#so when i got to the studio
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#cont. of last post tags#this is just a journal for me#but i figured id go to the studio in the evening either way#and he didnt text me#or so i thought#so when i got to the studio#and he was a little more distant and didnt talk to me as much and was a bit less playful#and looked like he expected me to say something or as if he had something to say#i was annoyed but unwilling to mention thrifting sometime unless it felt more casual#and then yesterday when we saw eachother again#he greeted me playfully#and we talked about how my shirt was thrifted#and then he mentioned first us going together asking when we were gonna go#and i said i had figured hed have texted me if we were still on#and then he said we were gonna go but you ghosted me and didnt respond!#qnd i said no way#and he showed me; hed asked me if i was still on#and i had accepted that he didnt care enough to#so i all of a sudden felt giddy and apologetic#i showed him i hadnt recieved it#and then i offered to get him some food from jack in the box with jo#and he seemed shocked maybe even jealous tho i couldnt feel sure if it was bc of me or jo#bc playful yet accusing he said when did you two get do close are yall buddies now#and why didnt joel ask me#and i could see him thinking#and then all of a sudden he stopped working and said ill just come#idk if i suggested it first or not#but then he was decisively putting things away#and he came with us#and i sat on the same side of the booth as him
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Revolutionary
#bg3#baldurs gate 3#baldur's gate 3#baldur's gate#lae'zel#lae zel#larian studios#githyanki#traditional art#ink#happy i finally got around to drawing her shes my favourite but her face proportions gave me so much trouble when i tried drawing her befor
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#I'm having lots of feelings and I feel like nearly crying after watching#once upon a studio#it's not much but god the nostalgia the voices#the fact that they used archived voices along with current ones!!#Hearing Robin Williams as Genie but not with any of the voice lines in Aladdin got me hard#disney#sternennacht update#but honestly the two things that hit me harder#was when you wish upon a star at the end#and Mickey looking at Walt. And they played Feed the Birds#THAT got me#For anyone who doesn't know Feed the Birds was Walt's favorite song and the song is beautiful#I'm just#I'm having feels#and the fact that this is gonna play before Wish?? Lord save that theater I will cry so hard
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#ts4#ts4 interior#build/buy she's like a lover to me#ive been playing the mbti challenge here!#i'm trying to figure out rotational gameplay 🤧🤧#i have a bug/glitch in my game that doesn't allow me to use household inventory and the money shows “infinite” when building#it's so inconvenient for my gameplay#but i cant be bothered to figure it out#i actually timed myself with this one and it took 6 hours for me to fully decorate#and this is a converted warehouse build i got from the gallery#it's pretty spacious#there's a loft that i didn't show that's an artist studio
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it was so obvious
#botan starring as me when i am delusional about them#they re so twins come on#i will always be pissed at hiei for not telling yukina#yu yu hakusho#yuyu hakusho#yyh#hiei jaganshi#hiei#yyh hiei#kuwabara#kazuma kuwabara#yyh kuwabara#botan#botan yyh#yyh yukina#yukina#digital art#clip studio paint#was kinda better in my head tbh but oh well#at least i didn't drop it#clip studio cheapo 1€ version got no text for the joy of NO ONE#so enjoy my choppy handwriting i guess dhwjsb
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Sorry I never gave a proper update on tumblr——
here’s some brainstorming doodles from Keo and me on the white board and some examples Keo made in my notebook. I won’t forget it, one of my harshest note was “NEVER draw Kenny in 3/4!! Trey hates that!” 🤣 The story leads stressed that Trey is very particular with acting decisions and poses, most of which don’t translate into the animation. It’s for him at the editing stage, to “make his voice sing”. Getting into Trey’s head, funnily enough, requires FEELING. Feeling what he’s going for in terms of delivery, to learn what not to take literally in his script (when trey says “kathleen kennedy is like terminator��� it’s not what you initially think it means), what emotion or gesture to put in to elevate a joke, to get the message through. It’s so fascinating!
In short, I didn’t make the cut. I was “too fresh”, and needed more experience with the technical aspect of storyboarding…. but I was complimented by Keo for my intuition, something that can’t be taught. I was over the moon when I was told I got the style of the show, whereas other trainees with 10+ experience couldn’t. Some of them tested but don’t even watch the show!! That’s crazy, but I guess that’s to be expected. My knowledge of the show and deep love for the characters got me this far, but I need to work on my actual story boarding skills (keo said my struggles are in composition and scaling) to stay!! 💪🏼 I’m taking this… as a not yet, not a no. I’m already on their radar, in their database, I’m incredibly lucky I got to make my THIRD connection in the studio, I just need to work on myself until I can arrive. I’m so grateful for all the support from friends family and industry moots to get me this far, it’s only the beginning of the year but I don’t think anything could top what happened to me this March!!!!!
