#smart contract generator | Explore Tumblr Posts and Blogs

cordeliawhohung · 1 month

Text

In Limbo [Chapter 14]

mafia!141 masterlist | In Limbo masterlist | general masterlist | taglist | playlist mafia!Simon Riley x fem!Reader

safe and sound

cw: anxiety/panic attacks, a lot of hurt, a little comfort

wc: 4.7k

“C’mon sweetheart. Stay with me, baby.”

It’s the alleyway all over again. Reality is slipping right through your fingers faster than water or sand. It spills at your feet. Soaks into the floor and the heels of your shoes as Simon’s hands hold you steady. You can’t feel his warmth but you can feel his pressure digging into the sides of your arms. You can’t breathe. You’re trying to; desperately. Diaphragm contracting viciously over and over, and it makes no difference. Head spinning, mind reeling, you’re trapped in your apartment, eyes glued to the messy floor ruined by some malevolent intruder. You’re spiraling faster than you can handle.

Marco’s letter rests in a half crumpled mess in the clutch of your fist, but the curve of his handwriting still haunts you. Scars your retinas until all that’s left is his warning. You’re up against that wall again with his hand up your skirt and a corpse at your feet and just like always, you fawn. Never strong enough to fight back. Always smart enough to know there’s never a chance you’d win.

Simon’s fingers wiggle through your palm, coaxing the stiff digits to unfurl as he takes the letter out of your grasp. He doesn’t read it — not on purpose, anyway — but he sees what he needs to. The late fee. The letter M — M for Marco. He tosses it haphazardly to the side to join the rest of the mess around you. No use in keeping it. In letting the reminder of this mess haunt you.

“Chip. C’mon sweetheart, talk to me,” he presses. It’s difficult to keep his tone even as wary eyes flitter around the apartment. The blinds are drawn shut, but that doesn’t mean you’re in the clear. You’re not safe here. Every muscle in his body screams at him to just drag you out of here by your wrist but he bites back that thought as his hands gently rise to cup your cheeks. “Listen to me. Listen to me, sweetheart. You’re okay.”

If you hear any of his comfort, it doesn’t do much. Wide, dilated eyes stare through him as your chest heaves with your breathing. It rattles along your windpipe like screaming iron, air expelling from your lungs too quickly to make any use of the oxygen. His thumbs swipe along your cheeks, briney wetness coating his skin, and he ensures you can’t look anywhere else besides him.

“Look at me.” His plea prods something in the back of your mind, and you finally force your eyes to focus on him. Your bottom lip quivers as your hands reach up to rest on his chest, steadying the weight that suddenly throttles your body. “You’re okay.”

Muscles seizing, you shake your head as your fingers curl around the fabric of his shirt. “No. No, you don’t understand. You don’t understand what he’ll do to me.”

“Nothin’ is gonna happen to you,” Simon attempts to rationalize. His comfort falls on deaf ears as you continue to shake your head, fists knocking against his chest as if you’re attempting to wiggle out of his grasp. “I’ve gotta get you out of here. Breathe, sweetheart. I’ll get ya somewhere safe.”

“Nowhere’s safe!” you wail. Any further attempts you make at wiggling away is quickly thwarted by his grip on your face — loving but firm. You’d fall to your knees if it wasn’t for his strength.“I can’t get you mixed up in this, Simon. I can’t. Can’t call the police. Can’t do anything. I just- I don’t know. I don’t know what to do. I just- I don’t wanna lose you, too. I can’t keep- keep doing this. Can’t keep losing people. I’m so-so fucking tired of this. Simon, please, I don’t know what to do!”

Your prattling only makes your fear sear through your veins. It’s unforgiving. White hot metal that doesn’t care where the damage ends or begins. Where the scar forms. Where the skin adheres. He tries to soothe the ache, but it’s everywhere. How can he allay a pain when it’s ingrained in every strand of DNA that creates you? When it’s all you’ve ever been composed of?

“Alright. Alright, no police. Nothing. Just me and you, alright? I’ll take you to my place. Get ya somewhere safe, yeah?” Simon explains. “We need time to work this out, but we can’t do that here.”

“I can’t let you do that. You don’t understand,” you babble. Snot bubbles in the back of your throat, attempts to seep down your nose, so you sniff. Its trail continues despite your efforts, and you use the sleeve of your jumper to soak up the moisture instead.

“Don’t have time to argue,” Simon huffs. He’s getting frustrated. Anxious. He doesn’t like being here in the midst of this chaos. This mess Marco — and whoever the fuck else — left for you. He needs to get you someplace safe and hidden — someplace Marco can’t hurt you. “Please. I wanna help you, sweetheart. Let me help you.”

You freeze at his plea. Suddenly that searing hot pain doesn’t seem nearly as bad as the echo of an old ghost begins to rattle your brain. Your hyperventilation quells. Dies down until it’s nothing but pathetic hiccups and sniffles. You’re not sure if it’s because of Simon’s comfort, or the shock of his words. This deja vu will kill you.

Biting the inside of your cheek, you eventually nod. “Okay,” you breathe. “Okay…”

As you swallow back a sob, you hope this time is different.

Breathing doesn’t come easy. With each intersection Simon drives through your palms clench until the tips of your nails leave crescent moons in your skin. You look at each vehicle with agita. Scrutinizing every detail of the drivers, searching for any terrible familiar face. Nothing jumps out at you, but you refuse to trust anything. Anyone. You have never been safe in this city. All it has is sharp rusty teeth and hands that refuse to let go. You’ve been trying to scrub off its fingerprints your entire life and all you have to show for it is raw skin and bruises.

A rippling scream tears through your muscles as Simon’s fingers brush against the back of your hand. Jumping, you look at him with wild eyes. His solicitude is obvious. Etches deep into the thin line of his lips as he stares at the road ahead. Thick fingers wiggle between yours until your hand is enveloped by his. He’s much warmer than you are, running off pure anger and frustration, and you try not to grimace at the way your sweat rubs off on his skin. Feeling your gaze on him, he glances at you from the corner of his eyes before he gives you a firm squeeze.

“It’s gonna be okay,” he assures. It’s all he’s been saying since he found the door to your apartment kicked in. “We’ll figure this out. Promise.”

By some miracle, you make it off the streets alive. Simon doesn’t let go of your hand until he’s pulling into the garage nestled beside his house. The neighborhood is quiet. Pushed to the edge of the city, houses are spread far and sparse with trees for coverage and large yards perfect for rambunctious animals or squealing children. It reminds you of the area John and Row live, albeit a bit less extravagant. Perfect for small families wanting to get out of the city.

You didn’t think working security at a club would make someone that much.

Simon retrieves your bag from the backseat before helping you out of the car. You stare at the object as he holds it in his hand. Right now, your entire life is in there. Only a handful of clothes, not having enough time to pack anything besides what was already in there from the holiday. It’s just like when you were a kid — running from foster home to foster home, living out of suitcases until you were able to be saved by Row and John. Everything always comes back somehow. Cycling over and over, forcing you to relive the things you can never seem to outrun.

