Me and my boyfriend saw you from across the bar, and think your vibes are absolutely rancid. We want to eat you.

US Vogue April 15, 1966

On the roof of the Royal Pavilion in Brighton…Franco-American actress Leslie Caron in shorts, striped harem pajamas, a small white kaftan trimmed in green. By Fernando Sanchez for Warner. Pajamas, from Dacron and Avron. Coat, in Arnel and Du Pont nylon (Stehli fabric).

Sur le toit du Royal Pavilion de Brighton …L'actrice franco américaine Leslie Caron en short, pyjama sarouel rayé, un petit caftan blanc gansé de vert. Par Fernando Sanchez pour Warner. Pyjamas, de Dacron et Avron. Manteau, en nylon Arnel et Du Pont (tissu de Stehli).

Photo Henry Clarke

vogue archive

bus Stop Avron10-2022©FrançoiseLarouge .2

2023 september - rock sound #300 (fall out boy cover) scans

transcript below cut!

WHAT A TIME TO BE ALIVE

With the triumphant ‘So Much (For) Stardust’ capturing a whole new generation of fans, Fall Out Boy are riding high, celebrating their past while looking towards a bright future. Pete Wentz and Patrick Stump reflect on recent successes and the lessons learned from two decades of writing and performing together.

WORDS: James Wilson-Taylor PHOTOS: Elliot Ingham

You have just completed a US summer tour that included stadium shows and some of your most ambitious production to date. What were your aims going into this particular show?

PETE: Playing stadiums is a funny thing. I pushed pretty hard to do a couple this time because I think that the record Patrick came up with musically lends itself to that feeling of being part of something larger than yourself. When we were designing the cover to the album, it was meant to be all tangible, which was a reaction to tokens and skins that you can buy and avatars. The title is made out of clay, and the painting is an actual painting. We wanted to approach the show in that way as well. We’ve been playing in front of a gigantic video wall for the past eight years. Now, we wanted a stage show where you could actually walk inside it.

Did adding the new songs from ‘So Much (For) Stardust’ into the setlist change the way you felt about them?

PATRICK: One of the things that was interesting about the record was that we took a lot of time figuring out what it was going to be, what it was going to sound like. We experimented with so many different things. I was instantly really proud. I felt really good about this record but it wasn’t until we got on stage and you’re playing the songs in between our catalogue that I really felt that. It was really noticeable from the first day on this tour - we felt like a different band. There’s a new energy to it. There was something that I could hear live that I couldn’t hear before.

You also revisited a lot of older tracks and b-sides on this tour, including many from the ‘Folie à Deux’-era. What prompted those choices?

PETE: There were some lean years where there weren’t a lot of rock bands being played on pop radio or playing award shows so we tried to play the biggest songs, the biggest versions of them. We tried to make our thing really airtight, bulletproof so that when we played next to whoever the top artist was, people were like, ‘oh yeah, they should be here.’ The culture shift in the world is so interesting because now, maybe rather than going wider, it makes more sense to go deeper with people. We thought about that in the way that we listen to music and the way we watch films. Playing a song that is a b-side or barely made a record but is someone’s favourite song makes a lot of sense in this era. PATRICK: I think there also was a period there where, to Pete’s point, it was a weird time to be a rock band. We had this very strange thing that happened to us, and not a lot of our friends for some reason, where we had a bunch of hits, right? And it didn’t make any sense to me. It still doesn’t make sense to me. But there was a kind of novelty, where we could play a whole set of songs that a lot of people know. It was fun and rewarding for us to do that. But then you run the risk of playing the same set forever. I want to love the songs that we play. I want to care about it and put passion into what we do. And there’s no sustainable way to just do the same thing every night and not get jaded. We weren’t getting there but I really wanted to make sure that we don’t ever get there. PETE: In the origin of Fall Out Boy, what happened at our concerts was we knew how to play five songs really fast and jumped off walls and the fire marshal would shut it down. It was what made the show memorable, but we wanted to be able to last and so we tried to perfect our show and the songs and the stage show and make it flawless. Then you don’t really know how much spontaneity you want to include, because something could go wrong. When we started this tour, and we did a couple of spontaneous things, it opened us up to more. Because things did go wrong and that’s what made the show special. We’re doing what is the most punk rock version of what we could be doing right now.

