#smart contract examples

[astroeleanor]

💸₊˚⊹Your 2H Ruler = How to Become a Money Magnet 💵₊˚⊹

If you’re not making the kind of money you want, you need to start using your 2H ruler. This placement shows how you can earn more money & the people/situations that will bring huge financial opportunities in your life.

If you ignore your 2nd House ruler, you risk chasing the wrong goals and wasting time. This planet shows your natural path to wealth: not the path others tell you to take. The more you align with it, the easier money flows.

So, let's figure out together how to use your birth chart to become a money magnet.

HOW TO FIND THE 2H RULER:

1) Locate the sign in your 2H. Calculate your chart HERE!

2) The planet that rules that sign is your 2H ruler (see table below for planetary rulerships.)

3) Locate the house the 2H ruler occupies in the birth chart. The house it's in, shows HOW you can make more money.

Example: Sagittarius 2H=Sagittarius is ruled by JUPITER=8H Gemini Jupiter is the 2H Ruler

2H RULER IN THE 1H: Build skills and image. Start a personal brand or business. Be seen, heard, and remembered. Who gives you money: Clients who like your energy. Followers, fans, loyal buyers.

2H RULER IN THE 2H: Invest in goods, land, or things that grow. Focus on slow, steady gains. Sell tangible services. Who gives you money: Bankers, traders, investors. People who deal in tangible assets (like gold, land, supplies). Buyers who want lasting value.

2H RULER IN THE 3H: Write, sell, teach, speak. Trade goods locally. Use phones, emails, short trips to build cash. Who gives you money: Siblings, neighbors, close friends. Writers, messengers, teachers. Local businesses or delivery services.

2H RULER IN THE 4H: Buy or sell real estate. Work in land, farming, food, or tradition. Build home-based businesses. Inherit wisely and protect it. Who gives you money: Parents, grandparents, elders. Real estate agents or property managers. Family businesses or ancestral wealth.

2H RULER IN THE 5H: Create art, games, entertainment. Start passion businesses. Teach kids, coach sports, organize events. Take smart risks. Who gives you money: Artists, athletes, performers. Gamblers, investors, venture capitalists. Lovers or romantic partners.

2H RULER IN THE 6H: Offer daily services people need. Heal, repair, clean, or fix. Focus on health, pets, or crafts. Build strong work habits. Who gives you money: Nurses, vets, cleaners, tech workers. Bosses who value hard workers. Clients who need regular help.

2H RULER IN THE 7H: Negotiate smart contracts. Form joint ventures. Sell directly to clients one-on-one. Who gives you money: Business partners, spouses, clients. Lawyers, agents, deal-makers. People who invest in long-term relationships.

2H RULER IN THE 8H: Manage inheritances, investments, loans. Work with taxes, banking, insurance. Handle mergers, estates, or debts. Trade trust for power. Who gives you money: Investors, lenders, financiers. Heirs, trustees, executors. Partners who share assets.

2H RULER IN THE 9H: Teach, publish, preach, or coach. Sell services across borders. Work with law, spirituality, philosophy, or higher education. Follow faith or big missions. Who gives you money: Professors, clergy, travelers, publishers. Foreigners. Legal workers or academic institutions.

2H RULER IN THE 10H: Build a public name. Climb career ladders. Start visible businesses. Become an expert people recognize. Who gives you money: Bosses, governments, CEOs. Industry leaders and high-status clients. Customers who respect titles and results.

2H RULER IN THE 11H: Launch group projects. Build big communities. Fund dreams through social support. Join causes that matter. Who gives you money: Friends, followers, donors. Clubs, political groups, online communities. Social movements and public funds.

2H RULER IN THE 12H: Work behind the scenes. Heal, help, or create art quietly. Invest in royalties, patents, hidden streams. Protect secrets and serve faithfully. Who gives you money: Monasteries, charities, hospitals, hidden patrons. Spiritual teachers, artists, healers. Quiet supporters or secret allies.

Thank you for taking the time to read my post! Your curiosity & engagement mean the world to me. I hope you not only found it enjoyable but also enriching for your astrological knowledge. Your support & interest inspire me to continue sharing insights & information with you. I appreciate you immensely.

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[pomefioredove]

a-yo there, Claudette! how ya' doin'? could I ask a request with the overblot gang like this: they are flirting with reader, in some case is more boldly, another is smoothly or a 'smart'/well thought out flirt, (because i'm SURE that leona and vil don't flirt the same, or blue and idia, for example). reader blushes a lot and looks away. after a second of silence, reader flirts back just as smoothly, slyly or boldly. how do the 7 primors react? 💗💗

thanks in advance! take care<3

oooh- yes, of course!! I had fun with this. it also occurs to me how bad most of them would be at flirting...

*ੈ✩‧₊˚ the boys do a flirt

type of post: headcanons characters: riddle, leona, azul, jamil, vil, idia, malleus additional info: romantic, reader is gender neutral, reader is yuu

anyone here familiar with Victorian courting rules?

well, Riddle is

he is alllll about etiquette

literally "no hand holding before marriage"

the boldest he gets is with... flowers

for what he can't say or do outright, he can convey in floriography

daisies for loyalty, pink camellia for longing...

if he's feeling bold, he may add a lavender sprig or two

now, imagine his surprise when you send him a red orchid...

his face blushes the same color as the flower and he gets all giggly

going around Heartslabyul, saying he's got to send you a red rose back

...as if anyone knows what that means

(everyone in his dorm thinks you're both crazy)

*ੈ✩‧₊˚

Leona is the god of avoidance

he would rather crawl on his hands and knees through sewage than be honest with himself about his feelings

so, what does he do when he knows he's falling for you?

bullies you

like, lovingly

it's just easy for him to banter and push you around

he will call you short no matter what your height is, let himself into your room to sleep on your bed and make direct eye contact with you while he knocks your things off your desk

like... petty cat behavior

he was not anticipating you to reciprocate

man, you have a mouth on you

the things you say... color him impressed

honestly, he likes you even more than before

...which now makes avoiding his feelings impossible... crap

*ੈ✩‧₊˚

unfortunately I think Azul's best attempt at flirting is staring at you across a crowded room

he's a flatterer by default, but, like, he actually likes you

he knows how to get someone into a contract, but not how to ask you out on a date

funny, right?

well, not for him

it takes all of his courage just to say you look nice

Sevens, what is wrong with him?

you make him feel like an utter fool... so, of course, he has to compensate

now, when he's around you, he becomes smarter, more interesting, and about three times as pretentious

to impress you. obviously

then you match his energy and he's right back to square one

who knew he could get so easily flustered?

*ੈ✩‧₊˚

Jamil doesn't "flirt"

...at least, that's what he tells himself

before you, he'd simply never had a reason to. now...

how hard can it be, right?

and, well, he's not half-bad at it

Jamil knows how to keep his cool, and flattery is his second language

and he gets a chance to show off a little...

perfect, right?

well...

he can never seem to surprise you

every hint he tries, every subtle compliment and little smirk, you have something equally as crafty

...not what he had in mind, but, hey

the psychological warfare makes flirting much more interesting

*ੈ✩‧₊˚

Vil is, perhaps, the only person here who actually knows what he's doing

not that he's used to flirting

he just... knows how to talk to people

he's always quite subtle about it

forward advances are tasteless, if you'd ask him

he tends to flirt in subtle, but meaningful ways

that is, he makes his intentions known through touch

nothing aggressive, of course

a gentle squeeze of your shoulder, a brush of his hand against yours, an arm around your waist...

just enough to fluster you (which he so enjoys doing)

imagine his surprise, then, when you start touching him back

wordlessly holding his hand, sitting close enough to him to feel your shoulder against his...

he'll admit, he admires your boldness

*ੈ✩‧₊˚

the only "you" that Idia is flirting with is a chat bot he programmed to talk like you

I mean WHAT who said that

he DEFINITELY does not have that. haha... that'd be like, super creepy...

on that note, he also definitely DOES NOT obsessively study your words and mannerisms to better understand you

...well...

listen, he just doesn't know how to approach you!

you're so... you! and he's so... him

so, he'd much rather watch your every move and fantasize about being able to actually... talk to you...

he is, understandably, terrified when you approach him

...even more so when you seem to know about him and all his interests...

