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kitashousewife · 11 months

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sakusa doesn’t mind errands.

it makes him feel a little more accomplished, crossing things off of the to-do list. big or small, it gives him a chance to get out and enjoy himself, maybe even indulge on something new.

today is a day he would consider almost perfect. he’s grocery shopping through what feels like an empty store, listening to music while he weaves through the isles. this is his last stop of the morning, after the post office and the gym, and he’s ready to go home.

sakusa slows his cart to a stop when he reaches the last isle, eyes skimming the shelves for some fabric softener before he can head home.

a tap on his shoulder makes him just about shout in the store, the physical feeling of a record scratch makes his body jolt.

“e-excuse me?”

“yes?”

“h-hi,” you pull your hand away slowly, staring up at him with a rather nervous look on your face.

“hello.”

“sorry, i just,” you sigh, turning back to the shelves again. “what fabric softener do you recommend?”

at first, sakusa thinks you’re kidding. he tries to think if he’s ever been asked that in his life.

ever since his career took off, he’s had people stop him for numerous things. photos, autographs, cheap excuses at getting a few flirty comments in, you name it. this is a new one.

“u-uh, i guess it depends on what you’re looking for.”

you hum and nod, eyes still fixed on the bottles in front of you.

“something that smells good and leaves my clothes feeling soft i guess, but not something cheap and perfume-y, you know?”

sakusa absolutely does know, having gone through this same thing. he reaches forward, grabbing a familiar bottle and holding it out for you.

“this one’s good, not too expensive but still has a good smell.”

you turn to the stranger, only now realizing who you’re talking to. you’ve seen his photos, his instagram, and you’ve watched a handful of his games. your eyes widen for a second, but you give him a smile.

“thanks! ill try it out. i trust you,” you place the bottle in your basket and wrack your brain for something else to say.

“you’re welcome,” he mumbles, grabbing a bottle of his own. you’re about to walk away when he decides to speak up. “i hate having to find new products like this, so i’m happy to help.”

you smile wide, turning to face him again with a relieved expression. “right! it’s like as soon as you start to use something regularly, it completely stops working!”

he gives you a small smile and nods.

“i had the same thing with the bathroom cleaner i was using a couple weeks ago. i still haven’t found a replacement.”

sakusa is not one for small talk. he thinks it’s a waste of time, and something that typically makes him uncomfortable. but for some reason, here he is, blabbing about different cleaning products to some stranger.

a very pretty one at that.

“let me return the favor,” you spin around to the shelves behind the two of you, searching for something while a pop hit plays faintly in the background. you grab a spray bottle and hand it towards him. “this one’s great. one of the few things that hasn’t failed me in a while.”

sakusa smiles, and he can feel his cheeks turning pink. this feels so unfamiliar yet natural at the same time, and he’s having trouble keeping up.

“thank you,” he looks back at his cart for a second, suddenly feeling a little more shy than before. you sense this and give him a small wave.

“i hope you enjoy it! and thanks again for the help. i can now wash my clothes in peace.”

he nods and gives a small wave in response. you begin to walk away, and sakusa feels his heart beginning to race. he debates between following you and walking the other direction for a moment or two.

“w-wait,” he reaches towards you, but you’re just a bit too far. thankfully you stop, and sakusa feels relieved. “could i get your number?”

stunned with his new-found outgoing behaviors, he almost doesn’t hear you when you agree, only registering what’s going on when you hand him your phone. he takes it carefully, inputting his number quickly and handing it back to you with rosy cheeks.

he goes home that day with a giddy feeling in his tummy, hoping you text him back. when his phone buzzes later that evening with a photo of your folded laundry and a thank you, he feels a bit more confident and thankful for stepping out of his comfort zone.

#sakusa kiyoomi #sakusa x reader #sakusa kyoomi x reader #sakusa fluff #sakusa x reader fluff #hq fluff #sakusa drabble #kiyoomi sakusa

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lonleywriters-blog · 6 months

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Hi! I love your headcannon posts and I was wondering if I could request one with the Gotham villains reaction to their s/o doing skincare/makeup on them? No pressure of course!

YESS I've been waiting for this ask!!

Gotham villains with s/o doing their makeup/skincare

He's liked makeup since the circus.

He most likely saw it in a movie or something then asked you to do it.

He will ask if you want to do it so it seems like your idea.

Literally won't stop fidgeting while you do his makeup.

You have to grip his jaw while you do his eyes so he won't move.

Kisses you all over leaving lipstick marks.

Taking a billion pictures and he posts them

When you do his skin care he jokes that he is a princess

He will feel so pretty

He will flaunt around in his gold facemask sipping a tea

He makes it a mandatory date night once a month now

He does his own makeup daily, but one day he was too tired and asked you to do it.

He stays completely still and will try not to talk much

Asks you if he needs to move his head and if you are comfortable with the position

He will praise your skills admiring himself in the mirror

Will let you do his makeup anytime now that he knows you are good at it.

