#world teachers day 2023

[kianclarkyetyet]

Happy Teacher's Day Everyone 👩🏽‍🏫

[thefestivalwishes]

Teachers play an indispensable role in molding minds, shaping futures, and imparting wisdom. Recognizing this immense contribution, World Teachers' Day is celebrated with much enthusiasm globally. In the digital age, the trend of personalizing greetings has gained significant momentum, especially with the write name on happy World Teachers' Day 2023 images download.

write name on happy international teachers day 2023 images download offers a special way to convey heartfelt gratitude to educators. Instead of generic wishes, these images allow for a personal touch, ensuring that each teacher feels individually appreciated and revered.

As we stand on the brink of 2023, utilizing such tailored images to commemorate the event amplifies its significance. With the surge of personalized content in the digital realm, the Happy World Teachers' Day 2023 images with name download emerges as a contemporary approach to celebrate this occasion.

Read More : Teacher Day 2023 Greeting Card In English With Name

By embedding a teacher's name on a dedicated World Teachers' Day image, the gesture becomes all the more intimate, showing a deeper level of acknowledgment and respect. Sharing these unique images across various platforms, be it emails, social media, or messaging apps, ensures that the essence of World Teachers' Day resonates far and wide.

As we gear up to mark this special day in 2023, let us delve deep into the trend of personalized greetings. Let the write name on happy World Teachers' Day 2023 images download be our chosen way to express profound gratitude, honoring the stalwarts who light up the path of knowledge for many.

[dijetemjeseca]

278/365

Svjetski dan učitelja 👩‍🏫

"Jedno dijete, jedan učitelj, jedna knjiga, jedna olovka mogu promijeniti svijet."

- Malala Yousafzai

[sutorus]

THE GRUDGE PROFESSOR!GETO for KINKTOBER 2023!

DESCRIPTION: everybody loves professor geto, and judging by the thousands of viewers you get on every live, a lot of people love you, too. but you and professor geto hate each other. you’ve had enough of his humiliation rituals, and decide to do something about it.

PAIRING: mean professor!geto x student!reader

WC: 5.3k i am an unstoppable beast

WARNINGS: 18+ MINORS DNI. fem reader, afab reader, teacher/student dynamic! adult age gap! (reader is in college, unspecified age), sw/camgirl!reader (don’t like don’t read! no shaming 😤), strong language, dirty talk, pet names (sweetheart, baby, angel, darling), reader calling geto "sir", unprotected relations, creampie, afab reader and terms

A/N: this switches between povs a lot so i hope that’s okay or at least readable lol! also i set out to write him so much meaner but he’s just kind of a simp... enjoy?

reblogs are very much appreciated i'll uwu for u :pleading eyes emoji:

it is said that those who cannot do, teach. 

geto suguru could have done many things. he had the brains, the muscles, the features, the traits. the ambition to succeed in any field he desired. satoru says in a world ruled by the strong there is no place for humility. 

but humility is not why suguru became a teacher. neither is ineptitude. no, he’d become a teacher because it was the right thing to do. 

to use his gifts to help shape new generations, help unlock potentials long dorment and buried deep under years of a lackluster schooling system. geto suguru prided himself, above all, in being a righteous man. 

but japan’s most upstanding citizen for 28 years in a row held a shameful secret. a secret in the shape of you. 

he saw the darkest sides of himself on your face (eyebrows scrunched, eyes shut tightly, jaw slack as you—), your voice (higher in pitch with desperate moans that sound almost scared on the brink of your—), your body (taut and plump in all the right places, glistening with sweat, bouncing up and down on a—). 

when you walked into his classroom that fateful day, the world tilted on its axis. his first thought was, fuck, then, it can’t be, then, most embarrassing of all, i’ll finally find out what she smells like. 

(he did, when you went up to his desk to hand over your test. a whiff of vanilla, argon oil shampoo. too sweet, too youthful. and he’d watched you leave, tennis skirt flowing like a water lily, dick already chubby in his pants.)

it was slowly starting to consume him.

the first time you spoke in class, he knew he hadn’t been mistaken. it was really you. the cute, slutty girl he’d been milking his cock to for the better part of a year. 

god, when you finally said his name. you would never in your wildest dreams think that he’d been imagining those words coming out of your mouth, of him coming out of your mouth, dripping out of you, all over you—

he was losing it. this was not like him. this was never supposed to happen, and he has to put an end to it. 

everybody knew of geto suguru, the prodigy professor. already getting a phd despite not even being 30, handling the administrative slack for the department while managing office hours every day of the week, promoting student events, helping organize spirit weeks and charity drives. 

everything he did, he did for others. those not as capable as him — which was most people. in other words, it was really, really hard to hate him. 

but you damn well managed to. 

and to think you were excited to take his class. everybody told you to run, not walk, to sign up for his twentieth-century Japanese philosophy chair. 

“oh, professor geto is just the best,” they’d said. “he makes it sound so interesting and engaging, he gives the most life changing assignments, he really cares about us.”

bullshit. 

the first time you stepped into that classroom, suspiciously full for a philosophy class, you felt a shift in the air almost immediately. 

and sure enough, professor geto suguru was eyeing you down like he’d just seen a ghost. it made you self conscious, like he’d taken one look at you and decided right then and there you were too dumb for the class. 

it made your blood boil. sure, you stood out a little bit from the actual philosophy majors, but that doesn’t mean he gets to judge you. he literally doesn’t know you!

but fine, first impressions are tricky like that. for all you knew, you could’ve been misjudging him right there. 

however, with each passing day, you grew more and more assured in your suspicions.

you knew the man had it out for you, always calling on you to answer when he knew you weren’t paying attention, never grading your papers above a B even though you did everything right, somehow managing to fucking avoid you during his excessive office hours. 

his looks were almost the most infuriating part of it.

his beautiful face constantly set in that nonchalant look, his big veiny hands always gesticulating, his huge fucking arms straining the fabric of those dress shirts, his ear gauges and man bun contrasting the prim and proper image the rest of him conveyed. 

under different circumstances, he’d make your mouth water. under different circumstances, you’d imagine him going down on you all night long, singing praise about how good you taste and how tight you are. 

but in this timeline, you absolutely loathed him. and he loathed you too. why? you didn’t know. 

but you knew for a fact that it was personal. 

“i don’t care,” megumi said around a mouthful of meatball, cutting your monologue short. “i’m not doing it.”

you sigh, melting into your chair. “megumi. please. i am literally begging you, i just need some hard evidence so i can go report his ass.”

he eyes you curiously. “report him for what?”

“i don’t know. bullying? sexism? whatever the hell his problem is,” you pick at your food, huffing in annoyance. 

“you’re overthinking it,” megumi replies, dismissively. 

“okay, how about this,” you lean forward, putting an elbow on the table. “if you write the assignment for me, i’ll get your dog that expensive halloween costume you’ve been wanting.”

megumi lifts an eyebrow. 

“you need to get one for each,” he says simply. 

you grin. “deal.”

suguru really does give it his all to make your life with him a living hell. pulls out all the stops, years of friendship with gojo satoru paying off as he comes up with ploy after ploy to get you to drop his class. 

it feels bad, being mean to you. but for the hidden, twisted parts of him, it feels delicious. 

watching you huff and puff, all hot and bothered when he corrects your answers on the spot. watching you nibble on your pen at the increasingly difficult exams he hands out. letting himself wonder if you missed a stream this week because you were too busy cramming for a make up test. 

he knows he’s pushing you to your limit, and even if there’s some sort of sick satisfaction in seeing you so agitated at his hands when it’s usually the other way around, he doesn’t enjoy upsetting you. 

the problem is, suguru knows it’s either he gets his shit together or he continues tormenting you, and, well. 

the spirit is willing but the flesh is so, so weak. 

he knows it’s getting worse, too, because he’s not infatuated by you only when you’re undressing on his screen, or all dolled up in class. 

when you tie your hair up in a ponytail, when you suck on a hangnail, when you lick your thumb to erase a smudge on your paper… all of it drives him wild. 

he can’t teach with a permanent half chub anymore. this has to end, one way or another. 

you sit down in front of your computer, adjusting the camera before turning it on. soon, viewers start trickling in, little dings notifying you of their messages. 

you smile, waving at the screen. 

“hi everyone! i know i’m a little bit late today, i hope you can forgive me…” your eyes scan the chat, giggling at the compliments. “‘you look tired, sad face’, ah. i’m sorry. i guess i’ve been a little stressed lately.”

your robe falls over your shoulder as you readjust your position. a few donations come in, accompanied by supportive messages.

“you guys are so nice. it’s not a big deal, it’s just this dude giving me a hard time at college.” 

you absentmindedly trace your collarbones, reading what your viewers are saying. 

“you’ll kill him for me? that’s so sweet,” you joke. “nah, it’s not a student. it’s a professor. exactly, ynlover444, a grown ass man picking on me!”

you sigh deeply, allowing your body to finally unwind and relax on your chair. you prop a knee up against the armrest, giving your viewers a little peek in between your legs. you’re wearing one of your favorite sets, trying to get in the mood after the week you’ve had. 

“ugh, sometimes i wish i could just…” you suck in a breath, clenching your hand into a fist before releasing it. “sit on his face and get him to shut up, you know?”

you laugh at the countless me firsts that flood the chat, bringing a finger to your lip. 

“anyway! enough about that horrible man,” you reach beside you to grab a box your viewers know all too well by now. “let’s get to the fun stuff, shall we?”

as always, satoru is no help. 

“why don’t you just fuck her?” he asks, eyebrows arching above his sunglasses. “ya gotta just fuck her.”

suguru clears his throat before taking a drag of his cigarette. “i’m not fucking a student.”

satoru shrugs. “everybody does it. besides, you basically already do.” 

suguru wonders, not for the first time, why he ever told his friend about his situation. about your streams, that he’d stumbled upon randomly and innocently and had gotten instantly hooked, about you barging into his classroom like an angel at hell’s gates, about you you you you, everything about you. 

“that won’t fix anything.”

satoru clicks his tongue, swirling his soda inside the can.