Feeling your trepidation, Simon takes your hand again before he brings you into the house. Like Orpheus leading Eurydice out of the underworld, it feels like you’re stepping into a different dimension. Breathing comes easier, and warmth envelops you as he sits you in the living room. Dazed, you glance around. Everything is blurred — just out of focus — too anxious to properly take things in. You can make out the cushioning beneath you and the dark stained coffee table that separates you from the wide screen TV. Tools and metal parts to some sort of machine lay scattered along the table, something Simon apologizes for in a hushed chuckle. Abrasive cleaning solvent hangs in the air but it’s stale. Long standing.

“Here.” Simon settles next to you and you feel the cushions shift beneath his weight. He holds a glass of water for you to take and for a moment you’re transported to the night Andrei cornered you. How you woke up in the conversation pit of one of the VIP rooms. How Simon’s first instinct always seems to be to nurture you. Protect you. “You should drink.”

As you raise the glass to your lips, your emotions quietly quell and cocainize. Fear still attempts to rear its ugly head as it rips through your thoughts, biting through anything comforting until it’s ruined just like everything else. Cold water crashes over your tongue, fighting off the pertinacious snot that haunts your mouth from your sobs. It doesn’t make you feel better, but you can see the way Simon’s shoulders relax with each gulp, so you do it anyway. When you’re finished, he takes it from you and sets it among the mess of metal tools and parts on the coffee table before bringing his full focus to you.

Elbows resting on his knees, his hands fiddle with one another like he wants to reach for you again. Hold you until either hell freezes over or the pain ends; but he doesn’t. Sniffling, you stare at the floor in front of you, arms wrapped around yourself. You can hear the thoughts in his head before they even manifest into words from his mouth.

“Tell me everything,” he says.

This might kill you — you’re certain of it. If it doesn’t kill you, it’ll kill someone else. Your dirty little secrets always have a way of coming back around in the ways you least expect them to.

“You’re not going to believe any of it,” you say. It’s supposed to be humorous. A joke. Something to take off the edge of your worries but it comes out flat and fighting. You don’t want to tell him. You’re tired of reliving this nightmare.

“I’ve seen a lotta crazy shit, sweetheart. Doubt this can be any worse,” Simon coaxes. He shifts and the weight echoes through the couch; forces the cushions to dip and your body to go with it, pulled toward the gravity of him. “That note. Mentioned something about a late fee. You owe someone money?”

Solemnly, you nod.

“How much?”

You swallow. “Three hundred thousand.”

Not even Simon can hide his surprise. It’s an absurd number. Something that would only be owed to a bank for a house loan, not a person or organization. It’s significantly more than what his brother owed, and the confusion settles bone deep in his body.

“How much have you paid off?” he asks.

“That’s not how it works,” you mutter.

Simon’s question contorts on his face well before it leaves his mouth. You see it in the shift of his body in your periphery. It’s a precarious situation — keeping this secret the way you have. It’s been decomposing inside of you, filling you with noxious gas that builds and builds. You feel the pressure. The way it tears at the seams of your body. You try to keep it bottled up — under tight lock and key — but when you finally gain the courage to look up at him, you know you’ve already lost.

“This is my dad’s debt,” you begin. “He worked for a man named Vladimir Makarov. He’s not… a good person. Works in organized crime groups. The mafia. That sort of stuff. I guess my dad messed up badly on some sort of job and got himself killed, costing them a good chunk of cash. Since he was too dead to pay them back, they sent a man named Marco to try and pressure my mum into paying, and when she wouldn’t, he killed her. Then it was my turn.”

Your voice cracks like a log being consumed by fire, and it burns just as bad. Keeping this noisome secret buried deep inside of you hurts just as bad coming back up as it did when it was first shoved down your throat. But Simon doesn’t flinch. Doesn’t grimace or wince. He stays firm as he listens, leaning closer as if ready to catch you when you fall.

“Marco… didn’t give me much of a choice. I mean… I was just a kid. I didn’t know what to do, so I said I’d pay it because I was terrified of what would happen if I didn’t. Threatened me saying I shouldn’t tell the cops, so when they arrived, I didn’t. Not even through their questioning, none of it. I was alone. I had lost my dad, my mum… everything.”

There are certain things you leave out. Things you don’t think you’ll ever be able to say, even if you whispered it into some void that wouldn’t echo a single word. If you told him about what Marco did to you, the way his hands defiled you the way they did, would he still look at you the same? With what you’re so desperately hoping is love? Could it be possible for someone to care about something as broken as you? Would it be worth it — loving something tainted? Too afraid to find out, you choke back the memory before continuing.

“Had no family, no one to stay with… Chief, Row’s dad, took me in. He worked the case of my parents murder and housed me. I think he was used to taking in fosters, it’s… fitting of him to do so. But he was too smart. Sniffed out that something more was going on and I broke. Told him everything.

“He tried taking me to the police station to get a proper report but we got into a wreck. It was planned. Had to have been, because when I came to, Makarov was there, and Chief was stabbed. They must have been tapping his calls, or something, because they took some sort of chip out of his phone before leaving. Or, maybe I’m just wishing that because… fuck, Simon, I got him killed. I told him even though Marco warned me and he’s dead. I- I killed Row’s dad and she doesn’t even know. The coroner said he died from injuries related to the accident and they all fucking believed it and I’m the only one who knows the truth. I’m a fucking liar and- and I hate myself s-so much for it-”

Everything begins to spin and you’re at the epicenter of the destruction. It’s too fast. Unrelenting centripetal force ripping you apart cell by cell. You fall into Simon just as he reaches for you. Face buried into his chest, he holds you with firm hands on your waist and head as your tears soak into the cotton of his shirt. Right now, he’s the only thing keeping you together. The only thing attempting to mend the cracks rapidly splitting you apart. Kissing the top of your head, he mutters quiet assurances to you as your shoulders jolt and heave with your cries.

“I’ve got you,” he whispers. “It’s gonna be alright.”

“I’m not naive enough to believe that,” you cry. “This isn’t a debt I can truly pay off. They’re not gonna stop when I hit three hundred thousand. I know that. That’s not how this works. I can’t get out of this. Even if I give them all the money in the world they’re still going to follow me. Marco terrifies me so much a-and I know he’s not gonna let me go that easily.”

There’s a heavy silence that breaks with each sob that racks your body, and instead of shushing you, or whispering useless comforts, Simon just holds you. It’s firm and unwavering just like the steady thud of his heart against your cheek. He keeps you there, tucked beneath his arm. You think he’ll keep you here until the world begins to crumble, and then long after it’s withered to dust. He breathes slow and deep, rib cage expanding against your own until you’re in rhythm with him. Even. The only flicker of solace you’ve been able to taste in ages.

It takes some time for you to swallow the steady stream of spit that plagues your mouth and choke back the snot rummaging through your sinuses. You’ve been reduced into nothing but a babbling child — always a child. Something weak and small. Clever enough to think you can slip out of this mess yet never brave nor smart enough to complete it.

“I’m sorry,” you sniffle. Your well has run dry. Any evidence of your tears now lays soaked into the fabric of Simon’s shirt, heavy and thick as it sticks to his skin. “I… I shouldn’t have told you about this. Now I’ve dragged you into this too. This is dangerous shit. So many people I’ve cared about have died already, I… shouldn’t have let myself get close to you. You don’t want to be around someone like me.”

“I’m not leavin’ you.” His response is quick. Bursts free from his mouth like a secret he never even dreamed of keeping. Arms tensing, his hold on you only grows stronger.