Calls you his mini stylist

Now skincare is different.

He usually just washes his face with water and soap

Shocked when he finds out about multi-step face care

Honestly so into it, he will let you pamper him

He loves sitting and chatting until the face masks dry and you can't talk well

He always grunts and complains when peeling his mask off because it hurts.

He will now be doing a skincare routine with you everyday

Likes to flaunt how good his skin looks now

He is hesitant to let you do his makeup

He will tye his hair back for you.

Has to sit while you stand because he is super tall

Flinches every time a brush touches his eye

You accidentally poked him and he was really sweet about it even though his eye was watering

Loves a grunge or rockstar girlfriend look

He will strut his stuff when he is glammed up

Will compliment your work 10x over

He gets frustrated with face masks because they always get in his hair

He will pout if you don't use the right color mask

He always shivers when you apply the cold skincare

He will wash the mask off because peeling it hurts too bad

Laughed when you first asked

He will sit and be still, sometimes he will just admire how you look while being focused

Asks for it to be mostly black

He will get so pressed if you draw on eyebrows

He will let you take a photo but won't let you show anyone because of his reputation

He already does skincare but let's you do it for him sometimes

He will research any product before putting it on his face

He laughed every time you tried to talk and the mask won't let you.

He ends up actually getting into it and buying new things every week.

#gotham x reader #jerome valeska x reader #victor zsasz x reader #jervis tetch x reader #jeremiah valeska x reader

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tangibletechnomancy · 10 months

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With the WGA and SAG-AFTRA on strike, I want to take this moment to talk about one really important thing that I've alluded to but haven't gone into depth on, and people don't like to hear because of a lot of the noise, but-

We need to also support VFX unionization efforts (everyone's with me so far right...?), and in doing so, acknowledge the labor actually involved in using new technology (not just AI, but whatever the NEXT big breakthrough is too, and the one after that, and the one after that, indefinitely) and credit the people operating it properly-

Aaaand I've lost some people, but hear me out.

Sure, it's easy to type a single prompt and get a result that looks kinda nice. "Kinda nice", however, isn't going to cut it for most productions! It's like photography that way. As ubiquitous as good-quality cell phone cameras are, anyone can just point and click with some very basic understanding of what makes a passable composition and get something that's pleasant on the eyes.

And yet, generally speaking, people aren't grabbing random people with cell phones off the street to shoot movie posters! Because even a layperson can tell the difference between the photo you get when you stop a random stranger on the street and ask them to take a photo of you and your friends together, and the photo you get when a trained professional sets up the actors in a studio, with deliberate lighting, a thorough understanding of what lens(es) to use, and so much more.

Photography is easy. To be able to get a professional quality result? Not so much. Sure, sometimes a total rando who barely knows how to use a camera will luck out and get the shot of a lifetime - but it sure doesn't happen often and you DEFINITELY can't make a whole profession out of hoping for it.

The same goes for AI.

Most singular AI pieces that are high enough quality to get people really excited take hours, and hours, and hours of work and refinement and retrying and tweaking to get right. I mean, go test out a free image generator and pay attention - you might get a lot of results that look fun just by typing in a very silly prompt, but good enough to be a major part of a movie without any alteration? ....maybe one in a million - and then you still probably have to upscale it! And the standard for "nice to look at for a moment" vs. "good enough to be a major part of a professional production" will only get stricter and stricter as things get more saturated and people see Default Midjourney Style or the like as being super boring and amateurish for anything bigger than a literal one-man production, too (which sucks on a tiny level for me personally because I like Default Midjourney Style, but that's not important).

I point this out because bringing this up in the context of unionization helps to kill the entire motivation behind using AI to undercut manual art. The higher-ups want the world to think it's just mindless, super-easy button-pushing that anyone can do, so it's fine to crunch people even HARDER than they already crunch VFX artists or outsource it to people they can pay subminimum wages, right?

It's not. It never is. It never will be. We need to cut it off at the pass before one more studio even fucking tries it.

#not art

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lilyginnyblackv2 · 1 year

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We’ve still got a long way to go. - Buddy Daddies E12 - SPOILERS

When Rei asks Kazuki:

“You think we managed to change?” And Kazuki responds with:

“We’ve still got a long way to go.”

This is, of course, a call back to Episodes 8 and 10, when Rei asks Kazuki and he says, “Dunno,” and when Kazuki proclaims, “I guess we weren’t able to change” (or something of that nature). But now, Kazuki says, “We’ve still got long way to go.”

I love that answer, because it’s one that is long term and shows that change isn't a one-time thing. It’s long and continuous. You, as a person, are constantly changing. If you aren’t, then that means you’ve stopped growing as a person.

That’s Rei’s father.

