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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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astrobei · 1 year

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every byler creator who has ever felt unappreciated or has never seen their work on a rec list or has stayed awake for hours working on something for it to get no interaction or has had their work passed up in favor of the big fandom favorites or has never been taken a chance on or has ever come last in a poll they didn’t ask to be on or has felt self conscious about posting or about calling themselves a creator if what they’re posting is not a magnum opus or has created something for themselves and still hoped deep down that people would love it: get behind me. i’ll protect u

#i’m five foot three and terrified of confrontation but i’ll go down swinging #andi would like me to add that she and i are standing on top of each other in a trench coat fighting for u all #thea is also wearing a trench coat but it’s just her and tutter in there #u all better fear thea’s fully developed frontal lobe and streamlined leadership experience (her words)#but seriously guys like #maybe i’m taking fandom too seriously or whatever but i know how scary it can be to put urself out there #especially in fandom spaces where the whole point is u want to enjoy urself and be accepted and not be judged #i’d be lying if i said that luck and timing wasn’t a huge part of why ppl enjoy my fics #and i’m flattered that my name shows up in rec lists a lot but. there are so so so many talented writers that go unnoticed when ppl fixate #on the same 5-6 names #and i know bc i’ve been them for other fandoms!#especially in this community there is such a big issue with putting big creators up on a pedestal #expecting them to be perfect and to keep churning out high quality stuff for free on demand #twt is something else too . like i’m not even talking abt that rn #and people always saying stuff like #‘atp i refuse to read fics unless they’re by _ or _ or _’#just know that even if u are not one of these names u are so so valued and appreciated #get behind me fr #ok Bye <3333333 #🫂#byler #/astro posts

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double--blind · 6 months

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Real talk I prefer calling Andrew/Ashley "coffincest" over "gravescest" bc of the thematic significance of the coffin part and how it relates to their ominous decline into depravity of various kinds. It refers more obviously to the apartment they were rotting in alone together (what comes to mind, especially, is their conversation on the floor—with Andrew waxing poetic abt their shared burials and hopelessly entwined corpses), but also to their codependency/the all-encompassing nature of what they are to each other and who knows what other messed up shenanigans the plot will reveal ♡

AKA it's something uniquely theirs (gravescest could mean any possible combination of that family period) and it refs the title and core of the game ayyy

+ Relevant image lol

#if it wasn't 2 am and I was more clever than I am #I could probably make a joke here abt coffins being in graves or something idk #they're very closely adjacent terms #death surrounds them even in name #a recipe of disaster from the start *starts doodling them kissing*#the coffin of andy and leyley #tcoaal #coffincest #gravescest #txt post #there's probably more here w/the coffin theme that I'm only superficially tapping into #hmmm #time will tell????

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spocks-kaathyra · 1 year

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A Stitch in Time thoughts

Part 1: about the Hebitians and sentimentality and Andy Robinson accidentally inventing the social model of disability again

So in one scene in the book, Tolan reveals to Elim that what he's been taught about the First Hebitians, the "primitive" civilization that lived on Cardassia hundreds of years ago, is a lie.

The Cardassian state claims that the Hebitians died out because they were too weak to survive the harsh world after the planet's climate naturally changed from tropical rainforests to deserts. When in reality, it was the early Cardassian invaders who drove them to extinction.

The truth is that the world is not naturally cruel. It is made cruel by cruel people, the conquerors and colonizers. The Hebitians were never inherently too weak to survive. There was nothing wrong with them, with their softness and sentimentality. The Cardassians created the harsh world that killed them.

Elim was taught that his sentimentality was an inherent weakness, something he must overcome to survive in their harsh world. But it's people like Tain who made their world so harsh, so unlivable for people like Elim, with "the soul of a poet." Everyone thinks the Edosian orchid is too weak to survive in their harsh climate. But Tolan proves that with love and care, it can. And by giving Elim the orchid tuber cuttings, he's telling Elim to practice loving, to practice nurturing.