???

...you know what? he's not even going to think about it

*ੈ✩‧₊˚

Malleus can be a little... old-fashioned

and by that I mean Briar Valley old-fashioned

he was taught how to court by Lilia, of all people, so you know whatever he's doing is...

...strange

and he's somewhat aware of it, too

he just thinks it'd be even stranger for him to flirt with you like...

well... you get it

everyone else

he is, however, pleasantly surprised when you seem to know what he's doing

you've been reading up on Briar Valley customs, and recognized his courting rituals pretty much right away

...not that you're going to tell him that

reciprocating his flirtations is more fun when he doesn't see it coming

he makes that one surprised face every time

like this -> o_o

[raven-at-the-writing-desk]

do you believe that leona's writing in book 3 is terrible like with book 2?

No, I think that most instances of writing for Leona outside of book 2 are pretty solid. Book 3 doesn’t fix the mistakes of 2, but it’s WAY better at showing of who he is (both the good and the bad) than 2 ever was.

2 actively made Leona appear unintelligent (such as not accounting for Malleus being able to magically poof to safety, making Savanaclaw the obvious culprit by having NONE of his own students injured, not considering how this could affect international relationships, etc.). In book 3, Leona can actually show his cunning. For example, he decides to kill two birds with one stone by using our plea for help as a means to destroy a contract he had previously made with Azul. Leona thus took advantage of a situation to help himself out. He figures out the trick with the golden contracts and devises a plan that involves deception and distraction to steal them from under Azul’s nose. We would NOT have been able to pull any of this off on our own, which only further emphasizes how smart and helpful Leona can be (if he’s on our side).

Another thing I enjoy is book 3 showcasing Leona’s values. He makes us fight mobs to earn the right to sleep over at Savanaclaw—and yeah, it’s a dick move, but it’s great for Leona’s character. It shows us that he “walks the walk” and expects the same of others. Leona can slack because his intelligence and magical ability affords him this. He’s under no obligation whatsoever to house a few randos, but he’s willing to do it if they can prove themselves to him. He’s staying true to his own convictions and rewarding merit, the very thing he wants to be judged for, NOT his position in life or order of birth. If anything, Leona isn’t discriminating against us and is actually giving us a (literal) fighting chance.

Finally (although this is a minor thing compared to everything else I mentioned), I like how book 3 shows us how unabashedly arrogant and jerkish Leona can be to his peers. He goads Azul about the contracts and even gives him false hope by offering to negotiate with him 💀 which is REALLY petty and circles back around to being hilarious to me. (I realize not everyone will agree with this interpretation, so take it with a grain of salt.)

[ducksido]

I just thought of something interesting! What about all of the dorms ( or Housewardens if that's too much) with a reader who can copy others unique magic? Example, the moment they see that Riddle is about to get hurt by a magic attack (accident or not) they panic and shout without thinking: "OFF WITH YOUR HEAD!" so the magic user doesn't hurt him.

Heartslabyul – Riddle Rosehearts

Situation: A rogue spell flies toward Riddle. Before he can react, you panic and shout, “OFF WITH YOUR HEAD!” The attacker suddenly collapses, magic silenced.

Riddle’s Reaction: He's frozen. Did—did you just use his Unique Magic?

He’s a little red, but not just from embarrassment. He’s flustered, startled, and above all else—curious.

“That’s…not something anyone should be able to do. Are you aware of what you just did?”

From that moment, Riddle becomes quietly obsessive about understanding your ability. He’ll invite you to Heartslabyul tea parties more often, both for your safety (he tells himself) and to analyze how your ability works. If you use “Off With Your Head” again, he gets a strange mix of pride and mild panic—because that kind of power in untrained hands? Dangerous.

Savanaclaw – Leona Kingscholar

Situation: You see someone trying to steal food during lunch, about to lunge at Leona. Instinctively, you murmur, “King’s Roar,” and the attacker collapses, ears ringing from the magical shockwave.

Leona’s Reaction: Immediate disbelief.

“Tch… you tryin’ to one-up me, herbivore?”

He’s not mad, not really. In fact, it awakens something dangerously competitive in him. He doesn’t like being copied, but he respects your instincts. If you can use his magic on the fly, that means you’re not just clever—you’re survival-smart.

And that? That intrigues him. He won’t say it aloud, but you’ve earned his respect in a way few ever have.

Octavinelle – Azul Ashengrotto

Situation: A tense negotiation is taking place. A threat is made. You stand up for Azul and whisper, “Um, would you like to make a deal?” The other party stares in shock—suddenly tempted to sign a contract that isn’t even there.

Azul’s Reaction: His jaw drops.

“You…used my Unique Magic. Without a contract.”

You are now his top obsession.

He’ll approach you with an unsettling grin, ready to offer a “partnership,” purely for the sake of studying this strange talent of yours. He hides his unease under that cool businessman mask, but deep down?

He’s terrified. Because if someone else can wield his magic, then he’s not as untouchable as he thought.

Scarabia – Kalim Al-Asim

Situation: In the middle of a desert training exercise, people are dehydrating from the heat. Without thinking, you raise your hand and shout, “Oasis Maker!” A oasis fills the the spare space and people dive in.

Kalim’s Reaction: Sparkling stars in his eyes. He gasps and runs over, grabbing your hands excitedly.

“That was AMAZING! I didn’t know you could do that too!! Can we match magic sometime?!”

He’s absolutely delighted. You’ve just become his new favorite friend and magic buddy. He’ll pester you to do synchronized spell-casting and invite you to every party from now on. He’s completely trusting—dangerously so—but genuinely admires your abilities.

Jamil, however, is quietly taking notes.

Pomefiore – Vil Schoenheit

Situation: Someone insults Vil during a showcase. They attempt to attack him with magic. You coldly step forward and utter, “Fairest One of All.” Their body stiffens and freezes.

Vil’s Reaction: A slow, graceful turn of his head. Eyes narrowed, lips painted in an amused curl.

“You’ve been watching me, haven’t you?”

Vil sees this less as a threat and more of a… performance. You learned his magic because you admired it. That’s flattering—maybe even poetic.

But don’t expect him to go easy on you. Now that you’ve mimicked him, he expects nothing less than perfection in your technique. You are now his unofficial apprentice whether you like it or not.

Ignihyde – Idia Shroud

Situation: A powerful tech-based spirit escapes in the lab. Idia is about to get hit—and you panic, muttering “Gate to the Underworld.” A stream of ghostly blue fire engulfs the target.

Idia’s Reaction: SHUT DOWN. ERROR. SYSTEM OVERLOAD.

He literally hides behind a computer screen and starts ranting about how this is a trope: “The overpowered side character copying the depressed gamer genius!” In reality, he’s flustered and amazed—and maybe even a little honored.

“W-well, I guess it’s cool… just don’t become like, OP and steal my job, okay?!”

Ortho thinks you're amazing. Idia just needs a few days to reboot.

Diasomnia – Malleus Draconia

Situation: A rogue magical beast tries to strike Malleus. You raise your hand and say softly, “Fae Maleficence.” The air crackles and the beast falls to the ground asleep, just like his.

Malleus’s Reaction: He stops. Stares.

The ancient power of his lineage isn’t something he expects anyone to copy. And yet…you did.

“Child of man… You are full of surprises.”

He’s not angry. He’s curious, thoughtful, and maybe even enchanted by your potential. If anything, it draws his attention to you more. He may begin inviting you to more night walks, to speak of ancient magics and how you, a mere human, could wield them.

You’ve intrigued the prince of fae—and that’s not something anyone does lightly.

