#but i may update it later if i think of more things

[copperbadge]

Just talking some Shivadh Romances stuff out to myself, but because I have no inner monologue, I'm actually talking it out to all of you -- aren't you guys lucky :D

I did a bit of cleanup on the Chicken Salad War working document today, and aside from a few iffy points to navigate I think I've got it pretty much laid out. There's 25K words complete, so in theory I'm roughly halfway through the book. It's closer to 1/3 complete in terms of pure timeline, because the book covers from mid-May 2023 through the end of the summer, and at 25K words I haven't quite hit July yet. But much of May and June were groundwork, and the rest is outlined, so I expect July and August to take up slightly less real estate, just more important real estate.

I'm pretty sure it'll come in under 80K, which was the goal. Short and sharp, this one, at least I hope.

The football novel is its own mess, but I'll sort that out later, and then I have a couple of options. There are some time constraints; I need to write the "roman ruin" novel soon, because that has to happen before Gerald finishes collectivizing the estate, and I also need to write Ophelia's Ofelia's (fucking autocorrect) novel soon, since that one is meant to take place during the transition in Galia from monarchy to democracy. So those are, in theory, the next two on the slate.

After that it's the "legalizing davzda" novel, and then from there things are a bit more amorphous, lots of ideas but nothing concretely laid out -- three different historical novels I could work on, or I'm also considering a story about the Duke of Marliave, and one about AI. The AI one was a lot more fun sounding a year or two ago, admittedly. And I'd like to revisit Santa Luna, if for no other reason than it means I get to use the title "The Santa Luna Literary Criticism and Practical Magic Society" referencing Ceece's book club that is also possibly a coven; that could offer an update on Noah too, since by then he'll be at UCSC and sailing to Santa Luna on weekends to hang with the Ramblers.

It's ambitious, and who knows how much will actually get done, but there is a certain level of drive to completing these things because it means all these bits and pieces of stories I've written can be pulled together cohesively. So we will see...

[raayllum]

for @kradogsrats

It takes the third time of Viren shutting a cupboard more firmly than he needs to for Kpp'Ar to sigh, raise his head, and ask, "What is it this time?"

At his best, Viren is dutiful if prideful as a pupil; at his worst, he is frequently stressed and, when bothered enough, moody and bad-tempered. This seems to be a combination of all simultaneously, as he's kept his eyes on the records book Kpp'Ar had assigned him to update all morning, and his concentration hasn't wavered, but... his mood has only soured as the day has gone by.

Viren glares at him, running a pale hand through his hawkish mop of brown hair, freshly anointed wedding band glinting, and Kpp'Ar thinks for a moment his apprentice won't say anything when Viren grits out, "Lissa's pregnant."

Kpp'Ar nearly drops his wrench, the clock on his work table not quite tuned right. He turns, a strange swooping sensation in his stomach. "Oh."

"We knew... we thought we wanted children. But not now." Viren buries his face in his hands, sighing deeply. "I don't know what we're going to do."

Kpp'Ar is quiet, each word sticking in his throat less measurable than the last. What does he know about having offspring? If there's one thing he's avoided more than people, it's tiny, wailing, squishy-faced people who can't control their own thoughts and impulses.

Finally, he says, "Don't be daft. You'll do quite well for yourselves. You have the castle to live in, and—"

"There's more to raising a child than putting a roof over their heads," Viren snaps. He crosses his arms like the petulant child he may raise. "Not that my father would know," he grumbles in a lower voice.

Kpp'Ar rises, reaching for his cane and wincing. His joints are always worse this time of year, and Viren's crisis isn't worth it, maybe—the man is dedicated and singleminded to a fault, so long as he pays the child proper attention, there shouldn't be many issues—but...

Kpp'Ar curls a hand over Viren's shoulder. "So long as you show up, and love them, I'm sure you'll be a perfectly adequate father."

Viren's lips twitch. "That seems like an awfully low bar." He straightens, puffing his chest out slightly. "And I intend on being far more than adequate."

"There you go," Kpp'Ar says, moving back to his bench. "Treat it like you have something to prove, and you'll have an easy path laid out ahead of you."

As easy as parenting can be, anyway.

"It cannot be that straightforward," Viren says, his mood gone, eyes alight with amusement.

Neither will ever admit it, of course, but Kpp'Ar knows—secretly—that they both enjoy the intellectual challenge of their constant bickering as much as any other pursuit of their partnership.

"You have good intentions," Kpp'Ar counters. "Many fathers do not even have that."

"Hm." Viren goes and pulls down a flask from one of his stores in the walls, taking a swig.

Six months later, Viren and a smiling Lissa bring by a little boy with blue eyes and wisps of golden hair, and an only slightly squishy looking face. The old cogs of Kpp'Ar's heart stir in ways he didn't think he was capable of.

He makes the boy trinkets, and his sister too, when another one follows a year or so later.

Soren is frail and dying the last time Kpp'Ar sees him, a father's fury in Viren's eyes. Good intentions, Kpp'Ar thinks, as the gold swallows him up.

(You know what they say about hell.)

[peachysunrize]

Hello, love your blog!

Do you have any fic recommendations on ao3 or here that are green centered and well written? They can be longer, time travelling, slow burn, smut or not.. Everything really. It's so hard to find good fics that are pro green or at least neutral. I can also recommend a few if you're interested. For example, if you like Rhaemond, there is a great fic by daylander1000 "See, what had happened was...". It's an amazing analysis on Aemond and Rhaena as children and later as adults, still unfinished but I'm looking forward to the updates. The characters are so well written, not only the main pairing, but also Alicent and Criston which is always a bonus. There is also Aegon/OC fic called "Burning jasmine" by scaly freaks, then "Witchcraft in your lips" (this one is Aemond/Sansa which might be unusual, but is amazingly written, also not finished yet). Finally, there is a fic called "The dragon and the tower" that I thought at first I wouldn't like because of the pairing (Daemicent) but it turned out to be great. Highly recommend all of these.

Anyway, if you have any other fic recommendations, I would like to check them out. Thanks in advance!

Hello, lovey!! Thank you so much for your kind words and THE FICS OMG I WOULD LOVE TO READ THESE!!! I’ll read them asap<3

As for recommendations, let me give you some of the best fics I’ve ever read! (Numbers are not rankings) you may have read some of them, but these are my always go to fics!

1. Children Of The Empire by glasscandlegrenades on ao3: Aemond x reader, neutral but sides more with greens. The author’s writing skills are god tier. Still ongoing, strong!niece!reader, fluff angst smut and everything! Even dad aemond would I absolutely adore!! Aemond is so canonically written, he’s not massively cruel, and everyone is written just perfectly.

2. So many fics by @inthedayswhenlandswerefew (she’s also on ao3!)

Now I’m Covered In You -> Aemond x reader Wars Of The Roses au, sooooo much angst and fluff. This story was the first thing I read from Maggie, and now I’m obsessed with all of her works. Pro team green, reader is Aegon’s wife👀

Have You No Idea That You’re In Deep? -> Aemond x reader, pro team green, angst angst angst angst mixed with fluff and smut, Aemond is so canon like I can’t tell you how much I love this fic’s Aemond.

When The World Is Crashing Down -> Aegon x reader, pro team green, oh the angst but their relationship is worth every single second you spend reading this fic. This has to be my favorite Aegon fic I’ve ever read. Absolutely amazing, magnificently written, gut wrenching and heartbreaking but I LOVE IT!!!!

3. Midnight Blades by LostinAStory on ao3: Aemond x reader, idk if you’ve read this or not, but this is one of my most favorite fics ever. Pro team green, new settings, reader is from free cities, so much smut!!!! So much fluff with a touch of angst. It’s a bit older probably from late 2022/early 2023, but it’s worth reading!! I think I’ve read it three times!

4. You were always with me[the stolen jewel] by Sillyhero on ao3 & @myfandomprompts on here: Aemond x reader. neutral that progressively turns towards greens. One of my favorites of all times!!! Quick chemistry, so well written, the plot twists are amazing, reader and Aemond’s relationship evolves into something so special and beautiful!!

[tiredstressedemotionalmess]

GUYS I THINK I FIGURED OUT HOW TO FIX THIS TTID CHAPTER THERE MAY BE AN UPDATE THIS WEEK AFTER ALL :D

[nobodysuspectsthebutterfly]

FYI artists and writers: some info regarding tumblr's new "third-party sharing" (aka selling your content to OpenAI and Midjourney)

You may have already seen the post by @staff regarding third-party sharing and how to opt out. You may have also already seen various news articles discussing the matter.

But here's a little further clarity re some questions I had, and you may too. Caveat: Not all of this is on official tumblr pages, so it's possible things may change.

(1) "I heard they already have access to my data and it doesn't really matter if I opt out"

From the 404 article:

A new FAQ section we reviewed is titled “What happens when you opt out?” states “If you opt out from the start, we will block crawlers from accessing your content by adding your site on a disallowed list. If you change your mind later, we also plan to update any partners about people who newly opt-out and ask that their content be removed from past sources and future training.”

So please, go click that opt-out button.

(2) Some future user: "I've been away from tumblr for months, and I just heard about all this. I didn't opt out before, so does it make a difference anymore?"