“poor, naive suguru. did you not just tell me about what she said on her stream?" and yes, regrettably, suguru had told him. "it’ll fix everything.”

suguru doesn’t even let himself consider it, except he does.

at this point it’s no secret that he’s thought about being inside you, but now that you’re here it’s just too real and too risky and completely fucking wrong. 

it goes against the entire life he’s built for himself. 

he’s lost. he wants you so fucking bad, wants you close, wants you so far away, wants to ravage you and never have to see you again. 

it’s fight or flight. if he got you alone, it could go either way, he realizes that. 

suguru wonders what part of him will win by the end of all of this. 

your heels clack on the linoleum floor of the hallway as you approach professor geto’s classroom, megumi’s graded paper clutched tightly against your chest. 

the thing about megumi is that he's a star student. he’s never gotten anything below an A on any of his essays, makes the dean’s list every year, tutors his seniors. so the big, bright B- on the page tells you everything you need to know. 

damn right it’s personal. 

you don’t even bother knocking, slamming the door open while still trying to contain your indignation. 

geto is sitting at his desk, piles of papers sprawled on top. he has his white dress shirt rolled up to his elbows and a surprised look on his face that would be cute if you didn’t want to slap it right off. 

he says your last name like he’d been expecting you all his life.

“to what do i owe the pleasure?”

your jaw clenches as you take a few loud steps towards him. you slam megumi’s paper down on his desk, leaning over. 

“professor geto, i demand an explanation. a real one, this time.”

the man takes a deep breath, lips twisting disapprovingly. he smoothes the paper over.

“as i already explained in my notes right here, the structure is fine, but i couldn’t help but miss a more in-depth analysis of the four nodal concerns of philosophy that we talked about in class, such as—“

“no,” you interrupt. “just no. you know you’re bullshitting me and i’m sick of it. this paper deserved an A!”

“miss—“

“what’s your problem with me?” you spit out. your eyes finally meet and there’s nothing in geto’s that could answer your question. your chest is heaving, lips wobbling and hands shaking, trying to contain your anger. 

geto clears his throat, visibly uncomfortable. “like i said, your paper could’ve used a bit more—“

“no it fucking couldn’t have, because it’s not my fucking paper, it’s fushiguro’s fucking paper and the only reason you gave it a B is because i was the one who handed it in!”

he sits up, straightening his posture.

geto sounds austere when he asks, “do you realize how much trouble this could be for both of you if i reported it?”

you can’t believe this man. he’s been picking on you the entire semester and when you finally confront him about it this is what he chooses to focus on. 

“are you fucking kidding me?” that earns you a stern look from him, eyebrow raising taller than that fucking high horse he sits on. “professor geto. what did i ever do to you?”

there must be something earnest in your voice because geto sighs, getting up from his chair. 

he walks until he’s standing in front of you, leaning against his desk and crossing his feet. 

“do i bother you?” is all he says. it surprises you. 

you jut your chin out. “as a matter of fact, you do.”

the man hums. 

“i bet that’s really difficult for you,” he speaks like he’s sympathetic, like he understands. he sounds almost sheepish when he says, “i bet sometimes you wish i would just shut up.”

you blink rapidly. “no, it’s not like that. it might shock you but i genuinely do enjoy your class, it’s just that—“

“or maybe you wish you could shut me up,” he continues, ignoring you. “maybe going as far as to say that you could… sit on my face to get me to shut up.” 

your mouth goes dry.

before your brain can fully process the shift in the atmosphere or the fact that your professor is maybe possibly hitting on you, you realize where those words are coming from. 

it’s what you said. about him. on stream. right before fucking yourself on your hot pink dildo. 

you can’t speak, can barely even look in his general direction. 

you had really thought things couldn’t get any worse. had barged into his office with nothing to lose, almost hoping he would cordially invite you to remove yourself from his class permanently. 

but now? now you have no idea what’s going to happen to you. 

“i…” you start, the words dying in your throat. geto chuckles, crossing his fat fucking muscly arms across his chest. 

he says your name, low and syrupy. “is it true? you’d like to?”

you can feel your face flush hot in embarrassment, and you shift your weight from one foot to the other, wishing desperately that you’d never walked into his classroom. 

you have half the mind to apologize to him, right now.

“it’s just a figure of speech,” you try. geto clicks his tongue. 

“what a shame.”

your wide eyes shoot up and meet his. “w-what?”

he smiles sweetly. 

“it’s a peace offering. you can take it, or we can forget you ever said anything,” and isn’t he just so slimey, actually, when he’s the one who brought it up. he had said it, and now… 

now you can finally allow yourself to look at him.

those delicious, broad shoulders, the ever-present bored look, the stubborn fringe that falls out of his bun. 

you could so easily forget what you came here for. 

“so, like, a truce?” you ask, taking a daring step forward. geto nods, uncrossing his arms. “and you stop treating me like i’m fucking dumb?”

he tilts his head. “i think you’re a very smart young lady. determined. entrepreneurial…”

“geto—“

“professor geto,” he corrects you, hands reaching out to graze your hips. “you’re intelligent. i just like to push my students.”

you both know that’s a lie, but it’s okay, because now you know exactly why you got under his skin and it makes your own burn. 

you run a hand down the line of buttons on the front of his shirt, looking up at him through your eyelashes. 

“then… push me, professor.”

it’s so incredibly lame, the porn line you hit him with, but to your surprise it works, a low groan rumbling deep in geto’s chest. 

he swiftly closes the distance between the two of you, grabbing both sides of your face and crashing your lips together. 

it’s ravenous, the way geto dips his tongue inside when you gasp in surprise. you moan against his mouth, slipping a leg in between his two. 

he’s half hard already when he rubs up against your thigh. 

geto picks you up with ease and sets you down on his desk, and it’s so fucking cliché, the papers crinkling under your weight, the pens clattering to the floor. but it turns you on beyond belief. 

you share a few open mouthed kisses, an exchange of tongue and moans and hot breaths between your lips. 

if you were honest with yourself, you'd admit that you've fantasized about it before. a silly idea, at first, something you'd just blurted out mid-stream.

but that little seed had been planted, and when you got yourself off that night, you might've imagined for a moment that it was your mean professor's cock squeezed tight inside you, making you come undone.

geto slips his hands under your skirt, grabbing your ass and pulling you closer to him. you line up your crotch with his, moving your hips in tight little circles that make the both of you groan. 

his fingers are tugging your underwear down, down, the soft patch sticking to your gooey cunt. he lets the soaked fabric dangle from your ankle, grazing the back of his knuckles on your core. 

“mmm, fuck,” geto breaks the kiss, swallowing. his pretty lips are flushed and shiny, parted around his panted breaths. “you always get this wet or am i special?”

he’s smirking, the bastard, leaning back in to kiss your neck.

god, you smell so good, like lotion and perfume and sunshine and sin. 

“shouldn’t you know?” you sneak your fingers up into his bun, pushing your chest against him. he works his lips expertly on your skin, using just the right amount of teeth, of pressure.

geto hums against your neck, kissing a line up to your jaw. he snakes a hand under your skirt, thumb pressing down hard to rub on your clit, two fingers slipping inside. 

you immediately clench, a soft, drawn out mewl leaving your lips. 

the slide of his fingers against your walls send a chill down your spine, filling you up so perfectly. you feel the thin skin at your opening stretch around him, burning at the friction as his fingers plunge in and out of you. 

“god, look at that,” he rests his forehead on your shoulder and pulls the hem of your skirt up. “do you hear that, baby? so fucking wet for me.”

you whine, hands cupping his jaw so you can kiss him again. 

“please…” you mumble against his lips. “more…”

you wonder how much of what you can say he's heard before, which exact words have left your lips and sent him over the edge. it makes you self conscious, oddly, like he can see right through you.

not-so-kindly ignoring your request, geto removes his fingers, bringing them up to his mouth.

you watch as his eyelids flutter in pleasure, a hum rumbling low in his throat. 

he looks so good like this, just edible.

you pull him in for a kiss before he can, relishing in the surprised little noise he lets out. your knees are wobbling, feet dangling from your seat as you taste yourself on his tongue. 

he swallows your moan hungrily, forearms trembling with the need to hold back.

geto knows this is wrong, so wrong on so many levels, puts both your positions in jeopardy, it makes him feel perverted and primal and so fucking alive. 

he’s been watching you fuck yourself on those silly toys for god knows how long now, knows every spot that makes your hips buck, knows exactly how to make you cream like a debased slut around a cock. 

it should feel unfair, how easy it’s going to be for him to make you cum, only if it weren’t for the fact that your mere presence is enough to get him hard as fucking diamonds. 

“tastes good, huh?” he whispers, thumb caressing your chin. you nod, smiling devilishly. 

“tastes better on your tongue, prof.” 

geto groans low like a starved animal, holding your throat in his hand with a loose grip. he’s overwhelmed, that much shows, not knowing what to do with you or where to start. but there’s one thing he’s sure of. 

he presses one last kiss to your spit-slick lips before dropping to his knees. 

you can hardly believe it. sulky, big bad bully professor geto suguru on his knees for you. you prop a foot up on his desk, your sole skidding on a piece of paper. 

“scoot closer, please,” he asks, cordial even like this. you bring your ass to the edge of the desk, your dripping pussy hovering over his face. 

he looks so good under you, hair already disheveled, a delicious tent in his tailored pants. 

you tuck the hem of your skirt into the waistline so you can watch as he sucks your clit into his mouth, moaning like he’s fucking relieved. 

you throw your head back, fingers buried in his silky hair as geto’s fingers find their way back inside. 

he fucks them in and out of you lazily, pushing out strings of slick. geto slurps it all up, spreading your wetness all over your clit and sucking it back in his mouth. 

god, his cock is straining in his pants but he doesn’t dare touch it, can’t until he’s inside you. you taste like fucking heaven, like all his fantasies, like he always knew you would. 

you’re whining softly, bucking your hips into his face almost shyly, as to disrupt his pace.

you sound so much better in person, although he can’t wait to have you moaning into his ear without needing the headphones. 

“god, this perfect pussy,” geto mumbles into you, his breathing labored. he runs a thumb all over your cunt, gliding it over your soaked lips. “been dreaming about it for so long.”

