#the smart studios story

[choices-binglebonkus]

After replaying Kindred, I can pretty safely say that it’s not a great story, but the focus on the sisters and the bond they work to form is excellent.

[flebus]

i tried to rewatch Paranorman for the first time in ages yesterday, with pretty high expectations of at least having a good time, but i found the writing style so grating that i had to give up like fifteen minutes in 😭 Laika is so frustrating bc they just put an insane amount of effort and time and craftsmanship into these beautifully storyboarded visually gorgeous movies that still suck ass. because the writing is so mediocre and so so insufferably smug. its crazy.

[emdotcom]

*remembers what they did to Vanny* 500 FUCKING PIPEBOMB ATTACK.

[hanashiz]

OCZ in Malaysian Forces AU

Happy Independence Day (31/8) and Happy Malaysia Day (16/9)

[misterbaritone]

God I hope that new DMC anime is good because that first one was such dogshit

[omgeto]

☆ COVER UP — tattoo artist!GETO SUGURU

summary: all you wanted was a cover up tattoo to replace the name your ex left on you. you didn't think you'd be leaving the tattoo shop with a replacement for your ex's tattoo and a replacement for him as well.

wc: 3k

cw: afab!reader, geto gives you backshots, he's kinda obsessed w/ your ass here, unprotected sex (since I forget condoms) BUT he's a gentleman pulls out </3 your kinda a meanie. he's kinda a meanie so light angst (?) but barely. MDNI

an: haven't posted a longer work in a hot minute, but here is how you meet tattoo artist boyfriend!geto soooo give this one a chance big fanks to my lil twat @kazushawty for helping me out and reading bits of it.

as you push open the heavy glass door of ‘cursed ink studios,’ a subtle bell chimes softly, announcing your presence. instantly, the atmosphere inside crackles with an electric charge. the air is thick with the intoxicating scent of ink, mingling with the sterile bite of antiseptic. the walls are adorned with vivid flash art form a chaotic tapestry, while the rhythmic hum of a tattoo gun echoes through the room.

and there he is, geto suguru – a tall, enigmatic figure with jet-black hair and sleeves of mesmerising tattoos that seem to tell stories of their own. he sits at his workbench, surrounded by an array of ink bottles and tattoo machines, his piercing eyes never leaving the art he's creating. a carefully curated playlist of music plays softly in the background, punctuated by the occasional buzzing of the tattoo gun.

he glances up from his intricate work as you enter, his gaze slowly travelling up and down your form. there's a hint of curiosity in his eyes, as though he's wondering why you, of all people, have ventured into his sacred space. his expression, however, suggests that he's far from thrilled about the interruption.

"need something?" he asks, his irritation evident.

"i need a cover-up” you swallow your nerves, holding your head high, your voice steady, ”my ex's name."

geto raises an eyebrow, seemingly unimpressed by your request. "ex's name, huh? you people never learn."

your jaw clenches at his condescending tone. "well, i'm here now, so can you do it or not?"

he continues to scrutinise you, his gaze feeling like a judgmental weight. finally, he nods, albeit reluctantly. "fine, show me."

with a sigh of resignation, you turn around, your heart pounding as you pull down the waistband of your jeans just enough to reveal the offending name covering your left ass cheek. it's a constant reminder of a relationship gone wrong, and you're more than ready to be rid of it.

"this won't be easy," he mutters, his fingers cool against your skin as he traces the outline of the name. his touch lingers, just a little too long, sending an unexpected shiver down your spine. his fingers, skilled and confident, continued to trace the inked letters of your ex's name on your skin — almost toyingly. and you could feel the chill of the tattoo parlour's air-conditioning contrasted by the warmth of his touch.

his voice, though still gruff, held a trace of disgust "who did this?" he asks, not looking up from the tattoo.

you hesitate, your memories of that past relationship flooding back. "my ex-boyfriend," you reply tersely.

geto's fingers stop their tracing, and he lets out a low, almost imperceptible sigh. "you let your boyfriend do a shitty tattoo on you, and you let him make it his name," he mutters, more to himself than to you. "you practically let him brand you."

“is it your job to be such a bitchy artist?” you snap, already fed up by his comments. you’ve heard it from your parents, your friends, ever since you got that trashy tattoo. but couldn't disagree with that sentiment — you knew it was a shit tattoo. “i thought i was paying you for your artistry, not your smart mouth.”

"listen," he growls, his voice low and dangerous. "you walk in here with that god awful mess on your skin, and you've got the nerve to criticise my attitude? if you want to be rid of it, you'll do well to keep that attitude in check, sweetheart."

you bite back a retort, realising that you've indeed crossed a line with your comment. there's a palpable tension in the air now, a simmering anger beneath the surface, and it seems that geto has no intention of backing down.

with a deep breath, you swallow your pride and offer a reluctant apology. "i'm sorry," you mutter, a touch of remorse in your voice. "i shouldn't have snapped at you."

he continues to hold your gaze for a moment, his expression still stern, before finally nodding. "apology accepted."

you didn’t actually have an idea of what you wanted for the cover up, you just knew you needed it gone. geto was a highly sought out cover artist so you had no doubt that he’d be able to do you good. with your initial meeting being heated, you thought it was best to leave him to do his thing.

with a sense of relief that the confrontation has subsided, you decide to give geto some space to work his magic. "i'll leave you to it," you say, your voice quieter now, and you turn away from him.

"good," he mutters, his focus fully on his ipad as he starts to sketch, not even looking as you leave the shop. 

geto usually was quick to draw up tattoo sketches for clients, but when it came to you he was stunned — too busy thinking about how your ass looked rather than what he was meant to tattoo on it. from the moment you stepped in his shop, he was intrigued, you didn’t see the type to get work done by him and the marking stretched on your ass didn’t seem like it would belong to someone with an attitude like yours. 

his mind was anything but focused on the design. he couldn't help but replay the encounter with you in his thoughts, your brashness and the way you'd stood your ground, even under his scrutiny.

"why the hell did she get that shitty tattoo?" he mutters to himself, his fingers deftly working his pen. the sketch was beginning to take shape, but his mind kept drifting back to the curve of your ass. he couldn't deny the attraction he felt, and it frustrated him. he was supposed to be a professional, detached from his clients beyond the art he created on their skin. but something about you had thrown him off balance.

“so you ready to get this tatted on you?” is the first thing he asks when you return the following day. you inspect his sketches in awe, of course you never doubted his talent but you didn’t think he’d be able to draw something you wanted without you even having to say.

“well it seems you do live up to your reputation,” you comment with a neutral facade, but you both know that you were downplaying your excitement — you were pleased. and like with any client, that made geto satisfied that he was doing his job correctly. but when he saw the way your eyes lit up when he initially showed you the sketches, it was a sight he wanted to see again. “i guess we can start the tattoo.”

“okay i’ll get my stuff set up, get rid of those,” he says nodding towards your jeans, “and lay down when you’re ready.” you slip yourself out of your bottoms, leaving the itty bitty thong that you knew you’d need for the appointment and that a small part of you hoped he liked.

he pauses when he sees you laying down on the seat in his station, your head resting in your arms, your ass slightly raised.  ‘this is gonna be a long session,’ he thinks to himself as he smirks, shaking his head as he works his way to his seat.

as he sits down, he places the stencil over your ass, and you berate yourself for getting giddy at the feeling of him rubbing over the design to make sure it was in place — wishing that his hand stayed for longer. 

“how are you with pain?” he asks, and from the way you were laying you weren’t able to see the way he was gawping at your ass.

“what type of pain?” you retort.

“y’know the type of pain where someones drilling into your ass for hours,” he comments as if it’s obvious but you both knew his words were hinting at more than just the tattoo.

“choice words there,” you muse, “but any type of pain i’m alright with, so give me your best.”

geto's needle hovers just above your skin, poised for action. "you sure about that?" he murmurs, his voice low and suggestive.

a coy smile tugs at your lips as you respond, "I can handle it if you can."

with a deliberate, almost tantalising slowness, he lowers the needle to your skin. the first touch is a sharp, stinging sensation, but you refuse to flinch. you're determined to hold your own, to meet geto's challenge head-on.

he continues to work, the needle dancing across your skin with a practised precision. the room is filled with the rhythmic sound of the tattoo machine, creating a hypnotic backdrop to your growing tension.

as minutes turn into hours, you find yourself lost in a strange mixture of pleasure and pain. the pain is undeniable, but there's something oddly exhilarating about it. you steal a glance at geto, his intense focus on his work, and you can't help but wonder if he's enjoying this as much as you are.

"still doing okay?" he asks, his tone a mix of concern and something more primal.

you bite your lower lip, suppressing a moan that threatens to escape. "i told you, i can handle it."

geto smirks, his gaze locked on your ass as he continues to tattoo. "you've got quite the threshold for pain. impressive."

“is it really? i'm sure you’ve worked on a lot of other clients with higher thresholds for pain.”

“but none of them have had an ass like yours though,” he mumbles to himself — but you hear him loud and clear, a grin forming on your face at the confession. “anyways, we’re all done now, go ahead and look in the mirror.”

you stand in the full length mirror, your head slightly turned at an angle as you gawp at your ass. your eyes widen seeing what was once your shitty exes name, now turned into a piece of true art. 

“so what d’you think?” he asks, and you didn’t even notice him coming to stand behind you until you felt his breath on the back of your neck, “this shit is hot right?”

“you can say that again,” you agree, keeping your eyes focused on the tattoo, trying to ignore the quickening of your heart beat at the presence of him, “this is really great though, like i couldn’t imagine my ass could look this good after having that tattooed on on it all his time.”

“well no need to imagine anymore,” geto’s face forms a smiling grin, you can tell he was admiring way more than just his artwork, “you mind if i take a picture… for my instagram?” he says, barely asking as his phone is already out of his pocket and is in his hands, he looks up at you for permission and you give a slight nod before he’s snapping away at your ass.

“are you sure this is for your instagram,” you tease, as he continues to take photos crouched down, as he circles your ass with his phone, “or is this just for your personal wank bank?”

“would you like it to be?” he retorts back swiftly, there wasn’t even any mischief in his eyes as he looks up at you, just pure lust.

“um i–” you stutter, only now feeling exposed — as if he hadn’t been working on your ass already for the past six hours.

“don’t get shy on me now,” he coos, standing up to face you head on, “y’gonna let me finish off making you forget that ex or yours or what?”