He was unwilling to change. Even the resolution that Rei comes to in order to escape the Organization is one that involves him “changing” a part of himself (BLOOD WARNING) :

Shooting himself in the arm. Intently “breaking” a part of the “perfect killing machine” that his father envisioned and wanted him to stay as. Rei then left and never looked back.

Shigeki was forgotten and he lost his most valuable “asset.” His blood would likely die with Rei, in the sense of his biological bloodline not being carried on. In order for the Organization to stay in his name, he might even have to do something like adult adopt someone, otherwise, the whole name, legacy, and Organization will be lost to the Suwa name now.

Rei hit him where it hurt and left him in ruin. Fitting in with his lines earlier in the episode where he says things like, “Bullets aren’t for resolving intergenerational squabbles.” And calling the welcome of bullets and shooting when they go through the manor doors, “domestic violence.”

On the opposite end of this, we have Misaki. Misaki tried to change.

She died. Her death was unfortunate and unfair. A product of a cruel world.

But unlike Shigeki, she hasn’t been forgotten. Her daughter sang loud for her. Making sure she would hear, wherever she was.

10 years later, Miri has a photo of herself and her mother on her desk.

And she tells her mother, “I’m heading out, Mama!” That seems like a routine for her. She likely does it every day. Misaki tried to change and do right by her daughter.

Her last words were her daughter’s name, Kazuki got angry on her behalf at Ryo’s response to that answer, she died protecting Miri and Miri’s last words to her was telling her mama how much she loved her.

She got to spend her last days with her daughter - all good memories. And, even though Misaki died, she stays alive through Miri every day. Ironically, her blood will live on, while Shigeki’s will die with him.

Finally, getting back to Kazuki and Rei. We know from Episode 9 that Kazuki and Rei are all about continuing to practice and change and move and grow.

They changed their whole lives for Miri and are continuing to change. Shigeki was only ever shown wearing short hair and a suit. Uniform. Unchanging.

But Kazuki and Rei, while they keep core aspects of themselves and their styles, are shown looking very different from before. Not only because they are naturally older (in their mid to late 30s now), but also because they’ve done stuff like grow a beard (Kazuki - which is a bit of a rebellious thing in a way - beards aren’t looked highly upon and are seen as unprofessional) or wearing their hair slightly differently (Rei doesn’t have the shaved side anymore, he leaves two pieces of hair out of the ponytail, and he wears his ponytail long now - giving an impression of longer hair too).

(Though, maybe Rei’s signature dish will remain unchanged, and some things staying the same sometimes is okay too, lol). Of course, Rei being a cook in and of itself is a huge change from where he was at the start of the series.

Back in Episode 9, Rei worried about them taking a photo. Kazuki felt that taking only one was likely going to be okay. But now, they have a whole bulletin board up in the diner showcasing the journey they’ve been on (well, the legal and family friendly parts, lol). Photos galore documenting the changes they’ve been through:

They are a found family. So they chose each other. So they are along for the ride, no matter how wild it may be or what changes they are confronted with. They’ll learn, they’ll grow, and they’ll live on through the food they make and the people they meet at Diner Nest.

#Buddy Daddies #BD #Kazurei #Miri Unasaka #Misaki Unasaka #Shigeki Unasaka #BD spoilers #Buddy Daddies spoilers #meta post #analysis #thought post #long post #image heavy post #the character writing was so good!!

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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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carlplsrailme · 2 years

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𝐬𝐭𝐚𝐥𝐤𝐞𝐫 | 𝐜𝐚𝐫𝐥 𝐠𝐫𝐢𝐦𝐞𝐬 𝐱 𝐫𝐞𝐚𝐝𝐞𝐫

summary: as Carl writes down in his journal, he notices you -the woman he is obsessively in love with- stripping in front of your open window

carl grimes x fem!reader

cw: dub!con, non!con, yandere!carl, pervert!carl, filming/taking photos without perm, pantie sniffing, pantie licking, cum eating, cumming untouched, jerking off, masturbating, dildos, nipple play, voyeurism kink (reader + carl), basically masochist reader.

word count: 1k

request: Hi! As for the stalker request, I would like it to be in twd au :3 It’s just hard for me to see Carl not in that ALSO girl don’t worry about writing this anytime soon! You have so many request you are fulfilling, rest okay? Make sure to drink water! <3

she did It again

she ran off with Daryl into the woods when we were on a run again. whispering to the group of some excuse and running off with him.

I tried to follow but with my Dad's hand locked on my shoulder, asking me to look for some products I don't even care about, I couldn't do anything but watch her body fade into the woods.

he clicked his pen and closed his journal, brow digging into his eyelid and he couldn't think of any reason you'd run off with him.

well, except one.

You and Daryl, were having sex.

It wouldn't make any sense to anybody else but him. Daryl was older and quite honestly hasn't felt attracted to anyone in years, Plus, If the law was still around it would've swooped Daryl up in a cell already.

But in Carl's broken mind, it's the only logical answer.