“yeah?” you ask. “tell me. tell me how you stroke your cock to me every night.”

and every night might be overselling it. geto is a busy man. 

but your words do make him realize that no girl he’s had since he found your stream has satisfied him quite like you do. your flirty smile, your moans, the way they sometimes turn into uncontained giggles as you stuff your pretty cunt with a dildo. 

so he tells you, blush spreading across his cheeks. 

“fuck, i do,” he tongues your clit, tracing lazy circles. “i do. just look what you do to me.“

and there it is, that cheeky, slutty giggle, directed at something he said this time. 

he takes his fingers out, spreading your opening with both thumbs as he licks you all over. 

geto gulps, tongue dipping inside of you, sucking your clit into his mouth, sliding down to your entrance, every clench of your pussy pushing out more and more slick for him. no one's ever eaten you out as thoroughly as this.

“oh, fuck, sir,” it slips out casually, the way it would were you talking to any other professor. but given the circumstances, you revel in the deep moan geto buries into your cunt. 

you trap your lips between your teeth to keep anything else from tumbling out, but it’s useless.

“please, sir, i’m so close—so close just keep doing that, yeah just like that—“

“fuck,” he mumbles, pulling away to suck in a desperate breath. then, “fuck,” sultrier, right into your core. 

you grind against his face, finding purchase in his hair as a final few flicks of his tongue push you right into the crest of a mind-numbing orgasm.

it’s so good, so much better than when you're alone. the friction so perfect, his long, thick fingers plugging you up last minute to viciously fuck into you. 

“god…,” you breathe out, legs trembling as he runs his hands up your thighs. 

his chin is glistening, bubbles of spit and cum gathering in the corner of his mouth. he looks so good like this, like he was meant to please you and nothing else. 

geto feels like a fucking teenager, so goddamn close to busting in his pants at the sight of you. his dick hurts, balls tight and the head throbbing where it’s tucked into his underwear. 

“please, sweetheart,” he can’t hold himself back any longer, slick fingers already undoing his belt. 

you get to work on his zipper, pulling his pants down along with his underwear and damn. 

you figured he was big. he was a tall man, broad shoulders, shoes the size of a yacht, and the bulge in his trousers was a pretty good indication. but it couldn’t have prepared you for the sheer size of him. 

longer than it is thick, cleanly shaven, pretty veins and ridges and standing angry red in attention. god, you want it inside you. 

he notices you looking. 

“do you need more prep? i can—“

“no, fuck no, suguru, need it inside me now,” you wrap a hand around him and he hisses, caging you in with his arms on the desk. 

he huffs out a laugh, blowing the fringe framing his face. “what happened to sir?”

you kiss down his jaw, squeezing right below his tip. 

“sorry, sir,” you say against his ear. “are you going to punish me for my slip up?”

geto groans, pulling on your hair hard and making you face him. 

“take your shirt off for me,” he instructs, and you obey, maneuvering around his tight grip on the back of your head. 

his spirit is so unbreakable.

here you are, teasing him, coaxing him to rough you up, push you around, relieve both your frustrations properly once and for all, but he’s just so… adoring, and hungry, and just so irrevocably into you, and you find out that’s so much better. 

geto relents his hold on you to unclasp your bra, cupping your breasts and sucking a nipple into his mouth. you whine, caressing his hair. 

“so fucking perfect,” he massages your tits, looking mesmerized. 

“yeah? they haven’t gotten old to you yet?”

he laughs, so cute, and you can barely remember that just hours ago you hated the sight of him. you stroke his cock up and down, squeezing harder at the tip trying to milk all that delicious pre he’s been wasting on the inside of his boxers. 

“no, f-fuck—never gonna get old,” he pushes your boobs against each other, imagining his cock sliding in between them, his balls nestled underneath, his load blown all over your pretty face—

fuck, he’s gonna cum if he keeps going like this. 

he rips your hand away from him, ignoring your knowing smirk and pushing his tongue into your mouth. 

“i’m gonna fuck you now, okay, sweetheart?” you moan, nodding, shimmying your hips so he can have the perfect angle. 

a big hand clasps your thigh to wrap your leg around his hips as his tip pokes around your entrance.

you’re whining in anticipation, clenching around nothing, nails clawing his clothed back. 

when he slips in, it feels like coming home. you’re like warm honey around him, cunt pushing him out but clinging to him at the same time, with every stroke. it’s fucking maddening. 

“ahh, g-god, sir, ‘s too big—“ you swallow around the lump in your throat, feeling the tip of his cock in your guts. 

he’s huffing, concentrated, bullying his cock into you inch by inch with shallow thrusts until he finally bottoms out. 

“fuuuuck, angel,” he grips your waist with both hands, like he could just fuck you up and down his length if he wanted to. “took me so well, look at that.”

you do, dropping your heavy head to look at where you’re connected. you clench around him and he whines, pulling out almost all the way before slamming back in. 

the metal legs of the desk skid on the floor, papers and pens raining down to the floor as geto starts roughly plunging in and out of you. 

you let out little ah, ah, ahs in time with his strokes, the ache deep in your stomach finally starting to fade. 

“f-fuck, you’re gonna—topple us over, suguru, go easy—“

“can’t,” he chokes out, wheezing as he pushes his cock in as far as it can go. 

he gives shallow little thrusts, his length straining the fine skin at your entrance so good, hitting a spot inside you over and over that makes your head spin. 

your fingers twist into the back of his shirt, pulling him in to whine right into his ear.

he’s so big, stretching you out so thin that you feel every ridge and vein, can feel both your heartbeats inside your cunt. 

“ohhhhh fuck, fuck sir, please please touch me—“

he grabs your ass before you can even finish your sentence and presses you flush against his hips. 

geto’s tip is kissing your cervix now, his balls sticky and creamy against your ass, your clit grinding against his pubic bone as his thrusts violently shake the both of you. 

“fuck, wanna do it so fucking loud but i can’t, we can’t, what if someone walks in—“

you moan wantonly at his words, expecting to be chided, but geto seems to love it despite his worries because his cock kicks deliciously inside of you.

“look how loud you’re being, listen to yourself,” he grunts out, the belt pooled around his feet clanging with every stroke, the absolutely lewd squelches from your pussy resonating in the entire classroom. 

you two sound so good together, better than you’ve ever had, better than he could’ve ever imagined. 

“so loud, so wet on this cock,” he spits out, sweaty strands of hair sticking to his forehead. “do those toys make you feel this good? this full? answer me.” 

“hahh, n-no, no one but you,” you can’t think straight, head thrown back in pleasure and eyes squeezed shut. “only you, sir.”

geto whines like he’s aching, pounding into you mercilessly and making a mess under the two of you. 

“fuck yeah, that’s right. i’m making you feel good, baby?”

“mm-hm,” you mumble, tongue lolling out. geto's going so hard now, has you pressed up so tight against him, body caging you in, fucking every breath and thought right out of you. “close.”

“yeah?” he speeds up his effort slightly, and you’re sure he’s going to have desk-edge shaped bruises on his thighs tomorrow. “gonna cum on my cock? cream all over me?”

you let out a long, drawn out whine, tits bouncing up and down with the force of geto’s thrusts. 

“let me see your face when you cum, darling,” he cups the back of your neck, breathing hard through his nose. “keep your eyes on me. that’s right, sweetie, so good, you’re doing so good.”

you preen at the praise, feeling suddenly self conscious with the man's laser focus attention on you. 

you coo out little noises, growing in desperation, holding onto his biceps for dear life as his hips piston in and out of you. 

your pull him into you closer and rub your clit against him, grinding helplessly as your orgasm creeps closer and closer. 

the moment you open your eyes and meet his hungry ones, you’re cumming. your walls spasm around him, making the glide of his dick impossibly wetter with your release. 

geto chokes on a sound, his cock hostage of your pussy’s vice-like grip as your greedy cunt milks him for all he's got. 

“f-fuck, baby, look so pretty when you cum, always look so fucking sexy so fucking perfect that you’re gonna make me bust, i’m gonna cum for you god gonna cum inside, gonna blow my load all deep inside this pussy—“ 

it’s the most desperate he’s ever sounded, speaking through clenched teeth and a soaked mouth. you moan in return, letting him use you. 

he slams his forehead down your shoulder when he thrusts once, twice, three times and cums, his balls drawing up so tight that it hurts. he fucks it into you with shallow thrusts, panting, almost wheezing in pleasure. 

it feels like it lasts forever, his orgasm. like all of the blood in his body goes straight to his balls to push out the thickest, most satisfying nut of his life into the prettiest girl he's ever seen.

you feel it fill you up so good, hear it, too, squelching and sticking to both of you. 

geto’s body slumps against yours and you stay like that for a while, catching your breaths. there’s cum sliding out of you, down his balls, onto some poor student’s essay you have your ass on top of. 

when he pulls out of you, he takes a beat to watch it spill out of you some more, his face and chest red, his smile groggy. 

“god, this,” geto has to fight the urge to say thank you for letting him fuck your brains out. he swallows. 

“yeah,” you blink away the haze, feeling sore and fucked out. “this.”

“…is probably going to happen again, right?”

he knows it shouldn’t. he knows it will.

maybe both parts of geto can learn to coexist.  

you grin, touching the tip of your tongue to his lips. 

“well, i still haven’t made good on that promise of sitting on your face, have i?” 

the next morning, in class, the students erupt in happiness at the news that professor geto had an accident that ended up ruining most of last week’s graded papers he had in his possession. 

so he decided to give everyone an A for their troubles. 

and finally, finally, there was peace in the world.

[mostlysignssomeportents]

Housing is a labor issue

There's a reason Reagan declared war on unions before he declared war on everything else – environmental protection, health care, consumer rights, financial regulation. Unions are how working people fight for a better world for all of us. They're how everyday people come together to resist oligarchy, extraction and exploitation.