“be my guest,” you respond, trying to come across as nonchalant, but the eager look in your eyes gave geto all he needed to know. 

he pushes you softly, as he commands, “hands against the mirror and spread your legs.” and you do just that, as he comes behind you, fitting in between your legs perfectly. his hand forces ur back down, deeping the arch of your spine before both of his hands grab onto your ass.

geto really rubs and digs his thumbs into your cheeks, biting his lip at the sight at the way his fingers mould into your ass. “fuckk man,” he groans out, he’s not even in you yet and he was already obsessed with every inch of you. 

he frees his dick from his pants, and pumps it quickly before sliding it across your already gushing slit. you hiss at the contact, a pleased smile working its way on your face as the tip of his dick edges into you.

“s-shit,” you stammer, as he inches himself into you deeper, “w-what about the rest of the shop?”

“what about them?” he shrugs, “you don’t want them to hear naught you’re being right now? HEY GUYS—”

“oi,” you hiss out, your eyes widening as you turn your head to look directly at him.

“i’m just playing, i’m not ready to share you quite just yet,” he retorts, his dick moving in you at an achingly slow pace, “now, keep your eyes focused on the mirror, and you better not let those hands slip.”

before you can respond, he thrust his hips into you as deep as he could, his dick slamming into you. you moan out at the surprising force, trying your best to keep your palms flat on the surface of the mirror, as you stare straight at him — watching how he works his hands from your ass to your hips so he can drive into you with all of his force. 

“this pussy is s-so fucking good,” he praises, the sloppiness of your cunt making it easy for him to slide his dick in and out of you. “oh and this ass,” he continues giving a hard spank on your ass cheek, to emphasise his point, “c’mon throw your ass back on my dick, i wanna see it bounce.”

you fuck him back, doing exactly as he says, your ass meeting his hips with the same amount of force. his spanks encourage you to be quicker, to give him everything he wants. his repeating, strong strokes, have you feeling weaker, your hands slipping as you try to stay up right, when all you want to do is collapse and cum everywhere. 

“f-fuckk it’s too much,” you whine, as he drills into you.

“nah,” he says, shrugging his head, “it’s not enough,” he lifts up his legs, his digits pressing into your deeper, as he now angles his strokes even further into your pussy, hitting your spot with ease. “give it to me harder, i know you can” he encourages, another two swift spanks landing on your ass.

with his continuous contact of your ass and his hips, and the way his dick pushes into you deeper, you felt like you were splitting in two. but you kept going, thinking back to your earlier conversation, you didn’t want to prove him wrong, you wanted to show him that you can handle it, handle him.

geto was practically beaming, licking his lips feverishly at the sight of your fucked out face through the mirror as he watches himself plough into you, your body rocking forward with every thrust. his eyes concentrate on your ass, as he says, “d’you see how your rocking my work on you now?” and you nod dumbly, too busy trying to reach your climax to string a sentence together, “so fuck that ex of yours and his shitty ass tattooing, from now on you only can me on your body, you got that?” he asks and you nod again, but he shakes his head, his hand moving from your waist to your chin as he grips it making your eyes stay locked on his through the mirror, “i said do you got that?”

“ahhh s-shit yet i do, i do,” you say, mirroring his words, ���i will only have you on my body, ‘promise.”

“good girl,” he approves, giving your chin a squeeze before letting go, “now cum.” 

with those simple words, you release all over him, your stance getting weaker, as you shoot out cum all over his dick. he’s quick to pull out of you though, stroking his dick as he sprays his cum all over your ass, with a deep groan.

your hands are still on the wall, as you take deep breaths, trying to recollect yourself. but you turn around swiftly seeing a flash of a camera behind you, and geto is back to crouching down, with his phone out, taking pictures of your cum covered ass.

“you mind if i keep these in my wank bank forreal this time?” he asks, smirking as you nod, “i’ll take some more later, but i got two questions to ask.”

“and those are…” you say, prompting him to continue.

“first, let me take you out after this?” he asks with a smirk, already knowing the answer. after the way he just dicked you down, you’d be a fool not to let him wine and dine you, “second, y’gonna come suffocate my face with that ass of yours or not?” you couldn’t even answer the second question since he’s pulling you down to the floor with him, with a joyous grin on his face.

AN: IGNORE THE FACT THAT HE CUMS ALL OVER UR FRESH TATTOO. LIKE JUST IGNORE IT. just focus on the fact that you have a lovely ass and geto loves it too. but yes do you want to see more, I HAVE ENOUGH IDEAS TO EVEN MAKE A LIL MASTERLIST FOR IT. I love tattoo artist boyfriend!geto so so much, like when u guys become an established relationship it actually gets so good. BUT I DONT REALLY LIKE THIS ONE, BUT IF U GUYS FW IT I PROMISE ILL ACTUALLY WRITE AND POST THE ONES I LOVE. BUT I FELT LIKE I HAD TO WRITE THIS FIRST SO YOU COULD SEE HOW U AND GETO STARTED. LMK UR THOUGHTS

[mostlysignssomeportents]

"Efficiency" left the Big Three vulnerable to smart UAW tactics

Tomorrow (September 22), I'm (virtually) presenting at the DIG Festival in Modena, Italy. Tomorrow night, I'll be in person at LA's Book Soup for the launch of Justin C Key's "The World Wasn’t Ready for You." On September 27, I'll be at Chevalier's Books in Los Angeles with Brian Merchant for a joint launch for my new book The Internet Con and his new book, Blood in the Machine.

It's been 143 days since the WGA went on strike against the Hollywood studios. While early tactical leaks from the studios had studio execs chortling and twirling their mustaches about writers caving once they started losing their homes, the strikers aren't wavering – they're still out there, pounding the picket lines, every weekday:

https://www.cnbc.com/2023/08/09/how-hollywood-writers-make-ends-meet-100-days-into-the-writers-guild-strike.html

The studios obviously need writers. That gleeful, anonymous studio exec who got such an obvious erotic charge at the thought of workers being rendered homeless as punishment for challenging his corporate power completely misread the room, and his comments didn't demoralize the writers. Instead, they inspired the actors to go on strike, too.

But how have the writers stayed out since May Day? How have the actors stayed out for 69 days since their strike started on Bastille Day? We can thank the studios for that! As it turns out, the studios have devoted so much energy to rendering creative workers as precarious as possible, hiring as little as they can getting away with and using punishing overtime as a substitute for adequate staffing that they've eliminated all the workers who can't survive on side-hustles and savings for six or seven months at a time.

But even for those layoff-hardened workers, long strikes are brutal, and of course, all the affiliated trades, from costumers to grips, are feeling the pain. The strike fund only goes so far, and non-striking, affected workers don't even get that. That's why I've been donating regularly to the Entertainment Community Fund, which helps all affected workers out with cash transfers (I just gave them another $500):

https://secure2.convio.net/afa/site/Donation2?df_id=8117&8117.donation=form1&mfc_pref=T

As hot labor summer is revealed as a turning point – not just a season – long strikes will become the norm. Bosses still don't believe in worker power, and until they get their minds right, they're going to keep on trying to starve their workforces back inside. To get a sense of how long workers will have to hold out, just consider the Warrior Met strike, where Alabama coal-miners stayed out for 23 months:

https://www.thenation.com/article/activism/warrior-met-strike-union/

As Kim Kelly explained to Adam Conover in the latest Factually podcast, the Alabama coal strikers didn't get anywhere near the attention that the Hollywood strikers have enjoyed:

https://www.youtube.com/watch?v=UvyMHf7Yg0Q

(To learn more about the untold story of worker organizing, from prison unions to the key role that people of color and women played in labor history, check out Kelly's book, "Fight Like Hell," now in paperback:)

https://www.simonandschuster.com/books/Fight-Like-Hell/Kim-Kelly/9781982171063

Which brings me to the UAW strike. This is an historic strike, the first time that the UAW has struck all of the Big Three automakers at once. Past autoworkers' strikes have marked turning points for all American workers. The 1945/46 GM strike established employers' duty to cover worker pensions, health care, and cost of living allowances. The GM strike created the American middle-class:

https://prospect.org/labor/2023-09-18-uaw-strikes-built-american-middle-class/

The Big Three are fighting for all the marbles here. They are refusing to allow unions to organize EV factories. Given that no more internal combustion cars will be in production in just a few short years, that's tantamount to eliminating auto unions altogether. The automakers are flush with cash, including billions in public subsidies from multiple bailouts, along with billions more from greedflation price-gouging. A long siege is inevitable, as the decimillionaires running these companies earn their pay by starving out their workers:

https://www.businessinsider.com/general-motors-ceo-mary-barra-salary-auto-workers-strike-uaw-2023-9

The UAW knows this, of course, and their new leadership – helmed by the union's radical president Shawn Fain – has a plan. UAW workers are engaged in tactical striking, shutting down key parts of the supply chain on a rolling basis, making the 90-day strike fund stretch much farther:

https://prospect.org/blogs-and-newsletters/tap/2023-09-18-labors-militant-creativity/

In this project, they are greatly aided by Big Car's own relentless pursuit of profit. The automakers – like every monopolized, financialized sector – have stripped all the buffers and slack out of their operations. Inventory on hand is kept to a bare minimum. Inputs are sourced from the cheapest bidder, and they're brought to the factory by the lowest-cost option. Resiliency – spare parts, backup machinery – is forever at war with profits, and profits have won and won and won, leaving auto production in a brittle, and easily shattered state.

This is especially true for staffing. Automakers are violently allergic to hiring workers, because new workers get benefits and workplace protection. Instead, the car companies routinely offer "voluntary" overtime to their existing workforce. By refusing this overtime, workers can kneecap production, without striking.

Enter "Eight and Skate," a campaign among UAW workers to clock out after their eight hour shift. As Keith Brower Brown writes for Labor Notes, the UAW organizers are telling workers that "It’s crossing an unofficial picket line to work overtime. It’s helping out the company":

https://labornotes.org/2023/09/work-extra-during-strike-auto-workers-say-eight-and-skate

Eight and Skate has already started to work; the Buffalo Ford plant can no longer run its normal weekend shifts because workers are refusing to put in voluntary overtime. Of course, bosses will strike back: the next step will be forced overtime, which will lead to the unsafe conditions that unionized workers are contractually obliged to call paid work-stoppages over, shutting down operations without touching the strike fund.

