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turnstileskyline · 5 months

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

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

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

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

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

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

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

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

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

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

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

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

– Ryan J. Downey.

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

As told by:

Patrick Stump

Pete Wentz

Joe Trohman

Andy Hurley

Bob McLynn - Crush Music

Sean O'Keefe - Producer/Mixer

John Janick - Fueled By Ramen

Tim McIlrath - Rise Against

Mani Mostofi - Racetraitor

Chris Gutierrez - Arma Angelus

Mark Rose - Spitalfield

Sean Muttaqi - Uprising Records

Rory Felton - The Militia Group

Richard Reines - Drive-Thru Records

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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eyeheartboobiez · 2 months

Text

-> 𝗃𝖺𝗌𝗈𝗇 𝗍𝗈𝖽𝖽 𝗑 𝗌𝗂𝗇𝗀𝖾𝗋!𝗋𝖾𝖺𝖽𝖾𝗋

-> 𝗌𝗈𝖼𝗂𝖺𝗅 𝗆𝖾𝖽𝗂𝖺 𝖺𝗎!

-> 𝖺/𝗇: 𝖺𝗇𝖽𝖽𝖽 𝗁𝖾𝗋𝖾'𝗌 𝗉𝖺𝗋𝗍 4!! 𝗂 𝗍𝗋𝗂𝖾𝖽 𝖺 𝖻𝗂𝗍 𝗈𝖿 𝖺 𝖽𝗂𝖿𝖿𝖾𝗋𝖾𝗇𝗍 𝗐𝗋𝗂𝗍𝗂𝗇𝗀 𝗌𝗍𝗒𝗅𝖾 𝗂𝗇 𝗍𝗁𝖾 𝗌𝖾𝖼𝗈𝗇𝖽 𝗁𝖺𝗅𝖿 𝗍𝗈 𝗁𝖾𝗅𝗉 𝗆𝖾 𝗀𝖾𝗍 𝖻𝖾𝗍𝗍𝖾𝗋 𝖺𝗍 𝖽𝗂𝖺𝗅𝗈𝗀𝗎𝖾 𝗅𝗆𝖺𝗈. 𝖺𝗅𝗌𝗈 𝗂 𝗄𝗇𝗈𝗐 𝗍𝗁𝖺𝗍 𝖼𝖺𝗌𝗌 𝗂𝗌 𝗌𝗎𝗎𝗎𝗉𝖾𝗋 𝗈𝗈𝖼 𝗁𝖾𝗋𝖾 𝖻𝗎𝗍 𝗉𝗅𝖾𝖺𝗌𝖾 𝗃𝗎𝗌𝗍 𝗋𝗈𝗅𝗅 𝗐/ 𝗂𝗍 𝖺𝖻𝖾𝗀😭🙏🏿

liked by cass.cain and 3,190,751 others

@y/nforeal: me n the bestie🤞

View all 14,176 comments

user1: “bestie” girl just tell it like it is

user2: she dropped the brother and picked up his sister instead we love to see it

user3: can someone explain this in pop culture terms?

⤷ user4: this is like if princess diana went and hooked up with hayley kiyoko after she divorced prince charles

⤷ user3: girl WHAT😭😭 (i completely get it now)

user5: THE DUO WE NEEDED 🙏

@/cass.cain: heyy mamas

⤷ @y/nforeal: hey girlie🙈

⤷ user6: LETS GO LESBIANSSS

user7: this post alone single handedly set feminism forward by a good 50 years

Y/N Y/LN and Cassandra Cain take a Friendship Test | Glamour

How well do these two friends actually know each other? Singer Y/N Y/LN and songwriter Cassandra Cain share first impressions, shower each other in complemets, and more to prove they're as thick as thieves.

Be sure to check out their latest single Kill Bill out now!

8.9M views October 8, 2022

Tell us how you met Cassandra.

"Gosh, where do I even start?" Y/N huffed out, trying to collect her thoughts.