"fuck" he muttered, throwing his head back on his chair as his feet lift it back, far enough to look out the window to see, you.

thank goodness your house was right across from his, he'd probably go crazy if it wasn't. seeing who comes in and out -seeing who comes in and out of your room is probably the most important-

and there you were, so blind to the fact that a boy, crazy in love with you was watching as you stripped your top off, sweat clinging to your body as you take the sticky material off

Carl scrambled to find his camera, grabbing it while his eyes were on you was difficult, but worth it.

you always change in your bathroom, always. What's changed? have you gotten so comfortable in Alexandria that you thought walking a couple of feet wouldn't make a difference?

well, it did. for him mostly.

his finger slide against the top of the silver machine, zooming in on your almost naked body. pressing the button that made flash fall everywhere, again, thank goodness your back was to him.

now you're taking your shorts off ever so slowly, almost like you were teasing him, pretty panties being relived as your hand snuck around your back to have your bra fall.

Carl's fingers spammed the poor camera's trigger as he took as many photos of you as he could, his dick throbbed for attention that was all on you, pants feeling so fucking tight he just couldn't wait for you to-

turn around

you turned around

now, funny enough, Carl wouldn't call himself a pervert. If it was on paper he'd check every box, but, in his -once again- broken mind, you wanted him just as much, you were teasing him, wanting him to take these porn-worthy photos of you, begging him to ruin his poor cock with orgasm after orgasm as his wrist pleading for a break as he thought of you.

you wanted this, just as much as him.

so when you spun around, pretty perfect tits jiggling in the air as your pretty blush pink panties hugged your pussy, don't blame him when he felt himself cum down his pants.

he spammed the photos taken so many as the flash flickered over and over again he got worried you might notice but you were too busy fiddling with something on your nightstand

and then you picked up a...dildo. where did you get such a thing? he doesn't even want to know, but, there you were, with a purple dildo and lube being pressed on it, even tho cum was starting to dry in his boxers, he felt himself getting unbearably hard again.

he moved the camera settings to record, placing it on the window seal as he watched you walk back over to your bed that he is so fucking thankful for is right in front of your window

the zip of his own pants was coming into his ringing ears as he took his poor throbby cock out, already jerking it back and forth as he watched you lay yourself out on your bed, spreading your pretty thighs and hooking a finger on your panties, pulling them down with the shiny essence of your wetness slobbered all over

"fuck, y/n" he groaned, picking his camera up to zoom on the pretty wet flower that is your pussy. his hand sped up at seeing your hand travel down to your cunt, he wabbled over to his drawer to pick up the pair of panties he stole from you that morning, the green print with an adorable white bow on top of them, he opened them up to see, white. white dried cum all over them.

he froze. looking back up to you where your fingers slowly rubbed your own clit, not aware that someone was watching you and recording you with your legs spread wide. he brought the panties to his nose as he sniffed the place your pussy sat all day, sniffed the place your pussy came in, he can hear your moans echoing in his head of your whining, cumming down your panties, fuck, he needed you so so badly

he kept the underwear up to his nose, smelling your pretty pussy as he watches you grab for the dildo, he sped up his wrist as he watched you slowly press it inside of your drooling cunny.

he placed the panties in his mouth, muting his groans as he was scared you'll somehow hear, he threw them in his mouth where his tongue -accidentally- lapped all over your cum, he didn't know what he was doing, he'll scold himself later because right now, you're fucking yourself with his huge ass dildo and he feels like he's about to explode

the camera focused on your pussy as your back arched, you were close, and the dildo slammed in and out of you as the purple got swirled with the white of your wetness

"fuck 'm gonna cum" Carl slurred with the fabric in his mouth, poor cock all red, standing tall as this is all he could've ever dreamed of...well, fucking you is first, always first.

he watched as your pulled and played with your pretty nipples, hips bucking up and up as you tried to hump your own hand, he watch as you bit into your pillow, crying out something as he watch your pussy convulse, creaming down the dildo as you whined, Carl was no better as he shot his cum all over the wall and himself, left in the most pleasurable sticky fucking mess

he watched you pant, taking the dildo out of you as the purple seems to be gone now with the sheer coat of white your pussy painted on it, stretching over to your nightstand as you placed it in a drawer, turn off your lamp as you pulled your panties back on your messy little pussy, just to roll back over and sleep like you don't have cum dripping down your leg, leaving carl in his own mess of a room, and his own mess of a head.

an: ahhhh i wrote this as that anon put me in a brainrot of my own 😭 hehe, oh, btw, sorry this is kinda porn with little to no plot, I wanted to do more of a stalker story but it just turned into porn. alsooo sorry that this is just pervert carl and not stalker carl. and alsoooooo sorry that this may be nasty for some people + there's no real carl x reader p 'n v smut, If you guys want me to write a part 2 of stalker!carl that has more of a story, ill do that! (it'll just take more time lol) anywaaaayy I hope you guys still enjoyed this! ilysm! byeee byeee! 💞

ps. no, daryl and y/n were not having sex. he was just teaching her how to track.