Do y'all see the connection to the social model of disability. There is nothing wrong with Elim or the Hebitians!! It is society that creates a world they cannot thrive in, that makes sentimentality into a "disability" of sorts. AND the book goes on to say that WE have the power to create a better world. Now that the old Cardassia is in ashes, they start to create a kinder world, where orchids can thrive, where poets don't have to bury their hearts in the sand.

I think there are also further parallels to disability theory here. The way that they give Elim the wire because he scored too low on the enhancer (cannot withstand psychological torture as well as they want him to), "fixing" his "inherent weakness," but the thing is. The wire doesn't actually help him or improve his quality of life. It just makes him a more useful tool for the system, a better cog in the machine. In fact, it actively hurts him later. After years of grooming him to be the perfect cog, they toss him out, and the "tools" they gave him that were meant to make him a better cog harm him. Because they were never designed to help him. Of course the wire is a literal physical example but when I say "tools" it can just as easily apply to, say, teaching him how to repress his emotions, how to lie, how to distrust everyone. Which reminds me of how in the real world, the field of psychiatry often seems less focused on helping people and more focused on making people better cogs in the machine of capitalism.

ALSO obviously the Hebitian stuff is also abt racism. The way they're described as "primitive" and how the early Cardassians colonized them and how their relics are auctioned off to museums and how their cultural/spiritual practices are outlawed. But I think that's well-trodden ground in terms of analysis. And I could not find a neat way to tie it into this.

Sorry this is so disorganized and does not have a conclusion. There is more to be said abt this!! Please add on!!

#part 2 will be abt more orchid symbolism!! particularly abt the white star of night and romulus. idk when I'll get around to writing it #or if I'll even post it lol. does anyone rly want to read multiple essays overanalyzing a star trek novel lmao #a stitch in time #asit #ds9 #(kind of)#elim garak #tolan garak #enabran tain #cardassians #hebitians #andy robinson #narcissus's echoes

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seatawinan · 1 year

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Favourite Shows [5/7]: My Tooth Your Love

It’s said that if someone you like takes you to a tooth model and they engrave the maker’s name on it the crush will be bitten to death and will never run away

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rolangf · 6 months

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—OCS AND VILLAIN SONGS

hey what’s up you guys welcome back to my channel— i did this post on my old blog ages ago which is unfortunately lost to time now and i wanted to do it again. so this has gotta be like, the third time some of y’all are seeing this but. fuck it we ball.

born from a post made by @unholymilf a loooong time ago that as more or less a question of if ur oc was a boss fight, what song would be playing and it struck me so here is ALL of my brain worms, including some new ones from the last post!

ANDIE— le soleil est près de moi; air.

POV: you’re bleeding out as andie is standing over you, burning white hot, hotter than the sun setting behind her. she is passionate and… reckless, and will swear this was self-defense. even if she struck first. even if she didn’t blink. even as she watches the life leave your body.

BIANCA— tricycle express; gaspard augé, mr. oizo.

POV: bianca is white knuckling her steering wheel, swiping her car against the side of your own for miles down the freeway. she is gonna run you off the road. she absolutely will; it’s unavoidable, and she’s gonna laugh while she’s doing it. this is the song she’s listening to.

CELESTE— vision; m83.

POV: “you will die soon. sooner than you were supposed to, now.” celeste deadpans as she hovers her hand over your forehead and waves. she makes a show of it, though her clairvoyance doesn’t require as much. you wish you had listened to her and thought better of asking in the first place. “it will be violent, and painful. give ares my best. leave my temple.” but you didn’t, and now it’s too late. your fate is sealed.

ELVIRA— old river; orville peck.

POV: you’re stiff, hairs on the back of your neck standing up. you’re being watched. this is a different kind of observation than the one you’re used to— the seeds constantly run surveillance on you, but this doesn’t feel as passive. you’re being hunted. and when you dare to turn on your heels to see elvira standing behind you with a crossbow bolt nocked with your name on it, you almost wish jacob was here to kill you instead. somehow, you know it would be more merciful.