Another internal document shows that, on February 23, an employee asked in a staff-only thread, “Do we have assurances that if a user opts out of their data being shared with third parties that our existing data partners will be notified of such a change and remove their data?” Andrew Spittle, Automattic’s head of AI replied: “We will notify existing partners on a regular basis about anyone who's opted out since the last time we provided a list. I want this to be an ongoing process where we regularly advocate for past content to be excluded based on current preferences. We will ask that content be deleted and removed from any future training runs. I believe partners will honor this based on our conversations with them to this point. I don't think they gain much overall by retaining it.”

It should make a difference! Go click that button.

(3) "I opted out, but my art posts have been reblogged by so many people, and I don't know if they all opted out. What does that mean for my stuff?"

This answer is actually on the support page for the toggle:

This option will prevent your blog's content, even when reblogged, from being shared with our licensed network of content and research partners, including those that train AI models.

And some further clarification by the COO and a product manager:

zingring: A couple people from work have reached out to let me know that yes, it applies to reblogs of "don't scrape" content. If you opt out, your content is opted out, even in reblog form. cyle: yep, for reblogs, we're taking it so far as "if anybody in the reblog trail has opted out, all of the content in that reblog will be opted out", when a reblog could be scraped/shared.

So not only your reblogged posts, but anyone who contributed in a reblog (such as posts where someone has been inspired to draw fanart of the OP) will presumably be protected by your opt-out. (A good reason to opt out even if you yourself are not a creator.)

Furthermore, if you the OP were offline and didn't know about the opt-out, if someone contributed to a reblog and they are opted out, then your original work is also protected. (Which makes it very tempting to contribute "scrapeable content" now whenever I reblog from an abandoned/disused blog...)

(4) "What about deleted blogs? They can't opt out!"

I was told by someone (not official) that he read "deleted blogs are all opted-out by default". However, he didn't recall the source, and I can't find it, so I can't guarantee that info. If I get more details - like if/when tumblr puts up that FAQ as reported in the 404 article - I will add it here as soon as I can.

Edit, tumblr has updated their help page for the option to opt-out of third-party sharing! It now states:

The content which will not be shared with our licensed network of content and research partners, including those that train AI models, includes: • Posts and reblogs of posts from blogs who have enabled the "Prevent third-party sharing" option. • Posts and reblogs of posts from deleted blogs. • Posts and reblogs of posts from password-protected blogs. • Posts and reblogs of posts from explicit blogs. • Posts and reblogs of posts from suspended/deactivated blogs. • Private posts. • Drafts. • Messages. • Asks and submissions which have not been publicly posted. • Post+ subscriber-only posts. • Explicit posts.

So no need to worry about your old deleted blogs that still have reblogs floating around. *\o/*

But for your existing blogs, please use the opt out option. And a reminder of how to opt out, under the cut:

The opt-out toggle is in Blog Settings, and please note you need to do it for each one of your blogs / sideblogs.

On dashboard, the toggle is at https://www.tumblr.com/settings/blog/blogname [replace "blogname" as applicable] down by Visibility:

For mobile, you need the most recent update of the app. (Android version 33.4.1.100, iOs version 33.4.) Then go to your blog tab (the little person icon), and then the gear icon for Settings, then click Visibility.

Again, if you have a sideblog, go back to the blog tab, switch to it, and go to settings again. Repeat as necessary.

If you do not have access to the newest version of the app for whatever reason, you can also log into tumblr in your mobile browser. Same URL as per desktop above, same location.

Note you do not need to change settings in both desktop and the app, just one is fine.

I hope this helps!

[yanderestarangel]

HEADCANONS JKK | DILF!NANAMI KENTO

A/N: It was very strange writing this to the sound of "snowy", sometimes I question my musical choices for inspiration ╰⁠(⁠⸝⁠⸝⁠⸝⁠´⁠꒳⁠`⁠⸝⁠⸝⁠⸝⁠)⁠╯

TW: afab anatomy, ftm reader, fluff, soft!dom nanami, hard!dom nanami, gentle sex, rough sex, v!sex, fingering, praise, body worship, age gap, vulnerable!kink, degradation, daddykink, eat out, mild bdsm.

♡ SFW :

He is a man so tired of the life of working and being a wizard at the same time that he just needs a release. You are his younger partner, a few years younger than the forty-year-old man. He was afraid at the beginning of the relationship because he didn't think he was as attractive as men his age, but as time went by he saw how much you loved that he was older than you, there was a charm in every dark circle cold expression on his frown that was too sexy in your eyes.

You'll also have to keep him updated on things that happen in your social circle ── he doesn't really mind but seeing you smile and talk so excitedly about a certain topic also makes him happy and much more relaxed from the daily routine. He doesn't understand half of the slang you and Gojo say when you get together, but he doesn't mind at all (just don't call him 'boomer' Satoru already does that a lot and it gets on the blonde's nerves.)

He likes to be greeted by you when he gets home. It may be a simple gesture but it fills your chest with a warm and fulfilling feeling as he kisses you on the top of your head, smelling you while an almost invisible smile appears on his tired face. "Did you behave while I was gone baby?" Nanami spoke with a hoarse and low voice, listening attentively to you about your day while smiling when he saw that at least his daily effort was worth it because it could give you a more tolerable and comfortable life. Even though he was tired, he would help you with dinner, lightly rambling about how tiring his day was and what you could do at the weekend.

If you mention that you saw something you liked in a store, Nanami will immediately write down the address and go buy what you want ── even if he works extra hours to pay all the installments, your smile is more important to him. "All for my boy right?" He would speak in a calming voice to your nerves, while his fingers tilted on your shoulder as a gesture of tender affection coming from the older man.

♡ NSFW :

The first few times you two fuck he will be a gentleman to you ── calling you "my sweet", "pretty little thing", "darling", "prince", "pretty boy"; talking about how your moans are the most beautiful thing he has heard. "Keep moaning boy... I want to hear everything from you." "What a beautiful voice you have, moan my name darling and let me hear more, say my name when you cum ok?" These would be some of the several phrases that Nanami would say while inserting two thick fingers into your swollen and wet pussy from the exaggerated stimulation he would do to your body.

He likes to eat out you, seeing you tremble and suffocate him between your soft thighs makes the blonde's cock practically cum without even entering you. He sucks your clit running his tongue in circles while his calloused hands keep your legs wide open for his warm ministrations ── Kento will whisper praises against your pussy making you shiver with each vibration welcome to your sensitive flesh. The blonde finds it cute the way you rub your hips desperately against his lips, making him place kisses on your abdomen and connect your lips, separating the kiss seconds later and looking directly into your eyes, watery with pleasure.

"Looks like you're in a hurry boy... Come on, come and ride my face, don't worry about your weight I can really handle it." Nanami moaned as he watched you obey his request and sat gently on his face ── your sweet smell and wet juices, the sound of your voice begging him 'not to stop' was like heaven to him. Nanami just wanted to make you ready for his cock.

When you reach your second orgasm of the night ─ crying and turning into a beautiful, stimulated mess for him, Nanami will finally shove his cock in your little pussy, moaning hoarsely and privately in your ear. "You can handle this, can't you little boy? You're going to cum on my dick again." Kento would groan, hands resting on the sides of your head on the mattress as he looked directly at every reaction you gave him ── from your breasts bouncing with each thrust of his hips, to the sight of your open mouth salivating and smearing your sheets, until your wet hole sucking his cock back into your throbbing heat. "Desperate to get fucked but too shy to do anything about it... my pretty little angel can't do anything but blush. Do you love my cock in you so much?" He smiled, as he accelerated his movements, intertwining your hand with his, feeling his balls hit your ass, making a slow, lazy wet noise.

However, if you want him to be rude and take out all the anger and stress on your body, Kento will do it with all the strength he has suppressed for years. Tying you with his tie and gagging your mouth with your own underwear ── you are not allowed to speak or ask for anything, at that moment you are his personal toy.

You saw Nanami's veins stand out from his forehead, neck and arms as he approached the edge of the bed, roughly opening your thighs ── your once gentle and sweet boyfriend gave way to a sadistic and cold dominator. He couldn't help but laugh when he saw your little fucked face just looking at him ── dazed and shaking, your pussy milking the air as he slapped your thigh hard, going to squeeze your breasts as you moaned against the fabric and tasted it of your own humidity. "That's what you get for being such a good boy." His voice was serious, as you watched him take the panties out of your mouth and take his cock out of his pants.

Kento would also have vulnerable!kink, meaning you will be totally naked while he will be clothed yet just taking his member out of his clothes and fucking you ── completely trapped by the weight of his body, gripping the sheets and whimpering as he pounds into your cunt, treating you like a personal cum dump. He would be rude and say the most vulgar things you had ever heard from anyone, the gentleman in him was gone with every thrust he made on your body. "You're nothing more than a pathetic cum dumpster," he hissed, his voice filled with biting contempt. "Do you like being degraded, my obedient whore?" he taunted, a sadistic gleam in his eyes.

He would fuck you to the point where you couldn't feel your legs anymore. With final painful strokes he breeds your pussy as he watches you cry his name. "shh... I got you boy, you were a good boy for daddy ok?" He spoke, returning to normal, holding your trembling body. After the rough treatment, you will be looked after like a prince by him ─ he will clean your body by giving you hot kisses on your face and offering you water. Kento would take you to the bathroom and clean up the traces of sex, while stroking your hair. "Sleep now, honey, I'll be here when you wake up." You knew he would be there like he promised.