#south park#kyman#i’m tagging kyman bc the damn ship got me this far too credit where credit is DUE 🤣🤣🤣🤣#behind the scenes#it’s so funny actually I drew in a lil kyman moment in my boards at the studio (not as like a haha i’m a sneak this in. more like. it just.#flows outta me lol)#and when i received notes on that panel the leads didn’t say anything abt my kyman…. they zeroed in and kinda argued w/ each other if i#should have drawn more details for the lockers or not 🤣🤣🤣#Keo came clutch so I followed his advice in not drawing the details but greg insists abt drawing them in#and then they went into ‘well trey doesn’t say anything when I do/don’t draw them in’ and i kinda stood there like 🧍🏻♀️#I thought the whole thing was hilarious in the end#maybe I should draw that moment jgkgfjfh#talk tag#I feel like I scammed everyone like…. I’ve never professionally boarded in my life. How the hell did i get this far.
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frye inspires this sort of manic "i can do whatever i want" kinda will in people and god. I sure did do whatever I wanted here
#splatoon#frye onaga#my stuff#this is my belated inktober 4 offering#this was not meant to take this long. it just kept going#i think.. individually every piece stands on its own and then when you combine them its like a fever drean#my favorite's the chocolate one. i think shes so cute there#peep the foil embossed signature like its some sort of in-universe merch postcard thing lmao#(also side note her signature?? im 99% sure is meant to be a little eel. thats so cute its not fair)#anyway yes i did want every piece to be a different style#so if youre reading this far. youve gotta read a little bit more.#but ive got the splatfest style(chocolate)#ballpoint pen doodle that got too out of hand(summerfes)#i wanna make her as shiny as physically possible(splatoween)#official 2d(big sticky in the middle)#quick sharpie/highlighter on post it(sweets)#and as.. smooth? we'll go with smooth render as i could manage(polaroid)#then to fill in the empty space i put in bits of scenery that related to frye#namely the studio(top) splatsville(middle; very small) and her boss arena(bottom)#those were super fun to do i forgot how fun it was to just block out environments like that til now#anyway its 2 am so im just gonna pass out now. enjoy Miss Onaga Herself and goodnight
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Guy's you will not believe what I dreamed about last night--
#my art#sonic#sonic the hedgehog#shadow the hedgehog#chip#sonic unleashed#sonadow#help I had a dream where they added a new animation about Sonic Unleashed and it was about Shadow and Sonic meeting during the game#I think the hours of playing it finally got to my head#If I had a nickel for every time I had a dream about these two fuggin hedgehogs I'd have two nickels#It was so amazingly animated I adored it shjshsj#Idk how to draw motorcycles xd#OR GUNS#ALSO CHIP SAID THIS AND I WAS WHEEZING WHEN I WOKE UP#idk whos doing the budget in my dream studio but it was a solid 10/10 ngl#SHADOW RECONIZED SONIC CUZ OF HIS GODDAMN GREEN EYES#I can't believe they gave Shadow a gun again oh mah gawd guys#fav#dont worry chip apologized afterward and gave shadow some chocolate#sonic went 👁️👁️
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Get Haunted
#this is OLD#I was briefly obsessed w ghost Draco#so I’ll b posting more prob lol#as I clear out my iPad#still into it honestly#ohhh how he would pester#I imagine like him having a really reactive face#like dramatic#like he’s got big anime eyes when he says shit like this but#if he gets sad or rejected he melts into sludge like howl#or disappears and shrinks#or like when he thinks abt his situation he gets Wretched and bleeds more#or gets distorted angry like more rage than a normal human face is rigged to express#his hair emotes like studio ghibli#he squish-and-streches#anyways#good luck on your (tortured) enemy to lovers to Orpheus arc Harry#I believe in you !#blood is the colour of my true loves hair unu#he says reaching out to try and touch#yeah and who’s fault is that Harry?#cosmically let’s go with Voldemort#harry potter#draco malfoy#drarry#draco x harry#harry x draco#hpdm#hp fanart#in fact here we can trace back the origins of my obsession w green pink colour palette which endured when I started drawing again
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Bts of the boy EP visuals via lamajamakeup
#those lost ladygunn party pics reminded me I was literally seconds from posting these unseens back in August when 5sos posted a studio vid#and thus this got frantically stuck in the drafts and completely forgotten about 😂😭#the original post has since been deleted so I've just linked the account from which they originated 🤓#luke hemmings#boy ep#5sos#5 seconds of summer#instagram#other ig#andrea vargas 2024#kh4f post#i wonder what i was about to tag this with lmao#all i had so far was 'i cannot express to you '#what was i unable to express 👀#and now i never will 🥺#anyways these pics (and this man) are ridiculously pretty#i welcome any and all unseens of the trenchcoat fit tbqh#also i just looked at my drafts for the first time in idk how long and there is crazy stuff in there that i really need to work on freeing
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"...What is it?" "The drums...they mean trouble. I shouldn't be here—" "I want to see you again—" "I can't—" "Please don' t leave—" "—I'm sorry." "..." "...I have to go now."
