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badnewswhatsleft · 2 months

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2023 september - rock sound #300 (fall out boy cover) scans

transcript below cut!

WHAT A TIME TO BE ALIVE

With the triumphant ‘So Much (For) Stardust’ capturing a whole new generation of fans, Fall Out Boy are riding high, celebrating their past while looking towards a bright future. Pete Wentz and Patrick Stump reflect on recent successes and the lessons learned from two decades of writing and performing together.

WORDS: James Wilson-Taylor PHOTOS: Elliot Ingham

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

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

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

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

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

PETE: There were some lean years where there weren’t a lot of rock bands being played on pop radio or playing award shows so we tried to play the biggest songs, the biggest versions of them. We tried to make our thing really airtight, bulletproof so that when we played next to whoever the top artist was, people were like, ‘oh yeah, they should be here.’ The culture shift in the world is so interesting because now, maybe rather than going wider, it makes more sense to go deeper with people. We thought about that in the way that we listen to music and the way we watch films. Playing a song that is a b-side or barely made a record but is someone’s favourite song makes a lot of sense in this era. PATRICK: I think there also was a period there where, to Pete’s point, it was a weird time to be a rock band. We had this very strange thing that happened to us, and not a lot of our friends for some reason, where we had a bunch of hits, right? And it didn’t make any sense to me. It still doesn’t make sense to me. But there was a kind of novelty, where we could play a whole set of songs that a lot of people know. It was fun and rewarding for us to do that. But then you run the risk of playing the same set forever. I want to love the songs that we play. I want to care about it and put passion into what we do. And there’s no sustainable way to just do the same thing every night and not get jaded. We weren’t getting there but I really wanted to make sure that we don’t ever get there. PETE: In the origin of Fall Out Boy, what happened at our concerts was we knew how to play five songs really fast and jumped off walls and the fire marshal would shut it down. It was what made the show memorable, but we wanted to be able to last and so we tried to perfect our show and the songs and the stage show and make it flawless. Then you don’t really know how much spontaneity you want to include, because something could go wrong. When we started this tour, and we did a couple of spontaneous things, it opened us up to more. Because things did go wrong and that’s what made the show special. We’re doing what is the most punk rock version of what we could be doing right now.

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

PETE: I think it’s actually not a change from our past. I love those records, but I never want to treat them in a cynical way. I never want there to be a wink and a smile where we’re just doing this because it’s the anniversary. This was us celebrating these random songs and we hope people celebrate them with us. There was a purity to it that felt in line with how we’ve always felt about it. I love ‘Folie à Deux’ - out of any Fall Out Boy record that’s probably the one I would listen to. But I just never want it to be done in a cynical way, where we feel like we have to. But celebrating it in a way where there’s the purity of how we felt when we wrote the song originally, I think that’s fucking awesome. PATRICK: Music is a weird art form. Because when you’re an actor and you play a character, that is a specific thing. James Bond always wears a suit and has a gun and is a secret agent. If you change one thing, that’s fine, but you can’t really change all of it. But bands are just people. You are yourself. People get attached to it like it’s a story but it’s not. That was always something that I found difficult. For the story, it’s always good to say, ‘it’s the 20th anniversary, let’s go do the 20th anniversary tour’, that’s a good story thing. But it’s not always honest. We never stopped playing a lot of the songs from ‘Take This To Your Grave’, right? So why would I need to do a 20-year anniversary and perform all the songs back to back? The only reason would be because it would probably sell a lot of tickets and I don’t really ever want to be motivated by that, frankly. One of the things that’s been amazing is that now as the band has been around for a while, we have different layers of audience. I love ‘Folie à Deux’, I do. I love that record. But I had a really personally negative experience of touring on it. So that’s what I think of when I think of that record initially. It had to be brought back to me for me to appreciate it, for me to go, ‘oh, this record is really great. I should be happy with this. I should want to play this.’ So that’s why we got into a lot of the b-sides because we realised that our perspectives on a lot of these songs were based in our feelings and experiences from when we were making them. But you can find new experiences if you play those songs. You can make new memories with them.