What's more, car bosses can't just halt safety stoppages or change the rules on overtime; per the UAW's last contract, bosses are required to bargain on changes to overtime rules:

https://uaw.org/wp-content/uploads/2023/09/Working-Without-Contract-FAQ-FINAL-2.pdf

Car bosses have become lazily dependent on overtime. At GM's "highly profitable" SUV factory in Arlington, TX, normal production runs a six-days, 24 hours per day. Workers typically work five eight-hour days and nine hours on Saturdays. That's been the status quo for 11 years, but when bosses circulated the usual overtime signup sheet last week, every worker wrote "a big fat NO" next to their names.

Writing for The American Prospect, David Dayen points out that this overtime addiction puts a new complexion on the much-hyped workerpocalypse that EVs will supposedly bring about. EVs are much simpler to build than conventional cars, the argument goes, so a US transition to EVs will throw many autoworkers out of work:

https://prospect.org/labor/2023-09-20-big-threes-labor-shortages-uaw/

But the reality is that most autoworkers are doing one and a half jobs already. Reducing the "workforce" by a third could leave all these workers with their existing jobs, and the 40-hour workweek that their forebears fought for at GM inn 1945/46. Add to that the additional workers needed to make batteries, build and maintain charging infrastructure, and so on, and there's no reason to think that EVs will weaken autoworker power.

And as Dayen points out, this overtime addiction isn't limited to cars. It's also endemic to the entertainment industry, where writers' "mini rooms" and other forms of chronic understaffing are used to keep workforces at a skeleton crew, even when the overtime costs more than hiring new workers.

Bosses call themselves job creators, but they have a relentless drive to destroy jobs. If there's one thing bosses hate, it's paying workers – hence all the hype about AI and automation. The stories about looming AI-driven mass unemployment are fairy tales, but they're tailor made for financiers who get alarming, life-threatening priapism at the though of firing us all and replacing us with shell-scripts:

https://pluralistic.net/2023/03/09/autocomplete-worshippers/#the-real-ai-was-the-corporations-that-we-fought-along-the-way

This is why Republican "workerism" rings so hollow. Trump's GOP talks a big game about protecting "workers" (by which they mean anglo men) from immigrants and "woke captialism," but they have nothing to say about protecting workers from bosses and bankers who see every dime a worker gets as misappropriated from their dividend.

Unsurprisingly, conservative message-discipline sucks. As Luke Savage writes in Jacobin, for every mealymouthed Josh Hawley mouthing talking points that "support workers" by blaming China and Joe Biden for the Big Three's greed, there's a Tim Scott, saying the quiet part aloud:

https://jacobin.com/2023/09/republicans-uaw-strike-hawley-trump-scott/

Quoth Senator Scott: "I think Ronald Reagan gave us a great example when federal employees decided they were going to strike. He said, you strike, you’re fired. Simple concept to me. To the extent that we can use that once again, absolutely":

https://twitter.com/American_Bridge/status/1704136706574741988

The GOP's workerism is a tissue-thin fake. They can never and will never support real worker power. That creates an opportunity for Biden and Democrats to seize:

https://pluralistic.net/2023/09/18/co-determination/#now-make-me-do-it

Reversing two generations of anti-worker politics is a marathon, not a sprint. The strikes are going to run for months, even years. Every worker will be called upon to support their striking siblings, every day. We can do it. Solidarity now. Solidarity forever.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2023/09/21/eight-and-skate/#strike-to-rule

[bella-goths-wife]

Yandere Vees x platonic reader

Vox, velvette and Valentino x reader

Warnings: Valentino

Okay so you know how I move through stories so much because I hyperfixate on something and become obsessed with it? Well guess who watched the hazbin hotel show after watching the pilot episode years ago. And I saw so much yandere potential.

So let me know if you enjoy this and if I should make more.

You were quite a modern soul, with you dying around the 2010s

And you died quite young at the age of 18

So when you get to hell your pretty scared and confused, with no one around who could help you

So you did what you could to live, by surviving off scraps and sleeping rough on the streets

That also leads you into a life of crime as you relayed on robberies and mugging people to get enough cash to afford to eat for the week

But on day you make the grand mistake of trying to mug an overlord

Vox was simply trying to avoid paparazzi by going through the back alleys, that’s until he hears loud music out of no where

See, when you got to hell you were given your own special ability the same way the others had

Your ability was Turntablism

Which essentially means you could manipulate and create new sounds from your environment, similar to how a DJ can use turntables to manipulate and create new music from existing sounds

This means you could silence or enhance sounds around a demon and that you would be able to create a sound from the environment, such as loud music, and it would be able to discombobulate or entertain the demons around you

So you silenced your footsteps before surprising vox by blasting loud rave music to confuse him as you grabbed his wallet and phone before hightailing it out of there

Of course that doesn’t work, vox watches you through the phone as he decides how to deal with you

He sees you climb into your ‘home’ which is in fact a cardboard box built around a dumpster with a small pit outside of it for fires

You intrigued him for some reason and he thought there was no harm in watching you for a few days before he decided what to do with you

He watched how you used your ability to survive and how you were actually white street smart

Eventually, he came to a decision

He appeared to you and claimed that you owed him a debt for stealing his wallet, before offering you a job as his assistant with a room in the vee tower in exchange for you soul

You were extremely cautious of him so you denied his deal, until he points out the fact that you were a young homeless girl who had stolen from a well known celebrity who could easily have killed you

So you shake his hand and your soul is officially voxs

He stuck true to his word and gave you a small room near his in the vee tower, and even if it seemed small to him it was the biggest room you’d ever slept in before

Vox explained the daily tasks he wanted you to be able to complete while you worked there and explained how he wanted to combine his hypnosis with your ability to make it so that the voxtech jingles would be more persuasive and would make more buyers come in

You nodded your head with the doubt that it would work stuck in your mind, but vox owned your soul now and you had to do what he said

He eventually introduced you to his business partners, velvette and Valentino

Velvette could not give less of a shit about you and just barked her coffee order at you

Valentino on the other hand tried to offer you a job in his studio but vox warned him that your soul was already owned, so val settled on just pouting while ordering you to fetch him some lunch

You worked with them for a few months and it wasn’t all bad

Sure, they were all demanding people who would hurl abuse at you if you got something wrong, but vox provided you with food, shelter and clothes so you couldn’t complain really

They all grew accustomed to your presence, so much so that when you weren’t around they had the strange feeling of missing something from their daily routines

Being vox’s assistant was hard because it practically made you all of their assistant, because we all know the vees share everything

So some days you’d work closely with vox, and others you’d be in vals dressing room to assist him with scripts or choosing actors for certain projects (vox told val that you were too young to be in the studio, which you were eternally grateful for)

And other days you’d be with velvette as she scoffed for the millionth time at the fashion designers attempts to please her

Velvette liked having another young eye to look at the designs, she’d never admit that she respects your opinion in a million years though

Eventually after working for the vees for a few months, you held a reputation in the offices

You’d hear your bosses workers whisper the nickname ‘pet’ as you trailed after one of the vees with a schedule in hand

You hated it but you decided to just put up with it, it’s not like you had any authority to be able to do anything about it anymore

But the whispers of your coworkers reached the ears of your bosses and they all seemed to have a shocking reaction

When they sat down and talked about it, they realised that they do view you as more of a pet than a worker

And how they seemed to need you around in some capacity to be able to go about their days normally

That’s when their obsessions began

And you had a long, dark road ahead of you

This is probably trash 😭

But this is just a rough idea of what I’m trying to do so I have loads more ideas

Let me know if you’d be interested :)

[not-neverland06]

How About a Nuke?

Part I / Part II

Cooper Howard x fem!reader A/N: This is really a prelude to the real story. It’s who they were before the bombs dropped and not as fleshed out as it could be. Summary: Hollywood doesn’t agree with you, as much as you wished it would. Until you meet Cooper Howard and he flips your world upside down. (Image below does not represent reader, I mean I don’t even look like that)

“Quench your thirst and a little bit more,” you winked and held up the dripping bottle of Nuka-Cola. You shot your best smile at the camera in front of you, holding it until the director let out a loud “Cut!” The smile dropped instantly and you dumped the bottle back in its cooler. 

Tom walked behind the camera, a frown on his face as he replayed the clip. You’d been here two hours already for a thirty second promo, there’s no reason it should have been taking this long.

You shifted, the leather on your legs creaking uncomfortably. They had you in some odd little space suit, more sexy than functional. The backdrop behind you was of painted stars and an out of scale moon. You weren’t sure how space and Nuka-Cola connected but a check was a check. 

“Is that who I think it is?”

You turned around at the sound of gasping. Your eyes widened and your stomach dropped when you watched the Cooper Howard walk through the entrance of the studio. Your biggest celebrity crush and idol just walked through the door and you were dressed like a sexy astronaut. This is beyond embarrassing. 

You had begged your agent to let you take some more serious roles, or at least a few fun ones. You’d been stuck in the same role of sexy bombshell for too long. You couldn’t even escape it doing a few advertisements. You wanted someone like Cooper to think you were classy or distinguished at least. Not some sellout with over lined red lips. 

You whipped your head around, hoping he wouldn’t notice you, and pretended to be fascinated by the cheap set you were on. “Mr. Howard, a pleasure,” you briefly glanced over your shoulder to watch your director shakehis hand. Cooper looked up, his eyes briefly catching yours. You winced and turned back around. 

“What are you doing here?”

”Filming a new advertisement for Nuka, would you like to see?”

”Why, yes I would.”

Oh, this was wonderful. Just great. You reached up to pinch the bridge of your nose but your hands just jammed painfully against the plastic of your helmet. You listened to them replaying your clip, hating the sultry tone of your voice. You hated being typecast like this. 

You didn’t work so hard to earn your spot in Hollywood just to be forced into the role of a sex symbol. You could be more, you knew it. You just needed a chance. “You did wonderful.”

You jumped in shock at the voice near your ear, your helmet hitting something hard. You heard a groan of pain and turned around mortified to see Cooper holding his nose. “Oh, Mr. Howard, I am so, so sorry.”

He shook his head and held up a hand, smiling amicably at you. “My fault, sweetheart, shouldn’t have snuck up on ya.”

You let out an annoyed huff and finally pulled the damn thing off. “Honestly, I should pay more attention, this damn thing’s a safety hazard.” He chuckled and it made you smile without even realizing it. You could feel the heat already blooming under your skin, just barely resisting the urge to fan yourself. But you couldn’t help but be flustered. It was Cooper Howard!