—Pocahontas (1995)
#tfw ur really connecting with a guy and the fucking air raid sirens go off#pocahontas (1995)#disneyedit#pocahontasedit#pocahontas x john smith#pocahontas#john smith#they were all feeling a kind of way at the studio huh?#but fr like her look of panic when she hears the drums always stuck with me as a kid#and only now am i realizing the reason those drums are probably a Big Deal is bc her tribe JUST got done fighting a war with another tribe#she's been hanging out with smith all day. she doesn't /know/ that a scouting party had been sent out and one of her own got shot#she was just tailing the one guy on her own and then having a whole musical number and flirting n having a good time#and all of a sudden the red alert is blaring and now she's having war flashbacks#literally those drums could be for anything as far as she knows. i'd be on edge too.#also this lil animation sequence is so interesting#it strikes me as very 'old hollywood' in the blocking and the body language#it's the 'oh but we mustn't!' of it all#ahhh i'm a sucker for it every time#queso*edit#queso*gif
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2023 september - rock sound #300 (fall out boy cover) scans
transcript below cut!
WHAT A TIME TO BE ALIVE
With the triumphant ‘So Much (For) Stardust’ capturing a whole new generation of fans, Fall Out Boy are riding high, celebrating their past while looking towards a bright future. Pete Wentz and Patrick Stump reflect on recent successes and the lessons learned from two decades of writing and performing together.
WORDS: James Wilson-Taylor PHOTOS: Elliot Ingham
You have just completed a US summer tour that included stadium shows and some of your most ambitious production to date. What were your aims going into this particular show?
PETE: Playing stadiums is a funny thing. I pushed pretty hard to do a couple this time because I think that the record Patrick came up with musically lends itself to that feeling of being part of something larger than yourself. When we were designing the cover to the album, it was meant to be all tangible, which was a reaction to tokens and skins that you can buy and avatars. The title is made out of clay, and the painting is an actual painting. We wanted to approach the show in that way as well. We’ve been playing in front of a gigantic video wall for the past eight years. Now, we wanted a stage show where you could actually walk inside it.
Did adding the new songs from ‘So Much (For) Stardust’ into the setlist change the way you felt about them?
PATRICK: One of the things that was interesting about the record was that we took a lot of time figuring out what it was going to be, what it was going to sound like. We experimented with so many different things. I was instantly really proud. I felt really good about this record but it wasn’t until we got on stage and you’re playing the songs in between our catalogue that I really felt that. It was really noticeable from the first day on this tour - we felt like a different band. There’s a new energy to it. There was something that I could hear live that I couldn’t hear before.
You also revisited a lot of older tracks and b-sides on this tour, including many from the ‘Folie à Deux’-era. What prompted those choices?