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perfectlypanda · 9 months

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When visiting the many islands that comprise the Fire Nation, it was not uncommon for their royal majesties Fire Lord Zuko and Master Katara to don the traditional dress of the host island.

Almost as soon as I had finished working on the art piece I did with Zuko and Katara in Thai inspired outfits, I knew I wanted to do something similar but with outfits inspired by the Philippines (or outfit, sorry Zuko I find women's fashion more interesting than men's).

Before jumping into the commentary, I'll stress that this design is fantasy inspired by the Philippines. Although I did research, it is not an accurate representation of Filipino national costume, nor is it meant to be.

This was more challenging in some ways than the Thai piece, because even though the Thai piece required a ton of detail work, I was creating a design much closer to its real world inspiration. In this case there wasn't a specific "look" I was trying to recreate, instead I wanted to create a design inspired by the traditional fashion of the Philippines. However, 1). pre-colonial fashions were very different from the Spanish inspired styles that arose during colonialization and that have since evolved into modern traditional Filipino attire, and 2). the Philippines is home to many different indigenous groups, each of whom have their own traditional costumes.

Originally, I wanted to exclusively look to the pre-colonial period for inspiration, but when I looked only at pre-colonial designs, I found I missed the iconic silhouettes seen in modern Filipino dresses. So I widened my research scope to see how I could combine pre-colonial with elements of modern fashion.

For pre-colonial styles, the best historical resource is the Boxer Codex. Karakoa Productions was also a helpful resource to see how pre-colonial looks were being interpreted from historical illustrations and descriptions into real world garments. I looked at modern designers from the Philippines to see how they were playing with the design of terno (which often feature the iconic butterfly sleeves I wanted to include). One design I was really inspired by was a look worn by Filipina actress Kathryn Bernardo.

Both written and illustrated accounts of the pre-colonial era in the Philippines emphasize the prevalence of golden jewelry, so Katara has a gold necklace, bracelets, hair beads, and belt. Katara's belt is inspired by two main sources. The first is an extant kandit (royal belt) woven from gold wires in the Museo ng Bangko Sentral ng Pilipinas's pre-colonial gold collection. The dangles on it are loosely inspired by the beaded belts made by the T'Boli people.

With Katara's skirt, I tried to blend the longer style of skirts seen in the Boxer Codex, with a striped pattern inspired by the numerous woven designs I found in traditional indigenous attire. The specific photo I used as inspiration was labeled as being from Kalinga, but I found similar weavings from other groups as well.

The flowers in Katara's hair are flowers found in the Philippines - sampaguita, waling-waling orchids, plumeria, hibiscious, and santan. She also wears her dual moon-flame tiara.

♥ Please do not repost. If you like it and want to show people, share a link to this page instead. Thank you!

#zutara #katara #master katara of the southern water tribe queen consort of the fire nation #atla #pandaverse #zutara pandaverse #the Philippines holds special significance for me so I hope I did it justice #look I made a thing

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lilmashae · 9 months

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* ੈ✩‧₊˚ ateez buying... — c.s, j.w, p.s

yall alr know i love when mfs buy me shit...

cw: really more so suggestive however... petnames, pleasure piercings, toys, honestly pretty vanilla, non!idol au, black!reader (?) i don't ever proofread nun of dis, don't lemme catch you lurkin (suggestive? so 18+!!)

a/n: drabble! couldn't pick between wooyoung, san, or seonghwa for this so i'm writing for all of them cause this is sum real shit.

wooyoung

we already know that wooyoung is practically shameless: so just imagine how shameless he is when it comes to buying you things, whatever it may be.

more specifically i believe he'd buy you all sorts of sex-toys, no shame whats-so-ever. the variety of products is so insane, ranging from plain dildos to the most wild shit you've ever seen. now, of course because he's shameless he's buying these "toys" 100% for his own pleasure. obviously he wants you to get off--but i'm telling you, curiosity and shamelessness are certainly an interesting combination with him.

"wooyoung!" you shout as you walk through the door, kicking off your shoes and putting down your purse. "i'm home! where are you, baby?" turning the corner you jump as he suddenly appears in-front of you, arms open, "y/n! i missed you so much, honey. i was thinking of you all day--"

and once he said that you knew where he was headed. not even 5 minutes after you walk into the door he has you spread out on the bed with a line up of sex toys he's ready to test out.

he has you pressed into his chest while he teases your clit with a vibrator, the other hand holding a giant dildo that he's shoving into you like there's no tomorrow.

he's restless, slamming and snapping it into you. wooyoung calls out to you in the most agonizing way, speaking so casually as if hes not basically fucking you.

