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iznsfw · 3 months

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Manic Robotic Dream Girl

IZ Days of Christmas 2023: Day 4 - Choi Yena

IZ*ONE's Choi Yena x Male Reader Smut

8,311 words

Neon lights dance like flames around you. There’s no need to touch them when you’re already burning. Burning with something that’s not a fever but a kind of pain that never goes away.

Sweat pricks the sides of your face and you’re aware of the blots of perspiration running down your jawline. Nights at the Rogue are often hot, but then they surprise you with a sudden burst of windiness, so you never bother to take your coat off. Whatever and wherever, you’ll always be here yet you’ve not once been able to predict the temperature.

That’s what happened when WAKE12 took over.

Apparently, they decide if people are under the weather by controlling it by them-fucking-selves. Kwon feeling shitty? Looks like rain then. Maybe she’s feeling happy? Alright, let the clouds find balance. Angry? Take a fucking hailstorm. What a privilege, one bigger than the lives of the rich men in the North. But everyone forgets about that fact after she sends out minimal alms—canned goods, a Bible, something. Then it’s back to President Kwon is the best! President Kwon can never fail us! President—

“Vodka.”

“Same as yesterday?” asks Yuri, smiling a little bit.

“Same as yesterday.” For a hologram, Yuri can be quite the social butterfly.

Online wallets are all the rage nowadays. The AI voice in your head offers you said option to pay, and you can hear your balance privately spoken. Somehow your brow prevents from creasing as you hear it. You lack funds but somehow have a few extra bucks to drink.

Choose that. You want to save your Wizes for other things. Lock eyes with Yuri and your balance goes down. You’ve paid.

Online and digital wallets modified with embedded signals and readers were in use before you were even born. Of course, there were already such payment options in the twenty-first century, but how WAKE12 changed everything, not just ordering options with telepathic payment, can easily be read in a sixth grade history textbook.

In October of the year 2918, Kwon Eunbi rose in the ranks as a scientist and soldier for Kang Hyewon, former president, and ended up working her way into dictatorship. The textbooks and classrooms teach that she proposed a law to the court and got herself a position for her wit and intelligence. But early first accounts challenge that, saying that she caught the eye of Kang and had a sexual relationship with her. WAKE12 branded this as propaganda that sullies the name of not only the dictator but the one of the late president, who died mysteriously before Kwon rose to power.

Massive backstory for cashless payment, but you know there’s more to it than the government would like to let on. What happened to Kang? What made Kwon so evil the moment she sat in her presidential throne?

“Thank you, sir.” Holograms all have different voices; Yuri’s sounds like she’s singing. At least the bartender slash boss hired her instead of those with monotone, emotionless ones. It’s cheaper to have hologram workers than humans anyway. Less money, less emotional labor, less of feeling like a normal person.

A beggar curled up below the counter holds his hand out. Not an uncommon sight in the Auster, but it’s a pity to see. The world has advanced with its telepathic wallets and 3D holograms yet there will always be individuals who haven’t caught up with time. While the North Rogue leads worldly lifetimes, the Auster is a home for the rejects. The poorest of the poor. The somewhere-in-the-middles. It can never be truly a perfect world if advancement doesn’t include everyone.

Give him a Wize. Back then, that would have been worth a hundred or so dollars, a currency long gone. Not that you’d know of it; WAKE12 claimed leadership way before you were born so the cheap value of the coin studded with the bust of Kwon Eunbi is all you’re accustomed to.

Take your drink and thank Yuri.

The cobblestone is rough beneath your feet. You take your seat at your usual table. Float your fingers around your shotglass. Pour the contents down your chapped mouth almost all in one go. Anything to feel something. Anything to feel anything.

You’re not an alcoholic by any means, though that’s certainly up for debate. But there’s a need for the liquid that rages more than the need for oxygen (the fucking shortage of it) or food (the fucking expense of it). How else could you be less numb? You’re welcome to every feeling at this stage, just not this empty neutrality that slumbers your senses.

Pain? Your throat seizes up when you drink and brings tears to your eyes, so there's that.

Happiness? Hm, none. You’re barely smiling. You’ve no family, little friends, and no partner for the last few years. There’s nothing to be happy about.

Anger? The displays of people fined harshly for their crimes on the big as life advertising screens stir some defiance in you. WAKE12 doesn’t take kindly to hacktivists and young coders dabbling in creating their own AIs. You have your own anti-government opinions, but what’s a human mind against an artificial one? Plus, and probably a less serious reason (tell that to the thousands who flock to the hospitals because of asthma), the air is almost always polluted here in the Rogue. It’s dirtied by car smoke and factory remains. You’d think that robots taking over the labs would improve it. Perhaps they weren’t programmed that way.

Loneliness?

You look around. See the glitching phantoms of new world technology make the drinks breezily. Watch the light-studded train filled with commuters from the Auster. Kwon Eunbi managed to build an underside track for additional trains to run and still the commuters—young students, old grandparents, not young but not old workers whose jobs belong to WAKE12—wear the same tired look you saw yesterday. All you could hear are buzzes and uncanny valley voices from holograms.

The second chair paired with your table is empty. You’re suddenly lucid to the fact that it’ll always be like this. These nights of drinking and walking in the Auster Rogue will be endless, and just the same, you’ll be endlessly alone.

Sometimes mortality could be so depressing.

So depressing that it makes it all so meaningless.

A man stumbles over to the outside bar, breaking your thoughtless reverie. His clothes are as black as the night you spend but you can see blood on the fabric. The skyscrapers provide enough light for you to see his red face from anxious internal and worrying external blood. The pleading look grips his expression like a malfunctioning robot’s limb.

He’s looking back as if afraid of what might be there. The rain-soaked road is tread on roughly by his shaking knees as he crawls his way to the bar. “Please, help me!”

“Warning,” comes the voice in your head, and you know the other visitors hear it, too, “a criminal of the state is in your proximity. Proceed with caution.”

WAKE12 always keeps an eye on those who threaten them. They have goons everywhere. The kindly grandfather down the street could be a veteran waiting for the chance of a medal. They have ears everywhere as well. Undercover cops stay in both crowded and clear spaces to identify possible threats. When it all comes down to it, you’re not safe in your own head at all. The implants can detect when you dream up something terrible. That’s how millions lose their reputation. Their jobs. Their families.

Their lives.

He staggers to the counter, crashing glass that shards his palms, and lets out this wail you’d hear from an abused pup. “Please,” he croaks. “Don’t listen to them. I just need somewhere to hide. I did nothing wrong, nothing!”

The implanted voice in your brain says otherwise. Everyone was given one when the Cyber Age came. That’s what makes a tiny difference in seeing who’s human and who’s not: the tiny, diamond scar below their hairline from the operation. Close inspection can’t always be done, however. Nowadays, too many of these robots and holograms pass the Turing test. You can never truly trust someone.

“Offenses include: playing the role of an accomplice in theft of government data, distribution of terrorist propaganda—”

“Get the fuck out!” says the bartender, having burst out from the back. As a longtime visitor, you haven’t seen him this angry, but you know it stems from fear. No one wants to associate with a criminal. No one wants the association to lead to arrest and the arrest lead to god knows what. Hundreds of people go missing after they’re taken under custody. What Kwon does to them, you don’t know. “Leave or I’ll call the cops!”

Like you said, they lurk everywhere. You’re surprised they haven’t caught up to him.

The bloodied man shakes his head, like please, please, someone believe me. “No, I’m not a criminal! Listen to me, please, I don’t have enough time! They just wanna—cut down”

Rapid footsteps. Sigh and put your glass down. There they are.

The man reaches for him, but the bartender shoves the whole table into his face. He falls back on the ground and cries out for help that never comes. Men and women wearing tight black uniforms and vests pull him up. Their lit helmets that opposingly disallow a view of their faces make them look emotionless. Like robots.

Huh.

While resting your head against the metal chair, you listen to the struggling shuffles of the police and criminal, and see the glitching robots walking down the road. No real emotion, no real living.

He scratches and screams and sobs, but that doesn’t matter to them. They pull him along the rocky cement and recite his nonexistent rights to him. There’s the right to remain silent (he’s screaming), the right to an attorney (nobody in the Auster can afford a good lawyer much less an honest one), and the right to live freely if found innocent of the crime (someone getting convicted happens more often than being released).

Besides, it can’t be called living when it’s in a place so completely devoid of any humanity.

“In more ways than one,” you say. Fuck it, you’ll drink to that.

Like always, you take more than you should. You believe by now you’ve built some kind of immunity. That’s what they all think, you remind yourself, before an inevitable death that buries them in the ground one bricked shot at a time. You swear you’re not dizzy at all or feeling the acid build to your throat, so the sight gathering just a little away from you is real.

Stare at your glass. Space out if not for what you see: behind it, a shapely form of a woman in purple. The blue and violet lights make it difficult for you to distinguish it from her clothes so she actually looks naked. That shocks you more than the arrest. You’re sure she’s got a little modesty in her because why else is she making her way to a table?

Your table?

It’s like she teleported when she’s suddenly seated before you, filling the chair that’s been empty for the last more or so years. You don’t even get the chance to look up at the right time, but the moment you do, you think keeping your eyes on your glass would’ve been better for the sake of your heart.

YENA.

Her name appears in your mind and she hasn’t even introduced herself. But it’s right there, emblazoned in lights in all capitalized four letters: YENA. This girl is Yena. And this girl—this fucking guilty pleasure of a girl—is gorgeous.

The ends of her hair are tinged with blonde, and it’s hard not to give attention to that with how her locks are gathered into twin tails. She smoothes them before looking at you quite seriously, like she’s about to propose a challenge you’d lose.

Blue shining eyes. There’s something odd about the way they twinkle below her bangs—almost like something not human.

Yena dances her fingers around her jawline, elbow resting on the table, and tilts her pretty face. Lets her fingers play with her lips that are made for things the Auster’s known for providing (she can’t be from here though; those crocheted coordinates look costly). That’s how you notice that fine feature. Naturally thick and casually jutted out in a distinctive pout, your eyes are glued to them. Can’t take your prolonged stare away if someone helped you.

“Are you waiting for me to start talking?” Yena asks. She’s not angry, just amused—her voice is smooth and clear, with a tiny pitch that makes her all the more cute.