OSLO— pennsylvania furnace; lingua ignota.

POV: oslo isn’t the deputy anymore. they’re the judge. eden’s gate is up a member who is worth a million and the resistance mourns a million more.

FAUSTINA— beyond the horizon; olivier deriviere.

POV: faustina is the last line of defense between you and the mother church. she’s a penitent, too, you must understand. the consecrated red ribbons she’s wrapped in are suffocating her the longer she takes to excommunicate you and she will try every prayer at her disposal to stop it—to stop you.

JEN— krack; soulwax.

POV: jen is chasing you through the fib building after she snitches on your whole operation to the iaa. you are an enemy of the state, but more importantly— you’re an enemy to agent jennifer daniels. she wants you dead, and you will be soon enough. especially if it’s up to her. and as of right now, she has you cornered in an interrogation room with nowhere to go and a gun to your head.

LOTTIE— arsonist’s lullabye; hozier.

POV: hawkins is ablaze, and lottie is at the scene of the crime staring into the flames.

LINDY— señor (tales of yankee power); jerry garcia.

POV: there’s barely anyone left to call a gang, and dutch knows as much. but he won’t admit it— that would require him admitting guilt for the losses, too. and he should be so lucky he’s still breathing; lindy wants to empty an entire revolver clip into his thick skull but knows she wouldn’t live long enough to feel the satisfaction. so she does the next best thing, and turns her back. there isn’t anything left for her, anyway. she would risk a lifetime of looking over her shoulder over having to look at him.

MAGS— change (in the house of flies); deftones.

POV: you’re being experimented on in an umbrella sanctioned lab and in walks mags— who you thought was on your side. after all, well fed devils behave better than famished saints. but not this one, she’s much worse.

MILDRED— god unbounded; uboa.

POV: you have just returned from the dead because some weirdo with a god complex and a proficiency in reanimating corpses decided that she needed the practice. and now that’s your problem, because you definitely have come back Wrong. but you’re back! surprise!

NICOLE— heart in a cage; the strokes.

POV: you’re witness to an absolute bloodbath as nicole goes crazy on the field. she’s completely lost herself, she isn’t in control anymore. she was always dangerous but now she’s lethal. she’s already gotten some of her own killed, and somebody needs to take her out before it gets worse. she’s a wild animal. and to her, you’re fresh meat.

SIBYL— summit song; nicole dollanganger.

POV: she drowns you in her scrying pool and you are never heard from again. it’s your own fault, really— anna henrietta told you to leave her be and you didn’t listen.

ROSALIND— goodbye; soap&skin, apparat.

POV: she begs mike for the coordinates of where it happened and he doesn’t budge. he never will. he doesn’t trust her not to take a shovel to the earth and dig him up. so in her state of delirium, she walks through the desert and screams and cries and repents. and becomes her own biggest villain.

ODETTE— graveyard; midnight syndicate.

POV: odette quite literally haunts her family estate, left to fall into disrepair. she’s a grief stricken wraith born of despair who brutally attacks anyone who dares step into her tomb. she’s a master illusionist even in death, so if you choose to fight her instead of just leaving, just make sure you first remove the mirrors from the wall.

okay whew that was a TASK but i’m gonna make this a tag game cs i wanna see Y’ALL make ur ocs evil and give them a soundtrack so hehe @florbelles @unholymilf @shellibisshe @ghostfvcker @benwishaw @loriane-elmuerto @leviiackrman @jackiesarch @rosayoro @statichvm @teamhawkeye @bloodofvalyria @red-nightskies @confidentandgood @simply-jason @scalpelsister @devilbrakers @lxmbert and you!