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

PETE: We have a language, the band, and it’s definitely a language of cinema and film. That’s maintained through time. We had very disparate music tastes and influences but I think film was a place we really aligned. You could have a deep discussion because none of us were filmmakers. You could say which part was good and which part sucked and not hurt anybody’s feelings, because you weren’t going out to make a film the next day. Whereas with music, I think if we’d only had that to talk about, we would have turned out a different band. PATRICK: ‘Take This To Your Grave’, even though it’s absolutely our first record, there’s an element of it that’s still a work in progress. It is still a band figuring itself out. Andy wasn’t even officially in the band for half of the recording, right? I wasn’t even officially the guitar player for half of the recording. We were still bumbling through it. There was something that popped up a couple times throughout that record where you got these little inklings of who the band really was. We really explored that on ‘From Under The Cork Tree’. So when we talk about what has remained the same… I didn’t want to be a singer, I didn’t know anything about singing, I wasn’t planning on that. I didn’t even plan to really be in this band for that long because Pete had a real band that really toured so I thought this was gonna be a side project. So there’s always been this element within the band where I don’t put too many expectations on things and then Pete has this really big ambition, creatively. There’s this great interplay between the two of us where I’m kind of oblivious, and I don’t know when I’m putting out a big idea and Pete has this amazing vision to find what goes where. There’s something really magical about that because I never could have done a band like this without it. We needed everybody, we needed all four of us. And I think that’s the thing that hasn’t changed - the four of us just being ourselves and trying to figure things out. Listening back to ‘Folie’ or ‘Infinity On High’ or ‘American Beauty’, I’m always amazed at how much better they are than I remember. I listened to ‘MANIA’ the other day, and I have a lot of misgivings about that record, a lot of things I’m frustrated about. But then I’m listening to it and I’m like ‘this is pretty good.’ There’s a lot of good things in there. I don’t know why, it’s kind of like you can’t see those things. It’s kind of amazing to have Pete be able to see those things. And likewise, sometimes Pete has no idea when he writes something brilliant, as a lyricist, and I have to go, ‘No, I’m gonna keep that one, I’m gonna use that.’

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

PATRICK: It really didn’t feel like any time had passed between us and Neal. It was pretty seamless in terms of working with him. But then there was also the weird aspect where the last time we worked with him was kind of contentious. Interpersonally, the four of us were kind of fighting with each other… as much as we do anyway. We say that and then that myth gets built bigger than it was. We were always pretty cool with each other. It’s just that the least cool was making ‘Folie’. So then getting into it again for this record, it was like no time has passed as people but the four of us got on better so we had more to bring to Neal. PETE: It’s a little bit like when you return to your parents’ house for a holiday break when you’re in college. It’s the same house but now I can drink with my parents. We’d grown up and the first times we worked with Neal, he had to do so much more boy scout leadership, ‘you guys are all gonna be okay, we’re gonna do this activity to earn this badge so you guys don’t fucking murder each other.’ This time, we probably got a different version of Neal that was even more creative, because he had to do less psychotherapy. He went deep too. Sometimes when you’re in a session with somebody, and they’re like, ‘what are we singing about?’, I’ll just be like, ‘stuff’. He was not cool with ‘stuff’. I would get up and go into the bathroom outside the studio and look in the mirror, and think ‘what is it about? How deep are we gonna go?’ That’s a little but scarier to ask yourself. If last time Neal was like a boy scout leader, this time, it was more like a Sherpa. He was helping us get to the summit.