You seem generally a lot more comfortable celebrating your past success at this point in your career.

PETE: I think it’s actually not a change from our past. I love those records, but I never want to treat them in a cynical way. I never want there to be a wink and a smile where we’re just doing this because it’s the anniversary. This was us celebrating these random songs and we hope people celebrate them with us. There was a purity to it that felt in line with how we’ve always felt about it. I love ‘Folie à Deux’ - out of any Fall Out Boy record that’s probably the one I would listen to. But I just never want it to be done in a cynical way, where we feel like we have to. But celebrating it in a way where there’s the purity of how we felt when we wrote the song originally, I think that’s fucking awesome. PATRICK: Music is a weird art form. Because when you’re an actor and you play a character, that is a specific thing. James Bond always wears a suit and has a gun and is a secret agent. If you change one thing, that’s fine, but you can’t really change all of it. But bands are just people. You are yourself. People get attached to it like it’s a story but it’s not. That was always something that I found difficult. For the story, it’s always good to say, ‘it’s the 20th anniversary, let’s go do the 20th anniversary tour’, that’s a good story thing. But it’s not always honest. We never stopped playing a lot of the songs from ‘Take This To Your Grave’, right? So why would I need to do a 20-year anniversary and perform all the songs back to back? The only reason would be because it would probably sell a lot of tickets and I don’t really ever want to be motivated by that, frankly. One of the things that’s been amazing is that now as the band has been around for a while, we have different layers of audience. I love ‘Folie à Deux’, I do. I love that record. But I had a really personally negative experience of touring on it. So that’s what I think of when I think of that record initially. It had to be brought back to me for me to appreciate it, for me to go, ‘oh, this record is really great. I should be happy with this. I should want to play this.’ So that’s why we got into a lot of the b-sides because we realised that our perspectives on a lot of these songs were based in our feelings and experiences from when we were making them. But you can find new experiences if you play those songs. You can make new memories with them.

You alluded there to the 20th anniversary of ‘Take This To Your Grave’. Obviously you have changed and developed as a band hugely since then. But is there anything you can point to about making that debut record that has remained a part of your process since then?

PETE: We have a language, the band, and it’s definitely a language of cinema and film. That’s maintained through time. We had very disparate music tastes and influences but I think film was a place we really aligned. You could have a deep discussion because none of us were filmmakers. You could say which part was good and which part sucked and not hurt anybody’s feelings, because you weren’t going out to make a film the next day. Whereas with music, I think if we’d only had that to talk about, we would have turned out a different band. PATRICK: ‘Take This To Your Grave’, even though it’s absolutely our first record, there’s an element of it that’s still a work in progress. It is still a band figuring itself out. Andy wasn’t even officially in the band for half of the recording, right? I wasn’t even officially the guitar player for half of the recording. We were still bumbling through it. There was something that popped up a couple times throughout that record where you got these little inklings of who the band really was. We really explored that on ‘From Under The Cork Tree’. So when we talk about what has remained the same… I didn’t want to be a singer, I didn’t know anything about singing, I wasn’t planning on that. I didn’t even plan to really be in this band for that long because Pete had a real band that really toured so I thought this was gonna be a side project. So there’s always been this element within the band where I don’t put too many expectations on things and then Pete has this really big ambition, creatively. There’s this great interplay between the two of us where I’m kind of oblivious, and I don’t know when I’m putting out a big idea and Pete has this amazing vision to find what goes where. There’s something really magical about that because I never could have done a band like this without it. We needed everybody, we needed all four of us. And I think that’s the thing that hasn’t changed - the four of us just being ourselves and trying to figure things out. Listening back to ‘Folie’ or ‘Infinity On High’ or ‘American Beauty’, I’m always amazed at how much better they are than I remember. I listened to ‘MANIA’ the other day, and I have a lot of misgivings about that record, a lot of things I’m frustrated about. But then I’m listening to it and I’m like ‘this is pretty good.’ There’s a lot of good things in there. I don’t know why, it’s kind of like you can’t see those things. It’s kind of amazing to have Pete be able to see those things. And likewise, sometimes Pete has no idea when he writes something brilliant, as a lyricist, and I have to go, ‘No, I’m gonna keep that one, I’m gonna use that.’