© All rights reserved to @yanderestarangel on tumblr.

[peachypinkygloss]

places i know — jjk

i know places - lykke li, les matins - angèle

ᥫ᭡ summary: in which jungkook's heart beats for you, but he prefers to dismiss his feelings and to blame himself for getting hurt.

ᥫ᭡ genre: friends with benefits, university au, angst, smut.

ᥫ᭡ word count: 3.7k

ᥫ᭡ warnings: alcohol consumption, long and messy hair jk 🫶🏻, he's introverted & she's extroverted, opposites attract type of shit, unreciprocated love, unprotected sex, unprotected oral sex, praising, blowjob, clit stimulation.

a.n.: yeah so... i came up with this last minute. begging for feedback again 🙏🏻 because your girl is paranoid and thinks everything she writes is shit 🥹 (to be confirmed or denied, idk) i won't update for a while, pls take care of yourselves, guys. kisses x

The way between his last course of the day — his class situated in block E, literally the farthest part of the university, still not renovated since the creation of the school — and his car is familiar, repetitive.

It doesn't bother Jungkook, though. Not all that much, at least. It's part of his daily life and he prefers things to be consistent, always predictable. He likes having a routine, something he can rely on — something secured, a feeling of certainty.

And the way to his car is all that. Expect for one detail in his life that is almost too unpredictable, even more than the rain. He simply can't tell when it's about to happen because if he were to predict it, he'd have to let down all his little habits.

He'd have to set the notifications of his phone on, remove 'night time' mode in case he ever receives an unexpected text from an unpredictable person. Have to ask questions more often, questions that are direct and that the answers don't leave him overthinking all night, turning sides back and forth in his bed.

Have to stop putting on his headphones while exiting the university building to hear your steps on the wet cement, rushing to him from behind, already grinning to yourself, knowing he doesn't suspect your presence.

A few repeated taps on his back makes him tense his shoulders, and makes him turn his head back to see who's after him. You may be sudden, but he always knows it's you. You're the only person in his life that would message him at 3 a.m., proposing to meet up and then canceling at the last minute to only interpellate him on his way back home.

He's a bit sour about this, but he won't tell you.

It's your silly escapades that fill most of his days and nights, though. It's that little giggle that leaves your lips before saying 'let's go to the movie theatre' without knowing what films are playing, just because it's funnier like that, because it's unexpected. It creates unforgettable memories, develops stronger feelings.

He reaches for his phone in the pocket of his hoodie, pressing pause, slipping his headphones off and letting them hang around his neck. There's a smile on your lips, one he remembers kissing more than once, both drunk and sober. Most of the time drunk.

"You're ready?" A toothy smile, one of the best, the only one he always wants to see, always misses.

Again, nothing has been prepared, but being unplanned is your habit. Maybe a fear of being chained to a routine, something Jungkook is attached too, though it doesn't matter.

There's something about you, about your wild nature that has him obsessed over you. Opposites attract, but he doesn't feel like your opposite, he feels like he's complementary to you. Like a puzzle piece. Like partners.

He continues his way to his car as you follow him to it, stepping backwards to keep facing him, sometimes turning around, feeling the wind passing through your hair.

Jungkook looks ahead, only glancing at you when he feels your insistent gaze on him. He can't ignore you. Not because you take a lot of space, but because he wants to answer you, wants to hear what you have to say and he knows he's going to regret later for not questioning you.

"I didn't know when you were coming," he opts for, choosing something lighter than what he has on his heart, a feeling he's not sure he wants to acknowledge himself; when are you going to stop playing with me?

"Tuh-tuh-tuh." You stop in front of him, forcing him to halt his walk as well. "Don't ask me when," you say, raising your eyebrows and tilting your head to the side. "Ask me why, ask me where."

Jungkook chuckles, the proud lopsided smile on your face amusing him. How easy it is for you to deviate from the conversation, avoid something you don't want to give an answer to. Something you don't want to touch on. Almost too easy-peasy.

He doesn't catch onto it yet again, leaving the lead to you, letting you use your impeccable charm on him.

"Where?" He sighs.

"That's the best part!" You cheer, "Okay, you know that place I talked to you about?"

"Yeah," he confirms, a bit unsure, but memories and words of yours are fast at coming back into his mind. "Your secret spot?"

He cuts his question there because what you said isn't something he really wants to say out loud — wanna show you that place, feels majestic, you'll like it. Wanna kiss you under that big, big tree, sit on your lap, cuddle you, ride your cock.

It was cheeky when you said it, but he was giggling along with you, sparkling eyes looking into each other, vodka rolling on your tongues.

You were beautiful that night in your blue dress, fitting well with the colour of your hair and skin, making your eyes pop out more. And so are you now, wearing a cute top with that long skirt, Doc Martens at your feet.

That night, you were sexy. A wet dream, an erotic fantasy. Today, you're cute and casual, looking like the girlfriend he wished he had.

"Yup," you nod your head, "My secret spot," you repeat, smiling softly.

He doesn't respond with anything so it's silent for a short moment, the breeze making your hair twirl around your head. He tells himself, right now, that the world is yours. It's as if you were controlling everything; the wind, the weather, his heart.

"Come on, Kook," you insist, "I'm gonna tell you where to go."

The moon is shining brightly from where he is. Away from the city, from all the flashing lights and the roaring of cars. It's peacefully quiet. He likes it.

You're also on your back, looking at the night sky and the clouds. Pointing at one star, saying it's someone's puppy. You hope it's resting in peace, he tells you of course, don't worry. You smile, again. He loves it.

You pick out a flower; it's purple, maybe rather violet. A really soft violet.

You turn on your side, leaning on your elbow, staring at Jungkook — a smirk tugging at your lips. You extend your arm to wipe some of his hair away from his face, tucking the stem of the flower behind his ear. He doesn't stop you and closes his eyes as your fingers brush over his skin.

You replace his bangs, Jungkook's eyelids fluttering as you do so and for the first time, very first time, he's the one who destabilizes you.

"You're beautiful," he whispers, looking at you, noticing how your eyes instantly glance up at him when the compliment slips past his lips. Maybe it's the way you slightly raise your eyebrows, no sight of a smile on your face, rather a look of surprise, a look of 'nobody's words make my stomach twist as much as yours do'.

For you, it's the way that you know he means it, really thought about it before, told himself hundreds of times in his head. Fuck, this girl's beauty is unbelievable.

The grass underneath you is starting to feel cold. The sun is gone and you cruelly miss its light on your skin, heating you up as well as Jungkook's arms around you do, too.

"You, too," you say back. No 'thank you', but he'll go with that. He guesses it felt too intimate and he understands that. Well, he tries to, at least.

He brings a hand up to the back of your neck, the tip of his fingers feel cold against your skin, a shiver running up your spine and making the hair on your arms stand up. He pulls you down and presses his lips down on yours.

It's not hot, it's not messy or sloppy. It's warm, passionate and coordinated. God, he's so cheesy.

He's fucking in love.

You break the kiss, grinning when he looks at you with wide, sparkling eyes. You lift up the right sleeve of his hoodie over his forearm, revealing the couple of tattoos decorating his skin, a bit dispersed and distanced from each other. Jungkook's told you about his desire of filling up his sleeve and colouring some of his tattoos as well.

You point to an empty spot, raising your gaze up to him while saying, "I see a lily there. A tiger lily."

He looks down to his arm, then up to you. "Do you?" He questions.

"Yes," you bob your head, whispering softly. "Bright and orange," you add on, tracing the form of the flower on his arm. He watches your finger brush his skin delicately with a lot of care. "With the petals open."

"It'd be really pretty," he approves, his words making you smile.

You then take his hand in yours and bring his arm up, passing it around your shoulders. He says nothing when you lay your face down on his chest. He only tilts his head downward, smiling back at you.

Your breathing is calm and regular, sometimes letting out a heavier exhale. You trust him, he realizes, and it makes his heart swell, hurts him a little because this isn't enough of a reason.

Enough of a reason to acknowledge his feelings — acknowledge how fucking boring his life is without you and how he wants to spend each moment with you.

But he can't ask that from you, can't demand you to reciprocate his feelings. So he only hopes and wishes, hurting when he's not around you. Goes back to his routine that he so wants to give up on just to be with you, a wild soul who dreams of liberty.

"You didn't tell me why."

You giggle, not because you find it funny, but because you're happy he remembered and cares enough to ask you. Of course he cares, it's you.

"Why I brought you here?" You say while rising up from his chest, connecting your eyes to his.

"Yeah," he confirms with a short nod of his head.

"You're the only one I told about," you answer, "And I don't think there's anybody else I want to share this moment with," you tell him in a soft tone, one that you solely use to say the truth. "I just knew you'd like this place as much as I do, and I want you to come here whenever you feel like it. It's our spot."

'What's mine is yours'.

It can be platonic, it can be friendly, but fuck, there's nothing platonic in the way that you look at him with stars in your eyes, wanting to give him to the world just because it'd feel like the right thing.

You seem so serene while telling him this, and Jungkook can't ignore the 'what if's' that are forming in his head. What if we come here daily until the snow comes and covers the grass? What if we carve our initials on that tree?

What if this secret means more to him than it means to you?

And then it hurts again.

He loves you.