[moonstruckme]

love the doctor!remus content!!!

would love to read about him in a similar setting as the last request u did, where reader doesn’t tell him she‘s had to go to urgent care (maybe she lost her phone) and he‘s in his big scary attending mood but the moment he steps into the room and realizes reader is the patient he goes all concerned and cooing and all the interns are confused as to what happened to calm collected and kinda cool doctor lupin :((((

Thanks love!

cw: hospital, mention of stitches

doctor!Remus x fem!reader ♡ 1k words

You can hear him talking as he moves down the line of small curtained-off rooms, your heart contracting at the sound of your boyfriend’s voice but too shy to interrupt him while he’s working. Remus’ tone is clipped and all business, and you can tell by how quickly his voice draws closer that he’s striding toward you in that brisk way he does when he’s busy. 

“This one’s already been treated,” he’s saying to someone, “so we’re just checking in before discharge. Let me ask some of the necessary questions first, and then we’ll ask the patient’s permission for you to ask some as well.” 

He looks nearly imposing as he whips open the curtain, clipboard in hand and a gaggle of what you guess must be residents on his heels. That all drains away, along with the blood in his face, when he sees you. “Dove?”

“Dove?” you hear one of the residents echo bemusedly. 

“Hi,” you say sheepishly. 

Remus steps toward where you sit on the bed, concern etched into the twin lines between his brows. “Honey, what happened? You” —he looks down at his clipboard, flustered— “you got stitches in your hand? What’d you need stitches in your hand for?” 

You glance between the many sets of eyes in the room, self-conscious in the face of so much attention. “I cut myself,” you answer quietly. 

Remus lowers the clipboard, looking devastated for you. “Why didn’t you call me?” he asks, but the reprimand in his tone is barely detectable behind all the fondness coating it. He holds out a hand. “Let me see.” 

You give him your hand obediently, doing your best to follow his example and ignore the murmurings from your small audience. He’s painstakingly careful as he removes the bandages to reveal your cut. It looks far better than it had when it had been bleeding all over your car on the drive over, but Remus still coos like it's the most grievous injury he’s seen in his career. 

“Seven stitches?” His lips turn down into a pout. “What’d you do to yourself, dovey?” 

You see one resident’s eyebrows fly up at the sappy pet name, exchanging a look with the one next to him. 

“I was trying to cut up the squash I bought last week,” you explain, unsure if you’re supposed to be talking to the room but directing your words only to your boyfriend, “and my knife slipped. I was going to call you when it wouldn't stop bleeding, but my phone died. I didn’t have time to charge it before I came.” 

Remus makes a gruff, reluctant sound of approval. “Well, I’m glad you came but I’m sorry I couldn’t be with you. Did it hurt very badly?” 

“Not really,” you lie quietly, but one of the residents behind you goes, “Doctor Lupin, is that one of the necessary questions we’re meant to be asking?” 

You flush, and Remus shifts modes in an instant, his look severe as he turns on the smart aleck. “No,” he says drily. “But this is still the portion where you’re meant to be quiet.” 

You sort of feel for the resident as they nod abashedly. Remus countenance warms again as he turns back towards you. “I’m sorry I wasn’t here,” he says, still cradling your injured hand in his.

“It wasn’t too bad.”

“Don’t lie.” Remus’ brows scrunch together, the sympathy in his eyes almost too much for you to bear. “I can tell you’ve been crying, darling.” 

“Remus,” you chide embarrassedly, looking again to the residents gathered behind him. 

“Ah.” He drops a hand to your knee for an apologetic squeeze, turning to face your observers with more of an authoritative air. “Go find somewhere else to be,” he tells them. 

They scatter like mice. Remus huffs when the last one out doesn’t shut the curtain, stepping away from you to draw it closed himself. 

“Sorry, I nearly forget they’re there sometimes,” he explains, but he’s already doubling down on the sweetness now that they’re gone, bringing your injured palm to his lips for a very, very gentle kiss. “Did you cry while they stitched you up, honey?” 

You might cry again now if he keeps looking at you like that. “A little,” you admit. “I was being a tad dramatic.” 

“I doubt that,” he says, thumb stroking lovingly over the line of stitches before picking up the bandage and beginning to rewrap it. “Hand wounds are no light thing. It probably bled a lot, hm?”

“There may be some cleanup waiting for me in both the kitchen and my car,” you joke. Remus gives you a small smile for your efforts. 

“Don’t worry about that, I’ll take care of it when I get home.” He finishes bandaging your hand and leans in to kiss your cheek. When he pulls back, his eyebrows have bunched again. “You’ve got mascara tracks on your cheeks,” he murmurs, cupping your face and brushing his thumb over the plane of your cheekbone. “S’breaking my heart.” 

“Sorry,” you say bashfully, and he rolls his eyes at you, pecking you again on the cheek like he can’t help himself. 

“What’re you sorry for, hm? Well,” he seems to reconsider, “you ought to be sorry about your knife skills, but that’s an apology you owe yourself, not me. I’ll be stowing all the knives where you can’t reach them from now on, by the way.” 

“First you’ll have to deal with all the residents you just disillusioned,” you tease him back. “Seems like they used to think you were cool and blase, but not anymore.” 

Remus shrugs. “People are multifaceted. If they didn’t know that already, then I taught them something today after all.” He gives you another soft look, though it’s far less worried than the others had been. “My poor darling,” he laments, setting his hands on either side of you to plant one final kiss on your forehead. “Rest here for a bit, and I’ll come get you in a few minutes, yeah?” 

“Okay, thanks,” you agree readily, happy to have a ride home considering the state you left your car in. “Gonna go try to restore your street cred with the residents?” 

“Dove, don’t be silly,” he says on his way out. “They worship me.” 

[yan-lorkai]

heyy I saw that your requests are open and I want to request how would the (yandere?) housewardens react to a darling/yuu that over time surpasses them? even tho theyre magicless and good at keeping it under wraps until perhaps when their grades are posted on the board..? like they appear to be chill and hang around friends but behind that they work hard and somewhat manage to be like the smartest in NRC🤭 I hope this you havent done this one yet and hope you have a nice dayy💕🩵 tyy

.⁠｡⁠*���♡ﾟ Riddle is annoyed but satisfied in a way. Nobody ever put effort into their study and other skills so seeing you work yourself that hard, makes him a little proud. Though he thinks to himself how he is the example, he should be the one on the first spot always, you could take the second spot on the podium. So he starts to overwork himself to surpass you and put an incredible distance between both of you.

.⁠｡⁠*⁠♡ﾟ Leona doesn't care. You're smart. So what? Reputation and being the model student isn't something he cares about. He didn't even want to be here in the first place, yet he just can't go home and is trapped here. Though he resigned himself to merely hearing you yap happily about the topics you studied and how proud you are of yourself. You're like an annoying cat to him, one he sighs and pat its head.

.⁠｡⁠*⁠♡ﾟAzul is enraged that he lost a target. He was crafting such a wonderful contract, with some twisted lines and hidden meanings, but now there you go studying so hard that you surpassed him. He could congratulate you on that, but he won't. Better than this, he'll send the tweels to teach you a little lesson and with that, he'll make you sign the deal. You can't be better than him, never!

.⁠｡⁠*⁠♡ﾟKalim is happy and proud. He beams like the sun as he congratule you - it's not that hard to surpass him, actually. It's hard to surpass Jamil, though. Either way, Kalim throws a party at every accomplish you have, praising you on every single little thing.

.⁠｡⁠*⁠♡ﾟVil is satisfied. He, like Riddle, likes when people work and polish themselves to be better, yet he takes matters into his own hands if you start to overwork yourself, skipping meals and not sleeping enough. You surpassed himself by your own merit, and he is proud of you for it, so don't go drop your grades now. He is holding you to high expectations.

.⁠｡⁠*⁠♡ﾟIdia admires you. In a way, you're almost next to his level - really, he tries to put his effort on this, but everything is so easy that he just can't pay attention to any of this. He is smart but doesn't care about his grades or anything. He just wants the comfort of his room and games, and also you.

.⁠｡⁠*⁠♡ﾟ Malleus is impressed by your grades and applauds you on it. Though you couldn't never surpass him, he is far older and powerful for anyone, even you, to surpass him. But he is happy to pretend, happy that you are happy, overall just overjoyed that you're spending time with him to tell him about the things you read, and how you're going to put even more effort on your studies and club.