"I mean we always hung around the the same crowd, you know, with her making music and me in the booth all the time. Officially though, I'd say we met at the billboard music awards back in 2020."

A sentimental look plastered itself on her face as she continued, "She had won for songwriter of the year, and when I saw her at an after party later that night, I knew was that I just really wanted to congratulate her more than anything."

Grinning at the fond memory, Y/N wrapped up the thought, "So, I sought her out from across the room and basically stroked the shit outta her ego, and yeah. The rest was history."

----

What all can you tell us about Y/N?

"I think a better question would be what I can't tell you." Cassandra let out a short chuckle at the comment.

"No but seriously, there's just so much to like about her, y'know?" Her eyes drifted behind the camera towards the singer, a smile blossoming in her face at the action.

"For sure, if I were to tell you anything about her, I'd talk about how giving she is."

Looking back at the cameras, Cassandra said with her full chest, "She'd give anybody the whole world if she could, really."

----

Exercise One: Stare Into Each Other's Eyes for 2 Minutes

"I don't think I've ever stared at you for this long before." The vocalist confessed.

"All the more reason to now."

The artists giggled as they stood hand in hand, staring into the eyes of someone who understood them better than anyone else. Both felt as though they were looking into a mirror, when really it was just the eyes of a friend.

"You have really soft hands." Cass confessed, breaking the short lived silence.

"Thanks, it's the new body butter I've been using." The pair continued to stare into each other's eyes, with the songwriter casually swiping her thumbs across Y/N's hands.

Eyes gazing into the ones before them, Cassandra couldn't help but mentally curse her brother for being so stupid.

The past few weeks had been full of nothing but damage control after Jason's mishap at the club last month.

Cass had been the main one wiping away tears and distracting the singer from all her problems, whisking her away from the avalanche of pain.

For years now, she had dreamed of being in her brother's place, practically praying for his downfall. But now that she was here, she couldn't help but feel selfish.

Regardless of her feelings, Cassandra knew better than to use her brother's slip ups to her advantage.

She knew for a fact that Jason loved her. He did. How could she just swoop in and and pretend to play hero knowing that?

The entire situation was ridiculous, almost laughable even. She couldn't help but scoff at the irony of it all. Despide the artist's mental turmoil, the girl in front of her didn't seem to have a clue in the world.

“What's so funny?" Y/N accused teasingly, "I wanna laugh."

The silence was broken as Cass's chuckles continued to fill the room. Pulling herself together, she responded, "Nothing hon, nothing's funny."

"You sure? Because it looked hilarious." Jokingly, the singer continued to taunt the artist before her.

Even though Cassandra was never a woman of many words, Y/N on the other hand, always seemed to have a way of keeping the mood light.

A timer went off in the room, signaling the end of their two minutes. While Y/N was quick to break her gaze away, the other musician's eyes seemed to linger in a way that would leave most viewers speculating.

----

Exercise Two: Compliment Each Other

"Looks like we're back where we started," Y/N commented, "me stroking the shit out of your ego."

The remark made the Wayne double over in laughter, almost dropping the pen and notepad in her hands as she went to clutch her stomach.

"Aight now, it wasn't that funny."

As their giggles died down, a comfortable silence filled the room as Y/N and Cassandra started jotting down what they loved most about each other. After just a few minutes, both were ready to begin.

"Who wants to go first?" Asked a producer behind the camera.

Instantly, Y/N spoke up, "I'll go first, for old times sake."

"So," She stared off, "You're insanely observant, like you can literally read anybody like an open book. I love how independent and confident you are. You're very supportive, you're always listening to what I have to say. And last, but not least, I love how close you are with your family.

Once again, the grin on Cassandra's face never seemed to falter.

"Starting off, I love your smile. I admire how you put so many of your emotions into your work, and how you wear your heart on your sleeve. I love how when we first met, you took it upon yourself to learn sign language so for me."

The singer's eyes started to become glossy at the thought. Back when Cassandra was nonverbal, Y/N was more than determined to find a way to communicate with her.