Take the 2019 LA teachers' strike. As Jane McAlevey writes in A Collective Bargain, the LA teachers didn't just win higher pay for their members! They also demanded (and got) an end to immigration sweeps of parents waiting for their kids at the school gate; a guarantee of green space near every public school in the city; and on-site immigration counselors in LA schools:

https://pluralistic.net/2023/04/23/a-collective-bargain/

Unionization is enjoying an historic renaissance. The Hot Labor Summer transitioned to an Eternal Labor September, and it's still going strong, with UAW president Shawn Fain celebrating his members victory over the Big Three automakers by calling for a 2028 general strike:

https://www.teenvogue.com/story/uaw-general-strike-no-class

The rising labor movement has powerful allies in the Biden Administration. NLRB general counsel Jennifer Abruzzo is systematically gutting the "union avoidance" playbook. She's banned the use of temp-work app blacklists that force workers to cross picket lines:

https://pluralistic.net/2023/07/30/computer-says-scab/#instawork

She's changed the penalty for bosses who violate labor law during union drives. It used to be the boss would pay a fine, which was an easy price to pay in exchange for killing your workers' union. Now, the penalty is automatic recognition of the union:

https://pluralistic.net/2023/09/06/goons-ginks-and-company-finks/#if-blood-be-the-price-of-your-cursed-wealth

And while the law doesn't allow Abruzzo to impose a contract on companies that refuse to bargain their unions, she's set to force those companies to honor other employers' union contracts until they agree to a contract with their own workers:

https://onlabor.org/gc-abruzzo-just-asked-the-nlrb-to-overturn-ex-cell-o-heres-why-that-matters/

She's also nuking TRAPs, the deals that force workers to repay their employers for their "training expenses" if they have the audacity to quit and get a better job somewhere else:

https://pluralistic.net/2023/09/14/prop-22-never-again/#norms-code-laws-markets

(As with every aspect of the Biden White House, its labor policy is contradictory and self-defeating, with other Biden appointees working to smash worker power, including when Biden broke the railworkers' strike:)

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

A surging labor movement opens up all kinds of possibilities for a better world. Writing for the Law and Political Economy Project, UNITE Here attorney Zoe Tucker makes the case for unions as a way out of America's brutal housing crisis:

https://lpeproject.org/blog/why-unions-should-join-the-housing-fight/

She describes how low-waged LA hotel workers have been pushed out of neighborhoods close to their jobs, with UNITE Here members commuting three hours in each direction, starting their work-days at 3AM in order to clock in on time:

https://twitter.com/MorePerfectUS/status/1669088899769987079

UNITE Here members are striking against 50 hotels in LA and Orange County, and their demands include significant cost-of-living raises. But more money won't give them back the time they give up to those bruising daily commutes. For that, unions need to make housing itself a demand.

As Tucker writes, most workers are tenants and vice-versa. What's more, bad landlords are apt to be bad bosses, too. Stepan Kazaryan, the same guy who owns the strip club whose conditions were so bad that it prompted the creation of Equity Strippers NoHo, the first strippers' union in a generation, is also a shitty landlord whose tenants went on a rent-strike:

https://pluralistic.net/2023/05/20/the-missing-links/#plunderphonics

So it was only natural that Kazaryan's tenants walked the picket line with the Equity Stripper Noho workers:

https://twitter.com/glendaletenants/status/1733290276599570736?s=46

While scumbag bosses/evil landlords like Kazaryan deal out misery retail, one apartment building at a time, the wholesale destruction of workers' lives comes from private equity giants who are the most prolific source of TRAPs, robo-scabbing apps, illegal union busting, and indefinite contract delays – and these are the very same PE firms that are buying up millions of single-family homes and turning them into slums:

https://pluralistic.net/2022/02/08/wall-street-landlords/#the-new-slumlords

Tucker's point is that when a worker clocks out of their bad job, commutes home for three hours, and gets back to their black-mold-saturated, overpriced apartment to find a notice of a new junk fee (like a surcharge for paying your rent in cash, by check, or by direct payment), they're fighting the very same corporations.

Unions who defend their workers' right to shelter do every tenant a service. A coalition of LA unions succeeded in passing Measure ULA, which uses a surcharge on real estate transactions over $5m to fund "the largest municipal housing program in the country":

https://unitedtohousela.com/app/uploads/2022/05/LA_City_Affordable_Housing_Petition_H.pdf

LA unions are fighting for rules to limit Airbnbs and other platforms that transform the city's rental stock into illegal, unlicensed hotels:

https://upgo.lab.mcgill.ca/publication/strs-in-los-angeles-2022/Wachsmuth_LA_2022.pdf

And the hotel workers organized under UNITE Here are fighting their own employers: the hoteliers who are aggressively buying up residences, evicting their long-term tenants, tearing down the building and putting up a luxury hotel. They got LA council to pass a law requiring hotels to build new housing to replace any residences they displace:

https://www.latimes.com/california/story/2023-11-28/airbnb-operators-would-need-police-permit-in-l-a-under-proposed-law

UNITE Here is bargaining for a per-room hotel surcharge to fund housing specifically for hotel workers, so the people who change the sheets and clean the toilets don't have to waste six hours a day commuting to do so.

Labor unions and tenant unions have a long history of collaboration in the USA. NYC's first housing coop was midwifed by the Amalgamated Clothing Workers of America in 1927. The Penn South coop was created by the International Ladies Garment Workers’ Union. The 1949 Federal Housing Act passed after American unions pushed hard for it:

http://www.peterdreier.com/wp-content/uploads/2014/07/Labors-Love-Lost.pdf

It goes both ways. Strong unions can create sound housing – and precarious housing makes unions weaker. Remember during the Hollywood writers' strike, when an anonymous studio ghoul told the press the plans was to "allow things to drag on until union members start losing their apartments and losing their houses?"

Vienna has the most successful housing in any major city in the world. It's the city where people of every income and background live in comfort without being rent-burdened and without worry about eviction, mold, or leaks. That's the legacy of Red Vienna, the Austrian period of Social Democratic Workers' Party rule and built vast tracts of high-quality public housing. The system was so robust that it rebounded after World War II and continues to this day:

https://www.politico.eu/article/vienna-social-housing-architecture-austria-stigma/

Today, the rest of the world is mired in a terrible housing crisis. It's not merely that the rent's too damned high (though it is) – housing precarity is driving dangerous political instability:

https://pluralistic.net/2021/06/06/the-rents-too-damned-high/

Turning the human necessity of shelter into a market commodity is a failure. The economic orthodoxy that insists that public housing, rent control, and high-density zoning will lead to less housing has failed. rent control works:

https://pluralistic.net/2023/05/16/mortgages-are-rent-control/#housing-is-a-human-right-not-an-asset

Leaving housing to the market only produces losers. If you have the bad luck to invest everything you have into a home in a city that contracts, you're wiped out. If you have the bad luck into invest everything into a home in a "superstar city" where prices go up, you also lose, because your city becomes uninhabitable and your children can't afford to live there:

https://pluralistic.net/2021/09/27/lethal-dysfunction/#yimby

A strong labor movement is the best chance we have for breaking the housing deadlock. And housing is just for starters. Labor is the key to opening every frozen-in-place dysfunction. Take care work: the aging, increasingly chronically ill American population is being tortured and murdered by private equity hospices, long-term care facilities and health services that have been rolled up by the same private equity firms that destroyed work and housing:

https://pluralistic.net/2023/04/26/death-panels/#what-the-heck-is-going-on-with-CMS

In her interview with Capital & Main's Jessica Goodheart, National Domestic Workers Alliance president Ai-jen Poo describes how making things better for care workers will make things better for everyone:

https://prospect.org/labor/2023-12-13-labor-leader-ai-jen-poo-interview/

Care work is a "triple dignity investment": first, it makes life better for the worker (most often a woman of color), then, it allows family members of people who need care to move into higher paid work; and of course, it makes life better for people who need care: "It delivers human potential and agency. It delivers a future workforce. It delivers quality of life."

The failure to fund care work is a massive driver of inequality. America's sole federal public provision for care is Medicaid, which only kicks in after a family it totally impoverished. Funding care with tax increases polls high with both Democrats and Republicans, making it good politics:

https://www.dataforprogress.org/blog/2021/4/7/voters-support-investing-in-the-care-economy

Congress stripped many of the care provisions from Build Back Better, missing a chance for an "unprecedented, transformational investment in care." But the administrative agencies picked up where Congress failed, following a detailed executive order that identifies existing, previously unused powers to improve care in America. The EO "expands access to care, supports family caregivers and improves wages and conditions for the workforce":

https://www.whitehouse.gov/briefing-room/presidential-actions/2023/04/18/executive-order-on-increasing-access-to-high-quality-care-and-supporting-caregivers/

States are also filling the void. Washington just created a long-term care benefit:

https://apnews.com/article/washington-long-term-care-tax-disability-cb54b04b025223dbdba7199db1d254e4

New Mexicans passed a ballot initiative that establishes permanent funding for child care:

https://www.cwla.org/new-mexico-votes-for-child-care/

New York care workers won a $3/hour across the board raise:

https://inequality.org/great-divide/new-york-budget-fair-pay-home-care/

The fight is being led by women of color, and they're kicking ass – and they're doing it through their unions. Worker power is the foundation that we build a better world upon, and it's surging.

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/2023/12/13/i-want-a-roof-over-my-head/#and-bread-on-the-table

[teamatsumu]

kinktober 2023 -> day 27

hate sex - kuroo tetsuro x reader

word count: 2100

warnings: swearing, nsfw, reader is yaku’s sister, both of them are kinda assholes but not really lol

kinktober masterlist

Kuroo Tetsuro was a very talented individual. Because no one had the capacity to piss you off quite like he did.

You should’ve known the minute you walked into your biochem class that he would become the bane of your existence. You wished you had gotten some sort of warning when you chose your major. A sign. A whisper from the gods. Anything at all to stop you in your tracks. But no, you were here now, and you were stuck seeing him in class every time.

If only that was where it stopped. But then you discovered that he was on the college volleyball team with your brother Morisuke and apparently, they were thick as thieves. The nightmare just kept getting worse.

It’s not even that he was a jerk to you or he bullied you. You just thought he was too cocky and loud and the smirk he supported was stupid. Unfortunately, the moment he found out that you didn't like him, he made it his mission to annoy the crap out of you any chance he got.