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

PETE: The record title has a couple of different meanings, I guess. The biggest one to me is that we basically all are former stars. That’s what we’re made of, those pieces of carbon. It still feels like the world’s gonna blow and it’s all moving too fast and the wrong things are moving too slow. That track in particular looks back at where you sometimes wish things had gone differently. But this is more from the perspective of when you’re watching a space movie, and they’re too far away and they can’t quite make it back. It doesn’t matter what they do and at some point, the astronaut accepts that. But they’re close enough that you can see the look on their face. I feel like there’s moments like that in the title track. I wish some things were different. But, as an adult going through this, you are too far away from the tether, and you’re just floating into space. It is sad and lonely but in some ways, it’s kind of freeing, because there’s other aspects of our world and my life that I love and that I want to keep shaping and changing. PATRICK: I’ll open up Pete’s lyrics and I just start hearing things. It almost feels effortless in a lot of ways. I just read his lyrics and something starts happening in my head. The first line, ‘I’m in a winter mood, dreaming of spring now’, instantly the piano started to form to me. That was a song that I came close to not sending to the band. When I make demos, I’ll usually wait until I have five or six to send to everybody. I didn’t know if anyone was gonna like this. It’s too moody or it’s not very us. But it was pretty unanimous. Everyone liked that one. I knew this had to end the record. It took on a different life in the context of the whole album. Then on the bridge section, I knew it was going to be the lyrics from ‘Love From The Other Side’. It’s got to come back here. It’s the bookends, but I also love lyrically what it does, you know, ‘in another life, you were my babe’, going back to that kind of regret, which feels different in ‘Love From The Other Side’ than it does here. When the whole song came together, it was the statement of the record.

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

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

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

PATRICK: It’s pretty unexpected. Pete and I were going back and forth about songs we should cover and that was an idea that I had. This is so silly but there was a song a bunch of years ago I had written called ‘Dark Horse’ and then there was a Katy Perry song called ‘Dark Horse’ and I was like, ‘damn it’, you know, I missed the boat on that one. So I thought if we don’t do this cover, somebody else is gonna do it. Let’s just get in the studio and just do it. We spent way more time on those lyrics than you would think because we really wanted to get a specific feel. It was really fun and kind of loose, we just came together in Neal’s house and recorded it in a day. PETE: There’s irreverence to it. I thought the coolest thing was when Billy Joel got asked about it, and he was like, ‘I’m not updating it, that’s fine, go for it.’ I hope if somebody ever chose to update one of ours, we’d be like that. Let them do their thing, they’ll have that version. I thought that was so fucking cool.

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

PATRICK: I love when anybody does anything that feels honest to them. Touring with Bring Me The Horizon, it was really cool seeing what’s natural to them. It makes sense. We changed our sound over time but we were always going to do that. It wasn’t a premeditated thing but for the four of us, it would have been impossible to maintain making the same kind of music forever. Whereas you’ll play with some other bands and they live that one sound. You meet up with them for dinner or something and they’re wearing the shirt of the band that sounds just like their band. You go to their house and they’re playing other bands that sound like them because they live in that thing. Whereas with the four of us and bands like Bring Me The Horizon, we change our sounds over time. And there’s nothing wrong with either. The only thing that’s wrong is if it’s unnatural to you. If you’re AC/DC and all of a sudden power ballads are in and you’re like, ‘Okay, we’ve got to do a power ballad’, that’s when it sucks. But if you’re a thrash metal guy who likes Celine Dion then yeah, do a power ballad. Emo as a word doesn’t mean anything anymore. But if people want to call it that, if the emo thing is back or having another life again, if that’s what’s natural to an artist, I think the world needs more earnest art. If that’s who you are, then do it. PETE: It would be super egotistical to think that the wave that started with us and My Chemical Romance and Panic! At The Disco has just been circling and cycling back. I remember seeing Nikki Sixx at the airport and he was like, ‘Oh, you’re doing a flaming bass? Mine came from a backpack.’ It keeps coming back but it looks different. Talking to Lil Uzi Vert and Juice WRLD when he was around, it’s so interesting, because it’s so much bigger than just emo or whatever. It’s this whole big pop music thing that’s spinning and churning, and then it moves on, and then it comes back with different aspects and some of the other stuff combined. When you’re a fan of music and art and film, you take different stuff, you add different ingredients, because that’s your taste. Seeing the bands that are up and coming to me, it’s so exciting, because the rules are just different, right? It’s really cool to see artists that lean into the weirdness and lean into a left turn when everyone’s telling you to make a right. That’s so refreshing. PATRICK: It’s really important as an artist gets older to not put too much stock in your own influence. The moment right now that we’re in is bigger than emo and bigger than whatever was happening in 2005. There’s a great line in ‘Downton Abbey’ where someone was asking the Lord about owning this manor and he’s like, ‘well, you don’t really own it, there have been hundreds of owners and you are the custodian of it for a brief time.’ That’s what pop music is like. You just have the ball for a minute and you’re gonna pass it on to somebody else.