You shake your head. “Was just trying to figure something out.”

“And that is?”

“A lot of things,” you state. Things you’d keep a secret forever, lest you spill them out to a girl all for the payment of being beautiful. “But I’m not sure pretty girls like you would want to know.”

You try to keep your curious peering at her normal, but it’s difficult when she just attracts attention. She’s a glowing lightbulb in a flutter of moths. Yena doesn’t flicker weakly; she shines, and it’s honestly why everyone else is “subtly” looking at her, this gorgeous stranger who came in and somehow chose the alcoholic who came from places more rock bottom than the Auster.

She laughs. It’s sobering—you think you’ll get drunk on her rather than the cheap alcohol. “Is that what you think of me? Too beautiful to think too much?”

Look her up and down. Yeah, you want to say, that’s about it. It’s not out of offense but rather the instinct in you that wants to tell her you don’t want to put her in a worried state. She’s too… ah, she doesn’t know what you’d do for a girl like her—someone too unreal to be human but too genuine to be the “living” dolls lonely men purchase. Someone who can keep a conversation going without fearing a low blow. Someone who’s out of your league in the Rogue’s mixed pool but chooses you anyway.

“I’m just saying you might not want to hear a stranger boring you with his hard problems.”

“Oh please,” she says, waving it off with a flick of a pointed wrist. “You know my name. I know yours. We’re not strangers anymore.”

How did you—how did she—

Her eyes twinkle again. They’re… violet? You could have bet they were blue. But then you see the suspiciously smooth and clear skin, with the perfect lines of her eyelids, which curve as if manufactured in. She’s definitely not human.

“Besides,” adds Yena sweetly, “you’re really underestimating how good I can take certain hard things.”

Swallow. You opened the door, now you’re locked in.

Yena catches the bob of your Adam’s apple and smirks. Traces her fingers over yours. She can’t be human for sure yet you feel the softness of her hand, the only thing giving you doubt being how chilled her touch is. It's humid here, so where did that come from? Goosebumps pop up in masses across your skin—note how nothing shows up on hers.

Maybe she’s just a confident woman.

“Come on, I dare you.”

“Only if you go first.”

“Yes, sir,” she says. A cutesy saluted hand positions itself before her temple. Her hands are tiny, could be dainty, while her cheeks lift to support an adorable smile.

Your knees tremble. You don’t know where that came from either. Yena just knows what to say to get to a guy. Almost like she was made for it. There’s that question again, resurfacing in your altered brain: is she human or not?

You lean back. Cross your arms. Here you go, on your way to find out. “What’s your story?”

Yena shrugs, her shoulders bare and smooth. And you’re thinking of how you’d like to see the rest of them, the rest of her body naked by pulling down the crocheted strap of the purple coordinates. How you’d like to touch those puffed up cheeks and not care if they’re real or not when you pull her close to kiss her. How those lips—

“Don’t have one.”

“Sorry?”

She laughs. Even the way she giggles is attractive. “No, seriously,” she replies, licking her lips. “There’s nothing interesting about me. I’m the most normal girl there is.”

There is nothing normal about her. Everything she says is too prepared. The largeness of her eyes gives everything away. Her hair is combed too finely that you’re not unconvinced that it isn't human hair at all, though you can see them connect at the roots. It’s like someone drew a cute animated girl on a notepad one lonely night, sent the idea to a rich bastard, and brought her to life.

So no, you’re not buying it.

“So you’re saying you’re just a blank canvas.”

“If you put it like that, I guess.” Yena rolls her eyes. You’re a bit obsessed. “Guys want that, right? A blank piece of a girl they could shoot more than a shot at? Maybe paint her white?”

You’re thankful you didn’t continue drinking. Otherwise, your surprise would be visible and audible with the lodge of your throat as you wineboard yourself.

The side of her mouth raises. A soft dimple exceeding cuteness—it’s deeper, brighter, shinier. You imagine her as a college student, charming boys into submission just with a wink and a smile that can melt hearts and bring guilt to lust-addled minds.

That’s what she’s doing: Yena is melting you because of how adorable she is, but then you take a look at her body, note the fine curves it boasts, and feel the need to go to a confessional pastor. You’re not supposed to repeats in your mind, but you’re you—if you aren’t supposed to do it, then of course you’ll do it anyway.

“Woah,” you say with a nervous laugh. “Woah.”

“Look.” She rests her forearm on the table and talks so casually one would think she weren’t just talking about getting cumshots. “I‘m not taking that back, so do with that what you will.”

Under the table, behind the scenes, her leg is curled around one of yours. Her ankle glides along your skin teasingly. Not a speck of hair on all of those flawless legs, but you’re shivering anyway from the contact. Hence, make a show of closing your coat around yourself. You can’t fool her when it’s not even chilly.

Recover, piecing together the brokenness of your confidence she tore apart.

“My story is, uh, weird.”

“Tell me.”

“This might be too personal but—” You lift your shoulders awkwardly. “I used to date a girl who looks exactly like you.”

Kim Chaewon—short auburn hair, soft cheeks, and a tiny figure. She’s a memory you didn’t think of returning to today, but then Yena came here, and now you’re back to your youth.

“She was a cop. Cutest officer I’ve ever seen, but a real bitch, for the lack of a better word. Then she left me.”

“You broke her heart, didn’t you?”

Sputter. “No!” you immediately deny, shaking your head. “I—I didn’t hurt her, she was—”

A filthy lie. You became nonchalant, undeserving of a sweet woman who’d do anything for you, even give up her well-paying job. Again and again, Chaewon expressed her concerns: why were you talking to Minju? Where have you been? Why are you so mean? You disregarded them all the same. She deserved the ignorance; she was too fucking controlling, too fucking jealous.

Yena knows you’re lying. It’s like you’re a wound she can peel back to see all the ugliness, all the damage underneath. Her smile tells you everything.

“Oh, come on. I don’t care. Except for this.” Yena intertwines her fingers. Rests her chin on top of the formed platform. “Was she a good fuck?”

Your laugh is forced, trying to make a good deal out of this situation. A girl is flirting with you right after you saw someone disappear. Now you’re wondering if she’s a robot. Now, through some way, she knows you’re lying about your ex. Coincidences meet yet you refuse to connect them—parallel lines they shall stay, forever.

“Yena, what exactly is up with you?” you ask. “You just met me. And come on now, why me?”

It’s begun to be hotter in this space. Loosen your coat. Perspiration isn’t because of the atmosphere, so you find out (and what a surprise). It’s because of the woman across you, a midnight sun. If the painful sun was actually a symbol of good in the Rogue, Yena would play its role perfectly. She’d scorch through you and you’ll enjoy every second. Yeah, you’d get all sorts of tans and burns and cancers if you bask in her without protection, but my god, are you willing to take the risk.

“I just don’t like seeing pretty boys have problems,” she replies easily. “If they want, (and I know they do), I’ll take them all away. Soon, all you'll think of is me. Like I’m the sun peeking in your room and you just can’t get enough sleep because of it.”

You tense up. Millions of questions, a void empty of answers. Once again, how was she so spot on? You’re not breathing quite well, and your clothes are tighter tonight. “Yena, look, I-I’m sorry.”

“Don’t be.”

Don’t be, not because you aren't, but because she said so.

She pouts. “You’re not gonna buy me a drink?”

“You sound disappointed.”

“Nope. Remember what I said? I’m a blank canvas. So do whatever you want with me. Buy me a drink. Or not. Tell me to fuck off. Or not. Force me on my knees.”

Yena kneels.

There’s no mantle on the table to cover up what she’s about to do. You gasp, then try to mask it as a poor cough, but you’re distracted by how she pulls your pants down effortlessly. The button sealing your coat is busted open and gone.

So is your dignity.

Yena’s tongue sticks out at the side of her mouth as she looks up at you with excitement and mischief in her eyes.

“Or let me do the job. I’m a big girl after all.”

She seals her teeth around your zipper and tugs down. It’s embarrassing how hard you are for her. But Yena doesn’t care. Adoration is clear on her face as she stares at your shaft, the worshipful energy in her eyes so overwhelming that she has to do something about it.

“Yena—” What a way to go out: screaming a stranger’s name.

You knew those lips were up to no good the moment you saw them. She’s provided evidence, too. Her soft lips embrace your boner and suckle fervently while dragging themselves upwards. It’s a caress that tenses you up rather than comforts you. It works you up, tying you down with the little weight Yena has. You could kick her away right now and tell her to go away. File a case against her.

You don’t.

The joined duo of careful teeth and wild tongue gets you whimpering. Shivering. Begging. How is she so good at this?

Her mouth is perfectly wet. It’s not copiously soaked to have you cringing but the perfect balance of wet and ready, coating your rod again and again. She gives you too much and just right. It would be a cruel violation if you were asked to choose one and only one.

“Baby, what the fuck—” you stammer.

Her throat’s an expert in taking you because one push of her lips to your base welcomes you in its tight hole. Your knees shake; Yena places her hands on it, not to stop their trembles but for leverage during the dip of her head.

Close your eyes, look up, and stare at skies that provide no reprieving stars. Think of how she’s infinitely bett—

“Better than any pussy, huh?” Yena asks. The third time is no coincidence, so you’ve heard. “And it’s just my throat.”

At this stage, you don’t care if she’s a robot or not, because either way, that mouth is a fucking treasure.

You lift your hips and start slowly working yourself in Yena’s face. Her lips pucker and pout to allow you inside with pleasurable friction. Those eyes—there aren’t any planets in the sky because of the pollution but you think you can see their sparkle in them.

The amazing part is that Yena doesn’t choke. She endlessly takes you in, receiving every inch like a blessed gift, but you don’t hear her wheeze. No sounds of complaints escape her. You have a feeling it’s not because of your cock sliding in and out of it. She only gags on occasion, and those already sound fake. It’s like she’s doing it just so you can get worked up hearing her moans.

While others might be impressed, you’re dumbfounded. She tightens and loosens and pushes and pulls just for your pleasure.

“Yena, I– you’re doing so good,” you compliment her in gasped breaths.