[todayisdeadinside]

"they're not being forced to do anything, this is just their job now and they stunt willingly!" are you fucking stupid.

rant incoming, strap in folks.

ive seen a shocking amount of longtime larries lately downplaying the severity of harry and louis' situations, acting as though their signals and codes are "coincidences," and pushing the idea that harry and louis have full control over their PR moves when that has never once been the case in the past 15 goddamn years. and its not just disappointing, its frustrating. where has everyone's critical thinking gone? what changed?

you all talk about how much holivia damaged harry's public image and compare holivia to mcdumblinson, but then in the same breath act like louis is choosing to stunt with zara. is the cognitive dissonance that thick? or are you all now suggesting harry willingly participated in holivia? both of those potential options concern me, frankly.

we can all agree zara is actively damaging louis' public image, right? so, why on earth would louis be stunting with her of his own free will? are you suggesting he's that stupid? because hes not. louis is incredibly intelligent and to pretend hes stupid enough to continue pushing this stunt when its clearly not helping him is insulting.

but i know what question will be begged: "they're multi-millionaires! they're grown men now! dont you think they have the money and freedom now to do what they want?" if that was the case, there wouldnt be anymore stunting. ever. money does not equate to freedom, nor does age. has everyone suddenly forgotten the kinds of contracts these men are under? the professionals they are stuck working for?

in terms of pure financials, yes, they probably could buy out of their contracts. and where would that leave them? blacklisted from the biggest companies in the industry, smeared in retaliation by the media those companies own, and honestly? their lives could be at stake. think of how many incredibly famous artists have died for political reasons or because they challenged the agencies that own them. this isnt to fearmonger, this is to bring up PRECEDENT. precedent you all seem to have willfully forgotten.

but even on top of all that, are we forgetting that these boys have been groomed since they were 16-18? jeff azoff has been scouting harry since 2013, and hes only one example of the terrible people these men have been surrounded by since they were teenagers. harry and louis have never escaped sony. when they respectively escaped syco, they both signed to other labels sony owns. harry has been signed to columbia (and the azoffs) since 2016, and louis has been signed to his companies and labels since 2020 when syco music dissolved. which makes me beg my own question- what the fuck do you all think has changed? in the past 5-9 years (respectively) what do you posit has changed to give harry and louis this freedom youre all claiming they have? theyre still closeted. theyre still being forced to stunt. theyre still being forced to surround themselves with shitty people.

louis looks beyond uncomfortable in every photo with zara. he is clearly not doing this willingly. harry is a genuinely good person, hes not willingly hanging around the likes of KID HARPOON, who GROPED HIM AT THE 2023 GRAMMYS. or did we all forget that? i think we did. zara is from love island, a show louis HATES. shes the type of person he never associates with normally. the azoffs are RIFE with controversy that could make its own fucking masterpost. if you think our harry and louis, two very smart, very kind, very intentional men, are WILLINGLY surrounding themselves with these types of people, you are biting the media koolaid and HELPING THE PROPAGANDA SPREAD.

AND ON TOP OF ALL OF THAT, i want to REITERATE that these two men have been lied to and coerced and groomed since they were teens. that means, in case none of you have ever been in abusive dynamics with authority, that they likely dont know all of their escape options. firstly, their options for escape are few and far between, and at absolute BEST would end their careers and turn them into GP punching bags because of the smear campaigns that would follow any pushback or contract buyouts. secondly, the professionals and lawyers theyve been surrounded with for the past 15 years are all cogs in the industry music machine. even back on TXF we know their lawyers were paid off by syco to push them in the desired direction with what they signed. that was just one reality tv show, and its a microcosm of the industry at large. not only do they have limited options, they dont even know what all of those options are. its not like their abusive managements are gonna tell them how to leave. thats not how this works.

but again, even if they had access to all of their options, even if they had access to unbiased legal advisors, even if they wanted to end their careers- they wouldnt escape without being hurt in some major way. im not talking out of my ass here. look at other cases of major celebrities who have left their labels or publically denounced the industry. look into major artists who have mysteriously died. hell, look into the p. diddy case and the people he put hits out on. open your fucking eyes and look at the precedent you older fans were AROUND FOR. i wasnt even HERE, and i can see it.

my last point is anecdotal, but stick with me here. when you are a victim of an abusive authority figure- in HL's case, the entire industry full of abusive CEOs and managers- for as long as they have (15 years, mind), it becomes less scary to stick to whats familiar. they know its bad, they clearly hate stunting and being closeted, but its a familiar fire to burn in. i know that feeling. i spent 17 years under an abusive authority figure and during the brief windows where i thought i could feasibly get out, i was too scared and far too conditioned to try. taking a stab at HL, id guess this is where theyre at. maybe they could, in some lucky way if everything were to align, escape and minimize the harm they suffer from it. but theyve been conditioned against trying, conditioned against believing in that possibility, and conditioned to go along with what theyre told.

so again i ask, what do you all think changed? why do you think harry and louis are suddenly free to do as they please, after all these years, when theyre still signed to the same companies and still showing signs of distress? when theyre still coding their clothes as a subtle cry for help- which, by the way, never stopped. why on earth did everyone up and decide they stopped coding their clothing? because 1 popular larrie blog said it, and the rest of you parroted it like gospel? was a real reason ever given for that spontainious conclusion, or are you all just reverting back to the comfort of willful ignorance and slurping up the media slop?

nothing has changed with their situations. a lot of you just seem to have stopped fighting for them. its easier to be complacent, to only care about when new music is coming, to not worry about harry and louis as people. to not worry about supporting them and making sure they know that some of us pay attention and know their truth. some of you are losing those tenents, and its upsetting to watch as a newer larrie who has all the conviction in the world to fight for these boys and show them that they are supported.

the attitude ive seen from some of the older larries on here lately is akin to what id expect from the GP, or solos, but not larries. you are all smarter than this and you damn well know it. the downplaying and disregarding of things like louis' plead for our support, the coded clothing, the subtle hints that theyre still being controlled, is actively helping their managers and PR teams sell narratives like mcdumblinson. through your complacency, saying everything is "just a coincidence" or "the boys' choice," you are aiding the enemy in their pursuit.

this fandom has lost enough voices. i dont want to watch the remaining prominant voices turn into blind sheep and merge with the GP. thats the last thing HL need right now, in such an age of ignorance and finding comfort in participating in a lie. do better, reopen your eyes that i know must have been open at some point for you to become larries. not for some random tumblr user, but for harry and louis. they need all the support they can get right now.

[rivereverie]

Again with poor Wyll:

I was randomly reminded of this scene the other day and how you have the option of talking Wyll down from wanting to kill Mizora. It's framed as a good thing, like you're steering him away from a dark path of digging two graves, but is that really what this is? I think he has every right to want to kill her (monster hunter that he is), not just for himself, but to protect anyone else she'd take advantage of and hurt in the future. I understand that what this line is saying is us telling him that he might do more good in taking on enemies as needed rather than putting all this time into a single target, but if that's the case I don't like how it's phrased.

I get that Wyll is the most morally righteous of the companions, and being driven by revenge isn't exactly a good thing, but he has every right to want it. She forced him into a slavery contract, directly violated his bodily integrity at least twice, supported the death of the most important person in his life, and has been mentally tormenting him all the while.

Wyll is absolutely the type to fight out of love and the desire to protect rather than to hurt and avenge, yes. But I still think it's really condescending to tell him "revenge is bad", when (to my memory), we never tell Astarion that wanting revenge on Cazador is wrong. And Shadowheart taking out the Sharrans is seen as a grim and unfortunate but necessary public service. Even with Karlach, I think the most we say about her wanting end Gortash is "let's wait and be smart about this" (if you're planning to kill him at all, that is). Either this is another example of Wyll not getting the same treatment as other characters (and dare I say, being reductive of his trauma), or I'm just projecting. Maybe I'm misreading this whole thing — let me know.

But telling him to "let it go" is kind of wild no matter how you look at it.