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

PETE: I remember the first time we went to the UK, I wasn’t prepared for how culturally different it was. When we played Reading & Leeds and the summer festivals, it was so different, and so much deeper within the culture. It was a little bit of a shock. The first couple of times we played, I was like, ‘Oh, my God, are we gonna die?’ because the crowd was so crazy, and there was bottles. Then when we came back, we thought maybe this is a beast to be tamed. Finally, you realise it’s a trading of energy. That made the last couple of festivals we played so fucking awesome. When you really realise that the fans over there are real fans of music. It’s really awesome and pretty beautiful. PATRICK: We’ve played the UK now more than a lot of regions of the states. Pretty early on, I just clicked with it. There were differences, cultural things and things that you didn’t expect. But it never felt that different or foreign to me, just a different flavour… PETE: This is why me and Patrick work so well together (laughs). PATRICK: Well, listen; I’m a rainy weather guy. There is just things that I get there. I don’t really drink anymore all that much. But I totally will have a beer in the UK, there’s something different about every aspect of it, about the ordering of it, about the flavour of it, everything, it’s like a different vibe. The UK audience seemed to click with us too. There have been plenty of times where we felt almost more like a UK band than an American one. There have been years where you go there and almost get a more familial reaction than you would at home. Rock Sound has always been a part of that for us. It was one of the first magazines to care about us and the first magazine to do real interviews. That’s the thing, you would do all these interviews and a lot of them would be like ‘so where did the band’s name come from?’ But Rock Sound took us seriously as artists, maybe before some of us did. That actually made us think about who we are and that was a really cool experience. I think in a lot of ways, we wouldn’t be the band we are without the UK, because I think it taught us a lot about what it is to be yourself.

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

#the cover is so funny. like theyre cute but that is genuinely bug angle. that is bugs under a rock angle. THEYRE ALREADY SHORT KINGS #fall out boy #pete wentz #patrick stump #andy hurley #joe trohman #time capsule #read the charts #ANYWAY GO HERE. GO READ HERE. BECAUSE I SPENT A LONG TIME TRANSCRIBING EVEN THO TRNASNCRIBING SUCKKSSS #i looped the spell soundtrack like 5 times and got jusmpscared by track9 every time. and then i put on smfs<3 #patrick's comments about the mythologising of fob lore is so interesting #listen baby i know ur fed up and it's not ur fault but u have to understand. the story of ur band is on some genuine fanfic ass other level #the way they talk about neal avron is sooo funny #imagine being producer for this young band. and theyre brilliant but theyre also twentysomethings(derogatory)#also the way pete talks abt swift. lol. also why does he answer the q when patrick was the one in the studio lol???#ALSO also. pete being afraid of british ppl (valid and true)#and patrick pretty much taking to the uk like a duck to water (also valid and tru) is sooo funny #i rlly liked this interview i wiiiiish i got the bundle w the photobook and whatever but i was way too late :(((((((((

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omegalomania · 11 months

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where are your boys tonight, ch 11: "if half the people hate you, the other half are going to defend you to the death"

#fall out boy #where are your boys tonight #id in the alt text #*making poasts #im scrolling past so muuuuuch my chem lore i dont care about for the fob pull quotes lol #found a lot of others but this one stuck out to me because a) its saturday #and b) its SATURDAY.#happy saturday saturday. saturday was the reason andy hurley wanted to be in fall out boy. it all comes back to saturday innit.#the stuff abt how poc and immigrants shaped the scene is super fascinating im hoping theres more of that as i go thru this thing

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meat-wentz · 1 year

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FOB LORE POST Pt. 1

okay so tumblr ate the original ask i was responding to and now refuses to save/post all the edits i’ve made, so this post has to come out in two parts. i’d rate it surface level-knee deep lore (maybe some waist deep, maybe some neck deep idk we'll see)! i'll be focusing on pre-hiatus just cause post-hiatus is generally easier to find (but there will also be post-hiatus because i can't help myself). also curated to my tastes these are things that *i* always think about, so big disclaimer this is not everything. this part basically covers the fob extended universe (terms/people to know, blog links, and important texts here and there), links to unrealeased tracks/rares/covers, and a rundown on the origin story.

so here's some basic things to know:

FBR- Fueled by Ramen. baby's first record label. also host to a bunch of other notable acts from the scene.