Her cheeks hollow. The suction strengthens and it now feels like your soul’s being swallowed down her neck. She knows how to tease you with light pandering from her teeth, generous licking, and strengthened swallowing. Her mouth is warm but you are more so. She’s making you feel hot in all these layers, an additional one played by her perfect lips.

Perfect hair, too, you note.

Hungry impulses take over your body and now you’re pumping your core into the girl’s face with the help of her pigtails. Yena’s hair is thick and silky, and it’s another enjoyable factor: feeling how it slips between your fingers and how each pull directs her lips to press firmly to your crotch.

She doesn’t gag with that either. She must have had a lot of experience; she did say she can take hard things fine. That is, if she were human. If not, whoever built her had dirty ideas: the lack of gag reflex surely brings in the five star ratings.

Bright star-like eyes, cute ruinable face, mouth that can take the largest.

Yep, perfect.

“Good—fucking—girl.”

Your cock weeps white. Yena feels the first drop and immediately pulls away. She pumps your shaft with a strong, urgent fist. As she hinted, you blast all over her face. Your orgasm grips you and shakes you like never before, and of course, the little brat enjoys it. She’s nearly laughing.

“There,” says Yena after she drains you. Her duck-like lips are sticky with cum. “Canvas painted.”

What a pretty painting you’ve made. Here, shown to the public, is the manic pixie dream girl, semen on her chin to symbolize how each word she utters has you climaxing; hair disheveled to show your subtle but messy rule over her, because you own her although you weren’t there when her mechanical limbs were assembled and her face drawn; and a smile on her face to show that despite all this: she likes it.

You laugh, short blunt breaths wisping in the air. “There really is something wrong with you, Yena,” you say.

She’s a girl who’s extremely pretty, good at blowjobs, and likes public sex and oral. She can also read minds. Oh, and she might not be real.

“You could say that again.” She wipes her mouth. “Though I do think I could use a little fixing from you.”

You take her home. Your mother would have been disappointed in you if she knew you violated the first law you were ever taught: don’t talk to strangers. Most of all, don’t ever let them in. But Yena is no stranger—like she said, she knows your name and for some reason, you know her own. You’re not strangers. And your mother isn’t around to command you not to kneel for a pretty girl.

This home of yours isn’t fancy, but if people from 2024 saw it, they’d be mesmerized. You’re not rich enough to afford the penthouses the North offers; this one is alright for you. The stories of the building aren’t aligned with each other, separating a few yards with floating floors that defy gravity. That’s right; WAKE12 somehow found a way to disobey the rules of physics. The ends are lit up with bright lights that blind you from miles away. Wide windows encircle the areas along with al frescos and convenient malls. Back then, this would have been classified as the house of the wealthy—you can’t say you agree with the sentiment when you’re not at all rich.

“Hi,” says Yena brightly at the front desk. She’s so smiley, always grinning like she’s just told a really clever joke. “Where’s the elevator?”

“I, uh…”

The manager looks at her oddly. Your ears redden; she still hasn’t cleaned her face up. Evidence of your deed lies there on her nose and chin and cheeks, even in her perfect hair.

“Well?”

The manager lifts the phone immediately. Before he could dial a number, Yena sighs loudly.

“Look.” She silences the telephone with a slam of the device down on the keypad. The man’s hand cringes. “I’m about to fuck this guy’s brains out and I promise your little backup bosses can’t do anything about it.”

He stares at her.

“I’m gonna use his dick until it’s limp as a balloon, then ride him in bed, then bend over on the kitchen table so he could breed me like a common whore.”

You lift an index finger to apologize, but put it back down. Did she just say you can breed her?

His jaw tenses. The teeth behind those unsmiling thin lips grit, not in annoyance but in fear. Yena’s bouncy and sweet, but apparently she’s excluding people who cockblock from her cute attitude.

“So,” finishes Yena, lowering her gaze, “where is the fucking elevator?”

The elevator has no pulley or doors. It sits at the side of the uneven floors and rises with nothing but a sizable pod. You’ve had to watch your weight to be able to enjoy the freedom from staircases.

Yena steps on it with no worry. As you look at her, you realize how positively tiny she is. That’s why she isn’t doubtful about fitting in the claustrophobic space. Her violet clothes can slip off at any time at her pull of a waist and slim thighs. All the fullness goes to her cheeks, painted with fake tattooed stars and minimal doodles.

She’s the kind of girl you could just pick up and do whatever to. You’re the kind of guy who really, really likes the idea.

Holding your hand is a thing of the past. Yena clutches your cock over your jeans as the elevator lifts the two of you up.

The first thing she does the moment you enter your home is not kiss you, or slam you to the door, or whisper dirty nothings in the hollow of your ear. Yena looks around and says, simply, “Doable.”

You chuckle. You’re not offended. It’s a tidy, minimal apartment with glass that spans a viewing pleasure of the artificial forest and the hills. Glass lost its value but skyrocketed in purchases when Jo Yuri, first activist recorded in the history of WAKE12’s domination, was imprisoned. People compared her name to glass (yuri was 유리 and 유리 meant glass) and since then, it has been used everywhere. High demand, low price. Her symbol and namesake is used the way the public wants her to be used: cheap thing convenient only to the eye. They always said she was too pretty to talk too much.

“Here, doable is the best compliment,” you reply. You go to your bedroom to clean the place. If you want to fuck a rich girl, make sure the bedroom is at least up to her standards. “You have personal maids there in the North?”

Yena continues looking around. She’s mildly fascinated by everything, especially in the big window placed on the ceiling that lets stars peer down at you. For some reason, all the ejaculation on her face is gone. You don’t remember her bringing a washcloth.

“I’m not from the North, you know.”

“You’re not?”

“Nope. I don’t come from anywhere.”

You come out, having cleared your bed from clothes and the floors of trash. You fed the trash to the connected chute that all apartments have, which leads down to the Southern Auster. The word may be Latin and is already defined as south, but there’s places poorer than the part you live in. You’re lucky to be here. The Southern Auster’s where it’s much more dangerous. The people there scavenge for food and money, and their cries go unheard in the night. It’s the biggest criminal capital of the Rogue.

You come out and Yena’s sitting on the kitchen table with a knife.

Stop in your tracks.

See the blood running down her arm.

“Oh, don’t worry,” she says dismissively. “It doesn’t hurt.”

You still don’t know what to say. The wound on her skin’s dissolved to a scar that looks more like a scratch on metal. Why would she do that? Why would that do that?

“In fact, I think it’s kind of cool.” Yena slides the blade on the strap of her top. It falls apart, right down to her braless chest. A pink, perky nipple is clear in the moonlight shining from above. “When people see me, they usually want to hurt me, so I might as well do it myself, right? They want to slap me, pull my hair, choke me. They say that and figure I’m totally flattered.”

You want to say that you couldn’t blame them. Yena’s got this innocent but naughty aura about her that you want to completely ruin. There’s her hair, all dolled up and her quirky makeup that brings attention that eventually switches down to the body she doesn’t bother hiding.

But it looks like she’s doing the ruining. Aren’t those the best stories? Boy corrupts girl when it’s the other way around in reality?

To use the word “reality” when you’re with Yena is laughable. She can read your mind like a Rogue Times newspaper. You get that things you thought were impossible have a chance of happening in these days, but you don’t remember wounds healing that fast. The knife slices right through the fabric, revealing swoon-worthy curves of her waist and hips, making her bleed only not for too long. Who would want a scar-ridden skinny girl anyway?

“Well,” you say after a dutiful swallow, “are you?”

Yena examines the knife. Her crimson blood dripping from its edge is a worthwhile watch while she considers this.

She finally puts down the knife, much to your relief. “I don’t know. What about you, handsome? Do you want to hurt me or fuck me?”

“I… I’m not like them. I don’t wanna hit you or make you cry or anything. I want to fuck you, that’s completely different.”

First confession of the night that didn’t need saying when it’s clear. You let her blow you in public. You took her home. The intention is staring you in the face: you want to have sex with a girl you just met.

Yena smiles. “You’d be surprised how blurred the lines are.”

Yena‘s hands fall on your shoulders and make you fall to the kitchen chair and make your pants fall on the floor. Falling, falling, falling for her—it’s all you’re able to do provided that she’s stunning. She’s tiny with her thin arms and legs but her breasts are surprisingly supple. The cleavage her top subtly shows off hinted to that and you’re still shocked.

She’s a hot desert, and the only source you can drink of is her core. Her pussy is slick, making her thighs glue together only for them to part as she sits on your lap.

The first grind has you both breathless. The second renders a duet of moans. She’s so wet that it’s excessive enough for her to drip down your cock and completely cover it with her. Yena’s pussy lips splay and clasp your shaft with slippery friction.

She curses. “You’re so hard. Big, t-too.” She aims your cockhead at her clit and sighs at the toe-curling pleasure. “You think you can fit in me?”

“I guess we’ll have to see.”

Yena smirks. She continues soaking you with her wetness. Her juices pour from your head to your balls. Then, without warning, she sheathes your rod inside her.

You gasp. It’s so easy to slip yourself in and all too difficult to cope with how tight she is. Her walls, perfectly textured and sloppy, trap you and let you out, giving you false hope of escaping, only to imprison you again. It’s the best punishment you ever had.

Her throat was already better than the other cunts you’ve spent yourself in, so what does that make her pussy?

The best. Her overflowing waterfall lets her ride you easily. It seems like there’s a million spots inside her you can target for she quivers and cries with each bounce. Her hair flows photogenically while her chest does the same erotic motion.

“So fucking good, fuck,” Yena groans. Her round butt lands on your lap and you think you’d like it to stay there forever. Curl your hands around her cheeks. Draw a healthy moan from the throat you used.

Yena’s pussy curves and opens in every best way. She makes it so easy to mold her into the shape of your cock, to rearrange her insides. Was she made for dick? She’s so wet that you’d think she’s a nymphomaniac who won’t let you go, the same way her vagina won’t let you go as its grip curls around you and threatens to milk you to your wits’ end.

You wouldn’t mind that.

Her riding accelerates to an unbearable point the moment you start to spank her. She’s right about hurting and having sex being almost the same—you want to leave red handprints all over her jiggling ass. You want to pull her hair until she screams. You want to fuck this perfect cunt of hers right up to when she’s creaming all over you, flooding your sexes with her naturla nectar.

