickles and Nathan - What is the least metal name I can think of?

Toki Wartooth - Tommy or Brendon's name frome Viking name generator. Toki is like a child. Infantilized. (yes Brendon literally said this.) rhythm guitarist, but he's the darkest character.

Skwisgaar's had so much sex he doesn't like sexual things and looks for non-sexual things to get horny from.

Nathan is the guy who can never find the right girl. He's always going for the wrong thing.

Murderface is probably an incel.

Pickles has been around the block. This is his second band. He has a whole history of being in bands.

Part of producing the show is to mind the budget. They charge you by the frame. It would take 4-5 months and done domestically for 15 minute shows. Sometimes they turn it in on Friday, a couple days before the episode airs.

Gene will always be part of this no matter what. Gene is under a lot of pressure. Gene is literally a superhuman. He has to play in time with the animation and looks for the count from his peripheral vision. He takes a month beforehand to bear down on the live show. He will rehearse to the click track.

Gene loves working with Brendon and Ulrich (the producer). He's never seen Brendon stress. He's really reliable.

All the members live in Brendon's head and annoy him in different ways. But he's been close to Nathan a lot this year.

He doesn't know what is his favorite song to play. But he thinks its really fun to play Thunderhorse.

Gene's favorite member is Pickles because of his quote, "Couldn't do it, too damn drunk." and definitely not just because he's the drummer.

Gene's favorite song to play: The Gears, Dethsupport because they're challenging.

Gene and Brendon talk about the fact that Laser Cannon Deth Sentence was so hard to record they decided to never play it live but now Gene says he wants to try.

Questions and answers about the movie under the cut in case you don't want spoilers.

Brendon wanted to up the ante when making Army of the Doomstar. This is the conclusion of the Metalocalypse story, the one that began in the first episode.

The movie is mainly about the ego. It's a dipshit messiah story. Comedy that turns into an action movie. Go from the corporate world of Dethklok to the religious world of music.

This is the end of that story. It's about the search of the song of salvation.

On why Brendon decided to end Metalocalypse:

It's really important to end a story and not let it linger forever. Finishing a project is really important. A project that goes on forever diminishes the story.

Is there a possibility that Dethklok will do something beyond this? There is. I don't know. I think that Dethklok will live forever. This is the end of the Metalocalypse story.

[twirlingsmilingwriting]

Hunger Games Characters as Taylor Swift songs PART 2!!

I know these aren't popular like the fan fiction on my account but I love mixing my music and intrests so ima do a PART TWO

Johanna Mason

Mad Woman- Taylor Swift, Folklore

"Does a scorpion sting when fighting back? They strike to kill and you know I will"

Honestly, it's so hard to find just one lyric in this song that I felt like truly highlights her because the whole song is literally her. Especially the last verse. Like "'Cause you took everything from me, Watchin' you climb, Watchin' you climb Over people like me The master of spin Has a couple side flings Good wives always know She should be mad Should be scathing like me" THAT JUST FEELS SO MUCH LIKE HOW SHE VIEWS SNOW. He took everything from her and she was just sitting back ready to take him and the rest of the capital down with it. Also, I love her.

Katniss Everdeen

Eyes Open- Taylor Swift, Red

"In backyards, winning battles with our wooden swords. But now we've stepped into a cruel world. Where everybody stands and keeps score"

OKAY ADMITTEDLY THIS IS A SELL OUT BECAUSE THIS SONG WAS ON THE HUNGER GAMES OTHER SOUND TRACK BUT, it is quite literally her song. Side note but this song is so sad but sounds so happy. I love when Ms. Swift does songs like this. But yeah from the first verse describing how they were just kids then one day got thrown into the cruel and harsh world of the hunger games. Also the part talking about "they never thought you'd make it this far" makes so much sense because the girl from district 12 is always seen as the runt of the picks, the one who isn't supposed to win, BUT SHE DID!! Honestly, if yall can think of another song that fits her character please let me know. I have some honorable mentions

A Place in This World- Debut: honestly, I think this song really describes her thought process going into the hunger games. She was just trying to survive and keep her family safe. Even when she was thrown into being the head figure of the Revolution, she never wanted that position, she just got thrown into it. She was just walking along the path set for her. Even the line "maybe I'm just a girl on a mission but I'm ready to fly" makes sense to me because she IS the mocking jay.