(to be clear I don't think murder and revenge are "good" things. But killing devils seems to be framed as like killing a monster rather than a person, and even then, killing people is commonplace in this game. I'm just saying the morality should be consistent.)

[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.

[insanewaykathy]

I've heard that the writers chose to make Chakotay so desperate in Coda because it was a safe area to show his feelings for Kathryn, and that makes a lot of sense. Coda just boggles my mind, but here goes. What was real and what was Kathryn's imagination?

Real:

He's trying to revive her.

Then he uses a hypospray on her and she wakes up.

And this is also real, she really wakes up, first because there is no cut from one scene to another, he stops the resuscitation and then takes the hypospray, and she is not watching, she was unconscious at that time.

So this actually happened:

Chakotay tells her that he's going to get blankets and that they need to contact Voayger. See how this scene is rich in detail and emotion:

And then we have this shot of him running, but there's no one watching. If it were a hallucination, she would see him running, but the image is captured from above.

Hallucination:

When he comes back and talks about the burns in the case, she is already sitting down, this part is probably just in her head, because that is where she enters the cave and the time loops start afterwards.

And then we have them returning to Voyager and I believe that at that moment the alien started having trouble convincing her that everything was real, because the Doctor starts talking some nonsense, like for example, the fact that she contracted phagia, she ends up refuting everything, and the alien starts to get desperate and without options.

So the alien resorts to something more realistic. Back to the accident. And we have this scene:

Then we have a flash, clearly showing the change of scene.

And this scene is real:

The alien wants to make her believe that she is dead and is a spirit, so he shows her the real scene.

At this point, actual communication with Voyager occurs:

And there's a very important clue in this scene that gives it away as real. Tuvok says that the transports have crashed, and at the end of the episode, we see Tuvok and the Doctor on the planet trying to revive her, but they don't take her to Voyager because the previous statement was true. So that part can't be a hallucination.

Hallucination:

Honestly, this alien is not very smart. He shows her that the transports are down, the scene cuts and she is already on Voyager. Total inconsistency.

And then Chakotay just walks out of sickbay and he was super calm at her wake, whereas moments before he was desperate and crying.

And then we flash again, which cuts to a real scene:

And further ahead, another flash, showing another real scene:

One last flash and she finally wakes up, after literally sending the alien to hell:

And then she and Chakotay walk out hugging each other like this:

And then, you know, he gives her a flower and they go on a date on the holodeck:

THIS IS PLATONIC AS HELL!

[hiddengiggles]

Let’s talk about consent and smart ways to play

Yes, consent can be revoked at any time. That’s normal and your boundaries should be reexamined regularly as part of your own check ins.

No, it doesn’t mean either party did anything wrong, it can just be a change of what either wants. Shaming either party for changing their mind serves no one. Don’t act like the person who was receiving the action is unfair or a “tease” for changing their mind. Don’t act like the person giving the action was bad or wrong for doing the thing for which they had consent at the time because you didn’t like it.

Yes, it’s awesome to be able to open yourself up and be vulnerable for different activities and kinks. When you don’t have a partner to engage with regularly, it can be thrilling to finally find a person to play with, I know.

No, blanket consent for EVERYTHING right from the jump is NOT a good idea. If you’re connecting with a play partner the first few times, start slow and expand. Feeling enough trust to give consent for some kinks can and probably should take time so uou can be really comfortably vulnerable

Yes, it is exciting to safely meet play partners from the online world when you are BOTH ready for it! When you’re safe about meeting (getting to know them slowly, setting a neutral meeting point, letting a few people know where you’re going and the name of your friend, etc) it can be a great way to get time with your kinks. When it isn’t forced, rushed, or for too long a time period, the organic connection can be magical!

No, you should not assume each party is on the same page unless you’ve communicated multiple times, especially in writing. If you had a phone call a month ago that talked about boundaries and assume all is well, you’re not actually playing safely. Some people write out rules, some BDSM players sometimes make it a “contract”, but a verbal conversation will not protect you or help you if worse comes to worst. This is especially important for partners still new to playing together. Record the hard conversations in some way.

Yes, you can start a conversation on boundaries and kinks with generalization. Example on my end, my husband and I both are okay with pictures and videos taken of us and posting them. In the early days of our relationship, we checked every time we played “Is it okay if I film this?” but after years together we’ve both agreed it’s okay to take them anytime, though we check with each other if we’re comfortable with what was captured regularly.

No, a general conversation is not enough. Continuing my example, we both have boundaries for ourselves and for each other to make sure we’re okay with it being posted (or sometimes sold). Earlier today, I put on a really pretty lingerie set for some birthday giggles. However, I stopped and asked “If you wanted to film this, would you be comfortable with me being seen in this publicly? Our usually boundaries call for a top and bottoms covering”. He paused, considered, and said no, so I put on a tank top and shorts too. Get specific with every aspect of your play, from your comfortable clothing levels, to where content can be posted, to areas you don’t want touched that day that you might normally be okay with otherwise. Assuming you already know the answer is not enough, say it again.

Consent is a lot bigger and more complicated than just this post, so talk about it A LOT with your partner(s). The biggest key to a good relationship in and out of kink (friendship, mentorship, romantic relationship) is to NEVER STOP TALKING. Communication is key, talk about your boundaries and consent over and over and over. They will change and grow, and so will you.

Mistakes and miscommunications will happen, but it’s important to talk about them like the grown people you are. A lot of consent issues with new partners aren’t malicious, they can easily stem from either party being unclear or simply not thinkinh to ask about something that could be a boundary issue. Unless it was a blatant “I KNEW the boundary and disregarded it purposely because I wanted to do it” situation, be an adult and talk about it. If you’re adult enough to be engaging in activities or kinks for adults, you need to follow through and talk about what went right and wrong. Learn and grow from the stuff you didn’t do as well before, accept responsibility for your part, and move on, with or without that partner.

[coralinnii]

Congratulations for 2.7k followers!!! For my request, I would like if you could write some sibling scenarios for the octatrio with a younger sibling who absolutely adores and looks up to them. They manage to visit NRC for some kind of event and the younger sibling just follows them around like a little puppy. Copying some of their mannerisms since they want to be just like their cool older brother. I just want to see some silly and fluffy platonic family moments with them, please. 〔´∇｀〕

❋ Big Brother! ❋

↳ Younger sibling!reader visiting him (+ extra Leech brothers birthday special)

feat: Azul ⭑ Floyd ⭑ Jade

genre: platonic fluff, humour

note: no pronouns used with the reader, younger sibling!reader but age is unspecified, established filial relationships, reader is heavily implied to be merfolk, nicknames are used (little octopus, little one, little eel, kiddo)

2.7K Followers Writing Event 2023

Since Azul’s mother divorced fairly early in Azul’s life, I would imagine that you would be Azul’s half-sibling born from his mother and stepfather. That doesn’t mean that Azul loves you any less.

He worked hard not only for himself, but for his younger sibling. Azul wanted to be someone who you can look up to. Someone strong, smart, successful, and most of all, admirable.

And he did a great job, because you can’t imagine anyone more amazing than your big brother Zuzu.

You managed to convince your parents to let you join their visit to NRC during their VDC festival. Even if Azul wasn’t involved with the competition itself, you always wanted to visit your big brother’s restaurant.

Imagine the merman’s surprise when he felt a pair of small hands pull on the edges of his coat. Your bright smile was brimming with joy seeing your brother get frazzled over your visit.

As much Azul wanted to entertain you, this time of year was an opportune time for business. He offered to let you stay in his big comfy office until he could find time for you.

However you refused, choosing to follow him around. Something you learned from Azul was unrelenting stubbornness, after all. You were content with grabbing hold of Azul's large coat as he walked suspiciously slower than usual. Another thing you learned from your dear brother? An itching desire for a good deal.

Your lovable charm was a hit with the customers who watched as you waddled after Azul, not quite used to feet yet. Nearby customers held in squeals as you wrapped yourself in your brother’s coat, watching Azul and mimicking the smiles and hand gestures that your brother was fond of, even pushing up the glasses you begged your parents to buy you, regardless if you needed them or not.