He would make jokes about your height, or how uptight you were. He would call you dumb under his breath if you got something wrong in class, or would snicker when the teacher corrected you. He had a taunting lilt to his voice when he talked to you, like his mere words were making fun of you. It was embarrassing, and it stung a bit, but mostly it served to make you angry. Morisuke would always tell you to let it go. That Kuroo was a provocative and inflammatory person by nature, but at this point even his voice annoyed you.

“What kind of pleasure does this bring you?” You gritted out, refusing to look up at his stupid grin.

“It tingles me just right, sweets.” He replied.

“Ugh.” You made a disgusted face, giving him a look that hopefully communicated that.

“You are gross.” You responded, turning back to your book. “Now can you please leave? I have a quiz I need to study for.”

Kuroo hummed, as if contemplating your request. He leaned back in his chair, balancing it precariously on its two back legs. They squeaked in the silence of the library, making your cheek twitch.

“Nope.” He popped the ‘p’, running a hand through his already messy hair. “I’m waiting for Yaku, remember?”

��And he told you to meet him here?” You didn’t look up at him.

“No, I told him to meet me here.”

You glared at him. “To purposely annoy me? Is that it? Why can’t you just stay away from me?”

He scoffed. “Don’t flatter yourself, sweets.”

You turn to him completely this time. “Then what is it, Kuroo? Why the hell are you obsessed with me? How pathetic are you?”

Kuroo stared at you incredulously. “Obsessed with you?”

He leaned forward until his face was inches from yours, eyes narrowed in anger. You nearly reeled back but held yourself in place.

“You’ve got some nerve. Thinking everything is about you. You think I give a single fuck about you? You’re just Yaku’s whiny little sister who thinks the world revolves around her. You’re not worth my time, or anyone else’s. Get your head out of the clouds or you’re going to end up taking a fall you won’t survive.”

You stared at him in shock, watching him gather his bag and water bottle before he stood up and hastily left. You stared at his retreating back, and felt anger burn through you as his words registered in your head.

You ignored the hot tears that stung your eyes.

…………………

The knock on your dorm room door startled you, and you stared at it warily. You contemplated whether you should open it or not. Maybe you could stay quiet and pretend no one was home. You weren't really in any mood to talk to people.

“I know you’re in there. The light is on.”

You nearly groaned, eyes squeezing shut. Anger boiled up in you again, and in a moment of impulse, you rushed to the door, opening it with more force than necessary.

“You've got some nerve.” Your voice shook in anger when you met his golden eyes. “Coming here after the shit you said to me today.”

Kuroo sighed, shoulders slumping. “I came to apologize for that.”

You laughed in disbelief. “What part, Kuroo? Me being whiny or me being pathetic?”

He scowled. “I didn't call you pathetic.”

“You’re getting hung up on the semantics now?!” You shrieked, stepping back to slam the door shut. Kuroo shot his foot out, blocking you from doing so.

“Excuse me? I’m not going to apologize for something I didn't even say!” He stepped inside the room, shutting it behind him so your voices didn't carry into the halls. “In fact, I specifically remember you were the one who called me pathetic. Which you still haven’t apologised for, by the way.”

“Oh my god, I hate you!” You screamed, feeling your face get hot because of how angry you were.

“Trust me, the feeling is mutual!” Kuroo screamed back, stepping forward until he was right in your face. You stiffened at how he was towering over you, his chest heaving and breaths coming heavy and quick. His teeth were clenched, making his jaw tick. Your eyes tracked the movement. You watched a small droplet of sweat run down the side of his face.

You stepped forward until your lips met his.

Kuroo jerked back, looking at you with wide eyes, mouth dropped open in shock. You stared at each other for a few moments, completely silent. Then, the dam broke.

Kuroo grabbed the sides of your face, sealing your lips together in a searing kiss. You moaned into his mouth, giving him the opening to slide his tongue over yours. You backed up until your legs hit your bed, falling back and Kuroo following you down, not breaking the kiss. Your limbs tangled together in a flurry, attempting to rip each other’s clothes off as quickly as you could.

“Can you hurry?” You broke the kiss, glaring at him as you tugged his shirt off.

“Can you shut the fuck up?” He bit back, pulling your sweatpants off your legs.

His lips met yours in the next moment, effectively silencing you except the little moans leaving your lips. His bare body felt heavenly against yours, and for the first time you thanked the lords that he was an athlete.

He broke the kiss again, making his way down your body with his lips. He bit at your right breast, making your breath stutter.

“Of course you would like that.” He chuckled.

“Shut the fuck up, Kuroo. Don’t ruin this-” You dissolved into a moan when he licked over your nipple, biting at it slightly before sucking. You sighed at the feeling.

His hand groped at your other breast, hips grinding down. His crotch pressed between your legs, and the pressure made you whine.

“Hurry up.” You pushed at his boxers, trying to tug them down.

“Say please~” Kuroo smirked up at you. You nearly slapped him.

“Over my dead body.”

Kuroo sighed and lifted himself off your body. He slid off you slightly, making to stand up. “Well, in that case-”

“No!” You sat up, biting your lip, staring at him. You groaned. “God, I hate you.”

Kuroo chuckled. You gasped when his fingers brushed over your clothed core, before hooking a finger into your panties and pulling them off you. His fingertips dipped into your slit. Your breath stuttered.

“Kuroo.” You stared at him, his eyes dark and pupils dilated. His lips parted, tongue peaking out just a little to run over them. His fingers continued their feather-light touch.

“Please,” you gave in.

“Please what, baby?” You whined at the nickname, feeling your core pulse. God, his voice was so husky. You stared at his lips, eyes wandering to his shoulders, his pecs, his abs, to the bulge in his underwear that was hinting at how big he probably was.

“Touch me, Tetsuro.” You whispered. “Please. Touch me, fuck me. You want me to shut the fuck up? Make it happen, then.”

He was on you the next moment, teeth digging into your skin and fingers burying themselves deep in your pussy. You yelped and moaned, spreading your legs more so he could hit deeper. His fingers were so long and delicious, reaching your spot and rubbing against it just right. Within seconds, he had you seeing stars.

“You’re such a brat.” Kuroo bit out, fingers picking up speed instantly. You could barely breathe. Your body jolted under his movements. He was being so rough. “A spoiled little princess. Greedy girl. You’re even letting me fuck you just so you can get off.”

You cried at Kuroo’s words. Fuck. Why was this turning you on so much? You clenched around his fingers, and were met with the sight of his infamous smirk, except this time, it was so much hotter than any time you had seen it before. Kuroo looked like he was enjoying the crap out of this.

“Oh, you love this, don’t you?” He goaded you, curling his fingers until your back was arching off the bed. “Such a slut. What, you got a humiliation kink or something?”

“I’m gonna cum.” You choked out, tears swimming in your vision as your toes curled.

You should've known. This was Kuroo Tetsuro you were with. There’s no way he would let you have anything good. You nearly wailed when he pulled his fingers out, soaking wet with your juices.

“Kuroo!” You cried, tears spilling down your cheeks. “Don’t- why?!”

You didn’t even care that he was witnessing you break down over this. You were just about to have what could have been the most intense orgasm of your life and he denied you it.

“You fucking asshole-”

He shushed you, leaning over and shifting slightly. Something hard prodded at your entrance, before sinking into you in one fluid motion. Your mouth dropped open at the feeling, jaw going slack. He was big, long and oh so hard, and he grazed all the right spots as he slid into you.

Kuroo wiped the tears that soaked your cheeks, brushing his nose against yours in a manner that was almost affectionate. You stared up at him, still dizzy from your almost orgasm a few moments ago. His eyes held a glint that told you tonight was going to be brutal in the best way possible.

And you were right. Kuroo fucked you through three orgasms before he even slowed his pace. You were left a blabbering, bumbling mess by the time his hips stuttered and he emptied himself inside you, warm cum washing over your walls, pushing you through one more orgasm as his unrelenting fingers rubbed at your abused, swollen clit. He didn’t care when you whined at him to stop. He was merciless throughout. It was rough and hot and it made you see stars.

You didn’t even register when his body left yours, or when he came back and ran a washcloth over the mess between your legs. You turned on your side, back sore from all the arching. You were still out of breath as he tugged on his clothes, watching him fix his hair. Well, as fixed as his messy hair could get. Aside from the sweat on his face and his slightly heavy breathing, he seemed unfazed. You would think he was out for a run, not rearranging your guts.

You didn’t realize he was staring at you until a few moments later, when he leaned over to brush your hair off your face. His signature smirk spread over his lips.

“Don’t worry, sweetheart. You’re the best sex I’ve ever had too.”

You scowled as he straightened up, making his way to the door. “What the hell do you mean ‘too’?

He didn’t answer, humming happily to himself as he tugged his shoes on.

“You aren’t the best sex I’ve ever had.” You sat up, feeling your face turn red. He gave you a look that was so smug it made you stiffen in embarrassment. You knew he didn’t believe a word you just said. You also knew that Kuroo’s already humongous ego was about to shoot through the fucking roof.

“You’re not.” You mumbled. Kuroo pulled the door open, still supporting the insufferable smirk on his face, giving you a teasing wink.

“You’re not, Kuroo!” You called behind him as the door clicked shut. Sighing, you flopped back onto the bed, staring at the ceiling and ruminating on everything that had just happened.

Fuck.

Taglist:

@bxbyyyjocelyn @thisbicc @lazuliquartz @dreamayy @kuroosluthoe @true-form-hoe @akumakitsune21 @cham0mil3-and-h0n3y @samisfunky @universal-s1ut @msbyomimi @dohwaesu @leothesquishy @n0tmykays @tsukiran @reyofsunshinelol @bleach-your-panties @galaneiaeris @leyra-giovanni @erenspersonalwh0re @peachesncats @soapsoftheworld @iwannabecamiloshovel @vintagevict0ria @smithieandy @moonlit-mizukage @snazzyturtles @argwein

A/N: For those whose tags arent working, im sorry! I tried and for some reason, your names wont show up in the mentions :( another way of being notified is to turn on my blog notifs for @teamatsumufics . I only reblog my fics there so it serves almost like being in a taglist!