PETE: There were some lean years where there weren’t a lot of rock bands being played on pop radio or playing award shows so we tried to play the biggest songs, the biggest versions of them. We tried to make our thing really airtight, bulletproof so that when we played next to whoever the top artist was, people were like, ‘oh yeah, they should be here.’ The culture shift in the world is so interesting because now, maybe rather than going wider, it makes more sense to go deeper with people. We thought about that in the way that we listen to music and the way we watch films. Playing a song that is a b-side or barely made a record but is someone’s favourite song makes a lot of sense in this era. PATRICK: I think there also was a period there where, to Pete’s point, it was a weird time to be a rock band. We had this very strange thing that happened to us, and not a lot of our friends for some reason, where we had a bunch of hits, right? And it didn’t make any sense to me. It still doesn’t make sense to me. But there was a kind of novelty, where we could play a whole set of songs that a lot of people know. It was fun and rewarding for us to do that. But then you run the risk of playing the same set forever. I want to love the songs that we play. I want to care about it and put passion into what we do. And there’s no sustainable way to just do the same thing every night and not get jaded. We weren’t getting there but I really wanted to make sure that we don’t ever get there. PETE: In the origin of Fall Out Boy, what happened at our concerts was we knew how to play five songs really fast and jumped off walls and the fire marshal would shut it down. It was what made the show memorable, but we wanted to be able to last and so we tried to perfect our show and the songs and the stage show and make it flawless. Then you don’t really know how much spontaneity you want to include, because something could go wrong. When we started this tour, and we did a couple of spontaneous things, it opened us up to more. Because things did go wrong and that’s what made the show special. We’re doing what is the most punk rock version of what we could be doing right now.
You seem generally a lot more comfortable celebrating your past success at this point in your career.
PETE: I think it’s actually not a change from our past. I love those records, but I never want to treat them in a cynical way. I never want there to be a wink and a smile where we’re just doing this because it’s the anniversary. This was us celebrating these random songs and we hope people celebrate them with us. There was a purity to it that felt in line with how we’ve always felt about it. I love ‘Folie à Deux’ - out of any Fall Out Boy record that’s probably the one I would listen to. But I just never want it to be done in a cynical way, where we feel like we have to. But celebrating it in a way where there’s the purity of how we felt when we wrote the song originally, I think that’s fucking awesome. PATRICK: Music is a weird art form. Because when you’re an actor and you play a character, that is a specific thing. James Bond always wears a suit and has a gun and is a secret agent. If you change one thing, that’s fine, but you can’t really change all of it. But bands are just people. You are yourself. People get attached to it like it’s a story but it’s not. That was always something that I found difficult. For the story, it’s always good to say, ‘it’s the 20th anniversary, let’s go do the 20th anniversary tour’, that’s a good story thing. But it’s not always honest. We never stopped playing a lot of the songs from ‘Take This To Your Grave’, right? So why would I need to do a 20-year anniversary and perform all the songs back to back? The only reason would be because it would probably sell a lot of tickets and I don’t really ever want to be motivated by that, frankly. One of the things that’s been amazing is that now as the band has been around for a while, we have different layers of audience. I love ‘Folie à Deux’, I do. I love that record. But I had a really personally negative experience of touring on it. So that’s what I think of when I think of that record initially. It had to be brought back to me for me to appreciate it, for me to go, ‘oh, this record is really great. I should be happy with this. I should want to play this.’ So that’s why we got into a lot of the b-sides because we realised that our perspectives on a lot of these songs were based in our feelings and experiences from when we were making them. But you can find new experiences if you play those songs. You can make new memories with them.
You alluded there to the 20th anniversary of ‘Take This To Your Grave’. Obviously you have changed and developed as a band hugely since then. But is there anything you can point to about making that debut record that has remained a part of your process since then?
PETE: We have a language, the band, and it’s definitely a language of cinema and film. That’s maintained through time. We had very disparate music tastes and influences but I think film was a place we really aligned. You could have a deep discussion because none of us were filmmakers. You could say which part was good and which part sucked and not hurt anybody’s feelings, because you weren’t going out to make a film the next day. Whereas with music, I think if we’d only had that to talk about, we would have turned out a different band. PATRICK: ‘Take This To Your Grave’, even though it’s absolutely our first record, there’s an element of it that’s still a work in progress. It is still a band figuring itself out. Andy wasn’t even officially in the band for half of the recording, right? I wasn’t even officially the guitar player for half of the recording. We were still bumbling through it. There was something that popped up a couple times throughout that record where you got these little inklings of who the band really was. We really explored that on ‘From Under The Cork Tree’. So when we talk about what has remained the same… I didn’t want to be a singer, I didn’t know anything about singing, I wasn’t planning on that. I didn’t even plan to really be in this band for that long because Pete had a real band that really toured so I thought this was gonna be a side project. So there’s always been this element within the band where I don’t put too many expectations on things and then Pete has this really big ambition, creatively. There’s this great interplay between the two of us where I’m kind of oblivious, and I don’t know when I’m putting out a big idea and Pete has this amazing vision to find what goes where. There’s something really magical about that because I never could have done a band like this without it. We needed everybody, we needed all four of us. And I think that’s the thing that hasn’t changed - the four of us just being ourselves and trying to figure things out. Listening back to ‘Folie’ or ‘Infinity On High’ or ‘American Beauty’, I’m always amazed at how much better they are than I remember. I listened to ‘MANIA’ the other day, and I have a lot of misgivings about that record, a lot of things I’m frustrated about. But then I’m listening to it and I’m like ‘this is pretty good.’ There’s a lot of good things in there. I don’t know why, it’s kind of like you can’t see those things. It’s kind of amazing to have Pete be able to see those things. And likewise, sometimes Pete has no idea when he writes something brilliant, as a lyricist, and I have to go, ‘No, I’m gonna keep that one, I’m gonna use that.’