“Simon, I don’t think you understand,” you breathe. A plea bubbles up in your throat, half prepared and sour. “The one person I ever told about this died because of me, and I can’t stand that happening to you, too. You… you have to promise me you won’t tell anyone. You can’t tell anyone. If you even try to do anything about this, you-you’re just gonna end up like Chief and I don’t think I could take that. Please, Simon.”

“Don’t worry ‘bout me, sweetheart. I handled that scuffle with Andrei fine, I’ll handle anyone else who tries to lay a fuckin’ finger on you. I’m not lettin’ you do this alone,” he promises.

Something shifts. There’s a change in reality. A thickening of the air so palpable Simon nearly suffocates on it. He feels the way your breathing halts — yearns for that subtle rhythm to return against his chest — and his heart stutters. Begins to shred itself cell by cell. Aorta crushing in on itself, shattering all valves and cusps.

Your movement is slow. Practiced and careful. You raise your head off of his chest and despite his better judgment, he lets you. Simon watches you carefully as you look up at him. He doesn’t like what he sees. That frost obscuring your eyes. The tightening of your lips. Brows furrowing together like you’ve found yourself caught in the den of some beast — like you’re face to face with a monster.

“That… man in the alley… I never told you his name.”

This is where the facade slips. Where the mask shatters and Simon is left with nothing but the horrid truth he tries to hide. It’s easy to lie. Might as well be second nature at this point. An expert storyteller, omission of truth is just as easy to spew at you as the unadulterated version itself and still, he hesitates. Simon thinks that, maybe if only for a moment, that you deserve the whole story. Something not shrouded in thick umbra. But it’s this deliberation that has your mind swirling in an inescapable tempest. You think of the worst —

— you think of Makarov.

When you retract fully from Simon, he lets you go and it burns. It’s as if your flesh had been ripped from his, and now he holds nothing but a wound. The look you give him hurts more. Those wide, dilating eyes; lips parted as if ready to draw the breath to scream.

“How do you know Andrei?” you demand with a waver in your tone.

“Didn’t know him until I caught him in the alley. Swear it. But I couldn’t let the bastard get away, not after what he did to you. Figured out who he was pretty quick after that,” Simon answers truthfully. “Had Johnny’s help, ‘course.”

“Do you know how dangerous that is? How dangerous Andrei is?” you snap. Frayed nerves, exhausted adrenals — you’re at your limit; the very edge of what you can take. “He works with Makarov! With Marco!”

“Didn’t care how dangerous it was, sweetheart, I’ve dealt with worse.” His fingers flex. They miss your warmth. He doesn’t know what to do with himself, so he rests his hands on his knees.

“This isn’t a joke Simon, this is the fucking mafia you can’t just-”

“There’s more than just Makarov’s syndicate.”

There’s not enough air for you to breathe in. It’s siphoned away from you. Forced elsewhere. Someplace of better use where you can’t continue to waste it. He’s insinuating something you’re not sure you want to uncover the meaning of, but your heart and body already know the answer. It trembles at the thought that this man who can hold you so tenderly could be capable of the same violence inflicted upon you by others.

“What do you mean?”

You need to hear him say it.

“I’m not like Marco or Andrei, I’m not like any of ‘em,” he assures, “but I work for Price, and the Price family has been in this business much longer than Makarov has.”

You open your mouth to call him out on his mendacity, but no words flow forward. His words rattle around in your mind, and still no matter how many times they echo off your skull, you can’t get them to make sense. It’s wrong. Contradicting everything you ever knew about your friends — about the only family you have.

“You’re lying,” you breathe as you shake your head.

“I’d never lie to you,” he swears.

“No, I know John and Row. For fucks sake, I lived with them for some time. They’re not like that. John isn’t like that he’d never hurt people like- like the way Marco does.”

A canyon forms between the two of you, and it only grows wider. Simon watches the way you retreat, curling away from him like his very presence forces you to wilt before you’ve even bloomed.

“Price is a good man, but that doesn’t allow him to run away from his family legacy. Trust me, if he had a choice, he would have nothin’ to do with it. He was forced into this bloody business, and despite its reputation, he’s done a lot of good with it. One of the only reasons why I joined was because of him. Because he gave me the opportunity to do something good,” Simon attempts to explain. “His club is a front for the business. It’s how he keeps an eye on things. Keeps people in the neighborhood safe. This isn’t like the movies with bullshit senseless killings, sweetheart. There are rules and traditions to uphold.”

“This doesn’t make sense,” you sputter. “So John just… just runs this organization and you’re… fine with being a part of it? You really expect me to believe this?”

“Why do you think I’m so good at fighting? Think I picked that up at the club? From tossin’ rowdy cunts out on the streets? You think Mrs. Price asked me to keep an eye on you just because I work for John? That she would ask some fuckin’ bouncer to protect you? Nuh uh. You think anyone would just have the resources to hunt down information about Andrei? A bastard who covers his tracks better than the goddamn American CIA? I told ya, I wouldn’t lie to you. I’m tellin’ you this because you’re safe with me. You don’t have just my protection, but John’s, and everyone else who works for him.”

“And Row? She just…?” You gesture with your hands. Sharp and jolty.

“She’s fully aware of everything.”

That incessant ringing returns to terrorize your hearing and you can do nothing but sit and let it wash over you. There’s a culmination of confusion and betrayal that ferments and addles the raw neurons in your brain. The pressure builds and strains until your hand clasps over your mouth to obscure the smile on your face. It tears across your face like a wound. Then, you laugh. It is not light. Far from sweet. Razor blades slice through your throat as your titter sputters out like a dying engine. Burying your face in your hands, you rub at your eyes as if you can erase this reality away and jump into the next one.

“So… you mean to tell me that the whole reason I kept quiet, what I was doing to keep them safe, doesn’t even matter because they’ve been in this mess the whole fucking time anyway?” you bite.

The irony is bitter. Burns worse than bile on your tongue. Your entire reality lies in shards at your feet, and a bilious tingle gnaws at the back of your neck. Conflicting emotions throttle one another in your chest cavity and you can feel your vision begin to tunnel. Questioning everything, your hands fall from your eyes and you stare at Simon. He’s steady, tight lipped and wary.

Can you really still trust him?

“They wanted to keep you safe. Didn’t want to drag you into that type of life. John’s got strict rules ‘bout that,” Simon attempts to rationalize.

“Safe? A lot of good that fucking does me.” Adrenaline peaks in your system and you feel the muscles in your legs contract. They’re telling you to flee. Run far away from this issue and never return, and you just about listen to it. Shooting up to your feet, your hand clasps over your mouth. This is too much to process. You have so many questions swirling in your mind, none of which you can fully articulate. You’re at the precipice of shutting down for good. “I need… I need time to think about this.”

Simon mirrors your movements, and he’s on his feet within an instant. He studies you, scrutinizes every flicker of emotion that crosses your face. Careful hands extend as if ready to capture you — ready to keep you close where you’re safe in his arms — but he doesn’t make any movement besides nodding.

“Of course. This is a lot, I know, and I’m sorry, but I’m here, yeah? Not gonna let anythin’ happen to you. I meant what I said ‘bout keepin’ you safe, sweetheart.”

The thick pads of his fingers ghost against the side of your arm as he steps forward. He needs to swaddle you. Wrap you in his arms. It’s all selfish. It’s all for himself. He just needs to know he’s not about to scare you off for good. That he hasn’t lost you.