[statisticallymorelikely]

✨00Q end of the year fic rec list ✨ (to commemorate the year of the lord 2023 when this ship came back to kick my ass)

the simplest of crimes by pdameron - fake marriage AU. my favorite 00Q fake married au just because the stakes are so low like they didn't have to do all that but the build up is so good.

come a lily, come a lilac by pdameron - florist!Q AU. this really got me giggling and twirling my hair.

James Bond Will Return by sorion - post-Spectre James comes back. a very charming character study.

as permanent as stone cathedrals by pdameron - pining Q. beautifully written with just the right amount of whump.

people can surprise you (or not) by pdameron - fake relationship but posh. i love whodunnits.

Hold Tight by orphan_account - Spectre fix-it. and fix it they did. also has my second favorite Q name.

lacunae (just the blood you owe) by finestkind - Q offers comfort as bond deals with grief. this fic honestly makes me ache, the way it handles friendship and grief and love UGH.

Say Something (I'm Giving Up On You) by Brihna - Spectre re-write where Q and James sleep before he goes off to Mexico. possibly my favorite Spectre fix-it, love emotional constipation and miscommunication.

Crossing the Bar by GwynDuLac - Q pulls bond out of retirement for an emergency mission. the best mission fic i have ever read hands down.

bloom on my skin, echo in my soul by Areiton - soulmate au. gorgeous writing.

if I couldn't be strong by SailorChibi - post-Spectre James is found abandoned in a hospital in a coma. i love how quietly vindictive Q is in this.

a bloodless coup by Ark - marathon sex. very vulnerable.

I Could've Been a Maths Teacher by Brihna - Q branch gets invaded. v good translation of the comic into prose.

I Don't Take Your Pleasure For Granted by Catchclaw - Q develops a crush. love me some pathetic Q.

I Won't Shiver, I Won't Shake by Only_1_Truth - Skyfall re-write, lots of Q whump. the hurt is so good but the comfort is even better. plus i love attack roombas.

Favours by dhampir72 - pining from Q's POV. fun fact: my gf once quoted a line of this fic to me and i knew immediately which fic she was reading, that's how much i've read this.

rain by Aniron84 - touch starved Q. god GOD, this fic!! there was a time in my life, i read this multiple times a day. the description of loneliness is so on point it always hurts.

Fidelity by marlowe_tops - Q seems to have picked up a stray. local idiot doesn’t know he’s in a relationship, struggles mentally

Indelible by enjolras_lexa - 5+1 of bond breaking into Q's apartment. quite gentle and funny.

A Hitch in the Holster by APrettySpy - Q is having A Time during a heat wave and like Q i'm not immune to the holster

when the world isn't fair by Mlle_Heloise - James rescues Q's holiday. warm and fluffy.

The Pros and Cons of Wayward Agents by Brihna - Q whump with a protective Bond. is it bad to be all teehee while reading someone beat someone else to unconsciousness

Best Dressed by HandsAcrossTheSea - PWP with kilts! really good p0rn and with bottom Bond to boot!

Through A New Lens: A Spectacular Love Story by christinefromsherwood - Q discovers he has a glasses kink, or does he? listen, i too am not immune to daniel craig in glasses so i can relate.

talk / listen by thestalwartheart - dirty talk. a masterclass in p0rn honestly, SO good.

The Inevitability of Time by dhampir72 - soulmate au. will never stop recommending this, it's so tragic and yet not?

[hisunshiine]

Seven Days Masterlist | JJK | complete

🗓️ pairing: nurse!jungkook x teacher!reader 🗓️ au/genre: non-idol au, brother's friend au, fwb, age-gap(reader is older), f2l, fluff, angst, smut 🗓️ series rating: M 🗓️ total wc: 34,413 🗓️ series warnings: emotionally constipated pairing, reader is older, adult worries, growing older, dating younger, time passing and not hitting milestones everyone else is, biological clock ticking woes, angsty argument, feeling like being emotionally cheated on despite being single, parents with toxic viewpoints, judgemental people, self doubt, explicit sexual content: each chapter will provide specifics, but in general, there will be sex in every part, each one showcasing jungkook and reader in various types of sexual situations including sleepy sex, oral sex (m & f receiving), light bondage sex, quickie sex with one partner not breaking off another night, drunk sex (dubious consent but neither feels taken advantage of), make up sex, and semi-public sex.    🗓️ an: please, please, please, blame @colormepurplex2 for this. It was not something I planned to do, but she talked me into it (she did not have to try hard, let’s be honest) and she is 100% right. This story needed to be told. Leah also helped me create the banners, so if you like them, it’s because of her creative input!  @downbad4yoongi also deserves blame now, but in the best way, for helping to expand the characters depth, and @heathfritillary-blog for her writing knowledge helping me find the motivators and reasons for the characters, challenging me to be a better writer. @mrsparkjimin18, @peachiilovesot7, and @abitjess, thank you for all that you do, hyping me up and helping me to piece together this story! 🗓️ an 2: reader being a teacher plays no real role in the story other than to help link the characters, it is summer break, so school is not in session! 🗓️ series summary: “Leave you with that afterglow, show you what devotion is, deeper than the ocean is…” Jungkook has been your best friend since you met him when he was still in college thanks to your younger brother, Yoongi. Despite your age gap, he easily fell into your world, your life, and your bed. Forced to confront the growing feelings as the pressure to meet adult milestones like your friends grow stronger, you struggle to be honest with yourself. “What you waiting for, better come and hit ya goals.”

Monday - wind it back, i’ll take it slow

wc: 1,741 summary: “Wind it back, I’ll take it slow, Leave you with that afterglow…” Jungkook has been your best friend since you met him when he was still in college thanks to your brother, Yoongi. Despite your age gap, he easily fell into your world, your life, and your bed… 

posted: Monday 7-24-23 @ 9 am

Tuesday - “lemme swallow your pride”

wc: 3,629 summary: “Open up say ahhh, Come here, baby, let me swallow your pride…” Jungkook comes over for an impromptu movie night that triggers some internal angst. You share a little, and he shares a lot... and your angst turns a little green. To change the topic when it gets a little too deep, you deepthroat him.

posted: Tuesday 8-1-2023 @ 12 am

Wednesday - “it’s the way that you can ride”

wc: 4,622 summary: “It’s the way that you can ride, it’s the way that you can ride…” Picking an outfit for a wedding is hard enough without your friends with benefits turning you on. Especially when he makes a tie look so sexy, you can’t help but use it to get him right where you need him to be. Ties make great reigns, and Jungkook is willing for you to be the leading lady, in more ways than one.

posted: Wednesday 8-2-2023 @ 12 am

Thursday - “so break me off another night”

wc: 3,596 + text messages summary: “So break me off another night” might be what he says, but after a day full of meddling parents, a quickie, and meddling friends, some things come to light, and there might not be another night for you to break him off...

posted: Thirstday 8-10-2023 @ 12 am

Friday - “i must be favored to know ya”

wc: 5,665 + text messages summary: “I must be favored to know ya.” Having Jungkook in your life is so much sweeter than you ever thought. It would be great if you could just tell him, but showing him is as good as it gets for now…until you slip up and let the cat out of the bag. But it turns out, you aren’t the only one who has feelings for him, and you definitely aren’t the only one who wants to ride him. When your biggest fears come to light, knowing Jungkook the way that you do might become a thing of the past. 

posted: Friday 8-18-2023 @ 12 pm

Saturday - “i kiss your waist and ease your mind”

wc: 6,323 + text message summary: “i kiss your waist and ease your mind.” The only thing that could make you feel better is the same thing that made you feel worse. You and Jungkook are both confused with your emotions, but two different stories help you both see a bit more clearly. The only problem is that when the two of you get around each other, clarity goes bye-bye. don’t let these soft lyrics fool you; make up sex doesn’t actually solve any issues if sex is the only communication that happens.  

posted: Monday 9-4-2023 @ 10:57 am

Sunday - “i'll be loving you right, seven days a week”

wc: 8,837 + text message summary: “i’ll be loving you right, seven days a week.” Yoongi's wedding has brought up a lot of feelings, but with so many things left unsaid, it's hard to know where you and Jungkook stand. Can the two of you wrap around each other and bring life to a relationship?

posted: Sunday 10-8-2023 @ 10:01 pm

↣ all rights reserved © hisunshiine 2023. please do not repost. translations & modifications are not allowed.

[stsgluver-archive]

𝐒𝐍𝐀𝐏𝐒𝐇𝐎𝐓 — gojo satoru

001 — the first years find old videos burned onto a dvd of you, satoru, shoko, and geto from 2005/6. 002 — another installment of the first years going through old videos of their teacher and his friends. 003 — nobara falls sick and spends her day off searching for yn. 004 — nobara can’t find the dvd anywhere and gojo has a decision to make. 005 — there's nothing more romantic than travelling halfway across the world for the girl you love... even if it is two years late.

all works belong to stsgluver 2023-24

[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.

[muffinlance]

State of the Muffin Report 2023-24

Happy belated birthday to my fanfics! Little Zuko turned six back in March. <3 

Behold, my annual roundup stats, because you can get fanfic from the math teacher but you can’t get the math out of the fanfic:

[id: Screenshot of an excel spreadsheet showing my 2023-24 word counts. Important info is that over six stories, I wrote 104k words, for a monthly average of 8.6k and a daily of 284 words. End id.]

Fanfic:

After not touching the birthday fic itself since 2019, Little Zuko v the World is finally finished! Woooo.

Otherwise, a slow-but-steady sort of year on the fanfic front.

Serious Face Writing & RL:

Li’s Friends has now raised $4,206.21 USD for wildlife charity, not counting gift matches. <3

Finished the second book in my original fic series, Fox’s Tongue; The Skin Stealer’s Son officially launched yesterday! (Affiliate link, so that if you happen to buy it, Amazon pays me extra money for the privilege.)