"so, honey~ i was thinking of ordering out tonight for dinner... what do you think?"

san

i feel like san truly just wants to admire you. now, i'm not a big fan of it, but he'd buy you lingerie, he wants you to feel beautiful (even when he's pounding into you).

most of he time it's not even in a sexual context... he could just be shopping at the mall and see something he thinks you'd like: shoes, jewelry, clothes, and of course "the prettiest lingerie for the prettiest girl in the world!" and that's what he said every time he bought you something new.

i wouldn't call him shameless, but he's definitely not embarrassed. which he shouldn't be! he's just buying something a little extra to show how much he loves you (if him saying it 1,000 times wasn't enough). i feel like he'd lowkey ask the shop workers // owners about the materials and the product. only the best for you, wants to make sure if you're going to wear it you're comfortable! he 100% walks throughout the store snapping photos of different articles and sending them to you. it doesn't even have to be lingerie, sometimes it's just a cute little panty, it doesn't matter to him though because he thinks you're beautiful either way.

you two had been at it for hours, him still buried deep inside of you: still splitting you in half with his heavy length. "you look so pretty, baby." he'd say, trailing little, soft kisses along your neck before whispering in your ear. "go on, look at yourself." pressing his fingers flat across your tongue he'd reach for your chin before gently forcing you to look up into the mirror in front of you. "look at my pretty girl... all fucked out, already?" his free hand snaked around your waist as he continued thrusting into you. yeah, you definitely were fucked out, but you also didn't want him stopping anytime soon and neither did he. and its all because no matter how much he tries to deny it (he will NEVER try to deny it) he knows he likes seeing you like this: with your hair all messy (bonnet damn near sliding off), cute little panties pulled to the side, and your tits nearly spilling out of the matching top.

seonghwa

seonghwa didn't really "buy it for you" but in a way it IS for you, right? after-all he had thought about you while waiting to get his tongue pierced.

we've all seen hwa's tongue, not to mention his lips--so you were already more than satisfied with just his mouth but like i mean... double the pleasure?

he didn't tell you about it of course, it was meant to be a surprise. you found out when you were kissing him goodnight and he somehow managed to slip his tongue into your mouth. you were beyond shocked feeling the slightly warm metal brush past your lips, so much so you slightly hesitated before deciding to explore for yourself. and obviously exploration and curiosity go hand in hand.

you were a little upset you didn't realize sooner, a bit shamed you didn't pay well enough attention to your boyfriend. but, he reassured you that it was okay by submerging his head (and new tongue piercing) inside of you.

i can't finish😭, im experiencing jetlag but i love u guys n wanna upload as often as i can anyways. i promise ill make it up to u all 🩷

please send requests with diff characters and anyone else you want me to write for!! include prompts if you want ml

#lil-ma-shae #fanfiction #smut #fem!reader #wooyoung #seonghwa #san #ateez x reader #ateez smut #ateez #waterbomb #park seonghwa #choi san #jung wooyoung #black!reader #seonghwa x reader #san x reader #wooyoung x reader #please someone help me

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kedreeva · 5 months

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are there any "unethical" peafowl morphs or traits?

Yep!

Anything anyone tries to pass off as "progressive pied" is actually a result of an autoimmune disease that leads to pigment cell death and, in peafowl, eventual blindness.

Charcoal birds traditionally suffer from infertility in the females, and often have shortened lifespans. There are people trying to figure out if this is "fixable" but it seems unlikely.

Cameo birds also often have blindness associated with their morph BUT the caveat here is that no one is sure if this is linked to "cameo" or if it's because the first cameo morph bird had a genetic issue that lead to blindness. MAJOR attempts were made when Cameo first appeared to outcross and get rid of it, but the morph still carries a higher chance of blindness than others. It could be hidden genes unassociated with the color mutation, which means clean birds DO exist, or it could be a factor of the mutation that only manifests under certain conditions. We don't have genetic testings to tell.

There are plenty of traits that I personally don't think anyone should be AIMing for, like shortened legs, shortened body length, shortened or overlong faces ("pug" like beaks or needle beaks are both undesireable). Aggression in peafowl is tolerated FAR too often imo, birds that show bird-to-bird aggression should be culled from breeding (they don't have to be euthanized, but they should NOT be bred), but idk that I'd trust most people to tell the difference between aggression and hierarchy disputes (the line is injury, I have seen people post photos of hens that males just absolutely mauled, and they just let that male keep breeding and pass it off as "normal" and it's NOT). Bird-to-human aggression can be a lot harder to assess, as that can be spurred by people hand-raising males. Any kind of health issue or feather quality issue that isn't fixed by better nutrition should be excluded from breeding (for example, Stan has neuro issues, Artemis has allergies to something in common fowl feeds, I will never breed either one of them). I've seen several birds who have a keratin production issue where their feather sheaths come in too thickly and must be stripped off with pliers/wire strippers, and those birds should also not be bred forward.