FOBR- easy to mix up. literally just falloutboyrock.com, their website. hosted journal entries, updates, the webstore, and more.

Decaydance- record label owned by Patrick and Pete under FBR, founded in 2005 when Pete wanted to sign P!ATD and realized he didn't have label to do so. AWESOME ORAL HISTORY FEATURING PETE, TRAVIE, GABE, AND SPENCER. intro to Decaydance (included in article). relaunched as DCD2 in 2014.

FOE- friendsorenemies.com, let's do a quote about this one: "If you’re one of those types that have uttered the words, “I’m their biggest fan” in reference to post-punk popsters Fall Out Boy, then you’re in luck because there is a site where like-minded people can hang out. Honda Civic Tours has joined forces with Friendsorenemies.com, to create a user-generated worldwide fan community for the Chicago-based band. The site includes dozens of up-close and oh-so-personal videos of the band, along with exclusive, unscripted content that gives an extensive behind-the-scenes look at the Fall Out Boy’s latest tour… because pop stars shouldn’t have any privacy or down time." they have a youtube with SO MANY videos here (check out their playlists, they have a bunch of fob specific ones.

OCK- Overcast Kids, fob's official fan club, usually got exclusive content, merch, pre-orders, and more. you'll see some blog posts where pete makes references to overcast kids referring to the fans.

Fuck City- essentially Andy Hurley frat house/collective/brand. he has Fuck City tatted on his knuckles. there's primers out there i'd search for "Matt Mixon primer" and you'll probably find some livejournal links.

Clandestine Industries- Pete's clothing brand. there's a whole dvd about his collab with nordstrom and in it he states he wanted to aim for "unisex," if i ever found a rip of this i'll link it here. meanwhile here's a video about their landmark store. video that was on the site. 2010 fashion show.

Pete’s blog entries (best viewed in browser). there's also this masterpost (hint, if some links don't work in this, especially for fobomatic, try amending the url to "fobomatic-blog," and it should pop up). and this tumblr: @disloyalorderofpete

Joe’s blog entries

Patrick’s blog entries

important text: “We Liked You Better Fat: Confessions of a Pariah” written by Patrick post-Soul Punk, and kicked off talks of coming off hiatus between Pete and Patrick.

important text: “Fall Out Boy Forever” by Hanif Abdurraqib

important text: “The Boy With the Thorn in His Side” by Pete (his first book), you can read here, just scroll to the bottom to start: @clandestineindustriespresen-blog

important text: to you (unfinished, off the top of my head) arguably one of the most important Pete blog entries (to the fans and to ME at least)

you'll see some names around, so here's a few touring friends and crew you'll want to make note of: Charlie (security), Dirty (personal court jester and whipping boy, he seems to like it, i want to do a study on him, he has Pete's initials branded in his ass- Pete did it himself with a hanger), HeyChris (i'll probably give him is own section), Nick Scimeca (i've never really clear on him, i think he acted as web designer/bestie, but i know for sure he lived in the dirty ass tttyg apartment), Hemingway (Pete's dog), Matt Mixon (Andy's bestie/fuck city roommate). primary ones to know are bolded.

HeyChris: okay Chris is important because he was in Arma Angelus and was fob's first supporter, caught the name HeyChris through grenade jumper (which they wrote for him!). he tours with them for awhile, i *think* doing crew duties, running the merch stand, being one helluva hypeman. QUITE A DYNAMIC with pete. part of the World's Most Hated Crew which were crew members primarily shared between mcr and fob, who had bad reputations for 1) their proximity to the bands 2) being scene kings/queens 3) gossip and drama. 2006, he and Pete have a massive falling out over their blogs. since then they've made up, still talk every once in awhile. he runs the catcade in chicago and emerges out of the woodwork to stir shit up every now and then. here's his livejournal. and another one. he also has a tumblr. so go hunting if you want. most of his updates are through instagram, he loves to troll.