Pausing before she continued, Cass took in a shaky breath, "The last thing I put on here, is that I admire your strength above all else."

"-We talking about the same Y/N here?"

A handful of soft chuckles could be heard from both Cassandra and Y/N, with the former still trying to keep her emotions in check. The statement, while so simple, seemed to be absolutely nerve wracking.

"After everything you've been through this past month, your strength and resilience are something that I really admire." A pregnant pause settled within the room, the light atmosphere dying with that last statement.

Although no words were being exchanged, a conversation was being held between the two as their eyes remained locked with each other.

The only noise that could be heard was the cameraman signaling it was time for the next segment of the video.

----

Exercise Three: Hug For One Minute

Before the tears could escape her eyes, Y/N quickly stepped in to her friend's arms, shielding her face from the camera. Cass was swift to embrace her, hands rubbing soft circles onto her friend's back.

The silence still remained heavy. If watchers listened closely, they could hear a faint you okay? spew from Cass's lips, leaving viewers beyond thankful for whoever was woking the boom mic.

With her head still buried in Cassandra's chest, Y/N gave a slight nod, indicating that she was fine.

One of the crew members eventually called time and the intimate moment was finished as soon as it began.

The pair caught each other's eyes and quickly broke away, once again, silently communicating the words they couldn't say.

Clearing her throat, Cassandra stepped back. Not knowing what to do with herself, she crossed her arms.

Suddenly becoming much more aware of her surroundings, she looked back towards the camera with her best award winning smile.

As if she had finally come back to reality, Y/N attempted to appear as relaxed as possible as well, silently praying that her mascara didn't run.

"So, any last words?"

To give the star a chance to find her voice, Cass spoke up, "Well, this was a great experience, and I'm glad we got the chance to come here and test our friendship."

Knowing they had to wrap up, Y/N went onto conclude the video, "Thank you so much Glamour for having us here today, and make sure to check out our new collab Kill Bill, which is out now. Bye!"

"See ya!"

— COMMENTS —

@/yn'scoochiehairs: i js know jason is tighttt rn💀

⤷ @/girlmoregirly: fr he polly punching walls n shit😭

@/gojoluvr: am i going crazy or was somebody crying towards the end??

@/cassie's_girl: i feel like im interrupting something here🧍‍♀️

@/livingrosetoy: the way cassandra kept touching y/n to comfort her plsss i can't take this anymore😭

@/jasonsmellslikeboucedatass: j*son bro keep playing w/ my girl and see what tf happen🤣🤣😐

@/igthatcuntgettingeaten: the way cass kept looking for her approval🥹

@/magiclizard: OUUU JASON WHEN I CATCH YOU

@/delulupills: everybody in the comments is talking about jason like can't we just focus on the two people who are actually in the video🤦‍♀️

⤷ @/ynstan4life: no that nigga need to die like today

@/cassandra'strophywife: i need bofa them like so bad like it's not even funny

a/n: lesbian cass save me.. lesbian cass.... save me lesbian cassandra...

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wavesmp3 · 5 months

Text

[csc] ode to you

inspired by 'daisy jones & the six'

pairing: choi seungcheol x reader (gn) genre: band au, strangers to lovers, angst wc: 13.7k warnings: cursing, heavy alcohol usage and often in an unhealthy way, one mention of blood (a terrible case of largely irrelevant side characters, an attempt at writing song lyrics, switching pov’s without any real indication, story existing in a vacuum of time and space loosely based off of 70s usa)

synopsis → The Numbers are a band well on their way to commercial success with Seungcheol as the dreamy front man, Soonyoung on drums, Joshua on guitar, Minghao on bass, and Junhui on keys. But all that changes the second you step into the studio to record “Begin Again” with them. The song is an instant hit, launching you from a singer-songwriter nobody to the biggest new name in music and catapulting the Numbers into a larger limelight than they’ve ever been in before. So with the entire country singing your song, the pressure is on for you and the Numbers to create an entire album that lives up to their expectations. But while pressure builds, something akin to feelings for the front man builds with it.