#fr tho like. i loved this post the first time i made it and i think abt it every day #so i had to remake it #back and better than ever tho too #god bless #oc: andie la croix #oc: bianca vionetti #oc: celeste #oc: elvira hawke #oc: oslo avery #oc: jen daniels #oc: faustina #oc: lindy carlisle #oc: lottie byers #oc: nicole moore #oc: mags hightower #oc: sibyl delauvéy #oc: rosalind tyler #oc: mildred malice #also sorry rosalinds is kinda fucked up i just had that vision in my head for so long it’s unreal #um. if you even get this far in the tags sjbdajnska #hi #also elviras little blurb is meant to be that you (reader) are the deputy #if that didn’t come across that way #don’t worry abt what faustina’s pov is #it’s blasphemous related sorry that games lore has me in a headlock #yes the faustina song is from another game already what of it #i am cheating w rosalinds song btw #if u even care #oc: odette haliçi

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philzokman · 7 months

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hhhey gguys it looks like there's blood on aku's teeth suggesting Maybe rashomon actually cares for atsushi and knows akutaguwa cares for him too and possibly acted on its own behalf by slapping aku away from atsushi's neck thus protecting him

#i have a Belief that the reason atsushi can touch rashomon without it hurting him (even in one on one battles) is bc rashomon cares abt him #ANDI M RIGHT I promise #my evidence??? vibes idk #FHDSKJFH #bsd #bungo stray dogs #sobbing violently #bungou stray dogs #bungo stray dogs atsushi #bsd atsushi #atsushi nakajima #nakajima atsushi #sskk #shin soukoku #bungou stray dogs akutagawa #lea.txt #akutagawa ryuunosuke #bsd akutagawa #ryunosuke akutagawa

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elektroblues · 1 year

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Depeche Mode performing Everything Counts and Love, In Itself on RTL IFA, 1983

#depeche mode #alan wilder #dave gahan #andy fletcher #martin gore #my gifs #SHRIEKED when i saw this #i don't even know where to start.......#but anyway it's so cute you can catch dave and alan and fletch smiling at times <3 #idk abt mart tho they were giving him the daniel b treatment 😭#also i counted at least two times that alan smiled while watching dave like. hm.

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lautakwah · 5 months

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i'll be streaming art tmrw btw :3 be there to hang out and watch me struggle to draw the same line 50 times in a row 🥰

#i'll even promise not to put on andy (ive been listening to a lot of mayday instead since i found out abt the concert 😭😭😭)#ling.txt

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justabooklovingmetalhead · 4 months

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Ough the parallels at the end… beautiful. I do wish Ryland got to go back to Earth so that he could punch Stratt tho :/

#project hail mary #that book was so good #genuinely idk how Andy weir managed to write a book that was that effective the entire time #There literally wasn’t a moment where I didn’t want to learn more abt the 2 mysteries and everything unraveling #Like. I deadass didn’t even mean to finish it bc I have a math test tmrw but I couldn’t put it down #Would 100% recommend

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el-im · 2 years

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bashir’s “mistook a preganglionic fiber for a postganglionic nerve on the final exam and thus became the salutatorian rather than the valedictorian of my class at starfleet medical” story is hands down one of my favorites of his, particularly as one he delivers so early on in the show, and because, medically and anatomically speaking... it... doesn’t stand up to scrutiny.

any student in so much as an introductory anatomy and physiology course could make the distinction between them. no individual who has trained for years to become a medical doctor is going to confuse the two--its a basic differentiation, and not one that can be waved away as a mistake. there’s just no doing it. their functions and histologies are so vastly different that there’s no similarity between them beyond sounding similar (which, in the case of this being a television show, and having a story that rolls off the tongue with a little fluidity, makes sense, but putting that doyalist analysis aside for a moment..)

hearing this, someone with even a little (human) anatomical knowledge under their belt perks up an ear...