list of movie references in songs

because it's referenced so much i have to include the drunk history, but be warned it's Brendon, and a whole lot of him.

here’s some of my personal fave unreleased/covers/features:

hand of god (some very uhm breathy whiny patrick vocals in this that i can’t believe are legal)

austin we have a problem (also horny vocals and for what)

star 67

we don’t take hits we write them (listen the amount of blood i would spill to get a clear recording of this song)

save your generation (jawbreaker cover)

basket case (green day cover live)

under pressure (queen and david bowie cover, patrick does both vocal parts and and it’s so cunt)

what’s this? (nightmare revisited: nightmare before christmas cover album and US SPOTIFY REFUSES TO COUGH UP THE ONE FOB TRACK, however i still recommend korn’s version of kidnap the sandy claws and rise against’s version of making christmas)

lullabye (hidden track on folie a deux written pete’s son)

catch me if you can

mr. brightside (killers cover which they did live a few times, which is extremely funny because pete and brandon flowers were feuding after brandon said fob and emo were ‘dangerous’ and ‘poisoning the minds of the youth’ and that he wanted to ‘beat all those emo bands to death’)

i write sins not tragedies

tiffany blews bridge ft. patrick vocals

patrick covering i can make you a man from rocky horror

patrick feature on one day i’ll stay home by misery signals

patrick features on cupid’s chokehold and clothes off! by gym class heroes (these may be obvious to some but i’m including just in case and also because they slap)

patrick feature on one of THOSE nights by the cab, brendon jumpscare warning, but patrick’s vocals literally made me fucking insane here, also the amount that pete is featured in this video is so funny to me

fob feature on the hand crushed by a mallet remix by 100 gecs (the way i fucking lost my mind when this dropped)

these are on spotify but often get looked over/missed/are hard to find:

roxanne (police cover): spotify, youtube

start today (gorilla biscuits cover): spotify, youtube

snitches and talkers get stitches and walkers: spotify, youtube

the music or the misery: spotify, youtube

my heart is the worst kind of weapon: spotify, youtube

my heart will always be the b-side to my tongue

pax am days

lake effect kid

yule shoot your eye out: spotify, youtube

i wanna dance with somebody (whitney houston cover): spotify, youtube

the world's not waiting (for five tired boys in a broken down van)- literally my personal favorite off of EOWYG it makes me insane: spotify, youtube

some fun extras:

there’s also this fun little behind the scenes video for cobra starship where patrick is singing city at war

this uncomfortable video of patrick and pete singing womanizer with ellen degenres

this video of fob at the inaugural dinner for obama where they have light up instruments and patrick starts off i don’t care with a little snippet of womanizer (very cunt) which also has a part 2 where pete climbs a tree and they meet the president ajbdjdksndnd.

fall out boy on teen titans go: part 1, part 2, song

deep blue love (patrick wrote this for a movie! and it makes me need to lay down) "behind the scenes" here

patrick song in star vs. the forces of evil

patrick theme for spidey and his amazing friends

patrick musical episode of dead end paranormal park (most of the patrick demos are uploaded as well)

patrick features on robot chicken, also here's the uncensored version of blue rabbits fucking

you can also look up their rare/unreleased songs and get a whole lot more than provided here, and also patrick has done so many covers it’s wild there’s a playlist on youtube that’s 130 videos long and includes bangers such as this is how we do it, let’s dance, in the air tonight, kiss my sass, fob covers of we are the champions, don’t stop believin’ and more.

NOW. as far as origin stories go. let’s start with pete who was a notable figure in the chicago hardcore scene, having been in bands on bands on bands, and very notably RACETRAITOR. pete, joe, patrick (i still haven’t found the source for patrick but it’s on wikipedia so i’ll include him) and andy have all at varying points played in racetraitor, and andy still plays with racetraitor when they get together. joe and pete become friends, joe driving him around because his license is suspended, and right around that time pete starts ARMA ANGELUS and when heychris can’t make it on tour, pete convinces joe’s parents to let him fill in on bass and they all go out on the road. when they come back, arma’s kinda its last leg and this is when pete and joe start talks for a pop-punk project. joe will play guitar, pete will play bass, now they just need a drummer and a singer.