On ‘So Much (For) Stardust’, you teamed up with producer Neal Avron again for the first time since 2008. Given how much time has passed, did it take a minute to reestablish that connection or did you pick up where you left off?
PATRICK: It really didn’t feel like any time had passed between us and Neal. It was pretty seamless in terms of working with him. But then there was also the weird aspect where the last time we worked with him was kind of contentious. Interpersonally, the four of us were kind of fighting with each other… as much as we do anyway. We say that and then that myth gets built bigger than it was. We were always pretty cool with each other. It’s just that the least cool was making ‘Folie’. So then getting into it again for this record, it was like no time has passed as people but the four of us got on better so we had more to bring to Neal. PETE: It’s a little bit like when you return to your parents’ house for a holiday break when you’re in college. It’s the same house but now I can drink with my parents. We’d grown up and the first times we worked with Neal, he had to do so much more boy scout leadership, ‘you guys are all gonna be okay, we’re gonna do this activity to earn this badge so you guys don’t fucking murder each other.’ This time, we probably got a different version of Neal that was even more creative, because he had to do less psychotherapy. He went deep too. Sometimes when you’re in a session with somebody, and they’re like, ‘what are we singing about?’, I’ll just be like, ‘stuff’. He was not cool with ‘stuff’. I would get up and go into the bathroom outside the studio and look in the mirror, and think ‘what is it about? How deep are we gonna go?’ That’s a little but scarier to ask yourself. If last time Neal was like a boy scout leader, this time, it was more like a Sherpa. He was helping us get to the summit.
The title track of the album also finds you in a very reflective mood, even bringing back lyrics from ‘Love From The Other Side’. How would you describe the meaning behind that title and the song itself?
PETE: The record title has a couple of different meanings, I guess. The biggest one to me is that we basically all are former stars. That’s what we’re made of, those pieces of carbon. It still feels like the world’s gonna blow and it’s all moving too fast and the wrong things are moving too slow. That track in particular looks back at where you sometimes wish things had gone differently. But this is more from the perspective of when you’re watching a space movie, and they’re too far away and they can’t quite make it back. It doesn’t matter what they do and at some point, the astronaut accepts that. But they’re close enough that you can see the look on their face. I feel like there’s moments like that in the title track. I wish some things were different. But, as an adult going through this, you are too far away from the tether, and you’re just floating into space. It is sad and lonely but in some ways, it’s kind of freeing, because there’s other aspects of our world and my life that I love and that I want to keep shaping and changing. PATRICK: I’ll open up Pete’s lyrics and I just start hearing things. It almost feels effortless in a lot of ways. I just read his lyrics and something starts happening in my head. The first line, ‘I’m in a winter mood, dreaming of spring now’, instantly the piano started to form to me. That was a song that I came close to not sending to the band. When I make demos, I’ll usually wait until I have five or six to send to everybody. I didn’t know if anyone was gonna like this. It’s too moody or it’s not very us. But it was pretty unanimous. Everyone liked that one. I knew this had to end the record. It took on a different life in the context of the whole album. Then on the bridge section, I knew it was going to be the lyrics from ‘Love From The Other Side’. It’s got to come back here. It’s the bookends, but I also love lyrically what it does, you know, ‘in another life, you were my babe’, going back to that kind of regret, which feels different in ‘Love From The Other Side’ than it does here. When the whole song came together, it was the statement of the record.
Aside from the album, you have released a few more recent tracks that have opened you up to a whole new audience, most notably the collaboration with Taylor Swift on ‘Electric Touch’.