You go to knock again on the door, heavy footsteps and heavier breaths, but just as soon as your knuckles make contact with the heavy wood, the door swings open.

Jihoon looks disappointed. “You were going to knock again, weren’t you?”

You roll your eyes, pushing him aside and going straight for the marble bar cart you know sits in the sitting room off the formal dining area.

“You know you really have to work on your patience.” He says to you from the foyer, voice already sounding a bit far away. You always forget how big acclaimed-music-producer Woozi's house is. Although, you think, staring at the array of top shelf liquor arranged neatly on the bar cart, mansion is probably a more apt word for it.

You pour yourself a glass of whiskey.

Jihoon joins you in the room once you’ve already taken a seat in one of the brown leather arm chairs.

“How many glasses is that?”

You scoff. “I have a show at the Roxy after this.”

He hums, flicking the square paper in his hand.

You sit up slightly. “What is that?” Jihoon takes the paper over to the record player in the opposite corner of the room. He slips a clean black record out of the manilla slip and carefully places it into position. It doesn’t take long for the gentle hum of the record spinning around the platter to fill the room.

God, I love music. You think to yourself sitting back slightly in the armchair and allowing your eyes to shut.

“I want you to listen to this.” You hear Jihoon say, followed by the small pop of the decanter being opened and the quiet trickle and crack of liquor falling over ice. The sound of a bass overtakes the room. It’s somehow… gentle.

“Who’s it by?”

Jihoon doesn’t answer at first. You hear him sit down in the armchair next to yours while drums fill in the spaces of the songs and a guitar starts to hum along. And the sound that comes from the record player next–in all honesty, you don’t think Jihoon could have prepared you for. It’s a man’s voice, polished, in a way that you just know he’s been doing this for a while. His whole life maybe. There’s this rough, almost growly quality that amps the song up even more, and yet, simultaneously, his voice glides over the lyrics like honey spilling over the side of its jar. There’s so much depth in every note he hits. You don’t know if you’ve ever heard a voice–a sound–quite like this.

“Who is this?” You ask again once the first chorus comes to a close, opening your eyes and taking a proper look at Jihoon. He looks mildly amused.

“Have you heard of the Numbers?”

Seungcheol hurries into the studio from the car, guitar in one hand and lyrics in the other, fully expecting to get chewed out by his producer. “Jihoon, I’m so sorry. There was tra-”

Seungcheol stops in his tracks. The control room is empty. He steps back into the doorway and rereads the signage. He has the right room, so then… where is everybody?

“Seungcheol,” he hears a voice call for him from the recording stage. It’s Soonyoung, waving him inside and pointing at you. You smile at him, give him a nod of sorts. His eyes dart to Jihoon, giving him a look that says, who the fuck is that?

He walks into the recording booth hesitantly.

“Hey.” Jihoon says casually. “I don’t think you guys have met yet.”

You stand and approach him, sticking out your hand. Seungcheol just looks at it.

“The label thinks you guys would sound good on one track and want you to try recording ‘Begin Again’ together.”

He ignores your outstretched hand and looks straight at Jihoon. “Can we speak privately?”

—

Seungcheol had assumed he’d be the one getting chewed out in the studio today. Oh, how things have changed. He’s worked so hard on this song. More time and effort than he’s ever put in any of the band’s songs that came out before it. He can’t believe Jihoon would allow anyone else to try and taint it. “Begin Again” is his song. And he’ll be damned if he’s not the only one singing it.

Seungcheol’s ready to say all of this, but, “Before you say anything,” Jihoon doesn’t even let him speak, “I know how you feel about this. But the decision came from above me, okay. The Number’s last album didn’t do as well as the label hoped. They think another voice in the band could shake things up. And who knows, “Jihoon continues with a shrug that only makes Seungcheol fume more, “maybe this could be what you guys have been missing.”

Seungcheol cannot believe what he’s hearing. “We aren’t missing anything.”