so very important lore here, joe’s hanging out in borders when he’s interrupted by none other than one patrick stump who starts a lecture on music to which joe starts lecturing back, THIS IS HOW THEY MEET. i’ll let joe tell it (click for full view):

this continues into another important bit of lore, which is that joe dragged pete to patrick’s house so he could audition and patrick answered the door wearing a sweater, shorts, and socks. this is important, it comes up time and time again, patrick answered the door in an sweater, shorts and socks. it’s important. to both me and pete. he proceeds to show them all his talents, but when he sings, that’s when it clicks and everyone in the room says you’ve got a massive set of pipes there, you’re our singer. now, patrick didn’t care about singing, in other bands he had primarily focused on drums. but he wanted to be in a band that would let him write music and he also had admired pete from afar on the scene and so he agreed to sing.

they finally pull andy when they start recording seriously and their drummer can’t make it so they ask andy to fill in. andy at this point is a notable drummer in the scene, like he plays in so many bands and is referred to as “the metal drummer.” pete and andy have known each other for a long while and they've had their eye on him since the beginning, it's just that he's in various other bands and going to school so he hasn't had the time. but they ask him to fill in and everything just falls into place. i’ll let patrick tell it:

and they've been the same lineup for two decades now (outside of fill-ins every now and again for emergencies etc). as legend goes, they had switched out names quite a few times, fall out boy being one of them, referencing the character from the simpsons. one night they came out, said "we are [insert long drawn out complicated name here]" and a fan yelled "fuck that! you're fall out boy!" and they have been ever since.

#fall out boy #fob lore post #fob #fall out boy history #fall out boy lore #fob lore #fob history #patrick stump #andy hurley #joe trohman #pete wentz #patrick #andy #joe #pete

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changewingwentz · 4 months

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Pompompurin Dr. Benzedrine and Scottish deerhound Dr. Jekyll

for the 3% fob and tgs audience (me and that one moot on Twitter )

#hackus art #fall out boy #fob #tgs #the glass scientists #tgs jekyll #tgs henry jekyll #dr Benzedrine #fob folie a deux #americas suitehearts #I see Benzedrine as an honorary Dr Jekyll and mr Hyde #or reference #society if fob deepened the americas suitehearts lore #dog #doodle #fanart #pompompurin #folie a deux

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castletemprwine · 9 months

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what gets me is how fall out boy is always always remembering and paying tribute to their roots. how they're always making references to past songs and videos and have been doing that for the entirety of their career. how those references never feel self inflating but instead are always injected with this air of gratefulness and reverence. for their fans and for each other and for the music that brings them all together. they've always been hyperaware of their place in the industry and so they never take any of it for granted and. it's like every night on stage is a thank you and a promise. like, it's been the four of them for twenty years. they've ended all their shows with the same song for twenty years. and it's like, never trust a band that wouldn't bleed for you. it's like, fall out boy forever and ever and ever

#idk why i'm suddenly having emotions about this it's all just catching up to me #i am a very very new fan so ive mostly been spending this tour learning about lore and stuff #but i just realized that i've never really encountered another band that is so happy to play their old hit singles night after night #like. they are the definition of devotion #fall out boy #fob

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shark-myths · 1 year

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Sending My Love From the Other Side

Things we should discuss:

Pete’s sexy metal Viking princess unitard, he’s waiting to be rescued by a barbarian, I can only presume he is a bride-prize for the hero who can save him

The Folie-ness of it all, the ship at sea but not doomed, not this time; instead it is a vessel of hope

The mythology-of-the-band frame narrative

How the title references back to Sending Postcards from a Plane Crash

Stardust stardust stardust and Pete’s fear of space objects

What do Field of Dreams and The Princess Bride have in common?

For those expressing concern about Joe’s absence both on Sunday and in this video—he writes in his recent book, None of This Rocks, about emergency back problems during the latter end of this pandemic, compromising his ability to walk for a brief post-surgical time, exacerbated by overworking. He writes about learning boundaries, learning to rest, and asking his band for accommodations for his health. It seems likeliest that he’s recovering from a back-related issue, rather than conscientiously abstaining from participating in this record as he describes doing with MANIA.