He finally let go of his nose and you sighed in relief when you saw that it wasn’t too badly damaged. He seemed to understand your relief because he laughed again. You heard whispers behind the two of you and finally realized just how close you both were. A couple PA’s stood huddled together, pointing at you with accusing fingers and harsh glares. 

Probably not smart to be a sex symbol and stand so close to a married man. 

You dropped the smile and took a step back from him. As much as you disliked typecasting, you would hate losing jobs more. You didn’t need any rumors to spread because you smiled too widely at Cooper. Lord knows your career barely survived the last round of gossip, that you’d been sleeping your way into roles. Which you hadn’t. You don’t need anything more like that bothering you now. 

Cooper glanced over your shoulder and seemed to notice the same thing as you, but he didn’t seem bothered by it like you were. Of course, he was a man and he was very happily married, he didn’t have to worry about the same things as you. He was secure in both his relationship and place in the world. You’d just barely gotten a foothold on everything. 

“I thought you seemed just sweet as peaches in that clip.”

You gave him a brief smile, “Thank you.”

”Though,” he frowned and glanced over at the director. You rolled your eyes when you saw Tom point over at you and then gesture to his stomach. If they sinched your waist one more damn time your ribs were going to crack. “I don’t quite understand why you had to be seductive.” He seemed genuinely perplexed but it didn’t take a genius to understand the underlying message of his words. 

You shrugged, “Just seems to be the way my career is going right now.”

”Is that what you want?”

Your brows furrowed in confusion. You haven't been asked that before. Of course you’d spoken up about being unhappy with your roles, though you still took them. But no one had ever asked you what you wanted. An odd feeling bloomed in your chest and you took another precautionary step back. “Um,” you frowned and shook your head, “no. It’s not what I want.”

He smiled, seemingly pleased by the answer. “Look, sweetheart, I didn’t come here to drink cola or chat,” he held up his hands in apology, “as wonderful a conversationalist as you are. I’m filming a movie right now. We're looking for a lady with a strong presence to be my companion in the film. I’ve seen your movies, you’re capable of a lot more than they’re giving you to work with. I think you’d be perfect for the role.”

Your ears started to ring as you stared at him in shock. It was hard to keep your jaw closed the longer he spoke. There’s no way that everything you’ve been wanting was just being offered to you on a silver platter. Stuff like that only happened in…

Well, it only happened in movies. 

“That is if you want the role? You’re not looking particularly enthused,” he gave you a charming grin and you finally remembered you actually had to respond to him to get what you wanted. 

“Yes!”

You didn’t care how loud you were or how dirty the looks you were getting from others were. There was nothing on your mind other than the man in front of you and what he was offering you. 

Everything you wanted. 

You stared up at the poster on Cooper’s wall. “I always thought I looked ridiculous in this one.”

“Well,” Barb came up behind you and handed you a martini. You took it from her with a grateful smile and took a sip. You tried to stop your face from screwing up but alcohol had never really sat well with you. “I think you look amazing.” She smiled at you and walked back towards the living room. 

You stayed where you were at the end of the stairs, staring up at the too-large poster. You and Cooper were standing back-to-back, your gun raised to your lips and a smirk on your red lips as your hat laid tilted over your eyes. The bright red cursive title sat under your spurred boots, The Outlaw and The Sheriff. 

Well, they certainly hadn’t been creative with the name. You couldn’t really bring yourself to care, though, it had been your first real role. You had played someone of substance, someone whose entire life didn’t revolve around the man she wanted to have an affair with. Cooper had opened up more doors for you then he would ever understand. 

You turned from the poster and back to the party. For once you weren’t being surrounded by a group of groping producers or Hollywood execs. Being a part of Cooper’s family, someone he was mentoring, it carried a certain power within the den of vipers. You weren’t untouchable, but you weren’t someone to be so easily ruined. 

You flashed kind smiles and coy waves at the people who called out your name and made your quick escape to the backyard. 

Cooper’s new movie had been released and he was having a sort of celebration party. Though, you think it’s just Barb trying to integrate Vault-Tec into the movie industry. From the disgusted looks on some of your co-star’s faces you could tell it wasn’t going very well. 

You sighed in relief at the fresh air and slowly made your way over to the pool chairs. Your feet ached in your heels and you could already feel blisters starting to form. You undid the straps and slipped them off. You lowered yourself onto the edge of the pool and dipped your toes in, the relief instantaneous.

You weren’t out very long before you heard steps approaching. You let out a deep sigh, mentally preparing yourself for your peace to be ruined by whoever wanted to bother you. “You’re not skipping my party, are you?” 

You opened your eyes to find Cooper smiling down at you. You always wondered how his smiles could be so genuine when he spoke to you. You hadn’t felt like you’d given anyone a real smile in a long time. This industry had taken a lot from you and lately you’d been wondering if it had stolen your happiness too. 

You shrugged, “It was getting a little boring.”

He grinned and slipped his shoes off. You watched him roll his pants up and groan as he dipped his legs in the pool with you. His smile slipped and his eyes widened when his legs landed in the water, “Damn, it’s fucking cold!”

You barked out a laugh, rough and very unladylike while he squirmed like a girl at a little cold water. “Didn’t you fight in a war?” You teased. 

He nudged his shoulder into yours, “Watch it,” you shook your head, dismissing his faux warning. You knew he didn’t really mind when you bugged him. It’s how you two had been acting around each other since day one. Tabloids labeled you two as close as kin, brother and sister. 

As much as it bugged you every time you read a headline like that while standing in line at the grocery store, you supposed it was better than everyone thinking you were some two-timing slut. But it bothered you how much your relationship being labeled siblings in nature irritated you. He had a wife and child, you couldn’t let some pathetic crush cloud your judgment like this. 

It was real hard to remember that, though, when he looked at you the way he did. Sitting by his side, under the moonlight, his eyes warm and earnest as he sent you an easygoing smile. You’ll never figure out if it’s in your head, but you swear he doesn’t smile at anyone the way he does at you. 

You feel like the only woman in the world sitting there with him. Like there wasn’t a party going on a few yards away in his house. And you hadn’t just accepted a martini from his wife who had graciously invited you into their home. It was just you and him. 

You didn’t realize you were leaning in until your lips were brushing his. He should have pulled back. You shouldn’t have leaned in. But his hand was on your waist and the other was buried in your hair, desperately pulling you closer. 

It wasn’t gentle or slow like you’d always imagined it. His mouth was moving hungrily over yours, practically devouring you in his desperation to get as close to you as possible. His hand tugged at the roots of your styled hair, a pained moan slipped through your lips. That wasn’t enough to snap you out of your trance, but his tongue licking into your mouth was. He groaned, tasting and savoring you like you would be his last meal. Like he had wanted you just as much as you had wanted him and he wasn’t going to let this chance slip away. 

You jumped back but he didn’t let you go far with his hands on you. His eyes slowly opened while the reality of the situation dawned on you both. You let out a horrified gasp at the sight of your lipstick smeared over his lips. “Oh, god, Coop.” You whispered, voice strained as you stared at him, “What did we do?”

His eyes darted between yours, the realization coming slower to him. When it did, you could pinpoint the exact moment it hit him. His mouth drew up in disgust and he ripped his hands off you. He leapt up, water splashing your dress as he did, but you were too hurt to really care. He clamped a hand over his mouth, looking very much like he was about to throw up on you. “Fuck,” he hissed, jaw clenched and eyes squeezing shut. 

You grabbed your bag and shoes and rushed to your feet. You dug around in your purse, hands shaking so much you could barely undo its clasp. When you finally found your handkerchief you dipped it in the pool and held it out to him. 

He glanced towards your outstretched hand and then to your ashamed face in confusion. “You have my lipstick on your lips,” you whispered. He snatched it out of your hand and scrubbed at his face so hard you wouldn’t even be able to make out the lipstick with how red his skin was. 

Slowly, and without a word, you both made your way back into the house. The tension was thick, neither of you able to look at each other. You kept an unusual amount of space between you for two people who were always so close. If anyone looked out the door at you right now, well, even Bud Askins would be able to tell something was wrong. 

You made it to the glass door and Barb intercepted you. Your heart leapt to your throat. You’d never been more disgusted with yourself. Not only did you kiss this woman’s husband, you had fucking enjoyed it. 

In fact, you wished you were out there still. As small a taste you’d gotten of him, you craved more. Your body was on fire with desire, core throbbing when you thought about the way he’d kissed you. You forced yourself to stop imagining what it would be like if he had kissed somewhere else. God, the thought made you burn. 

She laughed and gave you an odd look, “You look like you saw a ghost.”

Cooper chuckled and you whipped your head towards him in shock. Not only did he look completely unaffected, but he was smiling at you. You couldn’t look at him long, afraid your face would further give you away. You were a good actress, but not nearly as good as him. 

“This one almost accidentally took a dip in our pool,” he and Barb both laughed and you forced yourself to join in. 

“Yeah, and I think that might have been enough excitement for me.” You smiled at Barb and leaned in to kiss her on the cheek, the taste of her husband still on your lips. “I’m gonna head home. Enjoy the rest of the party.”

Cooper stopped you before you could completely slip away, “I’ll walk you out to your car, honey.” You nodded, not willing to argue in the middle of his crowded home. Still, you didn’t make it easy for him to keep up with you. You were at the door before he could blink, practically flying out of the house. 

You probably would have made it all the way to your car without another word if it weren’t for him clasping a hand around your elbow. “We need to talk.”

You shook your head and he let out a disappointed sigh. You already knew what he was going to say, and you agreed wholeheartedly. What had happened tonight was a mistake. Not only were you risking your career but you could ruin his whole life if you continued down this path. As much as you wanted him, as much as you had yearned for him, you couldn’t be so selfish. 

But you also couldn’t handle hearing him say that to you. It would break your heart to have to listen to him explain all the reasons you could never be with the man you were so desperately in love with. “I know, Coop, I know.” 

His grip tightened on you when you tried to slip away. You set pleading eyes on him, praying he couldn’t see the tears already starting to build. You knew he could, though, when his gaze softened and he eased his grip on you. After another whispered “please” he finally nodded and stepped back from you. 