Loves you in a way nobody else ever will because what he has, what he feels, is unique. Everybody's feelings are different, that's why you'll never find someone like Jungkook, that's why if you want him, you need to claim him.

But you probably never will. It's not your kind, not something you're willing to do. 'Don't want to sacrifice what we have', you once said. 'Girlfriend, boyfriend — what does it mean?' you responded when Jungkook jokingly called you "the perfect girlfriend" with too much alcohol in his blood.

Fucking ruined the mood. Why so fucking mean... when he knows you, knows the best parts of you that are down to earth, lovely and sweet, so many qualities in one single person.

But you're entitled to your stupid values.

And he continues to love you as he asks where to go now and you answer all too pouty that you want to go home, his home.

You insist on having vodka, knowing where he hides it, the top cabinet where you can't reach. Have to beg him with puppy eyes to let you have a glass. A tiny glass.

He tells you that you sure as hell gonna have a tiny one. You smile, thanking him. He drinks with you because there's no way he's letting you break his heart absolutely sober.

He loves you maybe more — well aware that he's going to regret it — when your sloppy tongues meet in a heated kiss, impatient hands slipping under each other's clothes.

He grabs a tit, earning a moan, you take a fist full of hair, eliciting a groan. The way to his bedroom feels far, far away, but he knows you're going to reach it, you have to.

Your body is one of the few things Jungkook's familiar with. He knows the way to your pussy, knows where to hit and touch. Knows also the way to your heart, just there in your rib cage, under your sternum.

He fucking knows, but you won't let him and so he keeps his hands away from that part of your body.

The sheets are just an excuse for being his for the night.

Just for the night, leaving before the sun rises.

Whatever.

He moans as he lets you engulf his cock in your mouth, flat on your stomach between his thighs, one leg bent at the knee. He knows to be patient, not push you to do something you don't want to, but it's hard, really hard when your mouth feels like literal heaven.

His head keeps rolling back on his shoulders, hitting the headboard behind him, raising it back up to watch your lips slide smoothly over his length. His fists clench on either side of his body, mouth ajar to let out heavy breaths that you can hear from where you are.

There are times he doesn't really hold himself back, times where the bed isn't just an excuse anymore, but tonight, he feels a bit restricted. He doesn't quite know why, even though the answer's right in front of him. But Jungkook prefers hiding his head in the sand.

"Ah, fuck," he says breathlessly already, frowning as he concentrates on the feeling of your tongue on his cock, sucking him like you fucking mean it. "Baby..."

Another moan, elongated and whiney, a clear indication that you have an impact on him. You affect him — oh, you do so much.

Hesitantly, he grips your hair, not too tight, not pulling, just clenching his fist around it. It's enough to show you that he isn't indifferent to your touch. You know that, but you tend to forget it, tend to go see someone different, searching for something you'll never find in anyone else than Jungkook.

He whimpers as your nose touches his pubic hair, the tip of his cock reaching the back of your throat. He fucking shakes, fucking whines while you swallow around him, sucking the soul out of him.

You're greedy; you take everything, you don't share. Ask for more, come back over and over again. But you take, you don't give. Don't even pay back.

Do you realize it? Would be debatable. Jungkook's heart isn't strong enough to have that conversation, though.

You moan around his cock, a response to his little whines, happy you can procure him this kind of pleasure. You bob your head over his length, making a mess, saliva spilling at the corners of your mouth.

You cup his balls and Jungkook reacts instantly. "Oh, yeah- yeah, like that," he approves, hooded eyes staring at the way his member appears and disappears between your lips as you bounce your head up and down.

If he doesn't stop you, he'll cum very soon, and that's not something that he wants. Not in your mouth, not anywhere. He knows the moment he cums is the moment you also leave.

So there's some tenderness in his voice when he instructs you to come lay beside him, your back to his chest. He thinks this is his favourite position, at least with you. Fucking you is the only way he can get that close to you. He can forget about cuddles, but you'll let him fuck you in spoon because sure, it's a great position. Warm and sensual.

"You feel so good- oh, god," he shakily says under his breath, his lips beside your ear. He's completely nestled inside you, his soft breath caressing your neck — a kiss is given to your shoulder, another to your jaw.

When he starts to move, it's slow and steady, but his moans tells you how it takes a lot out of him to not move faster, not ruin your pussy, not fuck you totally dumb on his bed the way he always does so good when he has way too much alcohol in his system.

He lifts up your thigh, making a bit more space for him, his other hand sneaking between your legs to reach your throbbing clit. His dark bangs fall into his eyes, some strands sticking to his sweaty forehead.

You whine when his middle finger finds your bud of nerves, drawing atrociously slow circles on it, adding just the right pressure to make you want more, beg for more.

"Do you feel me, baby? Feel my cock in your tight little pussy?" He hums in your ear, turning you crazy from the husky tone of his voice. You flutter your eyes as you turn your head, glancing at Jungkook's face, his own eyes not knowing where to look — your lonely lips, your perky nipples, his hard dick stretching out your hole.

"Yeah, feel you so deep in me, Kook," you reply back, and fuck do you really feel him.

It's like your first time, still feeling him days after your encounter. He's big, that's a fact, but he knows how to use it, and you got to experience it. You're lucky you're the only girl he wants to be inside of.

He groans when you clench and unclench around him, his cock completely covered in your wetness, sliding in you so smoothly, nothing restraining him at all — apart from his own intrusive thoughts.

He shifts his hand higher on your thigh, parting your legs wider from each other, now beginning to rock his hips against your ass. His head taps over your sweet spot repeatedly and you let him know by moaning out loud, babbling littles 'right here, Kook. Fuck, right here'.

You reach behind you to pass your fingers through Jungkook's soft black hair, his pink lips smooching the side of your throat, cherishing your skin in warm kisses. You place your other hand on top of his that is operating between your legs, doing quick circle motions over your puffy clit.

He drives his engorged cock in your wet pussy back and forth, totally out of breath, but refusing to stop, at least not until he has you spasming around his girth. You arch your back, frowning your brows as you feel the knot at the pit of your stomach tighten.

"Shit, you close, baby? I feel you sucking me in like crazy," he chuckles, a bit too lost in his own lust, loving how he feels so connected to you right now. You seriously can't be closer to each other than that.

You nod, and he says that he is, too. You whimper, almost feeling him in your guts, cock entering and exiting your quivering hole at a rapid pace that rips your breath out of your lungs.

"Gonna make you feel good," he promises. "Cum around me, sweetheart. Fucking cream my cock," Jungkook encourages and it doesn't take you much more to reach your high, thigh shaking in his hold.

And when it hits you, it hits you hard. You cry out his name, a sound he never wants to forget, limbs shaking from the intensity of your orgasm. Your velvety walls close around him tightly just the way he loves it, just the way it makes him come closer to the edge as well.

His hips jerk up, his skin slapping against your ass. "Ah, fuck, yeah," he rasps out, wetting his dried lips, "Good job, shit... Gonna cum," he praises and warns you at the same time, your orgasm being the cause of his own.

Jungkook steadies his hips and he fills you up, emptying himself inside your cunt. He shoots his hot cum in you in long, thick ropes, cock twitching. You moan with him, liking the familiar sensation of his release painting your walls white.

"Christ," he chokes out, laying his damp forehead on your shoulders, his chest heaving up and down rapidly.

When he pulls out, you immediately turn around to face him. You don't say much, just the usual to not make it awkward. He appreciates it, won't admit he wants to chat till 3 a.m., though.

The next morning is somewhat gentle, but it has a bitter taste. Your side of the bed is empty, the only remaining trace of your body being your perfume. And the soiled sheets underneath him.

He would have liked that all of this was only a dream, but no, it was yesterday. His eyes are puffy from the night of sleep he had, or maybe from tears.

He wonders where you are, when exactly you left. He misses the touch of your hands on his back, your fingers passing through his hair.

Those are the kind of mornings he hates. The awful and aching truth eventually coming back to him because he forgot the night before when he was with you.

And then the cycle repeats.

He goes back to class, puts his headphones back on, and turns on night mode. Clears his mind off of you — well, he tries to. He goes back to the places he knows, avoiding you religiously until he can't say no anymore.

.

.

.

[crimeronan]

i've seen a couple people in the notes of this very good post about fictional polyamory by @thebibliosphere say things along the lines of "oh, i've been doing it wrong :(" or "how do i know if i did this right??" or "i should probably give up and start over, i wrote this badly :(" and. no!!!!

(i AM seeing far MORE people say "oh, this clarified and helped me so much, i think i know how to fix issues i've been having with my own story" which. YES!!!!)

listen. if you're a monogamous person who's writing a polyamorous relationship, and you've been focusing mainly on The Triad and All Three Together All The Time as the endgame, that's literally fine. that's a perfectly acceptable and strong starting point for your plotting, imo. you do not need to give up on a story that you've started like this.

but the things discussed in the post Can and Should improve your execution!

you can keep the same plot beats and overall relationship arc 100%. polyamorous relationships are infinite in their formations, every one is unique. "basically a monogamous romance but with three people" Does exist, as a relationship type. you're not hashtag Misrepresenting (TM) poly people with it

BUT i do think it will help to read up on some poly people talking about how their relationships Differ from monogamous ones.

so i have outlined some basic important concepts about polyamory.