PETE: Taylor is the only artist that I’ve met or interacted with in recent times who creates exactly the art of who she is, but does it on such a mass level. So that’s breathtaking to watch from the sidelines. The way fans traded friendship bracelets, I don’t know what the beginning of it was, but you felt that everywhere. We felt that, I saw that in the crowd on our tour. I don’t know Taylor well, but I think she’s doing exactly what she wants and creating exactly the art that she wants to create. And doing that, on such a level, is really awe-inspiring to watch. It makes you want to make the biggest, weirdest version of our thing and put that out there.
Then there was the cover of Billy Joel’s ‘We Didn’t Start The Fire’, which has had some big chart success for you. That must have taken you slightly by surprise.
PATRICK: It’s pretty unexpected. Pete and I were going back and forth about songs we should cover and that was an idea that I had. This is so silly but there was a song a bunch of years ago I had written called ‘Dark Horse’ and then there was a Katy Perry song called ‘Dark Horse’ and I was like, ‘damn it’, you know, I missed the boat on that one. So I thought if we don’t do this cover, somebody else is gonna do it. Let’s just get in the studio and just do it. We spent way more time on those lyrics than you would think because we really wanted to get a specific feel. It was really fun and kind of loose, we just came together in Neal’s house and recorded it in a day. PETE: There’s irreverence to it. I thought the coolest thing was when Billy Joel got asked about it, and he was like, ‘I’m not updating it, that’s fine, go for it.’ I hope if somebody ever chose to update one of ours, we’d be like that. Let them do their thing, they’ll have that version. I thought that was so fucking cool.
It’s also no secret that the sound you became most known for in the mid-2000s is having something of a commercial revival right now. But what is interesting is seeing how bands are building on that sound and changing it.
PATRICK: I love when anybody does anything that feels honest to them. Touring with Bring Me The Horizon, it was really cool seeing what’s natural to them. It makes sense. We changed our sound over time but we were always going to do that. It wasn’t a premeditated thing but for the four of us, it would have been impossible to maintain making the same kind of music forever. Whereas you’ll play with some other bands and they live that one sound. You meet up with them for dinner or something and they’re wearing the shirt of the band that sounds just like their band. You go to their house and they’re playing other bands that sound like them because they live in that thing. Whereas with the four of us and bands like Bring Me The Horizon, we change our sounds over time. And there’s nothing wrong with either. The only thing that’s wrong is if it’s unnatural to you. If you’re AC/DC and all of a sudden power ballads are in and you’re like, ‘Okay, we’ve got to do a power ballad’, that’s when it sucks. But if you’re a thrash metal guy who likes Celine Dion then yeah, do a power ballad. Emo as a word doesn’t mean anything anymore. But if people want to call it that, if the emo thing is back or having another life again, if that’s what’s natural to an artist, I think the world needs more earnest art. If that’s who you are, then do it. PETE: It would be super egotistical to think that the wave that started with us and My Chemical Romance and Panic! At The Disco has just been circling and cycling back. I remember seeing Nikki Sixx at the airport and he was like, ‘Oh, you’re doing a flaming bass? Mine came from a backpack.’ It keeps coming back but it looks different. Talking to Lil Uzi Vert and Juice WRLD when he was around, it’s so interesting, because it’s so much bigger than just emo or whatever. It’s this whole big pop music thing that’s spinning and churning, and then it moves on, and then it comes back with different aspects and some of the other stuff combined. When you’re a fan of music and art and film, you take different stuff, you add different ingredients, because that’s your taste. Seeing the bands that are up and coming to me, it’s so exciting, because the rules are just different, right? It’s really cool to see artists that lean into the weirdness and lean into a left turn when everyone’s telling you to make a right. That’s so refreshing. PATRICK: It’s really important as an artist gets older to not put too much stock in your own influence. The moment right now that we’re in is bigger than emo and bigger than whatever was happening in 2005. There’s a great line in ‘Downton Abbey’ where someone was asking the Lord about owning this manor and he’s like, ‘well, you don’t really own it, there have been hundreds of owners and you are the custodian of it for a brief time.’ That’s what pop music is like. You just have the ball for a minute and you’re gonna pass it on to somebody else.
We will soon see you in the UK for your arena tour. How do you reflect on your relationship with the fans over here?