General ranting about lyrics:

DISCLAIMER: It’s not me, okay, it’s the text, it’s Pete being incapable of writing anything that doesn’t sound like it’s about forbidden queer love, I could not make this shit up, I truly could not

“Model house meltdown”

Reminds me of walking through the house in your shoes, I’m supposed to love you; reminds me of I’m just playing house, no idea what I’m doing now. It’s a very dark Tim Burton-y sentiment from an outwardly happy man living a domestic fairy tale.

“We were a hammer to the Statue of David, we were a painting you could never frame, and you were the sunshine of my lifetime.”

THE PAST-TENSENESS HERE

Right from the start, this sets us up for something universally perceived as perfect and beloved being destroyed. This could be a reputation, a cultural relic, a profound piece of history, a narrative, a love. We were a hammer that destroyed it, that perceived thing…

We were a painting too profane to be displayed in a museum, hidden and damned? Or we were larger than life, uncontent to be contained by a frame, always in motion, chimeric and twining, together apart, together apart, a tesselated image you can only see if you zoom out and unfocus your eyes.

You have all read my opinions about twenty years of Patrick = sunshine metaphors, which seem to be getting pretty FUCKING literal here at the end of days.

“Nowhere left for us to go but heaven, summer falling through our fingers again”

Among other things, this seems to be a VERY explicit reference to Heaven’s Gate.

I am feeling the hope of MANIA (you know my manic poly dream reading of that beautiful, purple beacon of hope) replaced by what the pandemic / apocalypse did to us all. So much for stardust, indeed.

Summer symbolizing touring, festival circuits, linking to the recent FOB instagram post that showed video from the Hella Mega Tour with the caption “take us back here.” The liminality and fleeting-ness of those spaces, those selves, that unmoored time of doing nothing, being everything. The way they want to be home when they’re on the road and the way they want to be on the road when they’re at home. Summer slipping through our fingers again, like the sand in the bottom half of the hourglass, gone past, gone past.

“What would you trade the pain for? I’m not sure”

Isn’t that a fucking question, my friends!!! The pain of longing, unsatisfied, love, unrequited or unconsummated, forbidden and forsaken? The pain of not-having, or of having-had? The pain it was to be together? Welcome to my glossary of suffering

And what would you trade it for? Is this a question of, what is it worth and I can’t imagine giving it up? Or is it a past-tense question—a way of saying, I traded that exquisite pain to get what I have now, and I’m not sure what it was for, I’m not sure if it was worth it.

“Every lover’s got a little dagger in their hand”

Tbh someone smarter than me will have more to say about this, I am sure. Tarot and betrayal and the way love has thorns and anything worth having always hurts, everyone you trust with love will hurt you and let you down at least a little bit, imperfections and prices paid. But it’s also a very classic, very catchy and poetically deep sounding chorus of the type FOB loves to use and do not always hold a deep reading.

“I saw you in a bright clear field, hurricane heat in my head.”

More field-of-dreams invocation and playfulness! If there is not a stadium show at that field, I am going to light something on fire, it is the only pilgrimage I care about from this day forward.

“Inscribed like stone and faded by the rain: Give up what you love before it does you in”

LITERALLY what can I even SAY about this and the past tense and the DECISION, the question popped by MANIA that was answered only by global cataclysm and forced separation, the way they began work on this album in early 2021 (per Joe’s book). I can only hear this in conversation with the tracks on that record.

“The kind of pain you feel to get good in the end”

I was all prepared to do some read about morality and queerness and what you give up for the people you love, until @carbonbased000 said, “I love the pain line and I want to give it a kinky read so badly but we both know it’s about tennis”, and you know what. She’s right.

To summarize: there’s a lot to say, there’s a lot to feel, I love this song immensely and I hope you do too. I hope to explode more thoughts soon and uhhh maybe write another fairy tale. TELL ME WHAT YOU THINK, EVERYONE!

#tryst theory #peterick institute #so much for stardust #fob8 #fob #peterick #i do not remember my own tags for organizing lyrical analysis so let me get back to you on tht #fob deep lore analysis #sending my love from the other side #fall out boy

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