Only Me When I'm With You- Debut: So Peniss coded (Peeta X Katniss)

I Know Places- 1989: Also Peniss coded

I Did Something Bad- Reputation: Killing president coin, pushing forth with the revolution,

Sujanus Plinth

Only The Young- Taylor Swift, Miss Americana

"You did all that you could do, the game was rigged, the ref got tricked, the wrong ones think they're right. You were outnumbered, this time"

Honestly, the whole thing reminds me of his reaction to the games. Also the whole song is about how only the young can change the future and Sujanus's character really showed that spirit. He was trying to make a change but unfortunately, he trusted the whole people and the odds were stacked against him.

Haymitch Abernathy

Champagne Problems- Taylor Swift, Evermore

""This dorm was once a madhouse" I made a joke, "Well, it's made for me"

He has em. Simple as that. (alcoholism)

Seriously though this song reminds me of him more so because of the concept of it. Champagne problems is a term used to describe issues that seem rather trivial, unimportant, and I feel like a lot people tend to disregard all the genuine things Haymitch had gone through. The story of the song also is about a marriage that never happened, it also has undertones of lost family and friends. As we know, Haymitch lost his girlfriend and family to the capital. He never got to marry her because she was taken from him.

Lucy Gray

My Tears Ricochet- Taylor Swift, Folklore

"And I still talk to you when I'm screaming at the sky. And when you can't sleep at night you hear my stolen lullabies"

LETS BE HONEST, SHE IS SO FOLK-EVERMORE CODED. I could dissect this song for ages explaining why it's the perfect example of what Lucy Gray would be saying indirectly to Snow. Firstly,

"Even on my worst day, did I deserve, babe All the hell you gave me? 'Cause I loved you, I swear I loved you 'Til my dying day"

CUZ NO SHE DID NOT DESERVE WHAT SNOW PUT HER THROUGH. She loved him truly, deeply, but when it came down to it, she knew she could never trust him. Especially with the position he put her in. She could go anywhere she wants but not home after Snow made it seem like she killed the mayors daughter. And then the part

"I didn't have it in myself to go with grace And you're the hero flying around, saving face And if I'm dead to you, why are you at the wake? Cursing my name, wishing I stayed Look at how my tears ricochet"

She didn't go with grace. She left in a flash, deep with mystery. She has to hide for the rest of her life while he gets to be the proud hero and savior to Panem. The second half of the main chorus is so true to how Coryo was acting when they were in the forest in that last scene. He was quite literally cursing her name, wishing she'd stayed.

"You know I didn't want to have to haunt you But what a ghostly scene You wear the same jewels that I gave you As you bury me"

JEWELS? HER EARRING??? HELLOOOOOOOO and then the "as you bury me" HE DOESN'T KNOW IF SHE DEAD OR NOT BUT IF SHE IS, HE KILLED HER. HE BURRED HER AND TOOK HER EARRING.

"But you would still miss me in your bones And I still talk to you (when I'm screaming at the sky) And when you can't sleep at night (you hear my stolen lullabies)"

She had such a hold on him, he still remembers her years later, haunted by her memory. the song constantly references the "Haunting". The "I still talk to you when I'm screaming at the sky" reminded me of the way the mocking jays carried her voice all around the sky. And the last line was so clearly connecting to 'The Hanging Tree' in my brain. Many years later, Katniss sang the same song she did to lead a rebellion against him. His life is haunted by her memories and cursed by it. He can't escape her anywhere.

The tears he made her spill simply ricocheted into bullets that hit him instead.

Effie Trinket

Bejeweled- Taylor Swift, Midnights

"Best believe I'm still bejeweled. When I walk in the room,I can still make the whole place shimmer"

MS. EFFIE TRINKET IS THE BADDEST BITCH BRO OMG I LOVEEEEE HER. STYLE ICON. Listen, no matter what happens to that woman, shes gonna shine. A diamonds gotta SHINE. She is always the most sparkly, eye catching person out there at ALL TIMES! Even without all the glitz and glamour she is still so iconic. She is ALWAYS bejeweled.