I also created a secondary tiny human, and she is a DELIGHT. She was last seen a half hour ago crawling after her brother like a particularly aggressive tripod, Hop on Pop in one hand, and slap-screaming at it until he read it to her. My children. <3

Year Six (2024-25) Goals

Fanfic: 

Gonna finish the new case of Dark Night in Ba Sing Se. Gonna finish it so good. (This is a donation fic for the winner of my Fandom Trumps Hate charity auction and is therefore due by the end of the year, so woo artificial timelines! Ah external motivations, how I missed you from my school days.)

I’m incredibly excited for Blindsiding Badgermoles, and have that same lovely external motivation in the form of my sensitivity reader, so planning to focus on that this year.

Finish the current book of Towards the Sun. We’re currently on the final field trip, so that should be very doable. —I say, using the exact same wording for the third year in a row. Honestly this one’s less a goal than a joke to see how many years it’s actually going to take me. And hey, I’ve been making progress! We now have the delight that is Lady Jun! Third year’s the charm?

Serious Face Writing & RL: 

Get a solid start on Fox’s Tongue Book Three, Face of the Wolf King.

Get out large print editions of the first two books.

Continue raising children.

Special thanks this year goes to First and Secondborn, who blessed me with the ability to still manage over 100k in a year, which is way more than I anticipated at this time last year.

Cheers,

MuffinLance

[ceirinen]

December 2023

I decided to make a list of every fic I read each month.

I would like to interact more, but life has been complicated recently and when it comes to interacting, I get very anxious which is something I'm trying to overcome.

So, here I made this to appreciate such amazing writers and stories that inspire me and others everyday. To the authors, I want to thank them for their dedication and time spent on writing to offer us fascinating stories.

I totally recommend their work.

(If you are in this list and you don't want to, please let me know so I can fix it).

@cillianmesoftlyyy

So New | Cillian Murphy x fem!reader Method Acting | young!Cillian Murphy x Reader

@runnning-outof-time

Research | Tommy Shelby x Reader Bedtime Stories | Tommy Shelby x Reader & Daughter

@zablife

teacher!Luca Changretta x Reader Funeral | Tommy Shelby x sister!reader A Visit to the Peaky Blinders Set | Cillian Murphy x wife!reader

@gypsy-girl-08

Festive Spirit | modern!Tommy Shelby x Reader All I Need... | modern!Thomas Shelby x Reader A Gentle Warning | Thomas Shelby x wife!Reader

@pacifymebby

Arthur Shelby x Reader

@fkmarrycill

Pre-Gaming | Cillian Murphy x Reader

@holacia3

Lost and Lucky | modern!Tommy Shelby x Reader Surprise visit | modern!Tommy Shelby x Reader

@beastofburdenxo

Let Me Praise You | Tommy Shelby x Reader Raising Catherine | Tommy Shelby x Reader

@look-at-the-soul

If I let you go | Cillian Murphy x Reader

@your-nanas-house

What does my princess want? | sugar daddy!Cillian Murphy x sugar baby!reader I'm pretty sure you're mine | sub!William Killick x dom!fem!Reader What are we, idiot? | Neil Lewis x best friend!Reader Thirsty | Tommy Shelby x secretary!Reader

@raincoffeeandfandoms

To the end of the world | Alfie Solomons x fem!oc Tommy, the teddy bear | Alfie Solomons x fem!oc Emergency surgery | baby!Tommy Shelby Fanfiction | Alfie Solomons x fem!oc Anon | Alfie Solomons

@lis-likes-fics

Loner | Edward Cullen x Reader At the End of the Day | Tommy Shelby x wife!Reader

@rafeology

Mentor!Finnick Odair x victor!reader

@wife-of-all-dilfs

Flower Therapy | Finnick Odair x Reader

@darlingsfandom

Cillian Murphy x Reader Tommy Shelby x artist!reader Soft sugar daddy | Robert Fischer x Reader

@pinguwrites

Home Is Where the Heart Is | William Killick x future!reader

@http-finnick

Skin to skin | Finnick Odair x fem!insomniac!reader

@acewritesfics

Lost Love | Tommy Shelby x Reader 36 Minutes | modern! Tommy Shelby x Reader

@dearshelby

Had you first | Tommy Shelby x Reader Little Tommy | Thomas Shelby x oc

@lau219

Red Carpet | Cillian Murphy x Reader

@peakyswritings

I Do Bad Things | demon!Tommy x Reader

@shelbystales

Ceramic Lessons | Cillian Murphy x Reader

@darthannie

Day eighteen: breeding kink with Lenny Miller | Lenny Miller x f!Reader

@hllywdwhre

Afterglow | Cillian Murphy x Reader

@red-write-hand

I'll be home for Christmas | Thomas Shelby x Reader

@mysaintkitten

Bad Behaviour | Mike Kiernan x fem!Reader

@notyour-valentine

The Spirits that I summoned | young!Tommy Shelby

@brummiereader

No Son Of Mine | Tommy Shelby

@youbyradiohead

Strawberry Syrup | Cillian Murphy x Reader

@cillianthinker

British accent | Cillian Murphy x Reader Young and in love | Cillian Murphy x Reader

@cillspropertea

Coming home | Cillian Murphy x Reader

@cillmequick

Operation Christmas Tree | modern!Tommy Shelby x fem!Reader

[reidsaurora]

"Apple Pie Proposal" ~ S. Reid

Summary: In which You and Spencer make your yearly trip to the apple orchard an official tradition.

Pairing: Spencer Reid x GN!Reader

Word Count: 1,144

Content Warnings: heavy food references, honestly i think that might be it? lmk if i missed anything though!

Extra Notes: crappy summary as always, live laugh love 🤪

Originally Written: 10/16/2023 through 10/24/2023

Criminal Minds masterlist can be found here!

Halloweek masterlist can be found here!

Apple cider was on your tongue, Spencer's oversized sweater was on your skin, and fall was in the air. Your stomach did somersaults at the feeling of joy rushing through you, wishing you could capture this moment and stay in it forever.

This was the fourth year you and Spencer had gone to the apple orchard together. Still, it never lost the same magic that it had the first time. Nothing gave you more satisfaction than spending the entire afternoon together, filling up your wicker baskets with locally grown apples, then baking the first pie of the season with them.

Many people didn't know that Spencer was quite the baker. While neither of his parents had taught him many skills in the kitchen, his Home Ec teacher had taught him how to bake up a damn good pie.

The orchard wasn't far from your shared apartment, a quaint little place just outside Mount Vernon, Virginia. Luscious trees spanned for what appeared to be miles, filled to the brim with bright green pears and apples that were every shade of red. The owners were an older couple that Gideon had known in college, whom he later introduced to Spencer and you.

After your baskets were nearly overflowing, the two of you made your way back to the car, starting the journey home, Spencer's favorite CD playing quietly as the two of you talked over it.

Spencer, ever the gentleman, insisted on you heading inside first, saying he'd grab the baskets from the car while you got started on collecting the ingredients for the pie. So, you did as asked, grabbing your apron from the hanger and getting to work.

"I think we severely overestimated the size of our pie," he chuckled as he brought in the second, heavier container of apples.

"Nonsense," you giggled from your spot at the island, where you were currently peeling and cutting the apples from the first basket. "Penelope will want a pie, Hotch will ask us to make him one for Jack, Gideon's coming over tomorrow for the football game. These apples will be gone in days."

He gave you a look of agreement, though you could see there was an unspoken emotion behind his expression. Admiration or love, you figured. And with that, Spencer was grabbing another apron, joining you at the bar and getting to work on the pie crust.

Soon, a batch of apple tartlets was in the oven, while Spencer finished up the last of the work on the pie. You sat down next to him again, giving him a similar look to the affectionate expression he'd given you earlier.

"Hey, do you remember the first year we did this?" he asked randomly a few minutes later, a faint nostalgic smile tugging at his lips.

A smile of your own crept up to your mouth. "You mean the year you threw an egg at me?" you answered, a laugh settling on the edge of your tongue.

"Hey, I only hit you with an egg in self defense. You're the one that threw flour on me," he rebutted.

The aforementioned laugh rolled off your tongue, a sound that Spencer told you almost daily was his favorite noise in the whole world. "Of course I remember. Why do you ask?"

He sat quietly for a moment, as if pondering the reason himself. Eventually, he landed on, "I guess I wonder how many years you think we'll be able to do this together."

The uncertainty in his words was almost enough to break your heart. Since the first time you'd visited the orchard, you'd hoped you'd continued the tradition every year for the rest of your lives. Maybe even eventually rope your children and then their children into it too. You weren't sure where along the line you'd led Spencer to believe otherwise, but the unsure look on his face let you know that he was nervous about your answer to the question.

"I'm hoping forever, if you'll have me that long," you answered, placing a comforting squeeze on his sweater clad arm.

He leaned over, giving you a soft and sweet kiss. "That sounds like a plan to me."

As if on cue, the oven beeped, Spencer heading to grab the pan of tartlets. While he began placing them on the cooling rack, you headed over to the oven, placing the pie inside.

It took you a moment to register what was happening as you turned to face him again. At first, you thought maybe he'd dropped something or his shoe needed to be tied. But then, you realized there was something in his hand, one of the apple tarts. And then, examining the scene further, you noticed something shiny atop the treat in his hand.

The words were shaky as they exited Spencer's mouth, his hands trembling as they held up his creation. "I really hope you were serious about your answer to my last question. Otherwise, I'm gonna look very stupid," he chuckled nervously.

Tears slipped down your cheeks at the display in front of you, your heart thumping a thousand beats per minute. "That certainly doesn't belong in dessert," you managed to laugh, your tears nearly turning to full-on waterworks.

"I suppose it doesn't," he chuckled nervously, holding the tart up further. "I'm hoping you can overlook it just this once though."

"I'll try," the joke came out weak, tears still falling from your eyes.

As if remembering why he was down there in the first place, he shook his head and gave you a more serious expression. "Y/N, I have loved you for over four and a half years. But when I think of how long I wish to love you, four years seems like the smallest sliver of time. I guess what I'm trying to say is… I want this—the orchard, the pies, all of it—every year for the rest of our lives. If you'll have me, I'd really like to be your husband."