MORE IMPORTANTLY though, i've broken down some questions that you can answer throughout the writing process to strengthen your individual dyad relationships, your individual characterization, & your characters' individual feelings/experiences. this is a writing resource have fun

future kitkat butting in to say i spent over two hours writing this and it definitely needs a readmore. it is also NOT comprehensive. but everything should be pretty simple to follow! feel free to reblog if you find it helpful yourself or just want to reward me for how gotdan long this took KSLDKFJKDL.

i've grabbed quick links for a couple of the important concepts, some have SEO pitches in them but the info largely seems to be good. (if i missed anything Egregiously Gross on these sites i should be able to update the links with better ones later, since they're under the readmore.)

sidenote: this is NOT meant to be overwhelming, despite the length. if you can't read all of this, that's Okay. you do not need to give up on your writing.

here we go:

compersion!

compersion is a BIG thing in a lot of polyamorous relationships. it's joy derived from seeing two (or more) of your partners happy together, or joy derived from seeing your partner happy with someone else.

compersion is really important as a concept because it highlights that every individual relationship within a polycule is different -- and that that's a GOOD thing. it's sort of the inverse of jealousy.

by the "inverse of jealousy," i mean that instead of feeling left out and upset and possessive, you feel happy/joyous/content.

i can use personal experience as an example: it's a Relief for me when my partners receive joy/support/sex/romance/etc that i can't (or prefer not to) give them. and i love seeing my partners make each other laugh and be silly together.

it's 100% okay for a poly triad not to be together 100% of the time, it doesn't mean that the third member is being left out or not treated equally when two people do things alone together.

(i have individual dates with my partners all the time! PLUS larger 3-and-4-person date nights.)

if the third member DOES feel jealous or left out, then the polycule can have a conversation to figure out what needs/wants aren't being met, and solve that. this happens semi-regularly in my polycule, as it will happen in any relationship (including monogamous ones)! it's just part of being an adult, sometimes you have to talk about feelings.

metamours!

a metamour is someone who is dating your partner, but ISN'T dating you. this may not be relevant for people writing closed three-person romantic sexual triads, but it's a super helpful term to know.

the linked article also lists different types of metamour relationships with some fun phrasing i hadn't heard before. the tl;dr is: sometimes you'll be domestic cohabitation friends, sometimes you'll be buddies with your own friendship, sometimes you might not interact much outside of parties, every relationship is different.

there's no one-size-fits-all requirement for metamour relationships. sometimes polyamorous people will end up dating their metamour after a while (has happened to me), sometimes polyamorous people will break up with one partner for normal life reasons, but remain friendly metamours.

the goal of polyamory is NOT for EVERYONE to fall in love. it is 100% okay if this happens in your story, it happens in real life too! but it is also 100% okay for characters to be metamours without ever becoming "more than friends."

(sidenote: try to kill any internalized "more than" that you have when it comes to friendship. friends are just as important and special and vital as partners.)

of course there are a million ways for messiness to occur with metamours within a complex polycule, exactly like with close-knit platonic friend groups. however this post is not about that! there's enough "here's how polyamory can go wrong" stuff out there already, so i'm focusing on the positives here :)

open versus closed polyamorous relationships!

i'm struggling to find an online article that reflects my experience without directly contradicting at least SOME stuff. so i'll give a quick rundown

google has a bunch of conflicting definitions of open relationships and whether open relationships are different from polyamory. the general consensus seems to be that an open relationship prioritizes one partnership (often a marriage), but that each partner can have extraneous flings or long-term commitments (most often sexual in nature).

this is not typically how i use the term wrt polyamory. the poly concept is pretty simple. a closed polyamorous relationship is one with boundaries like a monogamous one. there are multiple partners in the polycule, but they are not interested in having anybody new join said polycule.

an open polyamorous relationship tends to be more flexible -- it just means that IF someone in the polycule develops mutual feelings for a new person, it's fine for them to become part of said polycule if they want to! the relationship/person is open to newcomers.

some groups will need to negotiate this all together, others will just go "haha, you kids have fun." just depends on the individuals!

with open AND closed polyamorous relationships, the most important thing is making sure that there's respectful communication and that everyone is on the same page. but there's no one-size-fits-all way to do that.

i wish i could give you guys a prescriptive "You Must Do It This Way" guide, but that's.... basically the opposite of what polyamory is about, HAHA.

feelings for multiple people!

i was gonna tack this on to the previous section but decided it warranted its own lil bit.

a defining feature (....i'm told?) of monogamous relationships is that a monogamous person only has feelings for One individual at a time. they only want a relationship with one individual at a time. or, if they DO have feelings for multiple people simultaneously, they're still only comfortable dating one person at a time & being exclusive with that one person.

this is perfectly fine!

the poly experience is generally different from this. but once again..... polyamorous people all have different individual perspectives on this.

for me, i have never been able to draw hard boxes around romantic vs sexual vs platonic relationships, & i love many people at once. my personal polycule lacks many strict definitions beyond "these are my chosen people, i want to forge a life with them indefinitely, whatever shape that life takes"

some poly people feel explicit romantic or sexual attraction to multiple people at once, some poly people feel almost no romantic or sexual attraction at all. i'd say that MOST poly people feel different things for different partners, which is not a bad thing!

some poly people are even monogamous-leaning -- they have just chosen one romantic partner who is themselves part of a larger polycule. (so this monogamous-leaning person has at least one metamour!)

or alternatively, they might have one romantic partner AND a qpr, or other ways of defining relationships. (this is a factor in my own polycule!)

i made this its own point because if you're writing a straightforward triad, this is unlikely to come up in the story itself -- but it's worth thinking about how your characters develop/handle feelings outside of their partnerships.

like, is this sort of a soulmateship, 'these are the only ones for me' type deal? in which they won't fall in love with anyone else, and can be fairly certain of that?

that's pretty close to typical monogamous standards but you Can make it work. just be thoughtful with it

alternatively, can you see any of these characters falling in love Again after the happily-ever-after? and how would the triad approach it, if so? what would they all need to talk about beforehand, and what feelings would everybody have about the situation?

it's worth considering these questions even if the hypothetical will never feature in your actual canon, because knowing the answers to these questions will help you understand all of the individuals & their relationship(s) MUCH better.

i've been typing this for nearly two hours and there's a lot more i COULD say because... there's just a lot to say. i'll close out with some quick questions that you can ask yourself when developing the dyad dynamics within your triad

first, take a page and create a separate section for each individual dyad. then answer these questions for every pair:

how does each pair act when alone?

how do they act differently alone compared to when they're with their third partner?

are there any elements of this dyad (romantic, sexual, financial, domestic, etc) that these two people DON'T have with the third partner?

if so, what are they?

are there any boundaries or hard limits within this dyad that aren't shared with the third partner?

if so, what are they?

partner 3 goes out of town alone for a few weeks. what are the remaining two doing in their absence?

(doesn't have to be anything special, it's just to get a sense of how the two interact on a day-by-day basis without the third there)

what is something that each partner in the dyad admires about the other -- that they DON'T necessarily see in the third partner?

what problem do These Two Specifically need to solve in the story before their relationship will work?

how is that problem DIFFERENT from the problems being solved within the other two dyads?

doing this for ALL THREE dyads is VITAL imo. that way, you develop complex and nuanced and different relationships that all have unique dynamics.

those questions should be enough to get you started, i hope

then After you've charted the differences in relationships, you can start to jot down similarities in the overarching triad. what does one person admire in Both of their partners? what are activities that all three like to do together? what are boundaries or discussions that all three share?

but the main goal is to figure out how to Differentiate each relationship!

a polycule is only as strong as the individual relationships within it. if two people are struggling with their own relationship, adding a third person won't fix that.

(UNLESS the third person is the catalyst for those two to, like, Actually Communicate And Work Their Shit Out. i just mean that the old adage of "maybe if we just add a third-" works about as well to fix a miserable non-communicative marriage as, uh, "maybe if we have a baby-")

AND FINALLY.

if you're not sure whether your poly romance reads organically to poly people, you can hire a sensitivity reader with poly experience. if you can't afford that, you can read up on polyamorous resources like a glossary of terms & articles actually written by poly people. (and stories written by poly people!)

you can also just.... ask poly people questions, if they're open to it. i like talking about polyamory and my own relationships so you're welcome to send asks if u want, i just can't guarantee i'll answer bc my energy levels fluctuate a lot and i don't always have time.

polyamorous people are in an uphill battle for positive representation right now & so the LAST thing i want to see is authors giving up on their stories bc they're worried about getting things Wrong. well-meaning and positive stories that treat this kind of love as normal, healthy, & aspirational are So So So Needed. even if you guys end up with some funky-feeling details.

seriously, if you're monogamous then you probably don't have a full idea of Just How Nasty a lot of people can get about polyamory. i wish it DIDN'T mean so much for you guys to want to write nice stories about us, but it does mean a lot. and it means a lot that you want to do it WELL.

in conclusion. this is not a prescriptive guide, it's just a way to raise questions. and also, you all are doing FINE.

[thee-horny-thicky]

Worship

A/N: This season has made me simp for both Akaza and Douma, so here's a smutty headcanon thing.

Akaza and Douma cannot stand each other. They’re complete opposites in almost every way, especially when it comes to their treatment of women. Akaza believes them to be untouchable, while Douma thinks that the most delectable flesh comes from beautiful young women.