Both his fingers and his heart stop when you flinch at his touch.

“I think I need to be alone right now,” you say flatly, shoulder retracting from him.

For a moment, the only thing Simon can do is stare. Arms wrapped around your torso, eyes reddened from irritating tears — it doesn’t feel right. None of this does. His Adam’s apple bobs in his throat as his jaw flexes, thick muscles dancing through his cheeks. Teeth crushing the tender flesh inside of his mouth, he can nearly taste blood. It’s nothing but bitter iron. His hand falls away from you where it rests at his side, but his fingers still twitch. Still miss your warmth.

Eventually, even though it feels like it kills him, he nods. “Whatever you need, sweetheart.”

#simon riley x reader #ghost x reader #simon ghost riley x reader #mafia!ghost #mafia!141 #f!reader #in limbo

478 notes · View notes

blogjahidhasanworld · 2 years

Photo

I think Libonomy has answers to most of the challenges on blockchain technology today like they claim it which clearly demonstrated in the roadmap.

#blockchain technology #libonomy #cryptocurrency #blockchain #artificial intelligence #security #smart contracts #next generation blockchain

0 notes

softwaremlmreadymade · 2 years

Video

undefined

tumblr

Things you should learn about MLM Generation Plan

Starting from the top leg and moving down, we call this generation. The MLM generation plan is regarded as the most crucial plan among the several member plans in MLM. The generation plan is superior to other plans due to the many qualities that make it a good choice. The generating plan is crucial, especially for someone new to MLM. There are more chances for someone to succeed in their endeavors if the generation strategy is successful.

#mlm software website #mlm software developer #mlm software development company #mlm generation plan #Best MLM Generation Plan Software #affordable ready made mlm software #Affordable Unilevel MLM Plan Software #mlm repurchase plan #blockchain development company #blockchain developer #hybrid binary plan #smart contract developer

0 notes

nashusglasses · 1 month

Text

*.·:·.✧ ✦ ✧.·:·.**.·:·.✧ ✦ ✧.·:·.**.·:·.✧ ✦ ✧.·:·.**.·:·.✧ ✦ ✧.·:·.**.·:·.✧ ✦ ✧.·:·.*

(background to this nsfw drabble)

thinking of marriage of convenience AU with jing yuan and general’s daughter!reader from xianzhou yuque. a rogue sect of the disciples of sanctus medicus try to execute a plot to destroy a jade abacus warehouse on the yuque—important machinery is destroyed, two critical injuries reported, one death—and intra-alliance tensions among the populace start to boil over. arrests are made. citizens are scared. general yaoguang knows the cloud knights are smart and resource-savvy enough not to respond to any taunts from angry yuque residents of the luofu, but he’s champing at the bit trying to quell public dissatisfaction on either ship. it’s fu xuan who suggests it in one meeting with jing yuan and yaoguang.

“great relations,” she says, “start with an even greater union.”

you’ve been married for five months. you’re lucky if you see jing yuan more than twice a week, and today he’s holed up in his home office signing off on contracts for the alchemy commission to order new supplies. he’d said good morning when you entered the kitchen for breakfast, and you could only offer a nod before he bade you farewell for the day. a typical conversation. you’re not unhappy, but you are awfully bored.

your handmaiden, lihua, promised a new harvest from the garden today. she’s back by the time you’re done with your speech lessons (you still struggle to adapt to the local dialect, but jing yuan has always been kind not to fuss about your vowel inflections), and you help her wash and spread the fruits on bamboo-woven trays in the cool heat of the afternoon.

“does jing yuan have anything to drink on days like this?” you ask lihua.

she hums thoughtfully. “i’m sure he’d appreciate his wife coming to greet him with something sweet. can i show you how to make simple syrup?”

it’s simple enough. you make a pitcher of iced lemonade in no time, and lihua prepares a tray for you to bring a glass to jing yuan’s office. you shake with every step you take. internally, you scold yourself for feeling so anxious — this is your husband. jing yuan, who asked you personally for your allergies and food preferences to curate a menu for your daily consumption for the kitchen staff to follow. jing yuan, who had a room specially built for you in the east wing after you’d told your father how much you’d miss seeing the sunrise from your window. jing yuan, who’d once accidentally walked in on you in the hot springs on his rare day off, and grew as red as an angry tuskpir, leaving with a hasty apology. (you didn’t see him for three weeks after that.)

you steel your resolve, and knock on the door. when he doesn’t answer, you gently creak the door open, jing yuan coming into view as he’s hunched over sheets of paper, hair tied haphazardly with his red ribbon. he holds his pen so rigidly. you wonder if he’s taken a break at all today.

you tiptoe in, lest you break his focus. “sorry,” you whisper. “i brought this for you.”

jing yuan spares you a single glance, watching you position the glass at the edge of his desk. he does not say a word.

you think… he might be a little peeved. yes. why would you even think of interrupting him? oh god. his schedule must be packed tight, his rhythm stunted with your unannounced arrival. you immediately open your mouth for an apology, feeling the pinpricks of tears at the thought of disappointing him.

he’s already looking away. his writing is even faster than before. you leave with a bow and nothing else to say.

(jing yuan drinks your lemonade in three gulps after you’ve closed the door behind you. he reminds himself to have a bundle of flowers delivered to your bedroom door by sunrise the next morning. for the rest of his working day, your face, so beautifully concerned, plagues his head.

he wants to know what else makes you cry.)

#honkai star rail #hsr x reader #hsr x you #jing yuan fic #jing yuan x reader #jing yuan x you #listen............... he's so smitten and wants to know what makes you break so BADDDDDDDDDDDDDDDDD

258 notes · View notes

pucksandpower · 2 years

Text

Charles Leclerc x Vettel!Reader - Social Media AU

y/nvettel

Liked by sebastianvettel, mickschumacher, and 185,263 others

y/nvettel pretty sure i’m being bribed

View all 1,194 comments

redbullracing we would never try to bribe you … but hypothetically is it working?

y/nvettel hypothetically i’m on a caffeine cleanse but the flowers are lovely 🫣

mercedesamgf1 “bribed” is so harsh, we much prefer “gifted”

mickschumacher what they said

y/nvettel i know you put them up to this, micky mouse

astonmartinf1 what could possibly beat our cupcakes?

mercedesamgf1 our chocolates

tipsytifosi nothing from ferrari?

scuderiaferrari keep an eye out 🔜

y/nvettel

Liked by charles_leclerc, scuderiaferrari, and 197,615 others

y/nvettel many teams have tried to buy my love but only one succeeded by sending along a cute monégasque

View all 1,832 comments

charles_leclerc all in a day’s work

arthur_leclerc has charles happened to mention that he’s had a massive crush on you since he was teammates with your brother?

charles_leclerc shut it, arty

y/nvettel did he really?

y/nvettel it’s just funny because i’ve had a massive crush on him since then too

charles_leclerc we were pretty oblivious

scuderiaferrari should we add “matchmaker” to our resume now?

forzafiona charles is called il predestinato for a reason 😌

charles_leclerc

Liked by y/nvettel, scuderiaferrari, and 968,352 others

charles_leclerc back in red where she belongs

View all 3,147 comments

y/nvettel you made a good selling point 😘

scuderiaferrari is it too early to sign any future leclerc-vettel children to lifetime contracts?

feralferrari you guys are taking this whole matchmaker thing really seriously 😳

tifositalking it’s smart business trying to secure the next generation

sebastianvettel I may not be around the paddock anymore but I still know where you live and I take my big brother duties very seriously

y/nvettel halfway around the world and you still find ways to embarrass me

sebastianvettel I only do it because I love you, schwesterchen

*translated from german: little sister*

y/nvettel i love you too. even when you annoy me

charles_leclerc i promise to do everything in my power to treat y/n like a princess

y/nvettel you are the sweetest, schatz

4K notes · View notes

hannibals-favourite-meal · 3 months

Note

enemies to lovers w/ spencer reid plzz 💗

.⋆｡Whispers in the Dark｡⋆.