PETE: I remember the first time we went to the UK, I wasn’t prepared for how culturally different it was. When we played Reading & Leeds and the summer festivals, it was so different, and so much deeper within the culture. It was a little bit of a shock. The first couple of times we played, I was like, ‘Oh, my God, are we gonna die?’ because the crowd was so crazy, and there was bottles. Then when we came back, we thought maybe this is a beast to be tamed. Finally, you realise it’s a trading of energy. That made the last couple of festivals we played so fucking awesome. When you really realise that the fans over there are real fans of music. It’s really awesome and pretty beautiful. PATRICK: We’ve played the UK now more than a lot of regions of the states. Pretty early on, I just clicked with it. There were differences, cultural things and things that you didn’t expect. But it never felt that different or foreign to me, just a different flavour… PETE: This is why me and Patrick work so well together (laughs). PATRICK: Well, listen; I’m a rainy weather guy. There is just things that I get there. I don’t really drink anymore all that much. But I totally will have a beer in the UK, there’s something different about every aspect of it, about the ordering of it, about the flavour of it, everything, it’s like a different vibe. The UK audience seemed to click with us too. There have been plenty of times where we felt almost more like a UK band than an American one. There have been years where you go there and almost get a more familial reaction than you would at home. Rock Sound has always been a part of that for us. It was one of the first magazines to care about us and the first magazine to do real interviews. That’s the thing, you would do all these interviews and a lot of them would be like ‘so where did the band’s name come from?’ But Rock Sound took us seriously as artists, maybe before some of us did. That actually made us think about who we are and that was a really cool experience. I think in a lot of ways, we wouldn’t be the band we are without the UK, because I think it taught us a lot about what it is to be yourself.
Fall Out Boy’s ‘So Much (For) Stardust’ is out now via Fueled By Ramen.
#the cover is so funny. like theyre cute but that is genuinely bug angle. that is bugs under a rock angle. THEYRE ALREADY SHORT KINGS#fall out boy#pete wentz#patrick stump#andy hurley#joe trohman#time capsule#read the charts#ANYWAY GO HERE. GO READ HERE. BECAUSE I SPENT A LONG TIME TRANSCRIBING EVEN THO TRNASNCRIBING SUCKKSSS#i looped the spell soundtrack like 5 times and got jusmpscared by track9 every time. and then i put on smfs<3#patrick's comments about the mythologising of fob lore is so interesting#listen baby i know ur fed up and it's not ur fault but u have to understand. the story of ur band is on some genuine fanfic ass other level#the way they talk about neal avron is sooo funny#imagine being producer for this young band. and theyre brilliant but theyre also twentysomethings(derogatory)#also the way pete talks abt swift. lol. also why does he answer the q when patrick was the one in the studio lol???#ALSO also. pete being afraid of british ppl (valid and true)#and patrick pretty much taking to the uk like a duck to water (also valid and tru) is sooo funny#i rlly liked this interview i wiiiiish i got the bundle w the photobook and whatever but i was way too late :(((((((((
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Concept design for a goddess oc (god of creativity and stories/fates), doomed plots my beloved<3
#my art#art#artwork#doodle#illustration#oc art#artists on tumblr#digital art#oc#goddess oc#goddess#god oc#god of stories#fable#/#pandora#she got 2 names cause all mortals forgot everything about her after she was killed and the only evidence was that other gods rememberd her#and also old writings that didnt get wiped away when she died#so the mortals only know her as 'mother of fables' and call her as such... I MEAN. SHE TURNED INTO AN ISLAND AFTER SHE DIED. but hey#thats besides the point#tehehe#cw suggestive#tw suggestive#so eepy#original character#original art#digital drawing#digital illustration#clip studio paint
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drawing a marvel character every day until im too tired to do it pt 5(?): wanda maximoff, scarlet witch
#wanda maximoff#wanda maximov#scarlet witch#marvel comics#romani wanda maximoff#marvel fanart#comic fanart#comic books#scarlet witch fanart#my art#digital art#csp#clip studio paint#digital drawing#x men#why did this kinda eat#this is what happens when i use a reference#the anatomy was a bitch but i got it pretty ok me thinks#i made the anatomy way more realistic than usual#i kinda like it tbh its so cool#AND I FINALLY KINDA LEARNED HOW TO DRAW HAIR#i think ima start doing quicker and less rendered pieces during school days n then do bigger things on free days so i dont rush#and make something that im not proud of#just slightly rendered sketches#alsoalsoalso i think i might move away from overly blending things#in retrospect it makes my art look a lil muddy n ion like that#alsoalsoalsoalso shoutouts to pinterest for having so many pose pics theyre so good to study#like i trace it and then try drawing the traced image myself a bunch of times untill i get it close to the og pic's proportions#i did that for this one and it took a hell of a long time but it was so worth it#i got it suuuuuuuper close