On ‘So Much (For) Stardust’, you teamed up with producer Neal Avron again for the first time since 2008. Given how much time has passed, did it take a minute to reestablish that connection or did you pick up where you left off?

PATRICK: It really didn’t feel like any time had passed between us and Neal. It was pretty seamless in terms of working with him. But then there was also the weird aspect where the last time we worked with him was kind of contentious. Interpersonally, the four of us were kind of fighting with each other… as much as we do anyway. We say that and then that myth gets built bigger than it was. We were always pretty cool with each other. It’s just that the least cool was making ‘Folie’. So then getting into it again for this record, it was like no time has passed as people but the four of us got on better so we had more to bring to Neal. PETE: It’s a little bit like when you return to your parents’ house for a holiday break when you’re in college. It’s the same house but now I can drink with my parents. We’d grown up and the first times we worked with Neal, he had to do so much more boy scout leadership, ‘you guys are all gonna be okay, we’re gonna do this activity to earn this badge so you guys don’t fucking murder each other.’ This time, we probably got a different version of Neal that was even more creative, because he had to do less psychotherapy. He went deep too. Sometimes when you’re in a session with somebody, and they’re like, ‘what are we singing about?’, I’ll just be like, ‘stuff’. He was not cool with ‘stuff’. I would get up and go into the bathroom outside the studio and look in the mirror, and think ‘what is it about? How deep are we gonna go?’ That’s a little but scarier to ask yourself. If last time Neal was like a boy scout leader, this time, it was more like a Sherpa. He was helping us get to the summit.

The title track of the album also finds you in a very reflective mood, even bringing back lyrics from ‘Love From The Other Side’. How would you describe the meaning behind that title and the song itself?

PETE: The record title has a couple of different meanings, I guess. The biggest one to me is that we basically all are former stars. That’s what we’re made of, those pieces of carbon. It still feels like the world’s gonna blow and it’s all moving too fast and the wrong things are moving too slow. That track in particular looks back at where you sometimes wish things had gone differently. But this is more from the perspective of when you’re watching a space movie, and they’re too far away and they can’t quite make it back. It doesn’t matter what they do and at some point, the astronaut accepts that. But they’re close enough that you can see the look on their face. I feel like there’s moments like that in the title track. I wish some things were different. But, as an adult going through this, you are too far away from the tether, and you’re just floating into space. It is sad and lonely but in some ways, it’s kind of freeing, because there’s other aspects of our world and my life that I love and that I want to keep shaping and changing. PATRICK: I’ll open up Pete’s lyrics and I just start hearing things. It almost feels effortless in a lot of ways. I just read his lyrics and something starts happening in my head. The first line, ‘I’m in a winter mood, dreaming of spring now’, instantly the piano started to form to me. That was a song that I came close to not sending to the band. When I make demos, I’ll usually wait until I have five or six to send to everybody. I didn’t know if anyone was gonna like this. It’s too moody or it’s not very us. But it was pretty unanimous. Everyone liked that one. I knew this had to end the record. It took on a different life in the context of the whole album. Then on the bridge section, I knew it was going to be the lyrics from ‘Love From The Other Side’. It’s got to come back here. It’s the bookends, but I also love lyrically what it does, you know, ‘in another life, you were my babe’, going back to that kind of regret, which feels different in ‘Love From The Other Side’ than it does here. When the whole song came together, it was the statement of the record.

Aside from the album, you have released a few more recent tracks that have opened you up to a whole new audience, most notably the collaboration with Taylor Swift on ‘Electric Touch’.