Spencer Reid x plus size reader

You and Spencer have been at each other’s throats for months and the team is sick of it. So while on a case in a conveniently tiny town, they do something to fix it

Warnings: usual cm warnings (kidnapping, murder, serial killer), enemies to lovers, one bed trope (i’m not sorry), confessions, little bit of partial nudity, Spencer and reader are horny for each other and neither know how to deal with it, implied smut WC: 2.4k

6k Follower Celebration Bingo

Library- @hannibals-favourite-meal-library

If there was one thing that was a guarantee in this life, it was the DOCTOR (as he always liked to remind you) Spencer Reid would not keep his fucking mouth shut. You used to think it was endearing the way he so passionately spoke about anything and everything but after the 30th time he interrupted you (in front of every mind you), it got annoying real fast. And somehow, it was even worse today.

A series of kidnappings occurring in a small town in the middle of buttfuck nowhere that exactly replicated the town’s urban legend about a vengeful spirit killing those who tried to leave without offering sacrifice. Given your extensive knowledge on the development of folklore specifically tied to serial killers, it was an unspoken agreement that you would be taking the lead on the case.

But Reid had a very different idea.

“This is obviously someone using the story to get rid of people they have a vendetta against.” You fought the urge to roll your eyes at the young doctor. His lean body blocked the column of victim photos as he pointed to the map of the town beside it. He had drawn over several places with a red marker and although the abduction sites did fall into his contracted triangle of a comfort zone, something in your gut told you it was more than that.

“Look, I’m going to keep saying it. This goes way deeper. This has been happening for generations. 2002, 1985, 1968, hell even all the way back to the fucking 1820s! It’s either all 17 year olds getting killed or 17 people killed total each year it occurs, with it switching each time.” Spencer made a sound that was almost a scoff but with Hotch’s steely gaze fixed on the both of you, he covered it up by clearing his throat.

“Mark Adin was 18.”

“He turned 18 the day he died, Reid! And if you looked at his birth certificate, you’d see that his time of death was an hour before he would actually turn 18.”

“If you would just-“

“Alright!” Derek placed a firm hand onto Spencer’s shoulder, making him stumble slightly. “We get it, you’re both freakishly smart but I think it’s late and we all need some sleep.” He shot you a look as you crossed your arms over your chest, red hot anger and frustration still bubbling up inside you.

It always ended like that, one of the other members of your team stepped in before insults could be hurled (it’s happened once or twice before) and suggested a break while you and Spencer continued to glare at each other. He continuously undermined your theories and in return, you questioned his intelligence.

“I’m sure Y/L/N will realise how ridiculous she’s being after some undeserved rest. I mean, when is she ever right.” Your stomach dropped and Derek’s smile dimmed for a second before he wound an arm around the young doctor’s shoulders and guided him out of the conference room the team had commandeered far quicker than he normally did.

You opened your mouth to shout something back at him but Emily grabbed your forearm before you could. “It’s not worth it.” You met her gaze and quickly deflated.

“Yeah okay.” She gave you a soft smile as you both left the room together, missing the weighty glance Hotch and Rossi shared.

——————

“I can’t believe that you and JJ are doing this to me,” you whined, hiking up the strap of your go-bag higher on your shoulder, “you promised last time that we had to share rooms that it would be you and me. I don’t want to get stuck with Hotch again, he snores like a fucking freight train.” Emily poked your ribs as she passed by, shooting you a mischievous grin.

“You were too busy flirting with Reid to notice us making sleeping arrangements.” You huffed and followed her out of the elevator.

“I wasn’t FlIrTinG with him and by the way, that’s disgusting you even thought of that.” The hallway was dead silent save for the faint buzz of the ice machine at the very end.

“Yeah, that’s definitely why you totally weren’t checking out his ass while he was setting up the white board.”

“Emily!” You hissed but she only laughed in response.

“Come on, it’s so obvious that you like him! This childish rivalry you have is just sexual tension so for all of our sakes can you please just fuck him already so we can actually do our jobs.”

“Alright maybe I would like him if he wasn’t such an ass to me all the time.” You conceded, earning you a sly grin from your friend as you both came to a stop outside your hotel room door. “But! He constantly undermines me and makes me feel like shit so it’s never gonna happen.”

Emily stood by her own door, her key-card already in hand. “And you love to rile him up. So, never say never.” And with that, she slipped into her room, shutting the door before you could retort.

You rolled your eyes as you unlocked your own door and stepped in. The shower was already running but what mainly concerned you was the lack of a second bed. You sighed heavily, dropping your bag on the empty side away from the door. You were too exhausted and frustrated to even be mad about having to share both a room and a bed with your boss. Too exhausted in fact to notice the sweater on the chair in the corner couldn’t have possibly belonged to the older man.

Quickly, you stripped down to your underwear and slipped on your sleep clothes, figuring you could wake up early and shower before heading back to the police station. You sighed as you crawled beneath the sheets, the worn mattress immediately cradling your soft body.

Your eyelids had just begun to flutter shut when the water turned off. You turned onto your other side in anticipation of the bright light from the bathroom fully waking you up but what you didn’t expect was the accompaniment of the one voice you hadn’t wanted to hear until you had at least 6 hours of sleep and a massive coffee.

“What the hell?”

“Fuck me.” You sat up and took in the sight of a very damp Spencer Reid wearing only a towel around his waist. You refused to look down at his naked torso (no matter how badly you wanted to).

“You’re not Morgan.” He retorted.

“And here I was thinking you were a genius. Do you usually walk around half-naked with Derek?” He didn’t dignify you with a response this time, only grabbing his bag and retreating to the bathroom once more. As soon as the door shut, you launched yourself at your phone.

<I’m going to fucking kill you

>We’ve all packed noise cancelling headphones so don’t hold back ;)

>BTW before you even ask, there’s no more rooms available. Small towns are just great aren’t they

<I’ll get you back for this

>Sweet dreams

You could scream as you shut off your phone, Emily’s texts disappearing, leaving you staring at your reflection on the black screen. You should’ve known something was up when Hotch insisted that everyone take separate SUVs to the hotel under the guise of everyone splitting up first thing in the morning. The man was a fucking menace.

The mattress groaned as you laid back down, far closer to the edge this time. If Spencer took your hint and just left you alone for the rest of the night, you would consider it an overwhelming success. This time when the door opened, the light was already off, letting you breathe a sigh of relief.

The bed dipped and your body tensed for a moment. You waited for him to speak, but when he didn’t, you finally relaxed. In the silence and darkness of the room, you could pretend that you were anywhere else.