However, they do have a single thing in common. Both men are huge fans of worshipping their partner’s body, in their own unique ways.

You see, both demon’s ideology steams from their adoration for women. Douma, being an egotistic hedonist, indulges his love for them by devouring their bodies, in my ways than one.

He enjoys making his partner feels good, as it's another way for his ego to be fed. Not only does he like their reactions, but he loves the taste of pussy. Yours in particular. He's a munch, your honor.

Getting a taste of your slick is a daily requirement, and when he's particularly desperate, he'll fall to his knees and pleasure you where you stand.

Given his sadistic streak, he adores blending pain and pleasure together. He’ll tie you up to make sure you can’t run from him, and when he’s feeling particularly cruel, he may blindfold you, so you won’t be able to guess his next move. The one thing he’ll never do, though, is gag you. He adores hearing your noises too much for that. He likes seeing you be pathetic, so he’s a huge fan of edging. He’ll play with you until you’re on the brink of orgasm, then stop his motions until you’re begging for him to let you cum. And once he does, he switches from edging to overstimulation. He’s a demon with stamina a human can only dream of, and he’ll keep going until you’re sobbing for him to stop. Often, you two are at it until the sun is peaking over the horizon.

And if you make him upset, he has an array of paddles and whips to spank you with.

On the flip side, Akaza despises the idea of inflicting pain onto women, making them completely off-limits when it comes to killing. When it comes to sex, he’ll treat you like the most precious thing in the world and draw orgasm after orgasm from you. He has a hard time expressing his emotions, so sex is his way of showing his love for you.

The only way he’ll taste a woman is when he goes down on her, and like any good munch, he’ll be licking and sucking for a while. His favorite way to eat you is when you’re resting on your forearms, ass propped in the air, and pussy on display. It gives him a great view of your glistening folds and throbbing clit, and when your pussy starts to get too sensitive from coming too many times, he’ll allow his tongue to venture to your ass. As taboo as it is, it makes you feel good, which is all he cares about. He doesn’t look like Sukuna for nothing.

Only when you’re well-prepared will he fuck you. He’s inhumanly large, and if you aren’t well-stretched and very lubricated, you have no hope of taking him. He’ll refuse to fuck you if your pussy isn’t dripping with your juices because God forbid that he hurts you.  There’s a reason those pants are baggy.  

Not only is his dick inhumane in size, but in appearance, too. His shaft has bulging veins and ridges that offer you some delicious stimulation. Instead of doming off, his cockhead is more of a pointed tip, providing you with an interesting sensation as he pounds into you. His unique additions make him even harder to take. But though the stretch may be a little painful, once you’re adjusted, he’ll have you drooling and cock drunk in no time ♥️

A/N: I might write a proper threesome with them because I'm down BAD 😩

Update: A year later, and I finally wrote a Douma/Reader/Akaza piece 🤭

[chuulyssa]

🇨​​ 🇴 ​​🇳 ​​🇫​​ 🇪 ​​🇸​​ 🇸 ​​🇮 ​​🇴 ​​🇳​ ！

BSD MEN REACTING TO A CONFESSION.

↷ A/N ─ yes new divider again because im indecisive as heck

★ FT. ─ dazai , chuuya , ranpo , akutagawa , atsushi , fyodor

!! TAGS ─ mentions of suicide, insecurities, overall fluff

"i love you."

ᴅᴀᴢᴀɪ.

promptly replies with, "i love you too."

he'll lean into you with an amused smile because he lowkey thinks you're joking

when he realizes you're serious about it he'll immediately stop the stupid grin

and look at you with this sincere look you've never seen on his face before

he'll hold your hand and everything while repeating "i love you too," for a second time, only this time he's serious about it too

definitely asks for double suicide later

"You know it's my motto to unalive myself with a beautiful woman. How lucky of you to have been bestowed upon this honour."

"Mhm."

"I'll say yes if you join me in a double suicide," he asks with puppy eyes.

"Dazai, you already said yes."

"I'll say it again!"

​ᴄʜᴜᴜʏᴀ.

he stops abruptly and half chokes on his expensive ass wine

poor boy is really confused 😭 because "where did that come from??"

he tries to play it cool but he's literally SCREAMING inside

we all know he's been betrayed a lot of times in the past so he feels hesitant about it

will decide to give it a shot tho

100% calls dazai to brag about it

"You may be taller or whatever (as if that matters in the first place) but were you the one able to steal her heart? Eh? I think not!"

You chuckle hearing him update his rival of his new relationship status.

"And anyway," he raises a glass of wine for toast. "I'd like to thank my good looks, good looks and did I mention my good looks (?) for making tonight the happiest night ever."

ʀᴀɴᴘᴏ.

"i know."

he has always observed every single thing about you - how you behave around others vs how you behave around him, the little times you look at him like you want his attention etc etc

he's known about this since like soooo long

he defo also knew when where and how you were gonna confess

went to yosano for tips to react to it and bought you chocolates and stuff. he thinks it'll make you happy :D

eats all of that himself even tho he originally bought it for you but you let it slide because he's a cutie patootie

"You could at least have been a bit subtle about it," he says, munching on his chips. "I mean, anyone who saw you would've been able to guess. I didn't even need my ability for this!"

He lifts his chin up thoughtfully, fingers ripping open another packet of snacks. "You should be grateful I'm not a snitch. Eh, well," he shrugs, "You're now dating the greatest detective in the world! Congratulations!"

ᴀᴋᴜᴛᴀɢᴀᴡᴀ.

"eh???"

like chuuya, he's pretty confused too

"are you sure?"

tries to keep a straight face and hide his fluster

he'll narrow his eyes at you as if he's trying to read your emotions. he doesn't wanna get hurt if he gets too attached to you and you two end up breaking up

also how tf is he supposed to believe that someone like YOU like someone like HIM?

reassure him that he's perfect please :( poor baby deserves the world

"I am a lot of work. I don't think you can keep up with all of that," he says shortly.

"I'll try my best."

"You don't have to."

"But I want to!"

He stares at you for a few moments, looking like he's about to cry.

"Oh, alright then," he waves a hand around. "But don't you ever leave me."

ᴀᴛꜱᴜꜱʜɪ.

screams

"SAY IT AGAIN PLEASE!"

jumps around everywhere in happiness

you dont even get a verbal answer the man's just dancing around

either that or he just faints

he's, like akutagawa, insecure about himself. but he's much more open to showing his emotions to you.

you end up cuddling the whole night or he calls off work to be with you for the rest of the day <3

"I..." he repeats the same word for the fifth time in a row.

"Yes?"

"Don't mind me, I'm just trying to come to terms with the fact that I get to date you."

"Is that a bad thing?"

"No, no!" he panics, wringing both hands all over himself hastily. "I love you! Really!"

ꜰʏᴏᴅᴏʀ.

no reaction. im sorry

spares a small glance at you but otherwise doesn't get distracted from his work

you think he's gone deaf from the way he just ignored you cuz what????

will spend like 15 minutes that way before extending an arm to you and you lowkey DONT KNOW WHAT TO DO??? HELP??

he'll stare at you for a few seconds before pulling you onto his lap and continuing with his work

and that's his way of saying yes

He shuts the computers around him down and taps your outer thigh twice. You immediately stand up and help him up. He stares at you for a few seconds, contemplating something.

"You know, I never thought I'd enable others to call me a lovesick fool."

"Does that mean you are a lovesick fool?"

"A little, maybe," he turns around and walks out of the door while you follow him with a soft smile on your face.

© chuulyssa 2024 - do not copy, plagiarize or repost my works on any platforms. do not translate.

[clarenecessities]

He-man.org will close in 5 days.

He-man.org has been a staple of the Masters of the Universe community since the early days, originating as an email list that worked to document episodes before anything (not footage, not lists, nothing) was available online. It grew into a sprawling, multi-faceted beast of a thing, including an encyclopedia (an in-house wiki), merch lists, a marketplace, forums, anything you could think of.

Several years ago now, the main site went down for updates/maintenance. For a few weeks, we were told, maybe months. The forums remained open for fans to communicate, and barring a period of downtime earlier this year things were going smoothly.

Yesterday, the owner of the site, Val Staples, announced the site would be closed on November 14th, 2023. Six days later. We are currently attempting to contact him, to see if he’s interested in selling, and if he means closed as in “no new posts” or closed as in deleted entirely. Regardless of its eventual fate, the archiving of these forums is essential to preserving the history of the franchise, the fandom, and the brand.

TO SHE-RA (and MotU) FANS SPECIFICALLY: I have personally used these forums to answer questions that could be answered nowhere else. Had I not had access to them, I would never have been able to prove that Purrsia was fake, or found so much unpublished concept art, or discovered that Scott “Toyguru” Neitlich personally wrote Catra’s MOTUC bio (even if he’s put off answering my questions about it for over a year now). Forum members have conducted interviews with the likes of Jon Seisa, Cathy Larson, Janice Varney-Hamlin—essential figures in the very foundations of POP, and those interviews revealed and recorded priceless information for future generations (me! you! us!) to find. Did you know Cathy Larson named Adora? That she originally pushed for “Dorian”, after her own daughter? We cannot let this treasure trove disappear into the ether(ia).