PETE: Taylor is the only artist that I’ve met or interacted with in recent times who creates exactly the art of who she is, but does it on such a mass level. So that’s breathtaking to watch from the sidelines. The way fans traded friendship bracelets, I don’t know what the beginning of it was, but you felt that everywhere. We felt that, I saw that in the crowd on our tour. I don’t know Taylor well, but I think she’s doing exactly what she wants and creating exactly the art that she wants to create. And doing that, on such a level, is really awe-inspiring to watch. It makes you want to make the biggest, weirdest version of our thing and put that out there.

Then there was the cover of Billy Joel’s ‘We Didn’t Start The Fire’, which has had some big chart success for you. That must have taken you slightly by surprise.

PATRICK: It’s pretty unexpected. Pete and I were going back and forth about songs we should cover and that was an idea that I had. This is so silly but there was a song a bunch of years ago I had written called ‘Dark Horse’ and then there was a Katy Perry song called ‘Dark Horse’ and I was like, ‘damn it’, you know, I missed the boat on that one. So I thought if we don’t do this cover, somebody else is gonna do it. Let’s just get in the studio and just do it. We spent way more time on those lyrics than you would think because we really wanted to get a specific feel. It was really fun and kind of loose, we just came together in Neal’s house and recorded it in a day. PETE: There’s irreverence to it. I thought the coolest thing was when Billy Joel got asked about it, and he was like, ‘I’m not updating it, that’s fine, go for it.’ I hope if somebody ever chose to update one of ours, we’d be like that. Let them do their thing, they’ll have that version. I thought that was so fucking cool.

It’s also no secret that the sound you became most known for in the mid-2000s is having something of a commercial revival right now. But what is interesting is seeing how bands are building on that sound and changing it.

PATRICK: I love when anybody does anything that feels honest to them. Touring with Bring Me The Horizon, it was really cool seeing what’s natural to them. It makes sense. We changed our sound over time but we were always going to do that. It wasn’t a premeditated thing but for the four of us, it would have been impossible to maintain making the same kind of music forever. Whereas you’ll play with some other bands and they live that one sound. You meet up with them for dinner or something and they’re wearing the shirt of the band that sounds just like their band. You go to their house and they’re playing other bands that sound like them because they live in that thing. Whereas with the four of us and bands like Bring Me The Horizon, we change our sounds over time. And there’s nothing wrong with either. The only thing that’s wrong is if it’s unnatural to you. If you’re AC/DC and all of a sudden power ballads are in and you’re like, ‘Okay, we’ve got to do a power ballad’, that’s when it sucks. But if you’re a thrash metal guy who likes Celine Dion then yeah, do a power ballad. Emo as a word doesn’t mean anything anymore. But if people want to call it that, if the emo thing is back or having another life again, if that’s what’s natural to an artist, I think the world needs more earnest art. If that’s who you are, then do it. PETE: It would be super egotistical to think that the wave that started with us and My Chemical Romance and Panic! At The Disco has just been circling and cycling back. I  remember seeing Nikki Sixx at the airport and he was like, ‘Oh, you’re doing a flaming bass? Mine came from a backpack.’ It keeps coming back but it looks different. Talking to Lil Uzi Vert and Juice WRLD when he was around, it’s so interesting, because it’s so much bigger than just emo or whatever. It’s this whole big pop music thing that’s spinning and churning, and then it moves on, and then it comes back with different aspects and some of the other stuff combined. When you’re a fan of music and art and film, you take different stuff, you add different ingredients, because that’s your taste. Seeing the bands that are up and coming to me, it’s so exciting, because the rules are just different, right? It’s really cool to see artists that lean into the weirdness and lean into a left turn when everyone’s telling you to make a right. That’s so refreshing. PATRICK: It’s really important as an artist gets older to not put too much stock in your own influence. The moment right now that we’re in is bigger than emo and bigger than whatever was happening in 2005. There’s a great line in ‘Downton Abbey’ where someone was asking the Lord about owning this manor and he’s like, ‘well, you don’t really own it, there have been hundreds of owners and you are the custodian of it for a brief time.’ That’s what pop music is like. You just have the ball for a minute and you’re gonna pass it on to somebody else.

We will soon see you in the UK for your arena tour. How do you reflect on your relationship with the fans over here?