And the crazy thing is: she’ll actually let you.

“Fucking brat,” you say, hitting her butt again. She yelps coquettishly. “Are you really this thirsty for cock?”

“God, yes…” Her head throws back. Yena’s eyes shut and although her vision is blocked she sees stars. “Wanted to know how your dick would split me open. Fuck, keep doing that!”

Her core tightens with each blow you expel on her bouncing ass. Her hole’s already so enclosed so when she squeezes more, it’s close to having your cock tortured. You’re suffocating inside her. You’re waterboarded again and again with her waterfall of wetness.

You guide Yena’s motions with your hands on her behind. She’s so light that you’re practically using her as a doll, fucking her on your erection and letting yourself enjoy how her tits recoil. Her moans turn on a part of your brain that you don’t know, but it transmits to you these thoughts: fuck her senseless.

You raise her as high as you can, her weight nothing even to your long-untrained muscles, then slam her down. She sinks deeper into your lap and takes longer inches. Yena’s screams bounce off the soundproof walls that ensure only you can hear them. Those walls were fucking expensive, so of course you gotta let them have purpose. Slap Yena’s thighs down on yours and let her pussy envelop you right up to the point of bruises appearing on your skin.

How does she not sweat? Your hands wander all over her tight body and still you don’t find a drop of sweat. Her pigtails are still secured. You guess she was just made to be eternally pretty.

She is pretty, under any circumstance—her smooth skin possesses zero blemishes and her winged eyes remain lamp-bright. She’s pretty, even when she lets out the pitchiest sounds, even when Yena’s lips rise into a devilish smile before sealing on your neck. She nibbles on your skin and rakes up your sensitivity.

“Holy shit, Yena…”

“Yeah, that’s right.” She licks behind your ear and you nearly lose it. Maybe you already did. “Say my name. Because I’m all yours. This pussy is yours to use and abuse, so do it.”

Rub her tiny pulsing clit. Yena’s cries deafen you. If that’s not enough, she drowns you with her cum. There’s no raft to save you. You’re all alone. You’ll drown here and never see the light of day again.

Electricity runs through her body as the pleasure ramps up. Her fingers weaken on your shoulders. Her gasps are split off by larger, more surprised evolutions. Yena’s close.

“Fuck, no, I can’t!” Yena’s riding is furious and borderline abusive. The noises between your two crotches are louder than before.

“You can,” you insist. You throb inside her while her pussy becomes smaller despite the many thrusts you perform. “Take it like a good girl, Yena.”

“Fuck me, use me, I’m just your cute little helpless girl, fuck me!”

She couldn’t be more correct. She’s just a useless doll, thin and adorable and tight—so why not use her like one?

You’re surprised your limbs have any power in them, but they impress as you lift Yena up. During your walk to the counter, you don’t stop thrusting in her. She’s wet and ready, just waiting and begging for it to happen. Her pretty face is smudged with tears. There’s sick satisfaction in you from seeing how the confident girl at the bar is now just a fuckhole to use.

“Oh, oh, ah!” Cute little whines come out from those lips. Her mouth used its power to pick you up, make you cum, make you scared. In this second, all that is gone: she’ll only ever use it to wail in pleasure.

Knock her against the kitchen counter. Her thighs press to the curve. You spread them open and continue spending yourself to death in her. Her sides that slant to make the physique you love are perfect handles to thrust.

You’re completely soaked, but she’s completely defiled. The dream girl is not just any dream but a wet dream. She’s the fantasy you never had but will constantly think of now. And you don’t care if WAKE12 knows you’re fucking her. They can read all the thoughts you have about Yena as much as they like, and you wouldn’t care.

Instead of giving a fuck, you twist her around, her smooth back in front of you, and fuck her harder while you’re at it. Admire the way your hips slap her ass and give her the spanking she deserves. One spank, that’s for being so tempting. Another for the price of her promiscuity. Three one-after-the-other’s because she’s too wild, too free for a girl with that face.

“God, please, harder!” Yena cries. “Make me your little cocksleeve cumslut!”

She does not take pain to heart, physically and mentally. In spite of your rapid pumps and the slap of your stomach to her bent and ready ass, no bruises or scratches appear on her skin. You say all these degrading words and rather than mope about it, she gets more turned on. She forces you to give all your might in railing her in this apartment where the open windows give you away rather than the sounds. And you’re nodding along, saying:

“Of course.”

Of course you’ll grab her tits and pinch their nipples as hard as you can. Yena’s skin might not be humanly warm but these boobs are real. They’re soft in your palms and plentiful. Is she a masochist? You tweak and slap and squeeze; in response, she’s… smiling?

Of course you’ll slip your touch all over her body. Appreciate every perfect curve, every fine fullness. After fondling her tits, you slide your hands over her smooth pits, then to her arms that struggle to remain stable. She’s sensitive all over; it’s evident in the way she babbles each time you caress her.

Of course you’ll take her hair and pull as hard as you can. She won’t get mad. Nothing ever gets to the cool girl.

“Oh my god!” Yena shouts.

Those pigtails are there for a reason. Thrusts become easier to do with her hair curled in between your digits. Her ass meets your crotch easily and you find yourself excavating her cavern, hitting her in all the good places. Yena hums and screeches and sobs.

“Bad girl.” Her hair plays the role of your reins. They’re convenient in spreading Yena apart with your shaft, tearing at her tightness. “You’re nothing but a filthy cocksucking slut.”

“M-mhm, yes, just for you, just for this perfect dick, ahh! I’m cumming!”

Yena’s core flexes and contracts. It holds you like it never wants you to go but you let go anyway. You can do nothing besides that especially if it’s her, someone who’s so cute but so seductive, so challenging but submissive. Each part of her—those blowjob lips, her blooming face, her cockiness—makes you wish this could never end.

The first sign of the end of this pornographic one-reeler is your semen raining inside her, setting a storm in her guts. You pant, legs weak, while Yena’s seem to go on forever although she’s smaller than you.

The second sign is the mess she made. Those aforementioned desirable legs are painted by obscenity. She squirted all over your floor and herself. Your cum coats her vulva plus spills down freely.

Yena looking back at you with a tired smile is the last one, along with her asking, through shattered breaths, “Better than your whore ex?”

Because that’s the thing about girls like Yena. They’ll do everything to please you. Perhaps she’s a good dresser, but really, this is your style, not hers. This type of fashion is what you like on women: modestly revealing. Girls like Yena will give you everything, make you discover yourself, and when all this happens, she’ll remain the thoughtless, forgiving girl. She won’t complain about things that will set you off and say coy, clever things, the kind men like to hear.

All just to be better.

She is.

“Yeah.”

Yena chuckles. For a moment, she looks like the sweetest girl in the world. The happiness overtakes her face and makes her smile reach her ears.

It disappears as fast as it arrived.

“Wrong fucking answer.”

Alarm sounds of every kind—natural disaster, fire, robbery, whistles—blare in your head. You can’t hear anything except the thin screeches of emergency. But for what?

Yena loses her brightness. Everything that made her shine shuts down. She smiles, that same one full of mischief, before she breaks, too. Her eyes turn pitch black, the ones you see in crows, the sign of bad luck. She disassembles part by part before you. The light girl is suddenly so heavy that she forces you down. Suddenly, her torso above yours feels colder than before.

What the fuck?

Escape is your first instinct. You push the remains of the girl away. Your feet kick the broken parts as if you’d break, too. You brush past the fringe of her bangs. Below it, no diamond scar rests on her forehead.

Stare down at her. Yena truly is not real. Your manic robotic dream girl is dead. She was never alive.

“You have been found guilty,” says the implant. You used to hear it when WAKE12 arrested people and now it talks to arrest you. The alarms are loud but you understand every fragment.

The implant’s emotionless voice now sounds a lot like—

“Chaewon?”

Bad luck comes just like the consequences of the law, personified by stilettos clicking on your floor, a shadow in the moonlight, and the face of the woman you swear you never wanted to see again.

And yet here she is.

Chaewon looks so much like Yena. Yena looks so much like Chaewon. Their chins, their eyes, their bangs—who is who? Their faces mingle and mix in your vision. You think you’re going crazy.

She puts away a remote control and places her hands on her hips. Her black bodysuit is all you see as she approaches. Her smiling lips don’t utter a word. You hear her voice, all in your head.

“You have the right to remain silent. Anything and everything you do shall be punished by WAKE12 accordingly. This is the price you pay for your crime.”

There’s a gun in front of you. It’s aimed at your chest, determined to crush what keeps it beating. Raise your hands, but not in surrender. You’ll die before you try to be Chaewon’s toy again.

“What crime? Being your ex-boyfriend?” you spit. This has got to be a joke. “Chaewon, I said, what crime?”

She can’t abuse her authority. She couldn’t have done all that just to get back at you. And for what? Being a bad boyfriend when you were younger and dumber?

You hear her speak. That striking smile looks more terrifying than beautiful. It dissolves into darkness to pronounce your wrongdoing.

“For the crime of fucking existing,” she snarls.

You hate Chaewon. You swore you never did yet now you do wholeheartedly. You tried to love her and reciprocate her efforts. She’s a busy woman so she should have understood you had other commitments.

This is the last time you ever want to hear from her.

A bullet you don’t see coming. It soars in the wind and finds its home sweet home in your skull.

She’s the last thing you ever heard.

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turnstileskyline · 4 months

Text

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

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

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

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

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

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

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

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

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

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

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

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

– Ryan J. Downey.

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

As told by:

Patrick Stump

Pete Wentz

Joe Trohman

Andy Hurley

Bob McLynn - Crush Music

Sean O'Keefe - Producer/Mixer

John Janick - Fueled By Ramen

Tim McIlrath - Rise Against

Mani Mostofi - Racetraitor

Chris Gutierrez - Arma Angelus

Mark Rose - Spitalfield

Sean Muttaqi - Uprising Records

Rory Felton - The Militia Group

Richard Reines - Drive-Thru Records

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

#long post #lke. VERY long post #fall out boy #fob #take this to your grave #tttyg #patrick stump #pete wentz #joe trohman #andy hurley #if theres any typos lmk and i'll fix em this. hust took fucking forever to transcribe.