[softnsquishable]

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

WHAT A TIME TO BE ALIVE

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[calciumdeficientt]

I BEG… FOR TOM… GURNEY… HEADCANONS…

THOMASSSSSS MY SONNNNN MY BOYYYYYYYYY yah absolutely :3

TOM GURNEY HEADCANONS

That’s an autistic boy if i ever did see one. Tom is me i am tom. The no shoes thing is definitely a sensory issue, i like to think its the socks more than its the shoes, likely the seams around the toes. I feel like if tom is forced to wear socks and shoes he’s got very specific sensory needs. Absolutely no ankle socks, those were sent by the government to make your ankles feel like they’re being strangled by their oppressive regime, only gym socks pulled up as far as they can physically stretch with sneakers that are tied so tight he takes them off and there’s an indent of the laces on his foot and absolutely zero circulation from the ankle down

Tom runs a very successful horror blog, he talks about behind the scenes info for his favourite movies and also provides ratings of movies both new and old. It’s really funny to watch him in the cinema because he sits with a little norepad and makes notes the whole time so he can come up with a decicive score on the blog. He spends a lot of time in the movies, its where most of the money he threatens out of other students ends up. He goes to watch movies a minimum of 5 times to make sure he didn’t miss any details or lose any plot points that might bump up his initial scores. He has a secret spreadsheet and everything, its insane commitment, but special interest is gonna special interest, am i right gamers?

A very very good student when he applies himself, especially as a creative writer, if you look past all the blood, gore, and general slasher rapiness in his works you can definitely see all the signs of a promising novelist or screenwriter. In the poetry department, he’s not so stellar. Tom is still of the mindset that all poems must rhyme and are generally quite superficial and pointless pieces of writing. And they’re completely separate to all the private free form stuff he writes in his journal from time to time. Those aren’t poems at all they’re just… succinct vents

Tom is also a greatly talented drummer, the kid has rhythm all the way up to his eyeballs, and if he wasn’t so scared i think he’d be a great asset to bullworth’s marching band. But he knows he’d get torn to shreds by his friends so he stays well enough way no matter how hard miss peters begs for him to try out. He borrows a drum kit Russel keeps in his garage and practices using karaoke tracks of songs he illegally torrented onto his iPod, no sheet music, just vibes.

Tom’s face bruise is actually part bruise and port wine stain birthmark, hence why it stays that lovely purple hue forever. The redness in his eye is from repeated blows to the head from both friends and foes but the purple skin around his eye is (mostly) just birthmark

The rest of his bruises are actually just from minor injuries. I think tom has elhers danos syndrome (EDS) so the kid bruises like a peach. Minor bumps from passersby in the busy halls of bullworth leave him looking like he was in a full on beat down. That’s not to say that he’s not often in huge scuffles because he absolutely is, he’s just a little more physically delicate than the other bullies

Tom has the hots for angie (at least in my save he does) so he tries to act like a sweetheart whenever he’s around her. He knows that she knows he’s a bully but i think tom really wants to show her that he’s more than that, he’s better than that. Tom doesnt even like being a bully all that much, it’s just the hard facts of life at bullworth that you’re either in or out, and god knows he wouldn’t last a day if he was out.

[lullabyalikpoptarot]

Enhypen (Thoughts on title tracks) Energy Reading

So, the first thing I asked is their thoughts on their music at the moment. I got the 8 of Pentacles, not the greatest card to get. I mean there is a lot of hard-work and details that go into their music. It is kind of like the music is part of work, but not feeling much of a connection as a whole right now, to their music. But they definitely put in the effort to make the right type of music. I am hearing, it is all about the details, so yeah. I also added some other songs of theirs's as well, along with the TT's, like the Dark Moon songs.

Given-taken (Transformation)-Yeah, this makes sense, all things had changed for them, it was their debut, a new start for them, but it was a bit chaotic for them, but they were happy to finally be able to perform. Things could have been a bit messy with the song, or just a lot of changes to it. I mean this was covid time, so yeah, things were all over the place when they debuted with this song. I am honestly not getting too much of the song, but the situation around it with this one. Not sure they feel anything for the song tbh.