#peafowl #asks

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vampylily · 7 months

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Transcription of Fall Out Boy's interview with Rock Sound

Since I was going to read the article anyways, I thought I'd transcribe in case it'll be more accessible to read for others. The interview with Pete and Patrick goes in depth on the topics of tourdust, evolving as a band, So Much (For) Stardust, working with Neal Avron, and more.

Thank you to @nomaptomyowntreasure who kindly shared the photos of the article! Their post is linked here.

PDF link here. (more readable format & font size)

article in text below (and warning for long post.)

Rock Sound Issue #300

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: Elliott 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.

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 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.

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 the 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 playing 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 tour 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. 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?

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

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

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

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 the band. When I make demos, I’ll usually wait until I have five or six to send to everybody. I didn’t know if anyone was gonna like this. It’s too moody or it’s not very us. But it was pretty unanimous. Everybody liked that one. I knew this had to end the record. It took on a different life in the context of the whole album. Then on the bridge section, I knew it was going to be the lyrics from “Love 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 one 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 going 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.

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 almost no secret that the sound you became most known for in the md-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.

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?

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 UL, 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 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

#fall out boy #fob #tourdust #pete wentz #patrick stump #fob interview #so much for stardust #smfs era #your unemployed friend at 2pm on a monday:#anyways. hope this is helpful i loved the interview!

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schizo-bbgs · 2 months

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How did you study about military gear? I'm currently trying & searching sources and looking for some tips.

I really like your work btw. Keep going✨️

Hi! Thank you so much, I'm excited to share some knowledge with someone. <3 I tried summing up methods that have helped me the most: 1. lots of research (vids, blogs, magazines, loadout lists,...) 2. store/product photos 3. military photos (not airsoft!) 4. damtoy loadout showcase vids I first started off with doing extensive research on cod operators. Cosplay guides by shadeops21 (DeviantArt) are a huge help with the most accurate loadout lists.

Next step was looking up product photos & studying the functions, shapes, different angles. Store/product photos are my most used refs, they're in high resolution & you'll see every detail thanks to a well lit environment. I also collect military pics in one huge folder, not only for pose refs & inspo, but also as refs on how the gear is used. Product photos will lay flat, worn gear will always look different!

Make sure to learn how to differentiate airsoft from real military pics, airsofters (except for dedicated reenactors/milsimers) tend to have wacky tastes (ugly, black amazon gear and fake, glowing NVGs,...).

The gear of Damtoys is incredibly accurate & precise, watching videos of the dolls being dressed will also give you an idea on how accs (pouches, glow sticks, radio systems, ...) are attached to the equipment.

My strongest interests lay in SOF, so I'll also collect magazines with expert info, insights & loadout descriptions (K-ISOM (German) SPECIAL OPS (Polish)). To my advantage, I do have friends who are either huge military nerds or in active duty, I'll sometimes ask them questions and learn about the features and (dis)advantages of various pieces of gear. It's a life hack, but you'll achieve your goal either way if you're determined!

After you got a feel for the basics, you can start accommodating knowledge. Study drawing/recognizing the most used equipment first, western modern kits are very repetitive (as the products are so good, they don't need to be replaced). Headsets: 3M Peltor ComTac, Sordin, Ops-Core AMP Helmets: Ops-Core, Crye AirFrame, Team Wendy, MICH 2000 Plate carriers: Crye JPC, Crye AVS, First Spear, Lindnerhof, AGILITE, LBT Slick & 6094 Gloves: Oakleys, PIG FDT Alpha, Mechanix, Petzl, Nomex flight gloves, Outdoor Research Ironsight After that you can start looking up more niche or less iconic brands and gear, you'll be a nerd in no time. I hope this is helpful and I'm sorry for the late reply. If you ever need help or info on something, feel free to dm me on Twitter or Tumblr!

#tutorial #military gear #tactical art

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sirfrogsworth · 10 days

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My photography classes have an optional participation challenge. You get a hypothetical "brief" as you would from an art director and then you are judged on how well you are able to match the brief.

Sometimes they are very specific but this one allows for a bit of creativity on the photographer's part.

These are the sample images that Karl used from his portfolio.

And this is a Pinterest mood board to help with inspiration.

And even though I don't really have a space set up for product photos yet, I am tempted to just set up some lights in my kitchen.

So I started looking on Amazon for a cool and inexpensive purse. I thought it might be cool if I found something glossy. It would be more challenging to light, but it might impress my teacher more.

I found this and I immediately had a vision in my head.

I played around with an online color wheel looking for a color scheme. I wanted to go into pastel colors to offset the bold purple color. I also think it would be cool to combine hard and soft light. So I would do soft light on the purse surface, but use hard light to get a nice crisp shadow.

This is my initial Photoshop mockup. My purse lighting would be different, but this is more to see if the colors jive.

Typically to get those colored surfaces you would get some matte paint and some wood and DIY it.