“Will you stop hogging the blankets?” You knew this peace couldn’t have possibly lasted.

“If you had turned on the heater I wouldn’t have to.” You grumbled but still released your hold on the covers just enough for him to take some more of it.

“Not my fault you’re always freezing for no reason.” The blanket lifted from your leg as Spencer fully wrapped himself up. You sighed but decided not to pick a fight, Emily’s words still circling your mind. Instead you wrapped your arms around your stomach as you drew your legs up, curling around yourself. You just wanted to sleep.

“What, no witty comeback?” You sighed heavily and squeezed your eyes shut.

“I get that I don’t ‘deserve to rest’ but I’m exhausted Spencer. Neither of us want to be here so can we just try to get some sleep and leave each other alone.” Thankfully, he stayed silent, for a moment at least.

“You called me Spencer.”

“Oh my god, can you please just let me sleep? Yes I called you Spencer, it’s your name isn’t it?” You snapped although you knew what he meant. You had never even referred to him by his first name in the almost 18 months since you had been on the team, just the same as he did with you.

“I’m sorry.”

“Fine.” You pressed your face into the thin pillow beneath your head, determined to finally fall asleep.

“No, Y/N I’m really sorry. I shouldn’t have said what I did. There’s a lot of things I shouldn’t have said to you.” The bedsprings screamed in the quiet of the room and suddenly you could feel the gentle brush of Spencer’s breath along the back of your neck. You suppressed a shiver as best you could. “You don’t deserve to be treated like that.”

“Why are you bringing this up now? Are you trying to get laid or something?” Your tone held no bite but you could still feel the way he flinched. A sour taste bloomed in your mouth. “Sorry. For what it’s worth, I’ve been an asshole to you too.”

Tentatively, you rolled onto your back, your shoulder now brushing his. Soft light bled into the room from the light in the hallway, dimly letting you see his silhouette. Already, Spencer’s hair was a mess, different strands sticking up or to his face. His right hand rested on his chest while the left was by his side, barely a fraction of an inch from touching your own. He turned his head, making eye-contact with you for probably the first time since you had known him.

“Why— What did I do to make you hate me so much?” You muttered, suddenly unable to speak any louder than a whisper. You watched his chest hitch and then deflate.

“You didn’t do anything. I guess— it was easier to hate you than admit the truth.” The warmth of his skin made you breathe a sigh of relief as he pressed his hand to yours.

“And what is the truth Spencer?” Even in the limited light, you could see the way his eyes dropped to your lips. His lithe fingers curled around your wrist and gently lifted your hands so that it rested between your heads.

“That when I’m around you, I can’t concentrate on anything besides how beautiful you are, how intelligent, how capable. You’ve had me wrapped around your finger since the moment we met and it’s angered me.” You didn’t realise how close you were to him until the tip of his nose bumped against yours. You sucked in a breath but it did nothing to ease the floating feeling in your stomach.

“Why’s that?” You were both now on your sides in the middle of the bed, on the edge of something more, if only one of you would fall first.

“Because I knew that the second I accepted it, there was nothing I could do to stop myself from falling for you, even if you would never feel the same.”

You smirked. “And here I was thinking you were the smartest man alive, Dr Reid.” He pressed his lips to your knuckles with a smile and before you could tell him that he was wrong and quite frankly dumb for not seeing through you (like everyone else on the team did), his hand was on your jaw and his lips on yours.

You moaned into his mouth when he leaned onto you. You grabbed at his back under his shirt, your nails digging into the surprisingly well-defined muscles along his spine. Spencer’s head tilted, encouraging the kiss to become more passionate as his tongue traced your bottom lip. You tangled your fingers in his messy hair, tugging at it slightly as your mind began to go fuzzy with the lack of oxygen.

Spencer smiled against your lips, placing two or three more soft kisses against them before rolling onto his back once more, leaving you breathless beside him. You followed him down, putting your head on his pillow. You stole another peck from him as he clutched at your wide hips.

“I can’t believe how long it’s taken us to finally talk this out. We were both being really stupid.” You giggled against his now swollen lips.

“Yeah we have.” Something tugged at your mind, breaking you away from the warm bubble of affection you were lost in.

You shot up. “What, what is it? Did I do something wrong?” Spencer practically pleaded, his hand tightly gripping at your thigh.

“You’re right, we were both being stupid! We’re both correct. What if it’s not just one unsub, but a whole family of them? 17 years between killings, Spencer!” Now it was his turn to sit up, his brown eyes wide with realisation.

“It’s a coming of age ritual. The unsub is killing people they know but under the guidance of the person that did it before them.”

“So the place where they’re keeping the victims before they kill them should be in the comfort zone and it should line up with all the past ones!” He beamed at you. “But maybe we should wait till morning to tell the others, they do need their beauty sleep.”

“And we don’t?” His hand moved higher, slipping beneath your sleep shorts, making you shudder.

“Definitely not.” You swung your leg over his hips and sat on his thighs, kissing him once more.

CM Masterlist | Main Masterlist

Join my taglist!

All works

@im-a-slut-for-fluff @alexxavicry @ravenwings73 @avada-kedavra-bitch-187 @silverfire475 @psychadelichues @mvyalx @faefanatic @evansqueen54 @anamiad00msday @th3sloth @princess76179 @Lanielagenev @luvvvjada @Lucypaulette @midnight-shadow-va @mooniequeen @slutfor-fictionalmen @km-ffluv @black-rose-29 @minedofmoria @relatednative

Criminal Minds

@lokiandbuckysdoll

#6k follower celebration #spencer reid x plus size reader #spencer reid x reader #spencer reid x you #spencer reid x y/n #spencer x plus size reader #spencer x reader #spencer x you #spencer x y/n #female reader #plus size reader #reader insert #inbox #fluff #anon #angst

359 notes · View notes

turnstileskyline · 9 months

Text

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

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

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

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

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

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

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

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

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

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

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

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

– Ryan J. Downey.

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

As told by:

Patrick Stump

Pete Wentz

Joe Trohman

Andy Hurley

Bob McLynn - Crush Music

Sean O'Keefe - Producer/Mixer

John Janick - Fueled By Ramen

Tim McIlrath - Rise Against

Mani Mostofi - Racetraitor

Chris Gutierrez - Arma Angelus

Mark Rose - Spitalfield

Sean Muttaqi - Uprising Records

Rory Felton - The Militia Group

Richard Reines - Drive-Thru Records

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

798 notes · View notes

advistglobal · 2 years

Photo

Smart Contract Audit Services - Advist Global

Looking for a comprehensive NFT smart contract audit? Advist Global offers comprehensive security audits for all types of NFTs, ensuring that your contracts are safe and secure. We also offer consulting services to help you plan and implement your NFT project. Contact us today for a free quote.

#Smart Contract Audit #nft design #nft development #NFT Autocode Generation

0 notes

ibelievewhatyousaid · 3 days

Text

The Sinner’s assigned Abnormalities in L. Corp are very intriguing to me, as not being a general “resonance,” that Limbus uses with its current day Ego. But! They were assigned that for a given reason, even if only on a meta level, so I’d like to put my two cents into it as I love the Lobcorp Abnos so much. These are simplified summaries of the Abnormalities and speculation on how they fit said Sinner.