“Don’t be dense.” Jihoon pans with a sideways stare. “I know you guys are good. I know you guys are gonna be big, but the rest of the world needs some convincing. Just try this, okay? This could be it.”

Seungcheol just shakes his head.

“I scouted them out myself. They’re a good singer and even better writer-”

“Writer?” Seungcheol nearly screams, arms flying to point at you through the control room window where the two boys are talking. “You want them to write on the song too?”

“They have a couple of…” Jihoon sighs, choosing his next word with extra precaution, “revisions.”

“Fuck that, Jihoon. I wrote a great song. It–”

“No.”

“Excuse me?”

“You wrote a good song.” Jihoon refutes, matter-of-factly. “You wrote a good song, and they,” he points at you, “they made it a great one.”

Seungcheol is speechless.

“Here.” Jihoon pushes a piece of torn notebook paper into his hands.

If Seungcheol wasn’t so aware of the line Jihoon was drawing, he would’ve pushed harder, but at the end of the day, Jihoon is his boss and his lifeline in this business. If Jihoon says so, really says so, then there’s not much Seungcheol can do to fight it. Seungcheol is stubborn, but he’s not a fool looking to waste his own breath. He looks back into the recording stage. The band looks happy chatting to each other. And you, well, you’re staring at him.

A red light flashes on the sound board beneath him. “Talk over the changes.” Jihoon says to the band and you through the intercom. “We record in ten minutes.”

—

“It’s nice to meet you,” you say to Seungcheol sitting on the stool in front of the second mic. Seungcheol’s never even seen a studio setup with two mics before. He swallows a scoff. “Jihoon showed me the song the other day, and your voice it—“

“What does this line mean?” Seungcheol cuts in, taking his seat on the stool next to yours. “I changed my heart. I morphed my mind. You don’t have the right to tell me I didn’t try.”

Your face drops immediately. “Are you serious?”

Seungcheol raises a brow–a challenge.

You let out a breath of pure disbelief, focusing your gaze just above his head, and hands starting to make motions in the air. “It’s about changing yourself to be with someone. It’s about them never acknowledging that.”

“That’s not what this song is about.”

You give him a pointed look. “What do you think the song is about?”

It’s his turn for the disbelief. “What do I think the song I wrote is about?” You don’t falter, not even for a second. Seungcheol grasps at the words, mouth agape. “It’s about redemption.”

“That’s too easy.”

“How is that too easy?”

“Look,” you huff, mouth opening and closing like you can’t decide what it is you want to say. You end up reaching your arm out, palm open like you want a fucking hi-five or something. In the back of his mind, Seungcheol wonders if you’re still waiting for the handshake he never gave. “Give me your original lyrics.”

He does, you snatch the paper keeping your eyes on him for a second too long before finding whatever it was that you were looking for. “Right here,” you say, finger pointing at the tattered paper and eyes darting back and forth between him and his lyrics. Your face lights up. You look like you're holding back a smile. You look… excited. “Here, in the bridge you wrote: take me home, welcome me on those familiar roads, embrace me in your arms, oh please, tell me I still belong.”

“What about it?” Seungcheol asks, almost forgetting that he’s upset at Jihoon for this whole arrangement, nearly forgetting that he’s supposed to not be accepting any of your revisions because for the first time in so long, he’s able to really talk to someone about his lyrics.

You look up at him fully, and almost sadly, you say, “You really don’t get it, do you?” Seungcheol looks down at the lyrics you gave him, scanning them again. Funnily enough, that line is the only one of his you’ve kept.

“The song’s not about redemption,” you tell him. “It’s about guilt.”

—

Seungcheol, you, and the band end up recording your version of the song. It’s a good song. It’s still his melody, his hook, and his bridge, but almost none of the lyrics are his. Just like that, “Begin Again” becomes as much your song as it is his. If he wasn’t so angry at Jihoon, maybe he would’ve had the mind to notice how good you sound singing it.

Choi Seungcheol is an asshole.