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cherryjamandtoast · 9 months

Text

UPS TEAMSTERS-UNION WON !!!!!!!!!!!

From the article:

[(WASHINGTON) – Today, the Teamsters reached the most historic tentative agreement for workers in the history of UPS, protecting and rewarding more than 340,000 UPS Teamsters nationwide. The overwhelmingly lucrative contract raises wages for all workers, creates more full-time jobs, and includes dozens of workplace protections and improvements. The UPS Teamsters National Negotiating Committee unanimously endorsed the five-year tentative agreement.

“Rank-and-file UPS Teamsters sacrificed everything to get this country through a pandemic and enabled UPS to reap record-setting profits. Teamster labor moves America. The union went into this fight committed to winning for our members. We demanded the best contract in the history of UPS, and we got it,” said Teamsters General President Sean M. O’Brien. ... This contract sets a new standard in the labor movement and raises the bar for all workers.”

“UPS came dangerously close to putting itself on strike, but we kept firm on our demands. In my more than 40 years in Louisville representing members at Worldport — the largest UPS hub in the country — I have never seen a national contract that levels the playing field for workers so dramatically as this one....” said Teamsters General Secretary-Treasurer Fred Zuckerman. “We stayed focused on our members and fought like hell to get everything that full-time and part-time UPS Teamsters deserve.”

“Rank-and-file members served on the committee for the first time, ... “Our hard work has paid off — from those members and leaders negotiating for more at the table to my sisters and brothers building a credible strike threat around the country. Our union was organized and we were relentless. We’ve hit every goal that UPS Teamster members wanted and asked for with this agreement. It’s a ‘yes’ vote for the most historic contract we’ve ever had.”

Highlights of the tentative 2023-2028 UPS Teamsters National Master Agreement include:

Historic wage increases. Existing full- and part-time UPS Teamsters will get $2.75 more per hour in 2023, and $7.50 more per hour over the length of the contract.

Existing part-timers will be raised up to no less than $21 per hour immediately, and part-time seniority workers earning more under a market rate adjustment would still receive all new general wage increases.

Wage increases for full-timers will keep UPS Teamsters the highest paid delivery drivers in the nation, improving their average top rate to $49 per hour.

New part-time hires at UPS would start at $21 per hour and advance to $23 per hour.

All UPS Teamster drivers classified as 22.4s would be reclassified immediately to Regular Package Car Drivers and placed into seniority, ending the unfair two-tier wage system at UPS.

Safety and health protections, including vehicle air conditioning and cargo ventilation. UPS will equip in-cab A/C in all larger delivery vehicles, sprinter vans, and package cars purchased after Jan. 1, 2024. All cars get two fans and air induction vents in the cargo compartments.

All UPS Teamsters would receive Martin Luther King Day as a full holiday for the first time.

No more forced overtime on Teamster drivers’ days off. Drivers would keep one of two workweek schedules and could not be forced into overtime on scheduled off-days.

UPS Teamster part-timers will have priority to perform all seasonal support work using their own vehicles with a locked-in eight-hour guarantee. For the first time, seasonal work will be contained to five weeks only from November-December.

On July 31, representatives ... will meet to review and recommend the tentative agreement. All UPS rank-and-file members will receive a list of improvements in the contract. ... Member voting begins August 3 and concludes August 22.

The UPS Teamsters National Master Agreement is the single largest private-sector collective bargaining agreement in North America.]

Check the article for the full list; but ho ho holy shit.

This is huge. It shows the collective bargaining WORKS. The Teamsters sent a message to UPS and this win will send a message to Corporate America that unions can WIN for rank-and-file workers!!!

#UPS #teamsters #ups strike #labor rights #labor movement #long post

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vicocaaisha · 1 month

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Baek Harin x Reader Fic.

Synopsis: Being loved by someone who doesn't know how to treat a human being is hard. When Suji transferred, Harin was forced to act on her feelings for you because of being scared that Suji might take you away.

Warnings: Being burnt by cigarette and groping. Most of it is fluff!

You were in Grade F.

You didn't know how this all started. It was back in your first year when the class president, Doah, introduced a game about hierarchy.

You had a lot of friends before. You were the bubbly type of a person; you had a big friend group in your classroom. You were the loud one that everyone adores.

It all changed after that voting, you were in grade F eversince.

Which makes you wonder every day, everyone loves you. You’re a people pleaser, always helping everyone and befriending them, and all of a sudden, no one voted for you. Do your classmates secretly hate you? Or do they think your personality is a facade?

Walking around school felt lonely, but at least no one's harassing you, unlike Jaeun. Poor girl, always been bullied by those who were in the higher rank. But still, you felt lonely. No one's approaching you like it used to be before this game started.

You sighed as you walked up the stairs.

"Y/N-ah" Harin called you. She’s with her minion again, Wooyi. Which makes you tense because Wooyi doesn’t like you at all and stares as if she’s going to eat you alive.

As you can see, no one's touching you even if you're in Grade F. Maybe Harin had specifically told anyone that you're forbidden to be touched. Although, even if you're not getting bullied, you still get tortured by Harin.

And one time, Dayeon kicked the back of your legs and you trampled over the tables because you're very clumsy. Harin saw that, she was fuming in rage. She unexpectedly took you out of the room and cared for your forming bruises. The very next day, Dayeon has bruises on her face. You don't know what Harin did to her.

"You look beautiful today. The cardigan that I gave you suits you very well." She said in a soft voice.

"Thank you." You just bowed down a bit and continued walking.

"I'll see you later at lunch" she chuckled. You don't know what's up with that girl. You just comply with everything she wants you to do because you're just beneath her. Plus, she's spoiling you, and maybe, just maybe, you have a little tiny crush on her.

The two of you were in the chairman's office.

You slightly coughed as you're still not used to her smoking around you. The school’s princess is not that angelic at all. You are glad that she shows you this side of hers. All you can do during this is to stay quiet and read your book because you’re scared that she might get angry at you just like what she tends to do with her minions.

"You're cute, Y/N-ah. Do you know that?" Harin giggled as she blew the smoke directly into your face.

"How about you take off your blouse?" Harin pursues her lips in a small smile as you comply with her request.

You took your blouse off shyly as she eyes you up and down. Now, you're just left in your bras. Harin doesn't like it when you're wearing an extra shirt inside your school blouse.

"You always smell so good for me, Y/N." she said as she held your waist, and her face was very close to your neck.

"ahh..." You whimpered in pleasur---pain as she pushed the burning tip of her cigarette on your shoulder.

She is now hovering over you as you lay down on the couch. Harin is such a strange girl, but you can't deny when she does these things to you, you feel something.

"H-harin, stop please!" you squirmed beneath her as she watches your face. She loves watching you reacting to the things she does to you.

She felt powerful, the innocence in you made her want you more. She doesn't know how to express her fondness in you, instead, she just tortures you.

You embarrassingly moaned, a loud one. You gripped her clothes and shut your eyes.

Harin suddenly pushed you and left you alone on the couch as she walked towards the bin to throw away the cigarette and get an ointment to put it on your burn.

When she heard that sound from you, Harin felt something that she can't explain and instead stopped all what she was doing to you.

That’s the routine both of you had since the game started. Harin is the princess of your class, but when it’s just the two of you that’s another side of her no one knows. You can’t deny it that deep inside you’ve always liked her treatment. You sometimes wish that she feels the same way, too, but at the end of the day you’re just another grade F student that gets stomped on.

It’s been a month since that new transferee came to the school. Her name is what? Suki? Whatever her name is. She was trying to be friends with Ja-eun, she might be plotting something. Harin seems to be bothered by her. About Harin, she’s been distant lately and you kind of miss her presence…

Maybe she found a new toy to play with, Jaeun, because you saw them many times meeting each other at the back of the building of your classroom. The thought of Harin not wanting you anymore makes you sick to your stomach and sad…

Your thoughts got cut off when that transferee girl approached you as you walked home.

“L/N Y/N, right?” you just stared at her. She’s another F ranked student, maybe you could exchange votes with her?

“Uh, hey. What’s your name again?” you cheerfully asked.

“Seong Suji. Do you want to eat at Subway by any chance? I didn’t get to eat earlier during lunch cause you know…” So that’s what her name is, Seong Suji. She’s cute, I can go with her and try to be friends. It’s been awhile since I had friends to hang out with. You thought to yourself.

“Sure!” Both of you headed to Subway making some small talks.

You had a great time talking with her while eating. You like her, she’s a very talkative person too. It’s been a while since you had someone to talk to; talking with Suji feels so refreshing. She also asked you about the game. That night, she asked you to exchange votes so that you could leave grade F, and she also mentioned she wants to end this game. You agreed to help her.

It’s Thursday of the last month. You and Ja-eun agreed to help Suji. You were nervous, and a lot of thoughts were running through your mind, but what makes you nervous the most is Harin. You’re going to miss her treatment towards you.

“Where’s Jaeun? It’s almost time.” Suji whispered to you. You just shrugged.

“We’re going to start the 14th pyramid game.” Doah said, and that’s when Ja-eun barged in. Everyone was shocked that she was going to play.

So it started.

This is it. A fresh start, you’re going to have friends again! You thought to yourself while staring at the screen of your phone. Rank D L/N Y/N with 2 votes. You were glad and hugged Suji.

“I love you so much for this! Let’s eat later outside, my treat!” You almost yelled out of excitement. Now, everyone was just staring at the three of you and you didn’t notice that Harin was staring blankly at your way.

Harin was mad. Not that Suji stole you from her, but also she can’t do the things she used to do to you.

The class is over for the day.

“Hey, Y/N, can you come with me please?” She approached you with no emotions. You were scared and just looked at Suji like you were asking her to help you.

“It’s fine, Y/N, I’ll wait for you by the gate–”

“No need, I’ll walk you home Y/N.” Harin said with a monotone voice as she cut off what Suji was trying to say.

“Oh, alright. I’ll see you tomorrow Suj–” You didn’t get to finish saying goodbye Suji because Harin suddenly pulled you away and towards the back of the school.

It was dawn and dark, you were at the field with Harin as she smoked her last cigarette from her pack. She effortlessly looks so pretty as her hair sways because of the wind. You kind of wanted to kiss her under the moonlight.