Faust - Forsaken Murderer

I do not believe she has an Ego Gift adored to her except the one for this Abno, so we can focus in on this purely; all being of Forsaken Murderer. (On this note, although I am not talking about the realization Ruina Egos, Meursault has Ego for this Abno as well) Forsaken Murderer in his original logs was said to have been a murderer in federal prison to have been sentenced to death. Before that could take place, a bunch of researchers decided to experiment on him. They wanted to prove an innate “evil,” existed and on a further level, they wanted to “cure,” him, although unclear what it really was they wanted to cure. Their experiments twisted out all of his penitence for violence, turning him docile, until he came to this belief of ringing in his head, that his head itself had became metal, leading to self harm against himself. Eventually a fatal accident happens, the researchers jump the ship and decide to simply dissect his brain, until the end he muttered, “ends, begins, ends, begins, end.”

NOW, this is hard to shape into Faust’s story, given how little we know about her on a deeper level, but, I think there’s already (shallow-ish) connections we can make. Faust has a lot of implications of science experiment (Child in a Flask, Telepole) whether we take this ‘literally,’ it’s safe to say either way Faustcord keeps her on a tight leash as being an “experiment” of a Faust who is willing to take a gamble. A lot of Forsaken Murderer focuses on the fact he is chained and tied up but “free as any other man,” we could take this as Faust’s expectation of being a skilled scientist and genius who is bound by those around her, to fulfill that role, yet “free,” at the sake of being all knowing. Faust is “omnipresent,” yet she is just another in a chain of command. In TKT she mentions to Vergilius that both of them “know their place,” despite how great she is, how “free,” of knowing she is, she is just another chain, in both the City and Dante’s contract to the sinners. We can also go deeper with this concept of “inevitably,” of the city, given to her by a predestined plan of fates, in every mirror world, how it all will end has already been put into motion. To know of how tied you are to fate surely must be a token of freedom as well, can’t it? He also seems to have a bit of an ego, a Ruina line of his being, “Don’t look at me with those eyes. You’re the most pitiful one here.” Which, fits Faust’s need to be above others, such as “Faust is brilliant, smart, Yi Sang is a genius.” An implication that Yi Sang had a cap on how brilliant he can be, something he must’ve lucked into, Faust was born to be great. Even if she is regrettably pitiful in every other aspect. An inability to connect to others or form meaningful attachments, this especially rears its head in events were her intelligence creates gaps between her and others, all of MotWE or Dante’s brush off of her in Canto 6 when she cannot given them an answer, or, even earlier, Sinclair accusing Faust and Limbus using the Sinners as compasses to boughs. In all situations it leaves her isolated and awkward, unable to answer, creating a larger, pitiful wedge between her and others, despite how great she is. She is still a thing to be “studied,” whether from an actual scientist or to other versions of her, or those around her, she is a spectacle.

Outis - Der Freishütz / Bloodbath

The story of Der Freischütz in Lobcorp was of a marksman making a deal with the devil, the devil proposed that the gun could shoot anyone, on the last bullet it would pierce the person the marksman loved, in return, the devil would gain the marksman soul in hell. The marksman thus went through all his bullets, killing off all his loved ones. The marksman traveled, simply doing good and bad deeds in impulse, no sign of an actual moral code. Eventually, he realized that the devil had long since stopped following him. He realizes that the contract had long been fulfilled, since the very beginning of him giving up his loved ones, did he fall to hell. And so, now a devil as well, the marksman continued to shoot anyone he wanted, forever.

Again, another sinner we’re left out in the cold for. But, to tap into Outis’ source, The Odyssey, the story follows Odysseus’ desperation to finally reach home, to his family. As the stories play out the more Odysseus gives up his morals. To sacrificing his men to no mercy, a king who was once gentle and kind, gives up all people around him to succeed in arriving home. Of course, from the start, Odysseus had given up his family, a mother who died alone, a wife left waiting for over a decade, a son who had never known him. Odysseus also makes many deals with Gods around him, something he pays greatly later for. Of course, none of this is a one for one, but I think it is to mimic Odysseus, or here, Outis’ slower decent into someone who hurts those who she loves (or should’ve) by her cruelty, once Odysseus had set off to war was the moment he was bound to lose everything. Which, is very similar to how Der Freishütz is, he had lost his humanity the moment he made the deal.

Bloodbath is a Abno based overtly on Carmen, but, to ease it into a more general baseless story, the Abnormality represents: “the pain of all those who couldn’t take their sorrow in stride.” A huge focus on Bloodbath is the guilt of love, of unable to achieve success, using “scars” as marks of failure. The bath mocks the person peering in with hands reaching out desperately, as if begging to be saved, or joined, in this misery. It’s a sign of endless despair, unable to ever reach the climax of this, the only outcome is to accept this wave of despair and let yourself accept it.

So, arguably this fits Outis really well just on the bases of the line: “Many hands float in the bath. They are the hands of the people I once loved.” This once again, is more of a line of thinking born from her source, but a lot of Odysseus’ guilt is haunting to him, specifically that of Penelope, but overall, he gives up many men, including people very close to him, to never truly “succeed,” I feel like this one is easier to connect to, given what I said of the previous Abno to Outis, so.

Don Quixote - Meat Lantern / Void Dream / Fragment of the Universe

Meat Lantern is quite.. obtuse, in its logs, both in Lobcorp and LoR most is left obscure. Which is terribly fitting. Meat Lantern, by your guess, is obviously not a tiny little flower. The logs say that it is gigantic, underneath the entire facility, always waiting, it lures people in, in L. Corp’s lens, it lures in employees by being a lantern, something shiny, full of hope, they haven’t seen stuck underground for so long. Any nature, any lights, something that wasn’t horrific or artificial has long since been lost to everyone there. It’s easy to feel it calling to them, to reach out, to touch, but it’s all a ploy to devour and eat whoever trusts it.

So, Donqui’s Abnos are actually what made me originally want to write about them. I had written out my analysis of hers a few months before, but it was too hinged on my own reading of her that it felt easy to write off as me sounding insane. But! With the reveal of MotWE.. this seems, pretty obvious. (Glad to know I’m not too crazy) Don Quixote wears a mask, one of “hope” something born from really just being .. silly, of something rare in the City. Someone who genuinely believes in good? In hope? Here? As “Don Quixote” stands as an ideal, a concept, “too good to be true.” and beneath that is a “reality,” no one’s has “really ever seen.” (as the log says about the “real body” of Meat Lantern) and then “devours” people. Yeah. I bet.

Void Dream’s logs follow someone who has Void Dream eat all their nightmares, giving them the best dream they could have imagined, the person they love had returned, even working in such a horrible company that is L. Corp was good. Everything was so, so amazing, a perfect ideal world for the dreamer. When waking up, the person was crushed by reality, when forced to confront the truth they became despaired. They tried to find those dreams again, in an obsession, but, they never did come back. The employee comes to the realization that Void Dream’s deal was too good to be true, that from the start, the Abno had set them up. And they had lost, unable to enjoy either sides of reality or dreams, they find their way back to Void Dream and beg them to eat all their dreams. Stealing away all their dreams, nightmares, hopes and despairs, virtually leaving them empty. When Void Dream is accused of leading people on, it brushes off the person, insisting it just wishes the best for others. The line, “a demon must change its shape to deceive others.”