But I'm not sure I have the energy to figure that out, so I tried finding some paper stock that had similar colors. I found this.

And with these colors I could do something like this.

And it's possible I could tweak the hue and saturation of the paper if I'm not getting good color harmony, but I still think that combination looks nice.

If I accept the challenge I'd have until July to complete it.

Should I go for it?

I could win a small prize if he likes my photo. But I'd mostly just like to impress my teacher. He's a big part of the reason I've come this far in my photography journey. I think it would be cool to get praise from my parasocial mentor.

Or he could hate it.

And I will learn from his hate.

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operafantomet · 2 months

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I was asked in a PM how I would rate the different non-replica versions. Well. I have different level of knowledge about them. I have seen three of them live, I have seen a lot of full videos of other, while a handful haven't really interested me so I only know them through photos and short clips. And from that you can't make a fair ranking. But if stunting it - and also really assuming they all had equally great casts - I'd say something like this:

1. HUNGARY: I will always give this production props for being the first non-replica production, and a beautiful one. Very eerie and moody set design, and overall a colour scheme reminding of Maria Bjørnson's but with individual details. It was like looking at the Palais Garnier from another angle. My only main complain is that I like the costume sketches a lot more than then actual costumes. But first and foremost, MOODY. Yes.

2. ROMANIA/NORWAY/GREECE/MIDDLE EAST: As such a bit difficult to rate it as a whole, as the Romanian production was a prototype massively pimped for the Norwegian premiere, and also slightly changed for the following productions. But if judging from the Norwegian production which I saw numerous times, it was all in, with the wildest chandelier crash, nice effects overall, a clear vision in the directing, and nice choreography. This too a take on the Palais Garnier which tried to find other angles and aspects than what Bjørnson did.

3. ITALY / SPAIN / MEDITERRANEAN: Beautiful, creative and very Phantom-y. This too seems to reflect on the Palais Garnier, if a bit more abstracted than the ones above. Props for three equally strong leads, not merely in the acting but also directing.

4. SYDNEY HARBOUR, AUSTRALIA: Humongous outdoor set! The same hint of fragmenter grander pieces as Bjørnson did so well. Colourful, an abundance of details, drapes, ideas. Flames! Floating gondolas! And a performance that went on regardless of massive rainstorms. With a backdrop of the evening sky and the Sydney Opera House. Gotta love it all.

5. POLAND: I like it more now than when it first premiered. I was disappointed it stuck so close to the 2004 movie, in terms of direcing, costume design and tweaks (the sword fight in the Mausoleum scene, for example). But I do appreciate the set design a lot, and the production also feature a kick-ass chandelier crash. Here for it!

6. KRISTIANSTAD, SWEDEN: A thoroughly original production, utilizing the small-ish stage to full effect. I was impressed by how much they made out of little, and how different it appeared life compared to photos. Even if the sets were clever, the golden moments of this production was in the smaller details, I felt. And I loved it.

7. CZECH REPUBLIC: Colourful, loud and brassy design, and one functioning inside a pyramide shaped theatre. Fascinating, if a bit... wobbly. But passionate.

8. RESTAGED TOUR: I mean, Maria Bjørnson's costumes (plus/minus). And very professionally executed. Some clever ideas for the staging and directing, and I do enjoy the overall idea of the drum set. But I don't think the busy sets and the ornate costumes is a good match. I wish they'd made a brand new costume design more suited for the sets. I also have massive issues with the portrayals of the Phantom, Christine and Raoul, both separately and their dynamics. In total a love/hate relationship.

9. ESTONIA: Another thoroughly original production, set between WW1 and WW2, with a local spin, an eternal winter, and a costume design reflecting on Vivienne Westwood and 1990s couture in general. The set design is angled, featuring a stage-on-stage in the back, and boxes at the sides. I like this production more on an intellectual level than really feeling it.

10. NEW ROMANIAN PRODUCTION: Rich AI based look, but oh! So crowded. I enjoy seeing a scene here and there, but seeing several is like eating a whole bag of candy: too much. I do however enjoy it in smaller portions, and I want to give props for being the first to do AI design in Phantom land.

11. FINLAND/SWEDEN: Some of the sets are awesome. But the overall staging feels so alien, and the 1980s costumes and the Phantom's gold mask is killing me. I can't. Kudos for huge opera orchestra, though!

12. BULGARIA: Too print and projection heavy for my liking, some LEGO like set pieces (including the chandelier and monkey musical box) and a costume design I'm understand very little of. This one just ain't for me and that is OK.

13. SERBIA: Oh Serbia. I don't understand you. I don't understand your vibe, your 1990s costume design, your bridge-and-cube set design. I... can't.

(and this is of course a highly subjective ranking based on my preferences and my limited knowledge of ome of the productions - it might change if I see more of them live later on)

#phantom of the opera #non replica #scenography #costume design #set design

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