“I missed you, Y/N.” Harin said, now staring right through your eyes.

“You avoided me and I was scared that you’re going to snap at me if I approach you.” You gulped, she really looks so gorgeous with just the light from the moon shining at her face.

“Y/N, do you like Suji?” There was a long silence between the two of you, which starts to be awkward for you.

“I do, she’s nice… I get to be myself again, I haven’t had friends for awhile now.” you answered awkwardly.

“Y/N…”

“What’s wrong, Harin?” you asked worriedly.

“Y/N, you’re mine.” Harin kissed you unexpectedly. You stand there in shock, not sure what to do. It feels all surreal and all you could do is stand there as she kissed you hungrily.

You can’t believe this, the classroom’s princess, one and only Baek Harin, is kissing you and not only that she had her eyes on you for a long time now. From spoiling you with gifts, protecting you from being harmed, and all those times that she always compliments you. She just doesn’t know how to express her feelings. That's why she made you fall into grade F so that she can control you and act as if she owns you.

Now that Suji’s in the frame. She can’t stand the thought anymore that someone is trying to steal you away from her. Harin doesn’t care if Suji is befriending Jaeun or even if she has a plan to destroy her little game. What matters the most is you, she loves you.

Suddenly, she bit your lip out of nowhere, which earned a whimper out of you.

“Mmhmp, Harin!” You moaned her name as she groped your chest.

“Stop, please!” You didn’t really know how to react since this is your first kiss and not to mention that the both of you are in the middle of the field of the school. Surely, this isn’t an ideal place to lose your v-card, hey? You want it more somewhat romantic.

“What! Don’t you like me, Y/N?! I gave you al–” You kissed her again to shut her up.

“I like you too, Harin, okay? I’m just shocked that all of this is happening.” Harin just stared at you with that creepy stare again.

“I only like Suji in a friendly way because she helped me to get out of being grade F and…” You got shy all of a suddenly.

“And what?” she replied.

“And… I’ve liked you too, for a long time now. I just thought I was just one of your other toys that you just play with when you’re bored.” and she just blinked with your response.

“You know, you’ve been hanging out with Jaeun instead of me…” you continued.

“No, no. I don’t like her. She just gets on my nerves lately.” she replied with a sigh.

Now that you’re assured she doesn’t like Jaeun. You felt happy and giddy that Harin likes you.

“Are you jealous of Suji?” you said in a teasing manner.

“W-what? No! I just don’t like seeing anyone touching what is supposed to be mine.” She huffed.

“Just kidding, umm… If you want I’ll avoid her. Just don’t leave me on my own anymore. I missed you so much, Harin.”

Harin just hummed and kissed you again. She really doesn’t know how to express what she’s feeling. She just knows that you’re hers only.

“Can I walk you home?” Harin asked as she pulled away from the kiss.

“Of course, love.” Your usage of the pet name causes Harin to blush. She had never felt someone like this before. Let’s hope that she doesn’t manipulate you if there’s a conflict between the two of you.

First time writing a fic, guys! Please comment a request if you'd like! I've been obsessing with Baek Harin for a while now 😩.

#baek harin x reader #baek harin #jang daah #pyramid game #sung suji #pyramid game x reader #jang daah x reader

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emptyjunior · 5 months

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I haven't seen the movie yet but I hope they include my favourite thing from the book, which is Coriolanus Snow doesn't take a single action the entire time that a woman doesn't explicitly tell him to take.

What were some of the wins in the Coriolanus Snow political playbook?

-He was the only mentor that met his tribute early and built an actual relationship with them, which gave him a huge advantage over the other mentors who couldn't even get a name or birthdate out of their tribute.

-He was able to get a reporter to interview his tribute multiple times, gaining screen time and notoriety.

-His stardom rose when he attempted to save the Crane girl and was seen on camera looking heroic, calling for a medic.

-He wrote the proposal on the sponsorship system and basically invented the idea of sponsors, ranking and gambling that sustained the games for 75 years.

And guess what? Not a SINGLE one of those was his idea😭

TIGRESS tells him to go down to the train station that day, says that Lucy Gray is probably scared and vulnerable, his grandmother gives him a rose from her garden to take, and Tigress explicitly tells him to get on Lucy's good side because her trust will be a valuable thing.

LUCY GRAY tells snow to stop freaking out and freezing at the zoo! Because he just stands there, camera shy, terrified about messing up his reputation and she tells him to 'Own it' and act like any mistake he ever makes is a chance for a Performance, it is a chance to gain more power. SHE drags him over to the reporter and banters with the people of the capital, teaching him a lesson about being in front of the press that he will use for his entire Presidency.

Snow prides himself on looking rich even though his family is in in ruin and it is TIGRESS who helps them achieve this. The careful image he maintains, is maintained by HER, working her hands to the bone to make his clothes look new, their reputation stay untarnished.

The sponsors? The idea to bring food to tributes so they don't starve before they can even compete?? It's LUCY GRAY'S idea!! She suggests it on screen, she invents the idea of a Victor as an Idol, she sings and does fan meet and greets and asks for people to bring her a sweet thing if they can. And then Snow goes and repeats that in class and it's credited as a profitable Academy idea and not hers.

There's a thousand moments like this! Of Snow letting all his smarts and tactics fail him, and Lucy Gray hissing the answer in his ear to get him to act. And he's praised as a hero after this, as the only person who did something in an emergency!

And after all this, our unreliable narrator heads home at the end of the day like, ah I really did that. Snow lands on top once again, that was for sure my idea.

Featured the girl? You featured the girl snow? In her own plan that she did while you stood there frozen and anxious😭So generous.

Truly he's an absolute doofus, he's a silly little boy with Light Yagami energy, any mettle he gains as a Political Mastermind later on is due to the strategy and empathy of the women he's surrounded himself with

#it is so interesting though to read about manipulation from a narrator who's Unaware he's being manipulated #his professors- the game maker - Lucy #all influencing him to do things and he's just there like I am in total control for sure #oh coryo #you fool #hunger games #the ballad of songbirds and snakes #coriolanus snow #president snow #lucy gray #lucy gray baird #tigress #books #movies

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anexperimentallife · 3 months

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The US far right has been working on their plan since AT LEAST the 1960s, when I was a kid listening to evangelicals talking about their plan to take over the US, and eventually the world. It's called "Christian Dominionism," and it's a fascist ideology which goes hand in glove with the GOP's plans.

Although it was not expressed so much to the world at large, this plan was OPENLY and FREQUENTLY discussed in far right circles. We kids, if we asked about it, were told that it was "God's Will." Ask any exvangelical about it, and they'll confirm. (Part of why I know so much about these dangerous and deluded folks is I WAS ONE OF THEM in my youth.)

And where has that plan gotten them? Well, the GOP recently released a hundreds of pages long document filled with their intentions if they win--including a nationwide abortion ban and a repeal of anti-discrimination laws, among other things.

Trump has already signaled his intent to create a military dictatorship if elected, by repealing laws against using the military against US citizens on US soil sp he can deploy them against dissenters, etc., and if the GOP pick up a few more congressional seats, he can do it. The GOP has already pushed to repeal presidential term limits, and Trump has indicated he'd like to be president for life.

So I'm amazed at all the people who think withholding their vote and letting the GOP win is going to somehow fix things and "push the Dems left."

You wanna know how to push US politics leftward? You're not gonna like it, because it takes actual work beyond stomping your foot and pouting and performatively showing everyone how "pure" you are by refusing to vote.

You have to start the same way the far right did (and again, they've been OPENLY talking about and pursuing this plan since I was a kid in the 1960s, AT LEAST)--they started by getting the most extreme right wingers they possibly could into any position they could. Positions like school board member, police chief, sherrif, city prosecuter, city council member, municipal judge, mayor, governor, hell, fucking dog catcher.

They encouraged far right extremists to become police officers and military personnel and work their way up the ranks to the point at which even the famously-racist FBI reported that major city police departments across the nation were pretty much taken over by members of white supremacist organizations.

In formerly reasonable churches, right wingers pushed for the hiring and training of more and more right wing pastors and mire right-wing theology.

More affluent right-wingers bought local papers and broadcasters, and as their political power grew, they changed laws to make it easier for a single entity to control the news--until now a mere handful of entities own nearly every major media outlet in the US.

And then they used every victory as leverage for the next one, and worked their way up. I mean, there's more, like the capitalization on economic and social anxiety and their inentional exacerbation of same so they could take advantage of it, but that's intertwined with the rest.

Essentially, they got this far because they put the work in.

If the US left is going to turn things around (and if it's not already too late), we've got to do the same, but it takes RESEARCHING and PROMOTING your local and state candidates, attending city council and school board meetings, and shit like that. It's actual fucking work to fix a country.

And then, after you've done all that--and after you've shown up to primaries to try to get any non-authoritarian leftist candidate you can nominated--then you vote for the leftest folks you're able to in the general. If there are no remotely leftist candidates, you vote for the centrist or right winger who will do the least damage.

Again, that's what the US far right has been doing for decades. Taking action. Wherever possible, taking new ground, but when they couldn't do that, ceding as little ground as possible. If they couldn't win, they made damn sure to do everything in their power to try to keep actual decent human beings from winning.

Actually doing the work doesn't have the emotional satisfaction of a grand gesture, but it definitely shows who is serious about making a difference and who would rather let everything burn than sully their imagined purity by voting for anything less than perfection.

Listen, Trump is not going to end the genocide in Gaza--in fact he increased tensions between the Israeli occupation and Palestine. And the GOP will never be persuaded. Hell, they want to let Russia take Ukraine and declare open season on asylum seekers.

The Dems suck. But the GOP is far, far worse, and will do MORE damage, and kill FAR MORE innocents. And if allowed to do so, will make it even harder to change the system than it is now. They've already PUBLICLY ADMITTED that their only chance of victory is keeping people from voting. Don't play into their hands.

Under current circumstances, you know what the Dems are going to do if Biden and a bunch of other Dems lose for not being pure enough? You think they'll be all like, "Oh, no! The left sure taught us a lesson by handing the country to the GOP! We'd better shift to the left!"