The words came out stuttery and nervous, random breaks in his sentences, but you couldn't bring yourself to care. Especially not when the prospect of spending a lifetime with Spencer was on the table. "Of course I'll marry you," you answered, your own words somehow shakier than his.

He stood from his kneeling position, sliding the ring onto your finger and leaving a delicate kiss over the digit. "Thank goodness you said yes. That would make for some awkward conversation when Gideon comes over tomorrow."

A breathy laugh escaped your lips, pulling him in for a long and romantic kiss. This time, Spencer was on your tongue, an engagement ring was on your finger, and love was in the air. And again, your stomach did absolute somersaults at the feeling of joy rushing through you, wishing you could capture this moment and stay in it forever.

-> taglist: @lowsodiumfreaks67 @drayshadow @alexxavicry @nomajdetective @kbakery @leigh70 @darkloverfox @sammyrenae68 @cherrycandle @asgardprincess97 @gh0stgurl @esposadomd @randomwriter1021 @eddieharrington @lunar-affection @givemeth @lavhoes @rhyanishere @cat-lockwood @danielle143 @marsmallow433 @handsupforamiracle @topguncultleader @mente-sindescanso @reverieofmgg @spencer-reids-adventures @ah-blossom @encyclo-reid-ia @reidselle @thevisionthedream @dungeons-are-too-cold @mmmeademaaa @louderfortheback @reidsbookclub @annahalstead5021 @cwritesforfun @soapiebear @maelartasch @buckyyyismahhlife @cynbx @hellooitsrose @lover-of-books-and-tea @juismissing @captainchris-pike @therealrazortai

[thatbitchery]

& remember the first sign of a loser loser loser loser is hating school. Yall should've unfollowed me 2023 this year I'm laying it on you as is.

If you're not in some sort of murder level clas enroll right now. & it has to be so hard it feels like a death sentence

Ladies any form of "escape the matrix" and "you don't need school" & whatever school hating content out there is level down programming meant to keep you stuck and weak. School is the closest imitation to real life you get so dropping a class because it's too hard is your sign to tie yourself to your moms basement and never leave because you sure as heaven not making it in corporate, business, friendships, relationships, and, God Forbid, parenting. You Manifest a future as a stone because that's the most you can do with that mentality. Dropping out because you have anxiety is another great sign to move to the Amazon and cosplay a sloth because if you think there are human interactions in the adult world that won't make you feel anxious ahhh baby my baby. You got it so wrong, baby. If you can't focus in a 30 minute lesson just take your dream board & burn it up burn it upp and try your hand at being a house fly you'll have better luck. If you drop a class because you don't like the teacher stay as far away from romantic relationships and friendships and , especially, corporate & entrepreneurship because girly don't we have news for ya. Can't manage your time? And you want to be a CEO? Are you kidding?

School is the closest imitation to real life you get & the better you are at it the better you are at life, the harder your school life is the better your real life will be. & I mean take biochem engineering & aeronautical engineering first year college, get your ass run over by it BUT learn to sit still, to power through, teamwork, study techniques, etc so no one cares about your A [fun fact most A students don't make it] but did you power through it? K then junior year do the thing you actually like.

Not liking school for whatever reason is loser mentality if you couldn't make it past test drive what makes you think you'll make it on the highway. Back in high-school when I told my grandma I'm giving up on my scholarship because I'm getting bullied and tortured and ostracized her response wasn't a hug it was a slipper grandma of color style because do you think that won't happen in your adulthood? You think you run from a problem and it goes away? Go back in and make it tf. Notice how I'm not focused on what grade you get? My friend works at firm (one of the top of the country) that don't employ people with a history of As , it's not about academic excellence, can you get to cheer practise at 6 am and be in class by 7? What makes you think you can be a mom then? "Independent" can you schedule yourself? Manage classes, sports, hobbies, a part-time job, home chores , friendships, and free time? WHAT DO YOU THINK ADULTHOOD IS ABOUT? what makes you think running from that in school (where you have guidance & forced community) will keep you safe? Out here you're all alone sis. And now the government protects you like a treasure that ID days 18 and its up to you to protect yourself. If you can not sit still in a 30 minutes class you don't like what makes you think you're cut out for corporate? Yall ain't never left your moms house and it shows, no one that has been in the real world has that level of delulu.

Pick the damn calculus class & power from an E to a C- so when you're running your business & you meet hard things you dislike you have muscle memory to power through it & bc your business is something you like it's easier. Go to school with the girls that dislike you & find a way out of that so when your mom in law or officemates are being flaky you know what to do, you don't run. Sit through that class with that one homphobic sexist bigoted teacher so when you land a job at your dream firm you don't resign in six days and sabotage shit because you're delulu enough to think your little tantrum matters.

School , especially boarding school, is the closest imitation to real life you get. Power through it, take advantage of the resources & always chase the hardships now that you have people charged with guiding you so you're not 25 unmotivated with no accomplishment despite your A's , barely functional adult feeling like a loser because you let tiktok & escape the matrix bojo creators lie to you. Do you want to be one of those 35 year olds heavy on magical thinking because you didn't learn what your parents literally paid for you to learn under the guise of 'self care'. Don't be dumb dumb.

Success spills over

[lady-ashfade]

Day 3 Of Fictober 2023

Bimbo: Earth-42!Miles Morales

Prowler!Miles Morales x Bimbo!Chubby!Reader. Hcs

Just had a small idea, reader is kinda just like “Whatever” in this and is mostly blind to people being rude. Also I don’t know Spanish and I can barely speak English

Warnings: Body shaming, naming calling, bullying, slight sexual themes., bad Spanish.

Miles could believe his eyes the first time you walked into the class room. He was off in his own world, ignoring the teacher and playing with his pencil when the most prettiest girl walked into the class room, in pink and tighter clothes. Your chubby tummy poked out, your hips and waist making his mouth water, the breast on your chest almost falling out your shirt. Then your pretty thighs showing through the shirt your wear, your lower legs cover up by thigh highs.

He was captured by you.

Miles didn’t take his eyes off of you for the rest of the class. You giggled when you spoke and had a smile on your face throughout the day.

Luckily to say he introduced himself, though he wasn’t the nicest. Telling you to watch out because this was his halls and he didn’t need another idiot crowding his space.

“No worries, handsome. I wouldn’t get in your way,” you popped the gum in your mouth and didn’t even flinch at his words or tone. “Thanks, for the heads up.”

He watched you walk away with the same slip in your step, you didn’t even now he was being rude.

So he tried to test how much you could take. Like commenting on your outfit, saying rude things. “You got a stain right there.” But you just smiled and thanked him. Then he tripped you in the hallway, but you caught yourself before actually falling. “Pay more attention, Bombón.” You turned around and did the same thing you always did.

“Thanks, I need to pay more attention.”

Months went by of bullying you and it got worse over time, tugging at your clothes and hair. Calling you a idiot, or stupid because you got bad grades, or how you didn’t seem to notice things around you. He’d call you names for your weight, but he didn’t actually mean it because he loved that about you. He just wanted to get something out of you.

Until one day he pushed it to far. You had a rough day on the wak to school of girls making fun of you. Of course, they were jealous about their man’s and all the boys couldn’t look away from you. But when miles decide to bully you, it was over.

Miles frozen when he saw the tears pick up in your eyes and your lips quiver. Oh,he hated it. “Woah- Don’t cry.” His tone was confused. Then you walked away from him and out the lunch room in a hurry.

The rest of the day the look on your face haunts him. He didn’t even see you in the halls and it worried him, even if he hated to admit it. Miles searched and searched for you.

At the end of the day he waited for you out of the school and waited until you started to walk home.

Miles apologized for making you upset and offered to get you ice cream. “Didn’t mean it, such a pretty girl.” His hand pulled your cheeks close and ran his thumps over it. You blushed so cute in his hands.

“I want sprinkles.” He chuckled at your demanding voice.

“Anything you want, Mami.”

[st-dionysus]

Note from an angry trans man.

Of course, I’m angry. Who wouldn’t be. Dead children, dead teachers, a trans man to blame and the world ready to blame every single one of us instead of a single person -- instead of mental illness -- instead of guns -- instead of all the horrors that surround us. Eager to blame our HRT, our transitioning, our existence. Trans sisters who should be standing up against the abuse and shame put on their brothers – who instead decide to reject us, to blame us for anti-trans legislation, to group us all with Aiden Hale. To further stigmatize testosterone and trans-manhood. To act as though we are the harbinger of doom.

Of course, I’m angry. Dead trans people fill the news and wiki articles. Trans men among the corpses, but we don’t say their names. The bodies of FTM children left on the road, genitals mutilated, and newspapers printed with the wrong name and pronouns. Misgendered in death. Misgendered in rape, assault, and murder statistics. Misgendered in the publication of his horrific crime.

Of course, I’m angry. One of my brothers killed six people – three children and three adults. “Police then killed 28-year-old shooter Audrey Aiden Hale, who investigators said left behind a manifesto and detailed maps about how to carry out the attack. Law enforcement officials have not shared details about a suspected motive.”

Of course, I’m angry. The Nashville shooting was the 128th US mass shooting this year. There were 127 other mass shootings this year (and it’s only the end of March), most of which we did not talk about, most of which we did not address. More than 348,000 students have experienced gun violence at school since Columbine. There has been 89 school shooting incidents in the USA so far in 2023.

I want to rip something apart with my hands. I want to scream. I want to bleed. There is rage in my body, and it’s locked away behind tears and prayers. I consider cutting for the first time in over a year. I think about drinking myself to death or blowing my brains out in protest, but I don’t want to leave my cat alone, I don’t want my friends to cry about me, or to leave my lover heart-broken. I don’t want to be another dead trans man. I don’t want to be another name on the list of FTMs that have killed themselves. I’m already a part of the 50% of the FTM population who has tried at least once, I don’t want to try again. More than that, I don’t want my deadname to be the name I die with. I don't want to be seen as a dead woman.

I watch people die every day. I fear the deaths of my grade-school siblings. I fear the death of my loved ones. I fear walking into a gay bar and being carried out in a body bag.

Of course, I’m angry. It must be the testosterone.