You slipped your arm from his hold and ran to your car. You leapt inside and peeled out of the driveway like the devil was on your tail. And maybe he was, maybe you deserved it. Because you still couldn’t help yourself, glancing in the rear view mirror to see Cooper standing at the end of his driveway, watching you go with a distraught look on his face. 

You wiped the tears off your face and turned back towards the road. You could never be with him. You could never love him the way you wanted. You’d have to be satisfied for the rest of your life with the taste you’d gotten tonight. That would be all you would ever allow yourself. 

“A fallen star, Cooper Howard has become a reject within Hollywood. Fellow actors and actresses have been refusing to work with him, making it difficult for the former celebrity to find work. Recent reports say he’s been seen at birthday parties more than on set.”

The female reporter shook her head, “Such a shame. We’ve been hearing that this is all due to his former ties with Vault-Tec. Ties which were recently severed in a grisly divorce with ex-wife and Vault-Tec employee, Barb-”

You clicked the TV off, shutting the ridiculous news report up and ran a hand down your face. You hadn’t seen Coop in a few months. After that night at his house, you’d dropped the movies you’d been doing with him and put as much distance between the two of you as you could. 

That thought made you feel like the worst piece of shit. You couldn’t have known that Hollywood was going to turn its back on him. You couldn’t have known that nearly two weeks after you cut ties his entire life would go up in flames. You should have been there for him. How you feel about him shouldn’t matter when your friend needs you. 

He’d given you everything he could and you couldn’t even be there for him when he needed you. Of course, once you’d heard about the divorce, you’d called up Sebastian. But he had warned you not to try and reach out to Cooper. He seemed to think it would only make things worse. The more you heard, however, the more guilty you felt about not being there for him. Tabloids and gossip columns certaintly hadn’t been kind when the news of his divorce had come out. 

They pounced on the opportunity to further rip into his wounds and present them to the world. You glanced down at your couch cushion, the magazine you’d picked up in the store staring back at you. The front was a picture of him walking out of a house, donned in cowboy gear and clearly performing for a children’s party. 

You sighed and decided you should finally push aside your pride. You snatched your keys from the hook and headed out the door. 

Cooper didn’t seem to believe it was you when he opened the door. His eyes, cloudy and red, narrowed before he frowned and took a step back. “That really you?”

You offered a weak smile and a, “Hi, Coop.”

He scoffed and you could tell he was getting angry. His accent always got a little rougher when he was pissed off. “‘Hi, Coop’,” he mocked, a sneer on his face. “Four months without contact and that’s all you have to say. Fuck off,” he went to close the door but you blocked him with your foot. 

It stung, honestly, the cruel way in which he spoke to you. But you knew he could be a lot meaner if he wanted to and it wasn’t as if you didn’t deserve it. You had been a shitty, selfish friend. “I’m sorry, I was just nervous. I just,” you paused, struggling to find the right words to make this any better. He crossed his arms, still refusing to let you into his house. “I called the second I heard, but Sebastian had told me it would be better if I didn’t come.”

His brows furrowed before he glared at you. “So you don’t even fucking call?”

“I was wrong and selfish. Cooper,” you reached out, laying a gentle hand on his arm. “I’m sorry, I’m not asking for you to forgive me. I am genuinely so sorry I wasn’t here for you. But I’m here now, if you’ll let me be.”

The next minute was unbearable. You felt too awkward to take your hand off his arm and he refused to speak. He didn’t even blink, just glared at you, the longer the silence went on the more you could feel yourself losing your nerve. Maybe this had been a mistake. 

Finally, he sighed and your heart leapt to your throat. “Come in,” he stepped to the side and opened his door up further. You kept your mouth shut and slipped into the house. It seemed to be the only thing he’d been able to hold onto since the divorce. 

The door slammed shut behind you and he pushed past you to slip into the living room and throw himself down on the couch. You followed slowly behind him, taking oddly tentative steps, like if you made a noise he would kick you out. 

He had his arm thrown over his face, his eyes clenched like he was in pain. You perched yourself on the edge of the chair you usually sat in, feeling oddly uncomfortable. You fidgeted restlessly on the cushion, crossing and uncrossing your legs, tapping your toes against the floor. 

It had seemed like such an easy decision to come here half an hour ago. But you hadn’t had a plan and that was really biting you in the ass now. Desperate for anything other than the sound of the fabric underneath you, you blurted out the question that had bothered you for months. 

“What happened?”

He sighed, like he’d been expecting it. He sat up slowly, grabbing a glass of brown liquor off the coffee table and taking a swig. He leaned forward on his knees, glaring over at you. “What are you talking about? You’re gonna have to be specific, sweetheart, everything in my life has fallen apart.”

You winced, hating the callous way you’d asked the question. You’d meant to approach the subject more gently, but it wasn’t easy to keep your curiosity contained. “Everything, I guess. Last time I saw you, you were on top of the world. What happened?” You tried to ask your questions as gently as possible, but there really was no use sugarcoating anything. 

“Flew too close to the sun and I fell,” he shrugged and sent you a sarcastic smirk. “But I see you’ve been doing great, huh?”

“Not really, I’ve stepped back from taking on any contracts. I would have dropped Nuka-Cola too if their lawyers weren’t so damn good.”

He shrugged, like he didn’t really give a shit about your life or how it was going. This hurt, how he was acting, you’d never seen him like this. He was acting so mean and despondent. “Found out Barb was advocating for nuclear war and Vault-Tec was backing her. Finding out your wife is orchestrating war crimes really puts a wrench in your marriage.”

You wished you could be surprised, but Barb’s odd behavior since joining the company had been obvious to everyone but Cooper. He laughed when he saw the look on your face, “You say ‘I told you so’ and I’ll throw something at you.” You shook your head and sank back in the chair. “Anyway, Vault-Tec dropped me and since everyone in Hollywood hates me that was the last paying job I had. Now, I’m working kid’s parties.” He scoffed and smiled mirthfully, but the hatred in this look was directed at himself. “How the mighty have fallen, right?”

He threw back the rest of his whiskey and slammed the glass back on the table. 

“I really am sorry, Coop. I should have been here.”

He didn’t look at you, just shook his head, “No point. If you had been, I would have dragged you down with me. Probably the smartest thing you could have done.” You hated this, it made your heart hurt to see him so down on himself. 

This wasn’t the Cooper you knew. This was a man completely broken by what life had thrown at him. You hated this. You hated yourself for not helping him. Hated his wife for abandoning him. You hated the world for so easily turning their back on him like he was nothing to them. 

You slipped from the chair and kneeled in front of him. You grabbed his hands in yours, holding on tight when he tried to slip away. “I’m sorry, Coop, truly. I wasn’t here for you. But I am now, I swear. Let me help you, please.”

He glanced down at you and stared quietly, trying to decide whether he should be an asshole and tell you to fuck off or just accept the help. He had been lonely for a long while now. He needed someone to tell him he was doing okay. That he had done the right thing in getting Barb out of his life. So, he nodded and squeezed your hands back. 

“Pancakes?”

You laughed and sat up in bed, glancing over at Cooper while he got dressed. “Is that all you know how to make?” He smiled and crawled back onto bed to plant a hard kiss against your lips. 

“You want food or not, smartass?”

You laughed and pressed another quick kiss to his lips, “Please.” He shook his head and walked out of his bedroom and towards the kitchen. You sank back against the pillows and stared blankly up at his ceiling. 

You wished there was a title to describe what you were to each other, but you weren’t completely sure yourself. A few weeks after you’d stopped by his house you’d slept together for the first time. And then again and again, and you’d taken to staying at his house more than your own apartment. 

You’d worried that you were letting yourself be a rebound after his divorce. Afraid that he was simply going to sleep with you and move on once he’d found something better. But he didn’t treat you like you were something to throw away. 

But that doesn’t mean anything when he’s never explicitly stated that he wants something serious with you. You sit up when you hear him padding back down the hall, a tray in his hands. You smile at him and help him settle back in bed. 

When you’re done eating you both lay back in bed and you figure you don’t need something definitive for now. You’ll just enjoy what you have while you have him. The shrill ring of the phone jolts you both out of your comfortable state. 

He sighs and reaches over to grab it from its place on the nightstand. The cord stretches over you while he leans back and talks to whoever is on the other line. “Hello?” His brow furrows in confusion when the other person began to speak. You can make out their muffled voice but not what they’re saying. You give him a questioning look but he just shrugs and hands you the phone. “It’s for you, sweetheart.”

“Hello?” 

Cooper watches you with growing confusion as your face lights up and you shoot out of bed. He sighs, knowing his morning is probably over. He figures he should go ahead and get dressed while you finish up the call. 

When he comes out of the bathroom you’re still talking. Your finger is coiled through the cord and you’re pacing a track into his rug. You’ve got a serious expression on your face, listening intently, before you light up once more and let out an eager, “Oh, thank you so much!” You slam the phone back down on the dial and turn to him with an eager smile. 

“That was Tom, he’s got a role for me.” Cooper shoots you a happy smile but he can’t help the twinge of jealously in his gut. A few weeks ago some pictures of you two together had been leaked. While your career and offered had considerably slowed, you hadn’t been completely stonewalled by all of Hollywood like he had. 

He couldn’t help but resent that at moments, that you still got to live your dream while he was punished for doing what he thought had been right. He wouldn’t let that ruin your mood right now, though. “That’s great, what is it?”

You shrugged, going through the room and quickly changing into a long skirt and blouse. “He couldn’t give me many details over the phone. He wants me to head over to his house to pick up the script real quick.” You ran up to him, planted a quick kiss on his cheek and darted towards the hall. “I’ll be back for lunch,” you called over your shoulder. 

Cooper sighed, overwhelmed slightly by your whirlwind of energy. He called out a quick goodbye he wasn’t sure you heard and tried to ignore the nauseating feeling settling in his stomach. 

You stared up at Tom’s door, knocking quickly. You were the perfect picture of naïveté, wide-eyed and eager as you waited for him to open the door. When Tom wasn’t directing Nuka-Cola ads he directed only serious movies. The type that only critics liked. 

Getting another serious role could really help in getting you back on track. Maybe you could even start helping Coop out, he was going to have to sell the house soon if he didn’t make real money. 

The smile on your lips was hard to dismiss as you impatiently waited for the door to open. It didn’t take much longer, you could hear Tom approaching through it and then it was swinging open. He had a wide smile and seemed oddly breathless as he stared at you. “There you are! Come on in, I’ll grab the script.”