PETE: I remember the first time we went to the UK, I wasn’t prepared for how culturally different it was. When we played Reading & Leeds and the summer festivals, it was so different, and so much deeper within the culture. It was a little bit of a shock. The first couple of times we played, I was like, ‘Oh, my God, are we gonna die?’ because the crowd was so crazy, and there was bottles. Then when we came back, we thought maybe this is a beast to be tamed. Finally, you realise it’s a trading of energy. That made the last couple of festivals we played so fucking awesome. When you really realise that the fans over there are real fans of music. It’s really awesome and pretty beautiful. PATRICK: We’ve played the UK now more than a lot of regions of the states. Pretty early on, I just clicked with it. There were differences, cultural things and things that you didn’t expect. But it never felt that different or foreign to me, just a different flavour… PETE: This is why me and Patrick work so well together (laughs).  PATRICK: Well, listen; I’m a rainy weather guy. There is just things that I get there. I don’t really drink anymore all that much. But I totally will have a beer in the UK, there’s something different about every aspect of it, about the ordering of it, about the flavour of it, everything, it’s like a different vibe. The UK audience seemed to click with us too. There have been plenty of times where we felt almost more like a UK band than an American one. There have been years where you go there and almost get a more familial reaction than you would at home. Rock Sound has always been a part of that for us. It was one of the first magazines to care about us and the first magazine to do real interviews. That’s the thing, you would do all these interviews and a lot of them would be like ‘so where did the band’s name come from?’ But Rock Sound took us seriously as artists, maybe before some of us did. That actually made us think about who we are and that was a really cool experience. I think in a lot of ways, we wouldn’t be the band we are without the UK, because I think it taught us a lot about what it is to be yourself.

Fall Out Boy’s ‘So Much (For) Stardust’ is out now via Fueled By Ramen.

listening to electric touch and while it is tied for my favorite from speak now tv along with castles crumbling, I just think it is sooooo uncalled for that only one member of fall out boy got to play on this song. like can u imagine taylor swift singing on an ACTUAL fob song?? like even just letting fob record the drums for the song would've been sooooo epic.... would've been the best drum track on literally any ts song. like it could've been sooo epic.

Fall Out Boy’s delayed fifth album finally surfaces 12/16/2008, from the Orange County Register.

🎶✨when u get this, put 5 songs u actually listen to, publish. then, if you're comfortable, send this ask/tag 10 of your favourite followers (positivity is cool) 🎶✨ 

I was tagged by @thankyouforyourcooperation

I listen to many, many songs, so these are just the ones showing up next in my playlist queue:

Elenore - Flo & Eddie

Going to California - Led Zeppelin

American Pie - Don McLean

Golden Years - David Bowie

Riders on the Storm - The Doors

I will tag @dragonatthedinnertable, but cannot be bothered tagging anyone else so y’all can do it if you like.

Some polycule incorrect quotes because I can

2 hours of Patrick and Neal Avron talking Stardust on this very good podcast.

Excited for fall out boys new album and I’m genuinely wishing they featured the weeknd but it probably won’t happen…

pour one out for my beautiful darling scrapped church verse

Favorite fob album?

INFINITY ON HIGH always and forever 💙✨🐑

2:08 A.M.

For hours the goddess of Makai developed and created seven of the most deadliest of puppets inspired by the most deadliest of gensokyo's inhabitants and the tragedies of history such as lunar descent it all paid off in the end. All the puppets now coming to life and stare at their creator, imprinting onto her as if she is their mother. The first of the puppets stand forward is the one who is the oldest sister of the group, being the first to be created this puppet is named Chrona the more serious and mature of the puppets as she' s inspired by Sakuya Izayoi along with stories of war heroes of the second world war as well as the courage of those rather die than to kneel her but her second main inspiration however is none other than the mapuche warrior Galvarino giving that this puppet has a knife and a sharp hook for hands. Chrona lightly bowed to Shinki and showed respect in an elegant way much like the original sakuya.