Drunk-Dazed (Release)-This song felt cathartic for them. They may have felt they can release themselves with this one. They didn't feel too limited with this one. It is like the dance moves for this, felt freeing for them, weird message, but I go with how I feel and what I get. I am just seeing the dancing, like they may really like the choreography of this one. Not sure I am getting much about the music, but the they like the performance aspect of this.

Tamed-Dashed (Ace of Fire)-Yeah, not a fan of this song, sorry, I think I listened to this once or twice in full, but they seem to like it. It sparked some creativity and passion in them, surprised by this tbh. It was a fun song to do. It was a nice opportunity. It seems they enjoyed this one for the time. Not sure they enjoy it much now. Because ace of fire just gives me, this was fun, but then the energy dies down quickly.

Blesses-Cursed (10 of Air)-Why am I getting all these cards of freedom though? It is like there is a sense of freedom they get when they release music and get to perform them. This song may have been a struggle for them to put together. There seemed to be a lot of negative thoughts attached to this one. This one was an ending of a cycle for them.

Future Perfect (Pass the Mic) (Page of Swords)-This was not the card I would expect for this song at all, like what is this!? Hmm, it seems they may have been uncertain about this one, a little uncomfortable with this one. It could have been mentally challenging for them. Also, a lack of preparation for this one. I feel they were too in their heads and analytical with this one.

Bite Me (The Hermit)-Ya'll why do they get the hermit for this!? Like why, what is this boy? *sighs* This is my fave! Their energy is so weird with their music. I would think this one would get a good card tbh. Maybe this song helped them learn about themselves individually. Maybe it gave them some sort of identity, but that seems weird to me. Not sure why isolation keeps coming in my mind, but not sure what that can mean, yeah, don't get this.

Sweet Venom (3 of Pentacles)-I feel this one should have been for Bite Me, but whatever, my bias is showing. They may have liked who they worked with here. They felt it was a nice collaborative effort with this song. They feel they were able to use their skills and talents with this one. It seems they liked the effort put into this one.

XO (King of Swords)-How this group has barely any Wands or Cups here though. I am surprised by this one too, like this is a lovey dovey romantic song, why I am getting the KOS energy here? I love these boys, but this energy makes no sense. Is the KOS that dude, can't even remember his name? The singer they worked with. I mean, the group could have learned a lot from him, and they have respect for him, and his music. They may have liked the lyrics to the song. Whoever this is, they had a lot of say in the direction of this song, the boys had little input tbh. A lot of sword energy pertaining this group and their music tbh.

One in a Billion (3 of Wands)-Oh yay wands!, but this is a slow moving, kind of stagnant wands to get. They may see this song growing. They can see the potential of this song. They can see themselves performing this at concerts. I am just like getting, they are looking ahead. I don't see them really paying attention to this song, just on to the next. This song may have been a slow process for them as well, also did they travel, or work with someone long distance for this one? I know I should know as a fan, but I don't focus on every detail of my faves. I am a fan from afar lol

Criminal Love (The Star)-I feel they may like this one. From the image of this card, it is like they pour themselves into this song. Is this the song that is really hard for them to do? I should know this as a fan, but I don't observe my faves like that really? Also, I can't think when channeling. I am just getting them sweating a lot, like they pour their sweat and tears into this song. The song is pretty exhausting for them. It is like they pour their all into this song. Once again, this is more about the performance, than the song. I'll be real, there is a disconnect between them and their songs musically, but not performance wise. Which makes sense, since I am pretty sure the members would prefer to do songs that fit their style, because their songs ain't it for them.

Fatal Trouble (5 of Swords)-Once again, another Sword card, this group is very analytical, logical, and matter of fact with their music. There may have been many mistakes with this one, they may have had to redo this one a lot, there could have been disagreements when it came to this song. I sense there was drama and fighting with this one, if it was the members or the company, but this is about the members, so yeah. Differences in opinion, they don't have a lot of say, so, maybe some members made mistakes, and that annoyed some members, maybe that started fights, once again, I am getting more about performance. Because I am kind of seeing them in the rehearsal room, so it is more about the performance here.

Alright, well that was a trip lol Yeah, not much passion or emotions when it comes to their music, but that makes sense, since they don't contribute to their TT's lyrically or compose. But still love them and the hard work they do to put on a good performance. It seems they're more focused on that. Anyway, these are fun. I am thinking of doing BTS next!