Enchanted, some of the customers requested a commemorative picture with you, which is where you took Azul’s skills for your practice.

“Hmm…if you buy Zuzu’s yummy drink, then I’ll take a picture. With a contract!”

With a poorly-made contract with messy ink splotches, you wore the biggest smile you could muster as you sent a thumbs-up to your brother, who couldn’t figure out if he should be absolutely flabbergasted or immensely proud.

“Naturally, I knew how adorable my baby octopus is. What kind of blind fool do you take me for?”

Floyd is the kind of brother where he loves you and protective of you but he’s still his mischievous self. Rather than being careful or responsible, Floyd is always happy to bring you to every shenanigan and adventure if you ask him nice enough. This made for some unforgettable memories (for better or for worse)

You learn so much from the spontaneous eel. For example, you learned that sharks can swim really fast when angry, but your big bro Floyd is faster, even when carrying you in his arms.

As teasing as he can be, you admired how strong and cool Floyd was, and was excited to hear stories about his life on land with Jade, especially about the stories of his new friends. You even have a notebook with pictures of specific sea creatures to keep track of the friends he made, because if your brother doesn’t bother with names, why should you? (terrible influence, he is)

Imagine your excitement when you had the chance to visit Floyd during one of his basketball games. You practiced all week walking with feet just so you could run like Floyd does across the court.

Unfortunately, the tall merman was in his less-cheerful moods during this particular game. Boredom quickly struck him mid-way into the game which caused confusion for the opposing team and great distress amongst the NRC Basketball players. Jamil was quick to call for a timeout as soon as he could as the team whispered and panicked over this predicament.

But the timeout gave you a perfect chance get your brother’s attention, waving your hands as you called out to the tall merman as Jade stood by you with a genuine smile. Your other brother was quite aware of the bond his two siblings have so he took the liberty of escorting you as you were sure to get lost on Sage’s Island.

“Floyd! Over here!” You yelled out in joy, wearing a jersey similar to your brother to show off your clear bias. But that wasn’t the only similarity you shared with the teal-haired menace.

Shimmering under the gymnasium’s lights, your earring clipped onto your right ear caught Floyd’s eyes immediately.

The day Floyd and Jade made their earrings from the scales of the sturgeon they fought, you cried when there wasn’t enough to make one for you to wear as well. You pouted and glared every time Floyd flaunted his accessory to you, but when you stopped reacting, he assumed that you'd gotten over it.

But holding onto your ear, the sturgeon scales of your earring was as dazzling as your proud grin.

“Look, Floyd! We all match!” Your smile rejuvenated Floyd’s mood, making the once-moody eel grin back. When did you get that? And how did you get it? Floyd’s mind was flooded with curious questions so he soon turned to his teammates with a sadistic smile.

“I’m gonna crush the competition today. I wanna wrap this up quick, so let’s get serious~”

And Floyd started to have fun again, at the expense of the poor visiting team. How unfortunate for them, but Floyd needed to finish the game so he could hang out with his precious family after all.

“Little eel, come with me. Your big bro is gonna show you something fun!”

As seen with his approach with Floyd, Jade is type to spoil his siblings. No matter how tall you get or how old you are, you are Jade’s precious little one, and Jade loves nothing more than to watch his cherished family have fun, regardless if nobody else is having fun in the process.

Jade is the cool older brother, someone who is calm and dependable. You always admired the way he could charm the masses with his suave words and gestures. In the sea or on land, no one is better than your brother (tied with Floyd)

No matter what anyone says, Jade is the kindest eel in the entire world. To the dismay of others, you started picking up little habits and hobbies of your idol. Your classmates were baffled by the odd terrarium filled with odd marine fungi and rocks you stole from the shores of the beach.

When the NRC’s annual Halloween event opened to the public, you were all too excited to see your brothers, especially Jade, to show off your small terrarium bowl. Once you and your family made it to the last day of the Halloween festival, you rushed to the room that your brothers were managing to greet them.

Unfortunately, you were unaware of the concerning issue of Magicam monsters the students were facing.

These rambunctious visitors, who cared little for anything, accidentally knocked you to the ground with your terrarium along with it. The glass bowl was broken into pieces, your hardwork spilling onto the once clean floor. The Magicam monsters offered nothing more than an insincere apology before immediately walking away, adding it wasn’t their fault they didn’t notice you.

Jade was passing by as he immediately recognized you at first glance. He was quick to scoop you up into his arms, a rare look of distress on his face as he tried to dry your teary face. “Little one, what’s the matter?”

You sniffled as you tried to explain what transpired, how you excitedly rushed to find him to show him your terrarium you worked hard on, which was currently a mess on the alchemy room floor.

Oh my, the merman thought. This won’t do. As an older brother, Jade felt a responsibility to teach you a very important lesson. One’s deeds does not go unrepaid in turn

Floyd and Azul had to shush you as you, a true Leech, giggled watching the looks of fear painted on the poor unfortunate souls as they ran for their lives out from the alchemy room, away from Jade’s especially frightening surprise appearance.

All for the fun of Halloween, of course. Not because they dared to do wrong to Jade’s dear little eel.

“You would like to play with me today? Of course, I cannot think of a better way to spend the day.”

BONUS Floyd and Jade’s Birthday Special

“Happy birthday, big brothers!” You screamed at the top of your lungs, throwing handfuls of confetti as high as you could to cover the pillars you call your siblings. The twins chuckled over your silliness, respectively giving their thanks.

“Thanks, kiddo!”

“Thank you, little one”

Smiling, you brought out another surprise. In your hidden hands, you held two small boxes, wrapped in ribbons matching the colors of your brothers’ dorm.

“Open them, quick!” Handing it over, your brothers obeyed your wishes. Afterall, you were the few in the world that the eels would willingly listen to.

Cradled carefully in cushioned cloth, a small keychain sat comfortably in the box. One for each brother, there was a glass sculpture of a moray eel attached to the keychain, one with a basketball by its side and the other with a cute mushroom.

Floyd and Jade stood in silence as they admired the gift, clearly made with them in mind. For the final surprise, you took out your phone where a matching keychain dangled from its case. However, your moray eel sculpture was decorated with two hearts, representing your brothers, next to it.

“I made it near the lava flows on the sea floors” you smiled brightly, hoping your brothers liked them. It was hard enough to try glass blowing but you had to find glass materials that work well underwater. But it was worth it. “I wanted to give you something to remind you of home. Where I’ll always be waiting for you two”

Needless to say, Floyd and Jade were satisfied with your gift. Even after you went home, Floyd was bragging about how adorable you were as he showed it off to everybody while Jade was suddenly pulling out his phone more than usual throughout the day, just to see your present every single time.

[luna-azzurra]

how do you suggest we display different personality within our characters? Like my issue with my writing is that I struggle to make my characters stand out personality wise but I’m unsure how to do that without falling back into static archetypes

Think about how each of your characters talks. Their way of speaking can reveal a lot about who they are. For example, Imagine a well-educated professor versus a laid-back teenager. The professor might say, "I find this hypothesis intriguing," while the teenager might simply say, "That's cool." The words they choose and how they speak can show their background and unique personality . Some people speak in full, precise sentences: "I do not agree with this approach." Others might be more relaxed and use contractions and shorter phrases: "Don’t think so." The tone of their voice is also important. A sarcastic character might always have a bit of a bite in their words, while someone who’s earnest will speak with genuine passion.

Show Personality Through Actions, because Actions often speak louder than words.. Little habits can make a character memorable. Maybe one character always twirls their hair when they’re nervous, or another arranges their desk meticulously. How a character reacts to situations can reveal a lot. A calm person might handle a crisis with ease, while someone impulsive might act without thinking. Picture a thunderstorm: one character calmly pulls out an umbrella, while another runs for cover in a panic. Body language is also a great tool. A confident character might walk with their head held high, while a shy one might avoid eye contact and hunch their shoulders.

Create Conflicting Traits, Real people are full of contradictions, and your characters should be, too. A character might be brave in physical danger but socially anxious. Someone could be very kind but also brutally honest, even to the point of hurting others unintentionally. A character might be very smart but lack practical skills. These conflicting traits make characters more relatable.