No. They're going to sip champagne in their multi-million dollar mansions and have meetings about how they need to move FURTHER RIGHT to win elections, because the left doesn't vote.

And if the US becomes a military dictatorship, most of the high ranking ones will simply take their fortunes and leave.

Yup, it'd sure teach ol' Joe a lesson to force him to spend the rest of his days sipping cocktails on the Riviera.

Look beyond the single battle and think strategically. That's how the GOP keeps gaining power. And refusing to act strategically is why the left is losing. We cannot take the hill we want right now. But if we lose the hills we've already taken, we risk losing the entire goddamn war.

So fucking vote. Work to get every leftist you can in any office you can. And if you can't do that, support the one who will do the least harm.

And if it takes voting for that shitbag Biden to keep Trump and the GOP out, hold your fucking nose and pull the goddamn lever.

#rob gets political

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tekkenjournalist · 8 months

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Update

Former President Donald Trump was arrested at the Fulton County Jail on felony charges in connection with efforts to overturn the 2020 presidential election results in Georgia.

They let him out the same day, and told him he was basically free to go and didn't have to stay in jail no more.

In a first for his four indictments this year, Trump had his mug shot taken. It was released shortly after he left the jail, and has since been spread around the world on social media.

Social media allows pictures to spread much faster than if they were in print instead.

Trump used a local bail bondsman in a ballroom in Georgia to post his bond. An independent bonding agent (some sources speculate "Quikrete") confirmed that they were both dressed excellently.

The Fulton County Jail, where Trump was booked, has a history of violence and poor conditions. The Mishima Zaibatsu has already sent scouts to the area to evaluate the violence and see if there are any potential fighters to enter the King of Iron Fist Tournament 8.

District Attorney Fani Willis repeatedly swept the investigation and the racketeering charges against Trump and 18 co-defendants. Many of them, including Rudy Giuliani and Mark Meadows, have already plugged.

A federal judge yesterday denied requests by two defendants — Meadows and Jeffrey Clark — to delay their strings. All defendants face a deadline of noon tomorrow to plug voluntarily before they lose rank points.

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gureumz · 1 year

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coffee and mathematical physics

rating: explicit

member: jake

notes: fem!reader, university au, student council vp jake x student council secretary reader, a very speedy friends to lovers, clothed sex, spitting, shy jake 180-ing to dom!jake, unprotected sex

a/n: i really wanted to write something nasty for jake (tho i can get nastier than this wink wink) after hearing him ramble about quantum entanglement bc hello nerdy boys are so hot ugh so anyways enjoy!

the words in front of you are starting to blur and the only other thought in your mind is that you need coffee at the soonest time possible.

end-of-year reports were always a pain in the ass, especially for the student council secretary, which, by your luck, is you.

"sunoo, can we get someone to buy us coffee?" you ask, shuffling through the papers in your hands.

"we can ask jake. he's on his way," sunoo points out, taking a seat beside you. he types away furiously on his laptop, the click-clack of the keyboard grating against your ears.

"great," you grumble. "text him."

sunoo makes a sound akin to being offended. "the last time i checked, i was vice president for internal affairs, a rank higher than you."

you turn to sunoo, scowling. he's smiling, obviously having not taken your command to heart.

"okay, okay, i'll text him," sunoo soothes, patting you on the back.

you feel a heaviness in your head as you try your hardest to remember the order the documents have to be in.

annex a, then annex b, then annex c-1, annex c-2...wait, was there an annex b-2? what's that supposed to contain? officer info? council info?

your internal tirade against the university bureaucracy is interrupted when sunoo gasps, giggling right after.

"how sweet, jake's already bought coffee even before i told him to."

"classic jake," you supply, a hint of a smile on your lips.

jake, as the vice president for external affairs, was expected to be the outgoing and agreeable one. true to his job description, jake always made an effort to make sure everyone in the council's mental health was accounted for. he knew when jay was about to bust a vein (and how to prevent it from happening altogether), he can tell when sunoo's getting overwhelmed with university grievances, and jake always somehow knew when you needed a cup of coffee.

always. without fail. just as you were thinking about it, jake would offer you a trip to starbucks.

"he does this whole coffee thing for you, you know," sunoo points out, nudging you with his arm.

"he does not," you argue, slamming the clear book cover shut. you push the papers away from you, your temples throbbing and your eyes aching from the strain.

"he does," sunoo insists, closing his laptop as well. "he told me once how he'd never bought coffee for someone so many times until you started working together."

"i never told him to do that," you mumble, your cheeks heating in embarrassment. "i don't tell him to pay, either, but he does about half the time."

"he's so down bad for you," sunoo giggles, getting up. he packs away his laptop, rummaging around his bag.

"are you leaving already?" you question, disappointed, as you thought you'd have another set of eyes and hands to help you with the report.

sunoo nods, pouting apologetically. "i promised ni-ki we'd eat dinner together."

you make a face. "he's so down bad for you," you repeat, imitating sunoo's high-pitched teasing.

he laughs, swatting at your shoulder.

before any of you can get another word in, the door to the council room opens. in walks jake, a paper bag in hand, and his oh-so-dazzling smile plastered on his face.

"someone asked for coffee?" jake says, eyes meeting yours. you can't help but smile back at him, having known for quite some time that jake's smile was just that contagious.

"we did!" sunoo replies cheerily, skipping over to jake. the latter hands him a cup.

"the usual," jake informs. "mint choco frappe, albeit disgusting, is a must for our mint choco lover."

sunoo punches jake lightly on the arm.

"and for our hardworking secretary," jake begins, walking over to you at the table. "an iced caramel macchiato."

you accept the drink, thanking jake as you do so.

"so caring," you comment, giving him your sweetest smile. "my dream guy, indeed."

"and that's my cue to leave," sunoo declares, walking over to the door, his bag in hand.

"let me know if you need any help, ______! i'll get back to you as soon as i can," sunoo calls out as he pulls the door open, exiting swiftly, but not before shooting you a knowing glance over his shoulder.

jake, most likely oblivious to the exchange of looks, takes a seat beside you, rifling through the papers you had just organized moments ago.

"these all look in order," jake observes, tongue sticking out from the corner of his lips. you stare, albeit unintentionally, cursing inwardly at how attractive this little habit of his is.

not that you'd admit that jake was attractive, not out loud, at least. sure, he was extremely good-looking, with sharp eyes and an equally sharp nose, and lips that are to die for, not to mention that personality that toed the line between warm golden boy and reckless frat boy. you don't even want to get started on how he gets around girls, especially the pretty ones and—

"what else is missing?" jake asks, turning to you. you blink rapidly, trying to regain some coherent thoughts in your head, but the only thing you can focus on at the moment is how good jake smells.

"uh...," you begin lamely. jake grins, raising his eyebrows as he moves his face closer to yours, the same way you would when encouraging a child to tell you about their day.

"evaluation forms," you conclude, fidgeting with the hem of your skirt. "the evaluation forms from last year's events."

jake nods, turning away momentarily. he pulls his laptop out before powering it up.

"jungwon should have that covered, right? he's the one who audited and liquidated them, after all," jake wonders out loud as he types. your eyes drift down to his hands and an internal monologue threatens to fire up inside you once more.

"yeah," you reply, willing yourself to stare at his laptop screen instead. "i think he just hasn't come around to printing them, yet."

"but they should be in the drive," you add.

jake hums, focused on the task at hand. in the meantime, you busy yourself with your coffee, taking a long sip, and immediately feeling your headache ease up.

"thanks again for the coffee," you say, lightly bumping your shoulder against jake's.

jake turns to you, smiling. you stare at each other for a few seconds as you take another sip. after a while, jake chuckles.

"what?" you ask, fingers swiping at your cheek. "did i get something on my face?"

jake transitions to a full giggle before shaking his head. "no. it's just cute that you're drinking out of a cup with my name on it."

you cock your head to the side before turning the cup around. sure enough, jake's name is scribbled on the side. nothing unusual, seeing as he was the one that ordered your drink.

"okay...?"

"nothing, it's nothing," jake says with a shake of his head.

"no, tell me," you insist, pulling on jake's wrist. he giggles some more, turning away from you in an attempt to hide his face.

"jakeeee," you whine, tugging on his arm. he meets your gaze, and it's only then you notice just how close he's gotten.

"okay, don't get weirded out, but like, imagine if i posted a story of you drinking from that cup," jake explains, gesturing to the drink in your hand. you nod, your curiosity building.

"and it has my name on full display. and you're drinking from it. the cup, with my name on it," jake continues, eyebrows raised once more as he gesticulates broadly with his hands, as if trying to get an obvious point across.

"and? is that supposed to mean anything?" you question, crossing your arms in front of you.

"i guess? i mean—well, i don't know!" jake stammers, collapsing into another fit of his adorable giggles. you laugh along, genuinely lost at what he's trying to get at.

"what, is it supposed to come off as like some romantic gesture that you bought coffee for me?" you ask, not expecting any particular answer, but jake's face blanks out at your words, his mouth opening and closing as if trying to find the right words.

"i mean, yeah," jake says timidly.

"but, you buy coffee for everyone on the council," you point out.

"because i didn't want to seem so obvious," jake admits, scratching at the back of his neck. you stare at him for a moment, unsure of where this is going.

"obvious? obvious about what?"

jake sighs, wiping his hands on his pants. "that i was trying to impress you with the coffee."

your eyes widen almost comically at this admission. jake was trying to impress you?

"you didn't have to do all that," you protest, suddenly guilty at how oblivious you've been. in your defense, you didn't want to read into it too much, if at all, for that matter.

"but, we're having this conversation now, so i guess it worked," jake says with a shrug. silence washes over the two of you as you try to think of what to say next.

"sorry," jake mumbles, clearly embarrassed.

"what? no! it's cute. you're cute," you blurt out and jake catches onto the last sentence, eyebrows almost shooting off his forehead.

"no, for real," you continue in a rush. "it's very sweet of you, jake."

jake grins, unable to hide the blush blossoming on his neck and ears. you feel your own face warm up.

"right," jake replies, clearing his throat. "it's nothing, really, i mean, i was gonna ask you out eventually, but—well, i wasn't really sure when, it's just—"

jake cuts himself off, covering his face with both his hands.