The second puppet is something else as this puppet is inspired by Koishi herself, as well as her fascination with Koishi but this very puppet is ferocious and sadistic and that is because she is inspired by the sadistic and zero remorse of the lunarians have shown to gensokyo' s inhabitants as well as the birth of the monster the original Koishi was made to be by the lunarians.

Grandiflora is her name and she possessed a large three clawed hooks on her left, and a nightmarish chainsaw on the right showing off her most deadliest as she dismembers her victims slow and excruciatingly painful as the goddess' s hatred for lunarians knows no bounds.

Four arms, four automatic colt M16s fitting for all four her hands, Pierra is one of the youngest and one of the most deadliest of the puppets. Inspired by Clownpiece, the joyus nature of clowns and the spirit of the american dream of the 1950s to the 1960s of the cold war she's not only the most fun but also the most patriotic of the bunch.

Of course not all puppets could sing and speak poetically as the beautiful and the most talented puppet. Singsong is a puppet of poetry, inspired by the jiangshi yoshika as well as the imperialist china of the second world war, edgar allen poe, shakespare and the talented Beethoven. She is essentially the mother of the group and her weapons are a chinese jian sword and a broomhandle pistol fitting for her size but those aren't her main weapons, her main weapon is actually her singing voice. Those who hear her song shall be placed in a hypnotic state forcing her hypnotized victims to fight each other to the death or to kill themselves providing the support she needed for her puppet siblings. Singsong stands and saluted at her creator feeling honored to be of her mother' s own serviced.

Death and pestilence comes in all shapes and sizes, no difference here than this very adorable and yet so nightmarish puppet. Her name is Acetylor, a puppet that can unleashed both toxic gas and flame from both the palms of her hands making her truly the most dangerous of the puppets by default. She is an inspiration and also a way of paying tribute to Flandre scarlet who was brutalized by both Koishi and the lunarians. Not only she is a tribute to the youngest of the scarlet family but she is also inspired by the monks who have burned themselves in protest during the vietnam war due to the flames blessed by Hijiri's own magic while she is also an inspiration of bats being the carriers of diseases thus also shooting out the toxic gas that is zyklone b to suffocate and kill her victims with a slow agonizing death.

Dumb, all bronze, jolly and full of joy in the mind. Avron is the friendly giant of the rest who possessed great strength of the oni as well as her horn being a drill that can pierce through flesh and bone with ease. She is an inspiration of Yuugi Hoshiguma and also an inspiration of the child like innocence as well as Shinki' s love for her children, family and her friends. Showing no hatred towards any and loves to make friends and have fun all the while drink but despite her child like personality Avron is a very dangerous and a capable fighter so she not be underestimate in any circumstances.

....And then there's the second youngest of the puppets Amarena the puppet whose inspiration is of both Rumia and Shinki's mental state deteriorate feeling nothing but the void within her body. She is capable of spewing out poisonous and corrosive black oil that burns flesh and bone in seconds and eats the victim' s melting flesh wound as her teeth are sharp and made out of pure steel. Amarena is peaking behind Avron who is a bit shy and cautious around Shinki being the second youngest and all.

The goddess of makai is clapping her hands seeing all her puppets are all unique in their own twisted little ways as she begin moving closer towards each of her living puppets as all she created are automatically her babies.

" Oh my goodness, you're all so precious! I knew my puppet skills I learned from my daughter finally pays off! Welcome home to mommy! All of you are so precious!!! "

the full apple music interview with zane lowe is out! we got snippets of it when love from the other side dropped, but they finally rolled out the full thing. here are some highlights that stood out to me :)

patrick describes pete's lyrics as what gets him out of bed in the morning. if pete doesn't send him lyrics, he doesn't write a song.

andy and pete used to draw fake snake tattoos on each other using magic markers as kids omg?