Use Backstory to Inform Behavior. A character’s past shapes who they are now. Their history can explain their current behavior, If a character grew up in a strict household, they might value discipline. Someone with a carefree childhood might be more spontaneous. What drives your character? Are they seeking approval, redemption, adventure, or safety? Understanding their motivations helps make their actions consistent and believable.

Let Characters Change and Grow, Characters should evolve over time, just like real people. A character might slowly overcome a personal flaw, like learning to trust others after being betrayed. A major event can trigger significant change, like a tragedy that forces a character to reevaluate their priorities.

How characters interact with others can show different facets of their personality too. Show different sides of your character through their relationships. They might be stern with employees but affectionate with family. Use relationships to highlight different traits. Conflict can show a character’s stubbornness or flexibility, while harmonious relationships can showcase their loyalty and kindness.

[b0tster]

As a "not contract bound" dev who works on a project that you are (I assume) completely in control of, how do you choose the release date and why'd you choose one before finishing the project? Asked not in a "why'd you do that to yourself" way but in a "I wanna understand what's the logical process behind it, maybe it is smart to do it and I wanna know why".

I thought that it'd be logical to first have a finished thing and then say that it'll be released at "date_name_wgenever", instead of setting a certain date and then crunching yourself to fit it. But maybe it helps you somehow to not overwork yourself on the project thinking that if you have all the time in the world, why not add a thing or two, which results in project taking forever to be marked complete, or maybe you just have a pet birthday at that date and wanna make it symbolical lol, idk.

let me be clear here

i am not crunching on bbkart, or any of my projects for that matter

---

now, with that out of the way, time to talk about time frames and productivity. our labor doesnt operate on a linear scale. spending a decade on a game compared to a year will not mean that that game will be 10 times bigger. humans just dont work like that.

something ive picked up over the years is that productivity is like a gas: it will expand to fit the box its put in.

if u give urself infinite time, the gas will just dissipate. but of course if u squeeze it into a release thats too tight, u get an explosion (crunch).

now, im more of a 'find the fun' kinda developer. i make my tools and mechanics based on a loose concept and then decide what the game will be after once i have everything in front of me. in that initial period i do not set a release date, its impossible to predict how a games dev cycle will play out, so i dont bother and just focus on finding whats fun.

once the final game actually starts to take shape, i am capable of making an informed decision on how much labor is needed to finish, and i set an internal date that i do not make public. once im a few months out from that date, i will make an adjustment if neccesary (both bbpsx and kart had their internal date pushed back by a month) and then announce it. that sets it in stone and I have a runway to release.

mark darrah (bioware) talks about something he calls the 'hockey stick', which is the idea that once u get to a certain point, completion urgency kicks in and u get the drive to make the decisions neccesary to finish the game. cut this, reroute focus to that, crunch on this (dont do that last one, ever, but its important to bring up where crunch manifests. some advice: you either cut or you crunch. choose cut).

darrah talks about how to trigger completion urgency (one example is making a demo, be it publically released or exclusive to an event) and the fact of the matter is that a deadline will do it. of course, if completion urgency kicks in too close to the deadline, you get crunch, but if it kicks in earlier u will get things done in a way that doesnt leave permanent damage on your body and mind.

i know this is a very long winded answer, but i hope i was thorough enough to explain the benefits of setting a deadline and how that doesnt always have to end in crunch, like the question implied.

[sexymemecoin]

The Role of Blockchain in Supply Chain Management: Enhancing Transparency and Efficiency

Blockchain technology, best known for powering cryptocurrencies like Bitcoin and Ethereum, is revolutionizing various industries with its ability to provide transparency, security, and efficiency. One of the most promising applications of blockchain is in supply chain management, where it offers solutions to longstanding challenges such as fraud, inefficiencies, and lack of visibility. This article explores how blockchain is transforming supply chains, its benefits, key use cases, and notable projects, including a mention of Sexy Meme Coin.

Understanding Blockchain Technology

Blockchain is a decentralized ledger technology that records transactions across a network of computers. Each transaction is added to a block, which is then linked to the previous block, forming a chain. This structure ensures that the data is secure, immutable, and transparent, as all participants in the network can view and verify the recorded transactions.

Key Benefits of Blockchain in Supply Chain Management

Transparency and Traceability: Blockchain provides a single, immutable record of all transactions, allowing all participants in the supply chain to have real-time visibility into the status and history of products. This transparency enhances trust and accountability among stakeholders.

Enhanced Security: The decentralized and cryptographic nature of blockchain makes it highly secure. Each transaction is encrypted and linked to the previous one, making it nearly impossible to alter or tamper with the data. This reduces the risk of fraud and counterfeiting in the supply chain.

Efficiency and Cost Savings: Blockchain can automate and streamline various supply chain processes through smart contracts, which are self-executing contracts with the terms of the agreement directly written into code. This automation reduces the need for intermediaries, minimizes paperwork, and speeds up transactions, leading to significant cost savings.

Improved Compliance: Blockchain's transparency and traceability make it easier to ensure compliance with regulatory requirements. Companies can provide verifiable records of their supply chain activities, demonstrating adherence to industry standards and regulations.

Key Use Cases of Blockchain in Supply Chain Management

Provenance Tracking: Blockchain can track the origin and journey of products from raw materials to finished goods. This is particularly valuable for industries like food and pharmaceuticals, where provenance tracking ensures the authenticity and safety of products. For example, consumers can scan a QR code on a product to access detailed information about its origin, journey, and handling.

Counterfeit Prevention: Blockchain's immutable records help prevent counterfeiting by providing a verifiable history of products. Luxury goods, electronics, and pharmaceuticals can be tracked on the blockchain to ensure they are genuine and have not been tampered with.

Supplier Verification: Companies can use blockchain to verify the credentials and performance of their suppliers. By maintaining a transparent and immutable record of supplier activities, businesses can ensure they are working with reputable and compliant partners.

Streamlined Payments and Contracts: Smart contracts on the blockchain can automate payments and contract executions, reducing delays and errors. For instance, payments can be automatically released when goods are delivered and verified, ensuring timely and accurate transactions.

Sustainability and Ethical Sourcing: Blockchain can help companies ensure their supply chains are sustainable and ethically sourced. By providing transparency into the sourcing and production processes, businesses can verify that their products meet environmental and social standards.

Notable Blockchain Supply Chain Projects

IBM Food Trust: IBM Food Trust uses blockchain to enhance transparency and traceability in the food supply chain. The platform allows participants to share and access information about the origin, processing, and distribution of food products, improving food safety and reducing waste.

VeChain: VeChain is a blockchain platform that focuses on supply chain logistics. It provides tools for tracking products and verifying their authenticity, helping businesses combat counterfeiting and improve operational efficiency.

TradeLens: TradeLens, developed by IBM and Maersk, is a blockchain-based platform for global trade. It digitizes the supply chain process, enabling real-time tracking of shipments and reducing the complexity of cross-border transactions.

Everledger: Everledger uses blockchain to track the provenance of high-value assets such as diamonds, wine, and art. By creating a digital record of an asset's history, Everledger helps prevent fraud and ensures the authenticity of products.

Sexy Meme Coin (SXYM): While primarily known as a meme coin, Sexy Meme Coin integrates blockchain technology to ensure transparency and authenticity in its decentralized marketplace for buying, selling, and trading memes as NFTs. Learn more about Sexy Meme Coin at Sexy Meme Coin.

Challenges of Implementing Blockchain in Supply Chains

Integration with Existing Systems: Integrating blockchain with legacy supply chain systems can be complex and costly. Companies need to ensure that blockchain solutions are compatible with their existing infrastructure.

Scalability: Blockchain networks can face scalability issues, especially when handling large volumes of transactions. Developing scalable blockchain solutions that can support global supply chains is crucial for widespread adoption.

Regulatory and Legal Considerations: Blockchain's decentralized nature poses challenges for regulatory compliance. Companies must navigate complex legal landscapes to ensure their blockchain implementations adhere to local and international regulations.