Not thinking much of the odd invitation you took a step inside and glanced around. You heard voices in the next room and your smile dropped just a little. “Come on,” he waved you forward when he noticed you had stopped, “I’ll get you something to drink.”

“Oh,” you took a hesitant step forward. “I’m fine, really, I need to get back home pretty quick.” Tom stopped in his tracks and turned around. The look on his face had your hairs standing on end, both of your smiles completely gone now. 

“I said come in.” You tried to back up but your back hit something soft. Jumping forward, you turned to find one of the tallest men you’d ever seen towering over you. He pushed forward and you stumbled back, starting to feel real panic settle in. 

He kept pushing until you found yourself standing in the middle of a crowded living room. Execs you recognized from meetings with your agent and premieres circled around you like a pack of hyenas. Each of them tittering and laughing, pointing at you with a dangerous gleam in their eyes. 

You felt tears pricking your eyes, your gaze darting up to Tom. But he refused to look at you, accepting a large wad of cash from one man and shaking his hand. He spared you one brief glance, a distant regret in his eyes as he walked out the room. 

You spun in a quick circle, breaths coming short and fast when the men started to close in on you. One of them grabbed you and you threw your elbow back into his face, it didn’t matter. They were all reaching for you now. Hands snagged on your blouse and the buttons popped open. 

You opened your mouth, to scream or bite one of them, you don’t know, it didn’t matter. A large hand clamped around your mouth, forcing you to breathe in the cloth on their palm. You sucked in a sharp breath, something sweet tickling your nose before your eyes were rolling back in your head. 

end. — I do not own the characters or the game/show Fallout, but this writing is my own all rights reserved © not-neverland06 2024. do not copy, repost, translate & recommend elsewhere.

[hotvintagepoll]

Propaganda

Katharine Hepburn (Bringing Up Baby, The Philadelphia Story, The African Queen)—This woman. I have been obsessed with her for years. I know the urban legend is a popular one at this point of her walking around set in her underwear when her pants were stolen and she was left with only a skirt, but the pants thing is honestly enough for her to be the hottest in the room in my book. She refused to wear anything else at a time when the public in general and especially the studios did not like that. She was independent, stubborn, and so so very capable. Competency kink anyone? Also, if you want one final way that Katharine's entire life was saying "fuck you" to the establishment, it started young! Her mother took her to suffrage events, and she never got rid of that attitude of justice. I feel like I have barely scratched the surface of all the ways she was such a badass that I'm turning into a rambling mess instead.

Gene Tierney (Laura, The Ghost and Mrs Muir, Leave Her to Heaven)— The class, the elegance. The way she walks into frame and immediately all focus is on her. She had a pretty lengthy struggle with mental health that she describes in her book, which I think made her all the more sensitive in portraying characters like in leave her to heaven. Also she dumped JFK so

This is round 4 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Katharine Hepburn propaganda:

I'm sure one million people will submit her as an iconic Hollywood star but that iconicness might lead people to forget just how insanely hot she was like she had it ALL she was skilled she was funny she was smart she was beautiful AND she was likely bisexual

The single word I would use to explain Katherine Hepburn's appeal is *range*. In her acting career, that meant covering all the ground between lush period dramas and the comedies she did with Carey Grant and Spencer Tracey. In terms of hotness, it meant an uncanny ability to bring anything from a Dietrich-esque androgyny to some of the best Classic Hollywood Glamour you will ever see.

Katharine hep was so cool. The VIBES, the INDEPENDENCE,,, living life on her own terms.

she just had this.... bearing to her, this power. she could be funny, even silly (like in bringing up baby) but also so regal and elegant. she was nobody's fool and dear GOD that's so hot

Fancam link

She’s not only stunningly gorgeous (those eyes that pierce your soul! a jawline you could cut glass with!) but her delivery and physical presence in roles gives off confidence and authority in such a sexy way (truly the biggest dick energy of Old Hollywood). Her fiery energy in The Philadelphia Story? Unmatched.

God she's. She's so hot y'all. She has the range!!!!! Funny and dramatic and lovely

She IS the transatlantic accent. Classically gorgeous and such a strong personality.

She's literally one of the funniest women to ever live! She goes shot for shot with Cary Grant in Philadelphia Story and we damn well love her for it! She's the most annoying creature to ever live in Bringing Up Baby but she's so insane and funny that we simply cannot help but fall in love with her (and root for her to give Grant an aneurysm!)

i know she's accounted for but i really want to be sure someone has submitted the scene in bringing up baby where she's pretending to be a gangster

She simply stuns onscreen; you cannot do anything but be captivated by her presence. Also a non-gender-conforming icon and mild tumblr celebrity by virtue of that one picture from The Warrior's Husband (stage play).

Katharine Hepburn was out here casually changing the lives of young butch lesbians with her gender swag! She wore pants even when people said she shouldn’t, she refused to marry or have kids, and she wore menswear in at LEAST one movie!

If I start thinking about her face for too long I will cry she is so so hot. Katherine is so charismatic and charming in everything she appears in - watch her adopt a leopard and fall in love with her. Also she has the biggest dick energy ever (she and her pal Lauren Bacall share that accolade). Also had an incredibly long and varied career from screw ball comedies to serious dramas - she’s a queen of the screen and I adore her.

Someone's got to mention it, but she's won the most Oscars out of any performer and is largely considered one of the greatest actresses ever. She's got an incredible voice, an incredible presence, and she absolutely steals every scene she's in. She was private person and deemed standoffish and unapproachable, but she was also profoundly concerned for people's rights and was an outspoken supporter of abortion access. Finally, the Katharine Hepburn slacks look is just iconic. I mean look at her.

(I hope someone else submits real propaganda but just in case they don't:) Cries. Screams. Wails. The woman who singlehandedly made me realize I was bi. A real "do i want to look like her. be her. or be with her.' crisis, where the answer was all three. Holy shit please all three.

Gene Tierney:

The entire plot of Laura is that a guy has to become completely obsessed with a woman after just seeing her portrait. This only works because Gene was cast in the role. I 10000% believe anyone could fall in love after seeing her face.

Those eyes! Just look at those eyes! She’s at her hottest in Leave Her To Heaven— I literally want her to ruin my life.

Absolute grade-A babe, she is the perfection incarnate.

Gene Tierney was beautiful, poised, intense. I associate her with roles where she was murderous or an intelligent woman being patronized to - like a woman on the edge! As far as I am concerned, she deserved to do whatever she wanted.

She had a slight overbite which was amazingly sexy, and a throaty voice that was very memorable as well. She’s terrific in Laura, which reminds me I should watch it again.

EYES!! Her diabolical acting in Leave Her to Heaven is just perfect, Rosamund Pike definitely took notes for her Gone Girl from her.

Oscar-nominated and simply one of the most beautiful women to ever walk this Earth.

Absolutely stunning. In Leave Her to Heaven, she reaches Rosamund-Pike-in-Gone-Girl levels of “holy fucking shit?!?!?!” She had a fling with JFK in the ‘40s and also dated the exes of Rita Hayworth and Hedy Lamarr (Prince Aly Khan and W. Howard Lee, respectively). Sadly, her daughter was born with a disability (during a time in which there were few good mainstream options for disabled children and their parents), likely because of a fan who was sick with measles and went out of her way to meet Tierney (who was pregnant) anyway. Topical! Sure would be good if people stayed home when they were sick! Anyway, she was also a Republican, which sucks. Laura and Leave Her to Heaven are great viewing though.

[turnstileskyline]

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

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

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

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

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

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

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

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

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

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

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

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

– Ryan J. Downey.

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

As told by:

Patrick Stump

Pete Wentz

Joe Trohman

Andy Hurley

Bob McLynn - Crush Music

Sean O'Keefe - Producer/Mixer

John Janick - Fueled By Ramen

Tim McIlrath - Rise Against

Mani Mostofi - Racetraitor

Chris Gutierrez - Arma Angelus

Mark Rose - Spitalfield

Sean Muttaqi - Uprising Records

Rory Felton - The Militia Group

Richard Reines - Drive-Thru Records

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[moonxknightx]

♡˗ˏ✎*ೃ˚ : A CELEBRATION : :;

╰┈➤ ❝ [PAIRING] ❞ Hugh Jackman x F!Reader

・❥・GENRE: Fluff!!

ੈ✩‧₊˚ WARNINGS: None!

˚₊· ͟͟͞͞➳❥SUMMARY: You, a successful skincare entrepreneur, are supported by your loving husband Hugh Jackman and your two kids at a promotional photoshoot. Later, you host a rooftop launch party to celebrate your brand's commercial, with friends like Ryan Reynolds attending. Filled with love, laughter, and pride, the story highlights your achievements and Hugh's unwavering admiration for you as you share the joy of success with your family.

Based on a request.

THE DAY WAS BRIGHT AND BUZZING WITH ENERGY AS YOU STEPPED INTO THE SLEEK, modern studio where your photoshoot was set to take place. Your skincare line had exploded in popularity over the last year, and this shoot was a major milestone. As you entered, the familiar hum of cameras, makeup artists, and stylists filled the air, and your excitement mirrored the energy in the room.

Hugh walked in right behind you, holding the hands of your two kids, their wide eyes taking in the vibrant scene. He was dressed casually, in jeans and a dark button-down shirt, looking every bit the supportive husband with a proud smile plastered across his face. Your kids—an adventurous five-year-old boy and a curious eight-year-old girl—were equally excited, bouncing on their feet as they looked around at all the equipment and lights.

"Look at this place, Mom!" your daughter said in awe. “It’s like we’re in a movie!”

Hugh chuckled softly, watching her enthusiasm. “You know your mom is a star, right? She’s not just in a movie; she’s the leading lady.”

You smiled at them, adjusting your outfit and taking a deep breath. Today was a big day, but having Hugh and the kids here made it all feel easier, more grounded. They were your biggest supporters, and their love and enthusiasm were the fuel that kept you going.

As you were guided toward the makeup station, Hugh leaned in to kiss your cheek softly. “You look stunning already,” he whispered in your ear, his voice low and full of warmth. “But don’t worry, I’ll keep the kids entertained while you work your magic.”

“I couldn’t have done any of this without you,” you replied, squeezing his hand. His eyes sparkled with love and pride, and for a moment, the bustle of the studio faded away as the two of you shared a quiet moment.