now, considering the implication that bashir made this mistake deliberately--being “genetically enhanced” with his perfect memory to boot, there’s no way that he might have forgotten their classifications--and that the question was missed so he could maintain his high class rank without raising suspicion (as the assumption would be that any genetically enhanced individual would be at the top of their class, should the question of his intellectual abilities ever come up), a question is begged as to what his intentions are in spouting the story off so freely, obviously without worry that someone will see through the charade.

then, consider: a) the fact that humans are (relatively) new to bajoran space, so it can be assumed that the knowledge about human anatomy among bajorans is limited--thus, there is an expectation that few species within bajoran space would find any issue with his story, and b) as bashir is the chief medical officer aboard deep space nine, his medical knowledge is (generally) assumed to be the most complete and thorough bank on the station. he may imagine (in all his season one overconfidence) that no one (including his human/starfleet medical staff) would pick up on the puzzling fact of his “accidentally” confusing the two

by repeating his story (and framing it as a trying, intellectual ordeal), he is attempting to establish himself as a source of (generally) infallible medical brilliance. but what is particularly remarkable to me is that he’s choosing a story where he (from the point of view of his audience) makes a rather unremarkable blunder that dethroned him swiftly and suredly from the top of his class. though of course, in actuality, this was a choice he made to protect himself from watchful, suspicious eyes.

and what we arrive at is a strange dichotomy in bashir himself. by exposing that (albeit, fabricated) vulnerability, he’s amassing sympathy from his audience while humanizing himself--he’s aware, at this point, that he can come off as disconnected and haughty, and wants to communicate as best as he can, that he is both capable of error, aware that he can make mistakes, and that he has the drive and motivation to correct them.

tempering his presentation of the story with the knowledge that he’d been genetically enhanced adds another layer of meaning on top of it. for the first time in his life, bashir finds himself in a place where his species is so unfamiliar that he’s not looked at as an oddity, regardless of his abilities. any trait he demonstrates could very well be indicative of his species or may be a reflection of himself--to those unfamiliar with humans, there’s no knowing what’s universal and what’s individual. and for someone like bashir, who has spent so much of his life isolated and in fear that others will find him anomalous, this is freedom.

i think, in (small) part, that must be what he meant in comparing bajor to the “frontier”. though he mistakenly implied bajor was simple and uncivilized (a core takeaway from that encounter--but not to be unpacked in this post), what he also may have been suggesting was that this was a place to establish himself without restraint or fear, and in the end bajor, for bashir, would serve as new territory upon which to build his life, to inform his developing ethical standards, and to change his anthropocentric outlook on life.

what i mean is this--despite the fact that bashir is the cmo, and despite the fact that his species is unfamiliar in the region, and that both of these fact suggest that no one would find his story suspicious--bashir practically shouting it from the rooftops is an interesting choice. by talking about it, he’s ultimately saying: 1. ‘i am not perfect, and i don’t believe i am’ and, 2. ‘look a little closer’. the remarkable thing about the whole narrative is that it comes off as a supplication. he seems to be saying--ask about it--ask why, ask how it was possible. he’s desperate for someone to be interested, and (though perhaps more reservedly) for someone to find him out. he’s spent his whole life shying away from the limelight, and is finally able to be the wunderkind he’s become--but only at the edge of federation space, only 52 light years from earth. he’s isolated, but is finding it rich and wonderful rather than lonely. for the first time in his life, he wonders if perhaps it is safe, or acceptable, to be himself, openly. if he can get someone to be interested enough to pry.

#long post //#trek #julian bashir #say what u will abt garashir--love it or hate it--but those two make a remarkable combination in terms of obfuscating the truth in stories #no line in ds9 i love more than 'it was all true--even the lies?' 'especially the lies.'#b/c as andy robinson writes in asit--the lies people choose to tell about themselves show what they wish were true #and julian wishes he were capable of making careless (intellectual) mistakes #though of course he's the king of social blunders <3 #i dont remember if i use character tags in my silly little ramling posts #i probably shouldnt #but #whatever

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