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20/10 stars little guy
#me (scrounging undetected autist whose ideal fashion sense is ''if i have to be seen at all: shrouded'') seeing encanto the other month.....#and on top of it all i LOVE slice of life. encanto being so focused on What It's About that there's so much of that + character / dynamic#also part of what i loved abt pixar luca. ppl like ''simple story but not a problem :)'' like YEAH thank god it's Also so slice of lifey#2021 what a year lol. though again i only Just saw encanto....tfw Studio Creative Control backs off a bit more than usual: Joy & Wonders#anyway i knew going in bruno wasn't an antagonist (fine if he was though b/c slay & b/c scapegoats can do whatever they want)#knew i'd love him b/c again Scapegoat shows up & i'm the Amazing Showstopping Totally Unique Never The Same gif on loop#but what a delight even beyond those expectations lol. love again how Focused the movie is on What It's About & Thee Points it makes#the Characters / Dynamics & the Metaphor & the plot stays right with all of that. the focus & importance re: thee scapegoats....#& bruno being disabled like whole layer of Yay Yay Yay spamming. that even when He's Back we're reminded he's not ''normal now'' or w/e#(i.e. presenting that as The Good Ending for the disabled outcast. vs just being embraced as part of the group again & accepted As He Is)#meanwhile was like hmm chat is there queercoding do we think? like is he queer: Yes. but is there coding? hmm#sure isn't cishet coded though. but i was also having the thought like fellas is it gay to [higher tenor tessitura or w/e] lol#made me go ''do i know this voice? ok do i know this name / face / actor? (i have never seen anything ever / bad w/names/faces/voices)''#indeed was like yeah haven't seen this; heard of this; seen it once ages ago no way i remember more than like 0.6 details#then from ''ohh haha I'm A Mammal That Cares....yeah i hear that'' to ''omg CHI-CHI RODRIGUEZ???? ;;0;;'' waaah fantastic revelation lmao#also the way Literal Future Seer ability was externalized to make it more wrangleable for plot is so impressive & fun & excellent#got a lot of [i like this thing i saw a lot] i got to say....guess i can do that w/the sideblog i made for one drawing i made last night#encanto 2021#bruno madrigal#also the way bruno is so Nervous + Hiding / Bold + Big Personality like yes ha ha ha Yes....tamped down as ''too much'' experience#also the [stuttering stumbling muttering mumbling] line: i fr nigh wept upon going back over a moment like what am i hearing here?#& realizing the answer was: it's bruno quietly stuttering a moment during this one line (& then (& then (& then)) i saw you) ;;;mm;;;#hang onnn....the first scapegoat who's driven off being Disabled is so real so ;m; that again they're like so he got Weirder; Okay ;;m;;#that we get jorge thumbs up nobody having an Aside to be like [ugh; this guy] or Anything. augh always have too much to say for 30 tags#fabric drape there sure not accurate but i was like okay if i try to really reference that i'm not getting this done tonight
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I am so normal about them
#listen i had a couple of horrendus weeks and whats better than super self indulgent art to light up thw mood#these are actually based on a looooong convo i had with the friend who got me into watching yyh#something about post canon future youko#when shiori dies at the ripe age of 120 yo or smth#and youko acting like a domestic animal makes me feral#they be the happiest murder couple look at them eeping covered in blood at the bottom#missing some other things like big dog youko zoomies but i lost the interest in drawing at some point because i really wanted color em#this wasnt supposed to see the light of the day like mostly of my self indulgent stuff bc they re for myself but i feel generous (?)#they have 292 different skin shades because using a semi transparent brush and constantly neglet colorpicking first makes the job tricky#digital art#csp#clip studio paint#yyh#yyh fanart#yyh hiei#yyh kurama#youko kurama#shuichi minamino#hiei x kurama#hiei jaganshi#hiei#kurama#kurahi#yu yu hakusho#yuyu hakusho#the og convo was actually more bittersweet and i could i have material to draw angst but this is supposed to be comfort art so#ending the yap#i should stop yap under my posts#pick your fave mine is hiei poisoning himself with the seed
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