TO THE UNAFFILIATED: Please help. Pretty please. If you’ve ever liked my art or my writing or my haphazard blogging, ever, at all, consider archiving just one board. Just one page. Literally anything helps. I am spiraling into madness & this is my library of Alexandria. The mythical one that was totally unique and persevered nowhere else and was destroyed in a single cataclysmic event. Pretty pretty please help.

HOW TO HELP:

Archive.org has several ways to upload shit but most of them are longer term than “a few days” so we’re focusing on two (which can be run simultaneously): Save Page Now, and browser extensions. From their help page:

1. Save Page Now

Put a URL into the form, press the button, and we save the page. You will instantly have a permanent URL for your page. Please note, this method only saves a single page, not the whole site.

We want to keep outlinks and screenshots wherever possible. The Archive does not keep your IP address, so your submission is anonymous.

2. Browser extensions and add-ons

Install the Wayback Machine Chrome extension in your browser. Go to a page you want to archive, click the icon in your toolbar, and select Save Page Now. We will save the page and give you a permanent URL.

One plus to installing the extension is that as you surf around, when you run into a missing page they will alert you if we have a saved copy.

More extensions, apps, and add-ons:

Firefox add-on

Safari Extension

iOS app

Android app

I strongly encourage you to use these tools even if you aren’t helping with this project/after it ends. Documenting and preserving information is essential in this day and age & The Internet Archive is at the heart of it. Please support them however you can.

I’m serious about paying you, though I may need more communication with folks I don’t know so we can coordinate/verify shit gets done. I think this is a worthwhile pursuit in itself but I recognize your time is valuable & like, people gotta eat. DM me if you’re interested and we’ll talk. I may need to adjust pay depending how many people bite but I’ll do what I can

[lordgrimoire]

So, an Idea, or AU I had regarding the good ol DPxDC.

I’m not sure what sort of disaster Amity’s ghost problem would be classified as, but think of what would happen if the local EMS (Emergency Services like Fire Departments, Law Enforcement, Emergency Medical, etc.) pretty much started jumping over the Mayor from the get-go? What if hard proof of these hijinx, for a brief time, were able to get out of Amity?

Well the Governor would probably have someone take a look, and once nonsense is confirmed (especially of its weird nonsense that looks a little to close to supers) they send in the National Guard, at first to keep an eye on the situation.

Then comes the Ghost Investigation Ward, and things go from moderately worrying to “WTF” real quick. And things start looking less Small Town USA and more Stalins Town USSR, at the height of Stalins Purges.

Admittedly it’s not immediate, and during the time between being put on “Indefinite Alert” and actually being relived this unit (I’m thinking a Battalion Sized force so about 1,200 soldiers/guardsmen total) ends up befriending the locals, and much to the Mayor, and GIWs, frustration, Phantom, as well as Red Huntress.

This leads to a standoff, the GIW can really only do what they want because of the Governments permission for them to do so, but engaging National Guard, who had not been federalized, may cause an issue or two. So they bring up the issue with someone who they think will back them up, their new boss Lex Luthor.

Now Lex isn’t a fool, but he figures out how the Justice League isn’t being called is due to a jammer the GIW set up and figures he can take a look around incognito like, or more accurately get trusted members of The Goonion, who he had Federally given approval to, to go take a look around.

When Alex gets the full story, and not just the GIWs original story but also updated info from the Doctors Fenton, who are now VERY worried, because they were wrong about Ghosts in more ways than they originally thought they may have been. Suffice to say, when Lex manages to get a copy of "The History of The Infinite Realms" and finds that Krypton's Afterlife is GONE, as in they did something similar to what the GIW is planning, he starts hitting the "Abort" Button with fury. Only to be told "Too late we're underway, we're going through a tunnel, what? What?" And now Lex decides Enough is Enough. Lex does two things, first he sends the GO order for the National Guard Battalion in Amity Park, then he starts trying to get a hold of the Justice League because "Listen I know you dislike me but I am willing to drop it all if you HELP WITH THIS BS THAT I JUST INHERITED!" Meanwhile back in Amity Things go from 0 to 100 faster than an Flash, that being the National Guard heard "GO" and immediatly started blasting. The Townfolks: Confused The Ghosts: Confused Team Phantom: Confused and Afraid The Ghost Hunters who are now studying Ghost Culture and the like: Very Confused and sorta getting Arrested. The GIW: Full of Bullet Holes, Screaming, and On Fire Meanwhile, The National Guard are waiting around two hours later with Phantom for any "Federal" News to come through: So the New President decided the Anti-Ecto Acts are BS, unfortunately they haven't been overturned yet so we're all most likely going to be marked as traitors. Mind if we hide out somewhere our bosses can't find us? Also the Justice League never actually knew any of the BS we've been going through, GIW Had some Jammer set up.

Phantom, Tired of all the damage and killing the GIW has caused in Amity Park: I'll try, but I'm not sure how much good it will do if the League shows up.

TLDR: Amity Park during it's entire run has a Battalion of US National Guard camped out in the outskirts/abandoned parts of town and they figure out most of the situation regarding Phantom not being the Villain Mayor Masters and the GIW Claim him to be. Following this logic they turned around and at the first opportunity attacked the GIW and pushed them out of Amity Park.

[lavishlyleo]

Astrology Observations 5

One thing I've noticed with Gemini Moons is that while they do love to talk to people and share their thoughts, if they aren't interested in the conversation's topic or if you stay on one topic for too long, they tend to zone out. If they aren't very invested in the convo at hand it will be VERY noticeable (e.g. blank stares, they suddenly go very quiet, dry repetitive responses, checking their phone frequently).

The same can be said for individuals with a lot of Air in their charts in general, especially Gemini and Libra. It can be hard to keep these individuals attention for prolonged periods of time. They like to cut to the interesting part so keep what you have to say very brief and to the point.

Not something Leo Moons are known for, but that I've noticed is that they can be really good at analyzing peoples behavior. Like, they'll see how someone acts and can make connections to their own behavior to understand some elses emotions and feelings. It's how many Leo Moons relate to people, bonus points if their Moon is in a water house!

In your Natal chart, if your ruling planet 's transit is in opposition or square with your natal ruling planet's sign, it can indicate a period of bad luck and hardship. It may feel like the world is against you at the moment, especially if said aspect is in a less than 5° orb. Not a great transit aspect to have.

For example, My ruling planet is Jupiter (Sag Rising) and it's in Scorpio at 9°. IRONICALLY ENOUGH, in my Solar Return chart for this year, Jupiter is in Taurus at 9°. So I'm expecting a lot to happen this year. Later on this year I'll make an update on this aspect.

If you have Scorpio or Pisces in your SR top 3 this year, don't take this lightly!! Like I said in my last post with manifestations, this will be a year that your manifestation power is at an all time high! You may literally speak things into existence, for better or for worse.

On the topic of Scorpio/Pisces SR top three, my advice for this (and I'm speaking from experience) is try to think about things you want to happen, not things you don't want or like. For example, if you think about how much you don't like a certain person, later on down the line you may find yourself suddenly coming back in contact with that person a lot more, when either you wanted to or not.

People with Cancer personal placements, I'd advise you to frequently check the Moon's transit and positions! Whenever it's the full or new moon, keep tabs on what happens those days and how you feel. Let me know in the comments anything interesting that's happened to yall during those times!

I've said this once and I'll say it again, Scorpio Mars are some of the most PERSISTENT people I've ever seen. When it comes to their desires, NOTHING stands in their way. However this can be detrimental if it's bad habits like drinking, smoking, stealing, ect. One way or another they will get what they want, even if it costs them everything. These people can truly be the victim of their own desires. Honorary mention- Taurus and Leo Mars.

Listen, if you ever need someone to promote your music, call an Aquarius Venus/Dominant person. I swear to god these people listen to the most obscure, outta pocket things I've ever heard.

Taurus 6th/5th housers tend to be those people at work that live by the slow and steady motto. They don't like to rush and do a sloppy job on whatever their working on.

On the other hand, Aries 6th/5th housers may be very fast workers, and it usually works well for them, works well under pressure. not the most thorough people but for the most part they get the job done.

People with a lot of Gemini and Leo placements in their chart tend to give off Aries energy.

Capricorn and Scorpio relationships are literally ride or die. I know a couple with many of these placements and they are so possessive of each other. Even after heated arguments and many hardships, they always come back together and work out their issues, it's really sweet!

When in an awkward situation, Libra Risings tend to try and break the tension first. Sometimes they can make the situation more awkward doing this but they're always the ones to bring the vibes back to the way they were, so I appreciate it. Gemini Risings may also do this but can be slightly more unhinged in their methods. I love both regardless for it😭💕.

The reason puberty for all of us hits hard is because it's around this time that Saturn is usually in the sign opposite from our Saturn sign. It makes a lot of sense when you think about it, itcchanges a lot of what we focus on and introduces us to new struggles. Although with Saturn retrograde, the age of which these changes can affect us can range from 13 all the way up to 25. Saturn is trying to toughen us up before we become adults.

What your Rising Sign's season is may be the season/months you prefer. For example, I'm a Sagittarius Rising and I tend to like late fall/early winter.

Your Moon sign can show how you process not just your emotions, but how you handle other peoples emotions, and how you relate to them. For example, a Leo Moon may relate to others by thinking of themselves in someone elses shoes, and how they would handle situations. While a Gemini Moon may relate other peoples emotions with stories from others that they've heard, and use what they've observed from other people to help others.