~

The photoshoot went seamlessly. You felt confident and radiant as the photographer snapped away, directing you with ease. Every now and then, you caught a glimpse of Hugh and the kids in the background. They were lounging on a plush couch, Hugh holding your son as he animatedly pointed out the cool lights and equipment. Your daughter was mesmerized, her little hands cupped around her face as she watched you pose.

“You’re doing amazing, babe!” Hugh called out, offering you a thumbs-up with that signature grin of his.

During a break, you walked over to them, your heels clicking against the polished floor. Your daughter ran to you first, hugging you around the waist.

“You look so beautiful, Mom! I want to be just like you when I grow up.”

Your heart swelled at her words, and you crouched down to her level, brushing a stray curl from her face. “You already are like me, sweetheart. You’re smart, creative, and beautiful, inside and out.”

Hugh ruffled your son’s hair. “She’s right, you know. Both of you have got a bit of your mom’s magic.”

A small, contented laugh escaped your lips. The love you shared as a family felt like an unshakable foundation, one that had carried you through the highs and lows of launching your business. And here you were, on the brink of even more success, with them by your side.

~

The evening of your launch party had finally arrived. The event was being held at a luxurious rooftop venue, with sweeping views of the city skyline and an intimate, festive atmosphere that felt like the perfect way to celebrate the next chapter of your skincare brand.

Hugh stood beside you as you surveyed the space, your fingers intertwined. He looked effortlessly handsome in a sharp suit, the very picture of a supportive, loving husband. Your kids were running around with their friends, laughing and enjoying the festivities. The rooftop was elegantly decorated, with soft lighting, floral arrangements, and tables laden with food and drinks, including your very own line of skincare products on display.

“I can’t believe this is real,” you whispered to Hugh as you gazed at the bustling room. Friends, colleagues, and even a few celebrities had shown up to support you, making it feel like a dream.

Hugh kissed your temple, holding you close. “Believe it, love. You’ve earned every bit of this. I’m so proud of you.”

Just then, you heard a familiar voice calling out. “Oi! Where’s the star of the night?”

You turned to see Ryan Reynolds walking toward you, a grin plastered across his face, arms wide as if he were about to make a grand speech. As usual, his entrance was full of energy, and he didn’t waste a second before pulling you into a friendly hug.

“Ryan!” you laughed, returning the embrace. “You made it!”

“Of course, I did. There’s no way I’d miss celebrating your big night,” Ryan said, pulling back to glance at Hugh. “Plus, I’m pretty sure Hugh would never let me hear the end of it if I didn’t show up.”

Hugh smirked, crossing his arms. “You’re right about that.”

Ryan turned back to you, his playful grin in full force. “Seriously though, congratulations. I’m going to buy so much of this skincare stuff that people will start mistaking me for Hugh. Just you watch.”

Hugh groaned, rolling his eyes. “Please don’t. One of me is more than enough for the world.”

Everyone laughed, the banter light and familiar. It was moments like these—surrounded by friends and family—that made all the hard work feel worth it.

As the night progressed, speeches were made, drinks were raised, and the rooftop was filled with laughter and joy. Hugh rarely left your side, his arm draped protectively around your waist, his presence a steadying force amid the celebratory chaos.

When it was finally time to unveil the official commercial for your skincare brand, the entire crowd gathered around the large projector screen. Your heart raced with anticipation, and you felt Hugh’s hand squeeze yours as the video began to play.

The commercial was stunning—a perfect representation of everything you had worked so hard to build. It showcased the elegance, simplicity, and natural beauty of your products, and when it ended, the crowd erupted in applause. Hugh leaned down, pressing a kiss to your lips amidst the cheers.

“You did it,” he whispered, his voice full of awe. “This is just the beginning.”

You smiled against his lips, feeling the warmth of his love wrap around you like a blanket. “We did it,” you corrected softly. “I couldn’t have done any of this without you.”

He cupped your cheek, his thumb gently stroking your skin. “You’re incredible. Don’t ever forget that.”

Just as you were about to respond, your daughter came running up, dragging your son behind her. “Mom, Dad! Did you see how cool that was? Everyone loves your commercial!”

You scooped her up into your arms, feeling the love and pride radiating from every direction. Hugh placed a hand on your son’s shoulder, pulling him into the family embrace as the four of you stood there, soaking in the moment.

It wasn’t just about the success of your business or the adoration of your friends and peers—it was about the love and support of your family, who had been there every step of the way.

As the party continued into the night, you couldn’t help but feel overwhelmed with gratitude. Surrounded by your loved ones, with Hugh’s arms wrapped around you and your children beaming with pride, you knew that this was the start of something even more beautiful. Not just for your company, but for the life you were building together—full of love, laughter, and endless possibilities.

🏷️: @oatmilkriver @khxna @haytchee @kellyxo1

If you want to be added to the tag list, let me know!!

[xxgoblin-dumplingxx]

If age gap!reader likes to be sassy with stupid reporters ers and socialites that don’t know how to think before speaking. How does age gap!Bruce defends his wife against those assholes that all her gold digger or the guy that called her frigid and boring in bed.

I’m sorry if it doesn’t makes sense, English is not my first language

"So, is the bedroom dead yet, or have you taught her a few tricks?" the director you'd dated a few years ago asked- some fuck whose name Bruce pointedly didn't remember. Older than he was. Someone who had actually tried to take advantage of you... He looked like a tool.

"Pardon me?" Bruce asked, eyes narrowing.

"Ouch," he said, "I know a good divorce attorney if-"

Behind him, Bruce could hear you from across the room. Blissfully unaware that this fuck was even here. Sparkling with laughter, telling some outrageous story from a photoshoot gone horribly wrong. He could smell you on him still from the stolen moments before the party- Shoving your dress out of the way and keeping one hand over your mouth to keep you quiet as he growled in your ear. "You wouldn't need the attorney if you knew what you were doing," Bruce scoffed.

Bruce didn't need to turn to know where you were. Or to know that you'd spotted him- and who he was talking to. And he felt disgusted on your behalf. You'd been 19. Hardly an adult. Flattered that an older man though you were pretty and smart- he'd thought the OTHER stories were true. That because you'd done a little soft core for a magazine in a bid to pay your bills you were some sort of... sex goddess.

The truth was that you were sheltered. Practically kept in a chastity belt. If not by your family then by the studios. You were supposed to be a virgin whore. To tempt and tease but not actually DO it.

"Sorry she laughed at you when you took of your pants," Bruce tutted, "that's a hell of a tough break, champ."

"She didn't," he protested, looking at his date, walleyed.

"They make surgery for that now," Bruce hummed, "maybe your lawyer can give you a card. He probably helps a lot of his clients after-"

"Fuck you, Wayne," he snapped.

"Nah," Bruce said, smirking, helping himself to a drink from a passing waiter, "you can fuck yourself though." And then he turned and walked away. Going to find you. Maybe he shouldn't have said anything. Maybe he should have just walked away. But he was going to be damned if some prick who tried to use you and then ruin you was going to continue to talk about you. Not his princess.

[r3starttt]

STREAMER e! x TATTOO ARTIST r!

Check this as well and share as much information as possible about Palestine :)

streamer! Ellie who wanted to get a second tattoo and talked about it on stream (bad idea) just to know people’s experiences and to get recommendations for where to go get it.

streamer! Ellie who almost exposed her ex girlfriend by sharing the story of her first tattoo (some people ended up searching and finding her on social media but none of them said anything about it so everyone moved on)

streamer! Ellie who designed her tattoo and then asked her followers to help her choose what else she should do and where (for the first time most people acted seriously and helped her choose the nicest option)

She was wearing glasses, reflecting the stream chat as she got closer to the screen. She’s been half stream reading all comments and blocking basically everyone that didn’t take this whole situation seriously “y’all I suck at making decisions and I can’t go and get my whole body tattooed y’ know?”

streamer! Ellie who searched on all her followers suggestions and chose you just because you were already following her and you were hot duhh

streamer! Ellie who revealed the studio she’d chosen and took the chance to do some promotion to your studio and social media.

“Guys stop it, it’s not because she’s hot- I mean she probably is I didn’t check but” she gave up, moving her legs to rest on top of the chair and placing her arms around them, resting her chin on her knees and holding her vape as if it could fall at any moment “I’m not gonna fight with you guys… y’all are so annoying”

streamer! Ellie who wanted to get tattooed on live but took her time to ask after making the appointment. She had a plan b ofc

streamer! Ellie who apologized for the comments you were getting on live and couldn’t help but end obsessed with you because you were all cool with it and even started to interact with her followers too.

“They’re saying you chose this place because of me” a small chuckle escaped your lips, shifting your eyes from the screen on Ellie’s phone to her very notorious ashamed face “Nah they’re just annoying, not that you’re not hot or anything just…” “don’t explain then, it’s fine”

streamer! Ellie who was silently crying as she hold her phone as far as possible, trying to hide her pain from both you and the people watching the stream

“If you need to stop just tell me, it’s alright” you could see some laughing emotes in the screen from the corner on your eye, assuming people were making fun of her. You apologized in a whisper, trying not to laugh at her too “How was the other tattoo? that area is more painful” it was definitely a lie, but she was hot and on live and you needed to cover the small mistake you’ve just made by exposing her crybaby ass.

streamer! Ellie who shared the meaning behind the tattoo and got you and everyone watching the stream fangirling because she’s so smart and hot and sweet and the way she explained it and her process and just everything she said was just so so perfect of her.

streamer! Ellie who failed on making eye contact with you but took the small chance she got while she explained the tattoo thing to look as you for some seconds (she had that sheepishly smile ughhh)

streamer! Ellie who kept on asking you the whole session about your story with the tattoos and the studio and just everything about you.

streamer! Ellie who after the session and stream ended really tried to invite you out someday but couldn’t so only tried complimented you and promised you she’ll come back soon because she loved the whole experience with you (she really did)

[absolutebl]

Best 23 of BL 2023 - Quirky Awards

SHOCK & AWE AWARDS

1. Biggest BL surprise of 2023:

The last 3 months of 2023 in general got my biggest WTF award.

GMMTV fielding OffGun AND TayNew in the same quarter while also airing Last Twilight (arguably one of their best BLs ever)

That they ALSO optioned 3 JBLs

That there's a high heat omegaverse BL staring Pavel

That there were 20 BLs airing and none of them Korean.

With 5 VAMPIRE BLs announced for next year

But my prize in this category goes to My Dear Gangster Oppa.