Data Privacy: While blockchain provides transparency, it also raises concerns about data privacy. Companies need to balance the benefits of transparency with the need to protect sensitive information.

The Future of Blockchain in Supply Chain Management

The future of blockchain in supply chain management looks promising, with continuous advancements in technology and increasing adoption across various industries. As blockchain solutions become more scalable and interoperable, their impact on supply chains will grow, enhancing transparency, efficiency, and security.

Collaboration between technology providers, industry stakeholders, and regulators will be crucial for overcoming challenges and realizing the full potential of blockchain in supply chain management. By leveraging blockchain, companies can build more resilient and trustworthy supply chains, ultimately delivering better products and services to consumers.

Conclusion

Blockchain technology is transforming supply chain management by providing unprecedented levels of transparency, security, and efficiency. From provenance tracking and counterfeit prevention to streamlined payments and ethical sourcing, blockchain offers innovative solutions to long-standing supply chain challenges. Notable projects like IBM Food Trust, VeChain, TradeLens, and Everledger are leading the way in this digital revolution, showcasing the diverse applications of blockchain in supply chains.

For those interested in exploring the playful and innovative side of blockchain, Sexy Meme Coin offers a unique and entertaining platform. Visit Sexy Meme Coin to learn more and join the community.

[otomes-world]

Six impossible things before breakfast

Little twist with sentient twst au, yes, I didn't expect this either. Masterlist with more works here

We've probably all heard the joke about "How many light bulbs does it take to (insert whatever)." Who would have thought that you would use a slightly modified version of it: how many more coincidences must happen to realize the truth.

Although can anyone really blame you for not wanting to admit that you are a bunch of colored pixels created purely for entertainment purposes? No, it even sounds nice. After all, your purpose was to create extras, a stage on which the main characters performed and shone. Those who had faces.

Did you always have yours? Could you always see it in the mirror in the morning?

Did figurative shivers run down your spine every time a faceless classmate addressed you? One of ten, hundreds, exactly the same. Have the main bunch had the same problem? That's the question you'd been asking yourself lately. Did they shrug off empty, replaceable shells, or at least for a second consider them their equals?

Perhaps the question should have been asked differently. Was this in the order of things for them, because the thought of the incorrectness of worldly norms did not flash through their heads. Or it was something simple and very banal - they did not realize that they were part of the game.

Were you special? The thought was flattering, but it was stupid to start turning up your nose. Maybe the supreme programmer, like the smart guys from Ignihyde, could consider you a virus, a bug, an annoying nuisance, which can be gotten rid of in a couple of seconds. Click and that's it, your file would be deleted.

The idea that death could be more than just literal took you by surprise.

It all started with a strange feeling of déjà vu, with a strange cyclical nature of what was happening. How the seasons did not change according to the laws of nature or, on the contrary, lasted longer than expected. Sometimes you wondered what month was going on, at least by counting. Or how you couldn’t say with certainty what year of study you were in. When was your graduation? Would it ever come?

How many times did the main characters celebrate their birthday? How many times had you celebrated it? Did you celebrate it from the start?

Lessons

Breaks

Exams

Holidays

Lessons

Was there an end to this merging stream of eternal students? Was the dormitory assignment ceremony that important? How many real “first-year students” were admitted each year? Why couldn't your educational journey end? Time adjusted and obeyed an invisible force; it existed only when it was convenient for someone.

Catching the attention of the local spotlight and getting on stage was the best way to get labeled as a "bug" and ask to be removed. However, the main threat was only the erasure of memory.

The next discovery was doubt about one’s own “specialness.” When consciousness had nothing to do, it began to cling to different details, trying to look for differences in a series of events repeated in the film.

When you knew what to look for, small mistakes that were not noticeable at first glance stand out more than usual. A slight shadow of boredom on the faces of the main ones. Lack of interest in the educational process and exams. As if only one “exam” was important in a bunch of exactly the same events. When the first years of Heartslabyul signed a contract with Ashengrotto.

With new information in mind, it became easier to identify important “events” and track time based on them. By how many times they were repeated in the endless flow of time. Taking notes and somehow recording data was more dangerous than you thought, all that was left was to come up with methods known to you alone. For example, in a dorm room on the bedside table there was a cluster of glasses, each containing specific color of pencils.

Did your roommates start to think you were weird and obsessed with order and cleanliness? Their right. You didn't care what they thought, besides, they would forget about it with the coming of a new day.

In order not to completely go crazy, you began to peer into the “faces” of other students, trying to spot at least a feature that distinguishes one from another. Either this world was too lazy, creating copy after copy in every dorm, or there was no point in trying. If you somehow came to terms with the feeling of the meaninglessness of what was happening, then the appearance of one student in several places at the same time still caused rejection.

Disgusting

If this world was someone’s experiment, then why were events cyclical? If this was a cage, then where was the exit. If this was a prison, then who was being held in it?

You made a mistake in observing a person without magic from another world. Trying to figure out whether Yuu's "world" was truly different or just as much a part of predestination as everything around. Was “Yuu” really the main one or just an extra? You could have sworn they didn't have a face. At least such clear features as all the main ones. Just as there was no character, how in each of the repeating events they could behave differently.

It was a breath of fresh air in the routine of never-ending study. The watching of the only part capable of changing in the world, subject to the same rules.

That's why, when one of the main ones suddenly approached you, you thought you were dreaming. Whether it was possible to fall asleep in the simulation was another question. Usually you went to bed, closed eyes, only to open them the next second to the sound of the alarm clock.

"Can I help you with something?" You smiled politely, but was it worth it? Could the main bunch distinguish between persons different from their privileged group.

Hunt. Was that his name? You weren't completely sure. He was part of something forbidden, something to be avoided at all costs. Part of the three “don’ts”: don’t look for information;don’t mention; don’t give yourself unnecessary temptations. Returning to the present moment, he just looked into your eyes with his constant smile, as if trying to find confirmation of something.

Like a true NPC, you continued to stand, frozen in one position and waiting for his answer. Until awareness came as abruptly as his appearance in principle. He looked straight into your eyes. Could he see your face the same way you saw it in the mirror? How long ago? Could the rest of the main ones see you too?

A billion questions were spinning in head at the same time as you tried to come up with a suitable excuse and reason to leave. The changes turned out to be too unexpected and frightening. Perhaps with the advent of a new “day” everything would return to normal.

“Is there a knight in the world who is not ready to devote all his deeds to one and only one, if this opens the veil of secrets at least a little? Will it allow him to find out what thoughts are spinning in head?”

It's a pity he was not a knight. Even though each word was pronounced with a special intonation, you only thought about how much water there was in his speech. Unfortunately, saying this out loud was an unaffordable luxury.

"..Is that so?"

“You are right, an étoile (star), I may be not one of their noble number, but even so I am not able to deny their order.” You let him continue, mentally counting down the minutes until the bell rang for lesson. “I may not have a sword in sheath, but It won`t change a way I live! Your smile can make my whole heart melt. There isn't lie in way I felt”

“I’m not good at poetry, but the rhyme is lame, Sir Hunt,” if it’s there.

“You’re right, writing poems is just one of my hobbies, to which I devote my few free leisure hours,” he continued, as if your words didn’t hurt him at all. “I hasten to assure you that there was no malicious intent in my actions. This modest hunter only wanted to greet a new connoisseur of everything beautiful and interesting."

No matter how much you hate beating around the bush, doubts creeping in from randomly thrown words. Sometimes the phrases spoken directly were the most frightening. However, not wanting to part with your role as an extra - which was burdensome, but at the same time giving a semblance of freedom - you continued to pretend to be an NPC.

"Should I congratulate you?.. Congratulations!" Any member of the film club would envy your feigned sincerity. A bell in three, two, "I don’t dare detain you any longer.”

The unsaid `like you would me` hung in the air. You had to hold out for the few remaining hours until the end. Fortunately, the main one did let you go, but smile, saying that its owner knew everything in the world, left an unpleasant aftertaste. One that your intuition suggested would accompany you for the next days.

It's going to be a very long a few hours.