Originally, I had read this purely as Don Quixote being put into the victim’s prospective, someone who “wakes up” from a perfect dream to be crushed by reality. And, I don’t actually disagree, I think this still 100% fits. But I think her fitting “as” the Abnormality makes perfect sense, too. Obviously, the whole “deceiving others,” line fits. To change one’s shape, a “demon” a Bloodfiend, to deceive others into seeing it as innocent, pure, true to the ideals it preaches. But, and this is a bit speculation on what we know very little of, “Don Quixote,” was given, or is a dream herself that a Bloodfiend wishes to dream, that Bloodfiend must’ve spun this tale, this “perfect” dream is an “act of kindness,” despite not being kind at all. Despite giving out this dream, not only to herself, but to others around her, does it lead to destruction and a harsher fall to reality itself.

Fragment of the Universe.. actually isn’t an Abnormality. At least, not traditionally, if the logs are true. The log mentions how it let itself be caught and studied, and through studying they declared it “intelligent enough” to communicate via language, thus, it learned more and more of humans and humanity. It became endeared and loved people. It reflected what it saw, leading to it looking like a kid’s drawings of hearts. When asked why it had came to interact with humans, it said it wanted to spread messages. One being its song, a song of the universe that drove people crazy, but also let them “finally see the stars,” and also to inform everyone that “there are no coincidences in the universe.”

FotU is really intertwined to its love of humanity, even its design is rooted in this love for the species. Its aim to spread its song is to “relieve” people, as well, even if misguided or unable to be understood. I think Don Quixote, as a concept, is so terribly human. She’s overly emotional, she’s quick to action, strong morals, she’s clumsy and brave and fearful and determined. She is so very human that it backfires. Given Cassetti’s lines, “we are so, so hideous behind the mask.” and his dedication as well as other Bloodfiends to “run” from being monsters and Elena’s lines of her wondering if she was desperate enough to “chase after being an ordinary human again.” I think the Bloodfiend behind Don Quixote genuinely loves humans, and, most likely, wants to “be” one. And “reflects” what she sees, which is a habit Donqui has, mirroring Merusault in TKT, or wishing to “copy” other sinners from Outis’ wristwatch. Donqui also has a huge tie to stars, so, so many of her IDs have her mentioning them, not to mention her tagline. I think an Abno who knows far more than it lets on, powerful, letting itself into humanity, coming to love them, but never being one, is dreadfully fitting.

Yi Sang - Funeral of the Dead Butterflies

FotDB is an Abnormality born from the pain and suffering of.. Lobotomy Corporation, actually! It’s a mourner who is rumored to wandering the halls of the facility with a coffin for those who are bound to be lost, an early mourning for those who are destined to die, and an incomplete sorrow for those already gone, the coffin too small to fit them all, unable to fall asleep or escape. The ending of the log decides that there is no escape, these butterflies are damned to wait, because there “must be an end to every world.”

I think, just like with Gregor’s case, although the original Abnormality is directly tied to L. Corp, in a more general definition, it is about the pain and sorrow of those inevitable deaths born from things such as K corp, or the Smoke War. Cases of people’s lives being thrown away and devalued, not given proper burials, no home to escape to, a fate to dying here, leaving the mourning to the others in the same situation who simply “lucked out.” In Yi Sang’s case, an “ending for every world,” feels very deliberate to the “world,” in which he was locked up in a cage, passively awaiting the days for it to end, one way or another, only to realize he was able to walk out, that the door was never locked. Yi Sang’s grief and attachment to the League of Nine, the only person who seems to grieve over those loses, alone, carrying that pain wherever he goes. In that sense, “an ending to every world,” could also be turned into a guaranteed ending of things he loved as well. There is more to be said, but this one seems very obvious.

Ryōshū - Spider Bud / One sin and Hundreds of Good Deeds / Scorched Girl / Bloodbath / Big and Will be Bad Wolf

(Oh my God girl. Do you need that many???)

Spider Bud is an Abno that is deeply protective of her babies, quite literally her alternative name being “brood mother,” she reacts negatively and violent if an Agent hurts or steps on her children

Ryōshū has gotten this Abno thrice now. It’s gotta be important, and yeah, it is! This is born purely from her Source, but Yoshihide’s tragedy is losing his daughter, Spider Bud’s entire gimmick is being peaceful (as an Abno can be) unless someone hurts her children, she stalks and watches and exacts revenge against those people. I didn’t want to bring in Uptie stories, but Ryōshū’s uncharacteristic gentleness to the spiderlings who nip at her is really.. striking. Once again, this one feels kind of.. duh, so I won’t go much deeper into it.

One Sin is an Abnormality with the purpose of being confessed to, to relieve one of their sins, it’s tied to religion to Hell’s screen gimmick of.. Hell.. feels, yes, but I feel as though this is more general and disingenuous from One Sin’s connection to Christianity while Hell’s screen is about Buddhism’s hell. Instead this felt more interlined to Parallel Gebura. A lot of people have jumped on this for power scaling fun, but! I think it’s important to realize why Carmen would’ve said “At least similar in this regard,” my take is that a huge aspect of Gebura’s woes in Lobcorp was her unable to protect those she loved. Given Yoshihide’s tragedy here, unable to protect his daughter. I think that is the aim that makes the most sense right now with how very little we have about Ryōshū.

Scorched Girl is another Abnormality she’s already gotten, all in all, SG lives on a sense of angered revenge and self destruction. Her logs depict her to be torn in two from her desire of affection to one of wishing harm on others.

Her attempt at hurting others involves hurting herself, which lines up with Yoshihide’s ending, of his natural self destructiveness, how he makes his art and his death. Her rage also lines up with Ryōshū’s, a want to have back warmth, love she’s lost, but only able to be a match of destruction.

Bloodbath, we already covered this in Outis’ section! I think Outis and Ryōshū naturally align similarly, (Hong Lu, Mr. “Horrific family” isn’t ever the one getting cold or aloof to mentions of family or parents or children, it’s only ever these two!) A guilt of unable to succeed despite how much you gave up and sacrificed, including others And to lose those you love, the hands in the water being everyone you’ve ever loved, by your own faults.

Finally, Big and Will be Bad Wolf! The Abnormality is about being set up from birth being one way. From the way society sees you, you will always be what they depict you as. The Abnormality doesn’t feel remorse over the violence it causes, because it was “inevitable” he’d turn out this way. Who is he to blame nature? Regardless of nurture.

This one is the most hard to really fit without going “well, just a hunch.” I think this could be in regards to Yoshihide’s further and further acts of violence and pain to others around him, but unable to feel that remorse (until it is too late) because he was born with this way. He was “born” an “artist.” Who is he to defy things sacrificed for art? He is unable to be anything but cruel and vindictive, and he doesn’t try to be.

Well, that’s everything I could remember off the top of my head! Apologies if it starts to get a little weaker by the end, I’ve been typing for hours. In general, there’s more I could say or conclude, but, because of how loose Abnos are in concept, as well as how most of these Sinners (everyone but Yi Sang…) haven’t had their cantos yet, it leaves a lot of assumptions built upon their sources and short behavior ticks we’ve seen them display. I won’t say these are confirmed or sure fire takes but more so a jumping off point in fathoming these choices.

#limbus company #lobotomy corporation #library of ruina #faust limbus company #outis limbus company #don quixote limbus company #yi sang limbus company #ryoshu limbus company

177 notes · View notes