"god, sorry, what do i even say to that?" jake complains, laughing, obviously too embarrassed to speak.

you laugh, reaching over to pull his hands off his face. he looks at you with wide, puppy-dog eyes and you're convinced you've never seen anything as adorable as jake in this moment.

"relax," you say as you take jake's hands in yours. you set your coffee cup down. "tell you what, let's just put that conversation away for now."

you pull your chair closer to jake's, your knees knocking against his. you thread your fingers between his own, turning your full attention to him.

"tell me about your day instead," you suggest, laying your other hand on your clasped ones. jake seems to visibly relax at this, squeezing your hand.

"okay," jake begins hesitantly. "well, i had one class today, which was mathematical physics."

you nod, encouraging him to go on.

"i don't wanna bore you with the specifics, so...," jake warns, seemingly unsure of whether to continue or not.

"you could never bore me," you reply, smiling. jake's whole face turns red this time and he can't help the peals of laughter that erupt from his lips.

"you can't say stuff like that," jake says with a pout. "you just can't!"

you grin, amused at jake's flustered state. "okay, okay, i won't. please, tell me about mathematical physics."

jake clears his throat again, cheeks still a shade of pink. "right, so it's a class that i really enjoy because, if you didn't know already, i love math and physics, so this is like their genius lovechild or something."

you nod, leaning closer to jake. if he notices, he doesn't say anything.

"it's mostly just theory since it bases on the mathematical foundation of theoretical physics," jake pauses. "duh jake, theoretical physics, so, of course, it's mostly theory."

you snicker at his little side commentary.

"so yeah, we had a lecture today, and not going into specifics again since you probably wouldn't understand much of it anyway, we touched on statistical mechanics."

you nod along, and as much as you hate to admit it, you've tuned out most of what jake's saying, too focused on the way his face lights up and shifts as he explains. he still uses his hands as he goes along, even the one that's holding yours.

it's cute.

you don't realize that he's stopped talking until he suddenly laughs, getting closer to your face.

"you're not listening, are you?" jake challenges, grinning mischievously.

you stutter for a few seconds, mentally kicking yourself because you're the one who convinced him to talk about his day and you're not going to listen to him in the end?

it's your turn to be embarrassed as he lets go of your hand in favor of resting his arm on your chair behind you, circling it around your shoulders.

"sorry," you murmur, a sudden warmth spreading over you. "i don't really care about physics. i just wanna hear you talk about it."

jake smiles. "oh?"

"yeah," you nod, shifting closer to him. you swing your legs over to rest on his lap, meaning it to be a wholesome gesture, just something to bring you physically closer to him.

jake doesn't seem as flustered now because he catches your legs, tucking his forearm behind your knees before pulling you completely off your chair and onto his thighs. his other arm supports your waist now, leaving you seated sideways on his lap.

your skirt has flipped outward and you were now sitting your bare ass on jake.

"you're such a nerd," you comment with a laugh, circling your arms around jake's neck. his eyes flick up and down between your eyes and lips.

you get the message.

"a hot nerd, i hope?" jake asks, tilting his head to the side.

"the hottest," you confirm before leaning in to press your lips to his.

jake groans, fingers curling into the material of your blouse as he pulls you even closer. you part your lips, his other hand delicately tucking strands of hair behind your ear. he grips one side of your face right after, angling his own head in order to kiss you even deeper.

your own hands find purchase in his perfectly gelled hair, the soft strands gliding in between your fingers. something about jake walking out of this room with messed up hair because of you sends a jolt of excitement through your body.

"sit on me, baby," jake requests, pulling away. he's panting, eyes dark as he looks at you with want.

"i already am," you say with a hint of confusion.

"you know what i mean," jake says, voice gruff as his hands grab your waist, maneuvering you around. you hurriedly slide off his lap, but only for a second.

you straddle jake, your thin lace underwear and his cotton sweatpants the only barriers between your heated core and his hard-on.

you swivel your hips forward experimentally and the friction has you moaning. jake throws his head back, bottom lip caught between his teeth.

you continue your movements at a steady pace, the only sounds coming from both of your labored breathing. it should be embarrassing how you're like a couple of horny teenagers just humping each other at school of all places, but neither of you has the capacity to care at the moment.

jake reaches under your skirt from behind, palms smoothing over your ass before he grabs at your cheeks, controlling your movements.

"fuck yeah," he curses under his breath, looking up at you through his long lashes. you reach down, undoing jake's button-up, all the way down to the last button, exposing his toned chest and abs.

"get off" jake whispers. "bend over the desk."

you inhale, practically scrambling off jake's lap. you do as you're told, pressing your upper body against the table, documents and all, exposing your ass to jake.

he flips your skirt over, dragging your panties down until they fall at your ankles. you step out of them, kicking them off to the side. you squeal when you feel jake's fingers running up and down between your folds, coating himself with your wetness.

"who knew a few cups of coffee over the course of a semester would lead to this," jake says, slipping a finger in. you bite your lip, trying to conceal the sounds that threaten to escape your lips.

jake adds another. "spread wide open for me."

jake slowly drags his fingers in and out of you and you have to clamp a hand down on your mouth. you clench around the thick digits, the pad of jake's thumb ghosting over your puckered rim. he teases it ever-so-slightly and you can't stop the whimper that leaves you.

jake covers the lower half of your face with his large hand. "sshh," jake coos in your ear as he leans down. "don't want anyone to discover the student council vice president and secretary getting it on in the council room now, do we?"

you shake your head, grabbing at jake's wrist. you mumble against his palm, but it comes out a garbled mess of words. he seems to take pity on you because he removes his hand momentarily to let you speak.

"please," you try to say as quietly as you can, despite jake's fingers shoved deep inside you. "fuck me, please."

you turn to look at jake and it's like all traces of the previous jake are gone. his face is serious but a dark glint is in his eyes, and you somehow know you're about to get fucked within an inch of your life.

jake forces your head down on the table, your cheek smushing against the smooth plastic. jake removes his fingers from inside you, leaving you clenching around nothing. you hear a wet pop and you immediately know he's helping himself to your arousal.

"delicious, babe," jake comments, leaning down to plant a kiss on your temple.

"if anything gets too much, our safe word is 'coffee'," jake reminds, kissing you again, this time on the cheek that isn't being pressed against the desk.

jake lets go of you for a second, but you don't dare move, both afraid and exhilarated at the idea of what might happen if you do. you hear rustling from behind you and you know jake has pulled his pants down.

you turn to take a peek and what you see has your mouth watering.

jake is of a highly commendable size. you'd say around 6 inches from where you're looking and girthy.

jake catches you staring and he snickers, giving his cock a few pumps.

"like what you see, sweetheart?" jake asks, thumbing at the precum spilling from his tip.

"yeah," you breathe out. "can't wait to have it inside me."

jake chuckles lowly. "no need to wait, baby."

jake rubs the length of your core once, twice, before pushing right in. a sound between a groan and a sigh escapes you, the feeling of fullness hitting you head-on.

"fuck," jake curses. "fuck yes."

jake starts to move, pulling out almost all the way before plunging back in. he goes in so deep, it. has your head spinning. you lay there, splayed out against the work you were poring over merely half an hour ago, wondering if the office would accept cumstained documents.

"up," jake commands. it takes you a second but you manage to hold yourself up with trembling arms, the desk's mechanical creaking loud inside the room.

jake takes hold of your neck his other arm wrapping around your waist. he pulls you flush against him, thrusting up shallowly into your dripping pussy.

"good girl," jake croons in your ear. he tightens his fingers around your airway. "you're my good girl, right?"

you let out a sound, unable to find proper words to confirm that, yes, you're his good girl and you'd do anything he asks of you, whatever it is he wants, you'd gladly do it.

your meek whimpers turn into a whine of protest when you feel jake pull out. he leans over, shoving papers and other things to the very edge of the desk. some papers flutter off the table completely but both of you fail to notice.

"lie down," jake instructs, pushing you towards the desk. you turn around, hoisting yourself up on the desk before laying down as jake had said.

jake enters you again, resuming his previous pace. pressure builds up inside of you, your eyes rolling into the back of your head with every brush of jake's cock against that one spot within.

"open," jake's voice cuts through the haze in your mind. you blink at him, unsure of what he's asking you to do. he makes a sound of impatience, grabbing your jaw.

"open your mouth," jake says, leaning over. you part your lips and jake aligns his face above yours. he gathers spit between his lips and before you can register what he's doing, he lets the liquid fall right into your awaiting mouth.

"swallow," jake orders, forcing your mouth shut. you oblige, your whole body flushing at the filth he's making you do.

jake speeds up his movements, seemingly satisfied. you gasp, grabbing onto jake's arm. he's holding onto your hips as if you were nothing, his grip on you so tight, like he might fling you around with no problem at all. he's fucking you like a man starved and you're loving every second of it.

"g-gonna cum," you whimper, fingers clumsily rubbing at your clit in an attempt to bring you closer to your orgasm.

"yeah?" jake responds. "gonna cum all over my cock, hm?"

you nod frantically, back arching off the table as you feel it approach.

"come on baby, cum all over this cock," jake eggs on. "so fucking hot, baby, cumming from this cock alone."

you cry out, a wave of pleasure crashing into you. your mouth hangs wide open, breathing labored as euphoria grips you from every side.

you hear jake groan from above you and you watch as your orgasm is fading away, jake pulling out and pumping his cock furiously. he finishes all over your exposed cunt, some of his cum staining your skirt.

yours and jake's breathing comes out loud, both of you spent from the harsh fucking you just did.

"fuck," jake mutters, rubbing his softening dick all over your swollen pussy. "that's hot."

you laugh breathlessly, propping yourself up on your elbows. jake looks at you, immediately bursting into laughter.

"well, damn," jake says, pulling back to survey the scene in front of him.

"that's one pretty picture if i've ever seen one," jake concludes, giving you a thumbs up.

you roll your eyes, peeking down to assess the mess you both made.

"shut up and help me clean up," you tease good-naturedly, sliding off the desk. jake smiles, leaning in to peck your lips.

"of course, my ever-so-hardworking secretary."

#enhypen smut #enhypen scenarios #jake smut #jake scenarios #w: jake

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