It's just crazy:

Thai talent, Korean money + IP (this is adapted from a manwha) airing on a Chinese channel (iQIYI). Plus it was GOOD and made smart reuse of a pair who richly deserved it. I'm delighted by the eclectic insanity of this production. And wonder if any other film genre could even do anything like this.

2. The “that country did WHAT?” award:

The 8th Sense from Korea?!

I mean, seriously?! Dealing with metal health, suicide, darkness, therapy, age gap, & first time love BUT FROM KOREA? And then openness and casual boyfriend physical affection? What's next? An actual hard fought coming out narrative with an HEA? Gay domesticity and families?

Careful Korea, you'll strain something. Possibly your own culture and film industry.

I should stop having expectations of Korea, they keep surprising me.

Runners up: Korea letting OnlyOneOf do Bump Up Business not to mention that OmegaX thing. AND Korea adapting Why R U? What are you up to, Korea? Qua? Is this a coded message? Should we send help? Do you need snacks?

3. Biggest casting whoa! where did you come from? award:

GeminiFourth in My School President.

Seriously? Babies what? How did GMMTV find you? How do you exist? How is BL this lucky?

4. That studio did WHAT now? award:

GMMTV putting EarthMix into Moonlight Chicken.

And then doubling down with G4 as the damn sides.

Fucking genius.

5. I’m sad you were ignored award:

Destiny Seeker.

It's just a really fun little Thai pulp, the pairs were good, silly dialogue, plus consent and other good rep. I enjoyed it. No one talked about it AT ALL.

6. 2023 BL That Actually Made Me Lose My Mind Award?

Laws of Attraction. -The casting, the crazy story, the soapy drama! But specifically: Film playing Charn - the range of his smiles alone. GLORIOUS

I mean I Feel You Linger in the Air also sparked something in me, but LoA drove me actually nuts.

NARRATIVE AWARDS

7. Best story 2023:

La Pluie

I know, you're surprised, right? At the time I didn't chat much about it but I really enjoyed the discourse others were having. I love anything that really examines the fated mates (soulmates) trope and the idea of "the one". What a clever way to do that. (This is one reason UWMA is my favorite Thai BL.)

This one reminded me of the way Color Rush approached allegory and that's no bad thing. Such an impressive little piece.

8. Best narrative structure 2023 award:

Unintentional Love Story.

I know this may seem a simplistic pick. But I love the tidiness of this no frills contemporary romance, how the culture of work and personal ethics and corruption fight against the main character's affection and integrity. Poor baby boy is driven into a corner and then punished for it. But it is punishment he feels he deserves, and so it is up to his (now) ex to figure out what went wrong and why.

It's just great. I love it when no one is stupid or wrong, it's just impossible circumstances and unintentional love deeply felt.

9. Best 2023 dialogue (script) award:

Jun & Jun

Never before has Korea laced a BL with that much perfectly executed innuendo. It was a master class. I didn't know you could be that lascivious in Korean, quite frankly. Plus the way the 2 Juns constantly seamlessly transition between formal register (work, public - where they are boss/employee) to informal register (when they are alone and age mates + childhood sweethearts).

Beautiful to hear and watch.

10. Favorite scene 2023:

The dub con scene in I Cannot Reach You because I AM TRASH for an out of control seme. I'm sorry I just AM.

I have said it before, I will say it again, NO ONE DOES THIRST like Japan. And when that thirst bubbles over, it is heart-clenching and very hot.

11. The most rewatchable BL of 2023 award:

Our Dating Sim

That scene where they lie on the floor + the stolen kiss + giggle? Come on, it should be on comfort repeat in war rooms. It could bring world peace.

ACTORS & CHARACTERS AWARDS

12. Best performance of a queer actor in a leading role, 2023:

Fluke in Make a Wish.

It was fun to see him as an irreverent immortal and while I love OhmFluke I also really enjoyed this new pairing. It was a genuine pleasure to watch.

13. Best pining 2023:

The moot pining in Tokyo in April is...

Boys, seriously? Japan must you destroy us like this? Hurts so good.

14. Best wingman 2023 (The Namgoong Award)

Tiw from My School President

I mean, come on, of course it's him!

(Also can you believe Mark went on from this to do fricking Only Friends!? To Last Twilight! Come on GMMTV GIVE HIM A LEAD!)

15. Biggest OMG I LOVE you boys together, YAY!

Dimpled McMafia & Feral Bunny Foo Foo from Kiseki Dear to Me.

They were feral for each other.

We were feral for them

It was a whole delightful THING.

16. Most unexpected return of a BL pair? award:

The Private Lessons pair showing up in Love Class 2.

I know it was only a cameo, but SERIOUSLY? Thank you SO MUCH Korea! A big studio picking up a Strongberry pairing? I love you.

Seriously tho between them, Taiwan & Korea tried for ALL THE CAMEOS this year.

17. Well aren't you two just the prettiest? award:

NetJames in Bed Friend.

Need I say more?

18. LIFETIME ACHIEVEMENT AWARD

Bah Vinh in Vian & Mr Cinderella 2. I did like either show but I loved him in them. Especially the make outs.

Yes you have chemistry with all the boys in Vietnam and you kiss beautifully. But it's okay now honey, you have the crown. Relax, you're stressing us out.

RANDOM PICKS

19. Favorite Linguistic Moment of 2023:

Our Dating Sim

Caught in the act by the elevator scene. OMG it's so funny. They're being such boyfriend shits to each other, and to be caught in the act by THAT character, and try to manifest formal language whole cloth? Hilarious.

Honorable mention to War Peanuts in Destiny Seeker.

20. Biggest disappointment of 2023:

You Are Mine

Seriously Taiwan, AGAIN you disappoint me with an Office BL? You're Taiwan, land of offices and suits. This should be YOUR SETTING TO WIN. And yet... argh. I mean it wasn't bad. But it wasn't good either. Stop it Taiwan, do better.

Runners up? Between Us, Chains of Heart, Dangerous Romance - this was a HOTLY contested category.

+ 2 Winners in the sub-category of FUCK YOU FOR THAT ENDING award:

The Director who Buys Me Dinner - I mean this nicely but: you have your lane now Korea, stop hurting us, that's Japan's responsibility and they do it better.

I Feel You Linger In the Air - I'm just hugely disappointed. Thailand ALMOST got its second 10/10 from me, but that damn ending.

Argh.

21. Best Wardrobe/Prop Use 2023

The shower of packaged bedsheets in My Personal Weatherman

Amazing. Brilliant. No notes.

22. Best Queer Rep 2023

Chot in Step By Step

In fact, all the queer characters in this show were treated with great integrity.

AND props to this cast for refusing to do fan service. GOOD FOR YOU! Fuck those sasang wankers.

Runners up? The found family cast of Love in Translation and the Rainbow Rice Cakes in The New Employee.

23. Best Meta Trope call out

Tin Tem Jai

Come on, what a zinger, but at themselves (and Taiwan)

Final question: which of the 23 was the hardest for me to pick?

Honestly? Question #1 this year. But also question #20.

(Last year: 2022's Version) 

Remember I only pull from shows that were completely finished by the end of 2023. Or The Sign probably would have taken multiple categories. But it will fall into 2024 offerings.

(source)

[onlyangel4]

delicate. ls2. smau

logan sargeant x country singer!reader

in which logan and reader do not want to pop their bubble of secret new love but sometimes you just have to let the world know that you are in love.

warnings: cursing.

faceclaim: megan moroney

taylor swift series masterlist

y/insta posted a story

written: back in the studio for the first time in what feels like forever

y/insta

liked by kelseaballerini, sabrinacarpenter, logansargeant and 1,239,118 others

y/insta: i think i'm really happy, i think i want to stay

view all 21,521 comments

user1: it is a sad day for us all y/n has a boyfriend

user2: i'm seeing you in nashville next week and i am so excited

kelseaballerini: i need to know where those boots are from asap

y/ninsta: just sent you the link bby

user3: f1 driver logan sargeant spotted in the likes

user4: he loves country music he is probably just a fan

user5: this caption has to be song lyrics

ls2updates posted a story

written: logan, lando and oscar were spotted in nashville at a y/n y/ln concert

y/nupdates

liked by user6, user7, user8 and 23,472 others

y/nupdates: y/n played a new song for the first time last night. she said that it was about someone in the crowd and then proceeded to play the most beautiful love song in the entire world, whoever it is makes mother very happy

view all 549 comments

user6: imagine being lucky enough to say THE y/n y/ln is your girlfriend

user7: there were three single f1 drivers at her show last night i'm convinced she is dating one of them

user8: glen powell liked a few tweets about her a couple months back, i still bet it is him

williamsracing

liked by carlossainz, alexalbon, user9 and 1,003,883 others

tagged: carlossainz

williamsracing: we are delighted to announce that carlos sainz will be joining williams for the 2025 season

view all 53,817 comments

carlossainz: so excited for this chapter

user9: thank god, logan was useless

user10: no the car was useless y/ninsta liked this comment

user11: poor logan i heard he hardly got any warning

y/ninsta liked this comment

user12: so excited for carlex

user13: i'm going to miss logan on the grid

y/ninsta liked this comment

user14: what the fuck is going on that country singer y/n y/ln has been liking all the positive comments about logan

y/ninsta

liked by logansargeant, landonorris, carrieunderwood and 1,321,872 others

tagged: logansargeant

y/ninsta: i'm so thrilled to tell you that my new single is out at midnight and to introduce you to logan the muse that inspired am i okay?, a man that made me question whether i am okay because spending time with him made me uncharacteristically happy. love you logie.

view all 29,374 comments

user14: i am so sorry mister sargeant i was unaware that you had game

user15: streets said logan had a girlfriend, i was not expecting her to be this gorgeous

user16: what an all american couple omg

logansargeant: i'm so glad i can finally recommend this song to everyone, so proud of you

y/ninsta: and i am so proud of you

user17: song just dropped everyone share your fav lyrics i'll start "like a 6'2" dream, heaven-sent", girl no wonder you launched your relationship before this was released people would have guessed him quickly

user18: "he's funny and he's smart and he's good in (bed implied)- babe just tell us the dick is fire

user19: "who knew guys still brought flowers" - i knew logan would be a massive green flag in a relationship

user20: "i don't feel like a sad song soundtrack" - considering this is the first love song y/n has ever released i am so fucking happy for her, she deserves this so much

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