so evidently patrick was the one who got covid during hella mega tour. and he hated it and he was miserable and that's when he called neal avron about the new record lmao

patrick says that joe was hesitant at first and he was the one who said that for this record he wanted to make something that they could all savor and spend time on and patrick was immediately on board with that

pete says patrick's job is to interpret him because pete calls his mentality a "little bit off" but patrick is capable of understanding him and translating it

patrick describes his and pete's creative relationship as "twin speak." it's not linear and it's like living in his brain a little bit. he calls it the "weirdest thing i've ever seen" when pete can just Tell that some words that patrick adjusted weren't ones he wrote despite not remembering writing them. patrick says he's gotten better at connective tissue and knowing how pete would say things

pete: back in the day patrick was like, "what's the difference between cry and weep i will KILL YOU. THEY'RE THE SAME THING. I'M GONNA KILL YOU RIGHT NOW."

zane says patrick's vocals are next level for this album. pete agrees that he kills it on this album and said he never would've expected that voice coming from him when they first met. zane says patrick could sing a recipe and it would be good. he then passes patrick a recipe and patrick. sings it???

patrick: i'm not gonna belt it. (starts belting) NINE INCH PIE PLATE ROLLING PIN

patrick says that pete doesn't mean to have rhythm to his words but there's a rhythm to them all the same and patrick can find this syncopation in his words and thinks it's amazing

more talking about patrick and pete's Magical Mystical Transcendent Soul Bond. patrick says "if we were one guy, we'd be an INCREDIBLE DUDE"

patrick and pete say that interviews with all four of them are hard because it's chaos and everyone's talking at once but it all makes perfect sense to them and no one else. zane says that sounds like fun flkjdfd [i agree please do this more it's a joy]

pete says joe really stepped up and wrote a lot for this record!

patrick: "joe is kind of a conundrum because he's this really talented...he's a brilliant writer, a brilliant player, but pete and i became the "team" and it wasn't really a plan, but that's just kind of how it happened. [brief tangent about the hiatus] we come back from the thing and joe is this fully-formed writer with a very distinct - he has one of the most distinctive writing voices. when i hear his parts, when i hear his ideas, i could pick them out of a crowd. like i know the way joe writes, and it's VERY joe." part of the process with post-hiatus was integrating him into the writing process more.

discussing the hiatus and fame and pete says his life kind of "blew up" and took it pretty hard. apparently during production for folie paparazzi actually broke down the gate to neal avron's house

patrick goes on a big tangent about how bad things got during the height of pete's fame. "part of my role is to tell his story. i'm a composer. that's what i like to do. i work on movies, i work on shows, and i work on pete. pete has a story that needs music, and if he's removed from himself, if he's not even able to access himself because he's behind all of this stuff, i don't have a story! so not only did i not have my buddy, which was heartbreaking in its own way, but then i also don't have a purpose as an artist."

patrick says that andy is always ready to play but when you get him happy to play, it's another level

"and trohman, there were these moments where he...he got so excited."

patrick describes writing what a time to be alive as wanting to write the saddest, most desperate song you could hear at a wedding. pete bursts into laughter and calls it "so twisted"

talking about other endeavors outside the band - patrick talks about composing and said joe's been super busy with his book and writing for tv and because there are so many deadlines for stuff like that, it's what hammered home to him that fall out boy needs to not be that. "there's something special about this that can't be...this has to be passionate and art."

discussing how scared patrick was of his own voice while the band took off. patrick was really scared of the song saturday at first because there are some really exposed vocal moments. he describes saturday as a song where everyone in the band lets each other go for it.

zane calls fall out boy the "emo blueprint" and says they were unapologetic in being emotional. patrick immediately says, "that was pete. i don't think we could've done that without him." he and joe were basically kids and patrick was too anxious to talk on stage.

zane says, "i remember interviewing you in the early days and i felt like every time i asked you a question i was bullying you." pete IMMEDIATELY loses his shit.

"in another life where i didn't have a pete...cause saturday, i did write most of that by myself...so there's a world where that song exists without the band. there's no world where i sing it in front of people without pete."

pete says every night before they put out a new song he calls patrick up and gets really scared and wants to back out and patrick talks him down every time

they talk about how scary it was when arm's race released and performing it at the amas. patrick starts laughing rly hard as they get into how there were giant crickets on stage and the crowd was just stone-faced and utterly nonresponsive and their stage manager was utterly panicked

towards the end patrick really loosens up and starts swearing more dlkfjdfd