Venus PC Moon can also show this, I'd look at both sign's relationship to see the full picture of how one truly processes theirs and others emotions.

Moon/Pluto Aspects in someone's chart can show a relationship where however the mother treats the native, is how the native will end up treating her as they get older. For example, if the mother was negligent to the native in their younger years, then as they get older they will have a detached and impersonal attitude towards her. Basically the natives mirror how they were nurtured in youth.

"She say do you love me, I tell her only partly. I only love my bed and my mama I'm sorry." -Drake, a Cancer Moon.

People who say Gemini/Libra placements are indecisive have CLEARLY never met someone with many personal fire placements, especially if it's their top 3. Fire sign energy is naturally high and can be all over the place sometimes, this can include their thoughts and decision making as well, mostly concerning the direction of their passions and work. They may have a million ideas of what they're about to do but have trouble slowing down and planning it all out into managable chunks at a time. Will fight for what they want but may have trouble picking their battles wisely.

HEY HEY, new post! I actually had this one in the drafts for awhile! I just got around to posting it now! I haven't been on at all lately because I'm having trouble finding what else to post about. Sooo I'm thinking of doing a little zodiac game soon since I want to practice my art more :] .

More Nitro Nexus art!! I'm not sure when I'll be officially starting my Anthro's Anthem series with him but if I'm being honest I probably won't be releasing the first official chapter until like 2025-2026. I have a lot planned for it but I don't know when I'll get around to it. Only time will tell!

[speakergame]

Progress Update - 3/4/24

Hello and happy March!

It’s been a while, hasn’t it? 😅 Well, I finally have some good news for you this time: I have some actual news!

I'm happy to be able to announce at last that an update is on its way! I’ve still got some assets to make and code cleanup and testing to finish, but I should finally have something to show you soon.

I’ll put a cut at the end of this and go into more detail about the what and why of what I’ve been working on during this long and unintended hiatus, but the tl;dr is that I hope to have an update out by the end of the month, and that said update will break any saves made in Chapter 4. Unfortunate, but unavoidable, since Chapter 4 had to be recoded from the beginning 😞

I just want to thank all of you once again for sticking with me through my extended silence! Especially to my patrons who’ve put up with me putting everything on pause month after month while I dealt with my real life shit, and to everyone who’s sent me kind and supportive messages to let me know Speaker hasn’t been forgotten. It really means a lot to me.

Okay, enough of that sappy shit! I’m gonna get back to work finishing this up 😁 I’ll put out another update later this month once I have a more definite release date.

Thank you all for reading! I hope you’re having a fantastic 2024 so far, and that the rest of the week treats you kindly. See y’all soon! 💙💙💙

(For those who want a more detailed breakdown on what’s been happening and what to expect, hit the readmore)

I won’t go into the personal life stuff I’ve been dealing with this past year that has slowed down my work, but as far as the actual game goes: 

To put it simply, I just wasn’t happy with it. Some of it could be because of how many times I had to reread the same section while I was coding the scenes that would’ve taken place after the last update, but no matter how much I edited or rearranged it, I didn’t like how that scene turned out. There was something… formulaic that had been happening with the way I always laid out scenes, and a bit of stagnation in the story, character, and relationship development that bothered me.

So I rewrote it. And when I still didn’t like it, I rewrote it again. And I still didn’t like it. I thought about scrapping the whole thing on more than one occasion as I struggled to get out of the corner I’d written myself into.

Inspiration finally struck at the beginning of this year, thanks in part to another interactive novel I follow, and I really like the direction I’ve taken it now. 

Instead of the RO split scenes happening where the last one left off, Speaker, Seer, and Gavin are gonna have a chat about Things™ to move the next story arc forward. Then Speaker will get some downtime, by themself at first and then in an extended scene split with the RO of their choosing. 

All the Big Plot Things that were going to happen in Chapter 4 will be moved to Chapter 5 instead, and 4 will be a bit more of a filler episode. A deep breath before the plunge, as it were.

This split won’t just be a quick conversation/reaction from the RO, but a full on different direction for the rest of the chapter based on who you choose. Most of them will involve leaving the house; all of them will involve actual one-on-one time (or one-on-two time, as the case may be) away from the others. And though romance isn’t required, all of them will have the potential to really move the romance forward if you so choose. One or two might even have a lock-in choice (maybe. I’m not 100 percent on that, so don’t hold me to it) 

These scenes won’t be in the next update, because they’re all very complex, but the update will definitely have the Seer chat and at least some of the by-yourself stuff. The update after will have the rest of the alone time stuff (including the clothes/body CC you’ve all been waiting for), and then the one after will start the RO scenes. I think.

I may actually split the RO scenes into separate updates, and let my darlings over at Patreon vote for the order they’re released. That way I can focus on one at a time instead of trying to split my attention six ways at once.

Okay, that’s enough rambling for me today. Time to get back to work! Still got a lot to get done before this is ready, but it’s so close now.

[ywuji]

BABE! wake up!! new yuuji character description dropped! (link incl. spoilers for shibuya arc events)

yuuji lives to fulfill his roles, and this doesn’t change when he becomes your boyfriend. (f!reader & nsfw under the cut!!!)

he’s the sweetest, you think. always updating you on what he’s doing. even though he goes to the heavens and back on days that he’s busy, he’ll always make time to send even a little ‘i miss u ;(((((😭😭🙁❤️’

when he’s finally free, it goes without saying that he tells you about everything that kept him away, even the tiny little things. one week in particular, this included a daily update on a tiny rash on the underside of his buttcheek.

he’s also never shy with his praise and words of reassurance. also with soft, gentle touches, and actions that let you know he cares. he loves you and he makes sure you know it.

it’s not just you he lets know either, it’s his friends, his “brothers”, his teachers, and maybe even random strangers he happens to meet during the day. he takes all the opportunities he can to bring you up in conversation.

”oh that’s my girlfriend’s favourite flavour too...!!”

“oh yeahh...!!! my girlfriend told me about that the other day,”

“oh sorry, i’m busy. ‘m seeing my girl later tonight n i wanna look nice for her so i’m getting ready. tomorrow...? noo, sorry. she’s staying the night tonight so we can spend tomorrow together. …next week? ahh i’m sorry, i—”

even when he’s out with other people, he’s got you on his mind, taking random pics and selfies of things he’s doing, sending them to you accompanied by silly little captions. ‘kugisaki doing choso’s makeup! they miss u baby!!”

very specific hc but also whenever he does a live on whatever app, he’s always talking about you to the people watching too.

“guys i just miss her so much :(“

‘ji i’m watching ??’

“hi, babe. yeah i know, but i still miss you ;(“

he’s the cutest!

nsfw under the cut!

naturally, this also translates to the bedroom.

as your boyfriend, his sole goal during sex is to satisfy you, and god does he do that and more. your moans, your sounds, your body. he loves it all and has to show you.

yuuji’s into overstim—for you and consequently himself too. he genuinely cannot get enough of you. he needs to give you all his big, heavy balls can give. whenever you have sex, it’s always at least two orgasms for you, though it’s usually more than that—you both 'have the time', he tells you. his fingers, his tongue, his cock, and toys even, he’ll use anything and everything to make sure you’re cumming.

“y’look so good, baby, feel so warm… mhm, can feel you squeezin’ on my fingers… so cute.”

“a-ah…! my pretty girl.. my pretty fucking girl.. please cum, baby… just one more... please…”

“please, baby, i love you, please, please, can i cum inside, baby? inside..? please?”

his fav position is missionary. the mere idea of you laying there, all pretty n spread out for him will never fail to get him hard. he loves it’s so easy for him to lean over you and shove his mouth onto yours, as he mercilessly fucks his hips into you. he’s gentle but unrelenting with it—he doesn’t mean to be this intense, genuinely, it just happens that way. he just loves your so pussy much.

being able to see your face is probably his favourite part of the position though, watching your changing expression as he switches from a fast to slow pace and back to fast is something he wishes he could witness time and time again, so he makes it happen time and time again. (highest sex drive in the franchise if i may say)

he loves going face to face with you when you’re both about to cum. it’s hard for him to not fall onto your face when his orgasm hits, he can’t help it when your pussy feels ‘too good’ clenching so tight on him like that. he makes sure it doesn’t happen though, he would never want to hurt you.

when you manage to pry yourselves off of each other, he’s quick to tend to you. moments ago he was making you shake and cry from pleasure, and now he’s stroking your hair, massaging your chest, and talking about some random food craving he’s getting.

his aftercare is so lovely n he’s goofy with it too. so many side pokes, and dick, and butt, and pussy jokes, but you don’t mind. it’s him and you love him.

[turnstileskyline]

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

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

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

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

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

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

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

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

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

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

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

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

– Ryan J. Downey.

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

As told by:

Patrick Stump

Pete Wentz

Joe Trohman

Andy Hurley

Bob McLynn - Crush Music

Sean O'Keefe - Producer/Mixer

John Janick - Fueled By Ramen

Tim McIlrath - Rise Against

Mani Mostofi - Racetraitor

Chris Gutierrez - Arma Angelus

Mark Rose - Spitalfield

Sean Muttaqi - Uprising Records

Rory Felton - The Militia Group

Richard Reines - Drive-Thru Records

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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