That you learned in the recording studio with him and haven’t been able to get out of your head since. Unfortunately, he’s got one hell of a voice and gift for creating a good melody. And him and Jihoon together in the studio, god, they’re magic. You went out and purchased The Number’s previous record after you recorded “Begin Again”. You haven’t stopped listening to it since.

It’s one day when you’re working a shift at the diner that you start humming the song playing over the speaker while grabbing an order from the kitchen. You don’t even think twice about it. That is until you make it right in front of the table whose orders you’re holding and start to hear your own voice.

You nearly drop the four plates of burgers.

You rush over to the jukebox, not believing your ears, not believing that your voice, your words, your song is playing for the entire diner to hear.

And there, right at the bottom it reads: “Begin Again” by the Numbers ft. you

“Holy shit.”

The desert wasn’t too far from home, but it could not have been more different. There was so much nothing for as far as your eyes could see. There was dust everywhere, all over the place, sifting up through the air and in your lungs. How are you supposed to sing like this?

You hear the bands’ voices come up from behind you.

“Hey,” Seungcheol says, coming up next to you and resting an arm on the same wood railing as you. “How are you feeling?”

“Great.” You answer truthfully. You could barely believe it when you got the call from Jihoon saying that they wanted you to play the festival along with the Numbers. Although, considering that your song is playing on every radio station, it probably shouldn’t have been as surprising as it was.

The crowd roars as the previous artist says his goodbye.

“Have you ever played for a crowd like this?”

“Nope.”

He nods slowly. “It’s a lot. The first time especially, for sure. But just go with it, and uh,” he smiles, towards the ground, “it’s a lot of fun once you get past the nerves of it all.”

You look at him, battling against the grimace forming on your face. “Is this pep talk for me or for you? Cause I’m fine.”

His smile disappears when he sees your face. You must’ve lost the battle.

He inhales sharply. “‘Begin Again’ is last. Come out after I introduce you.”

You nod, and he joins the rest of his band.

The crowd cheers when they get on stage. The first song starts with a familiar guitar riff and the pound of the drums, followed by the crowd going ballistic. You’ve been playing on stage for a while now, but only ever in small clubs with small crowds. You’ve never seen a crowd like this, and it makes you ecstatic.

You hear Seungcheol sing the final words of the song and Junhui play the final chords. And you don’t know if its the crowd or the shot of vodka you took during the bridge or the fucking look Seungcheol gives you, but something, something, makes you forget what Seungcheol said about waiting and walk right onto that stage.

Joshua and Minghao look confused. Seungcheol looks vaguely pissed. Junhui and Soonyoung barely notice. But you don’t register any of that. All you can think as you walk onto that stage, grin flashing and arms up in the air is: this crowd was fucking waiting for me.

You step up to your mic and wait until the crowd quiets down. You introduce “Begin Again” as a song you wrote. The crowd erupts. You look over at Seungcheol, smiling, no–grinning, loving how annoyed he looks. Minghao doesn’t miss a beat, starting the song immediately. Your body moves on its own, dancing to the song, belting out each note, and loving every second of it. It’s sometime during the second verse, the one Seungcheol sings alone, that you notice how entranced he is. His eyes are half closed, and his fingers fly across his guitar like he’s not even thinking about it. He smiles at the crowd. You think you hear someone faint. He looks your way then, right before the pre-chorus, smiling still as if he wasn’t just glaring at you. It hits you almost instantly: nothing else matters to him right now. He’s in it, like really in it, and the only thing he seems to care about is putting on a good show. He’s loving this as much as you are, and maybe that’s enough to prove that you and Choi Seungcheol are more alike than either of you think.

You leave your mic stand and start dancing towards him. His entire body turns towards you, waiting for you, his eyes following. You meet right in front of his mic just as the chorus begins. And you’re left with no choice but to stand next to him, singing into the same mic with your faces so close you can feel every ragged breath he takes, see the sweat rolling off his hair, and hear the blood pumping through his veins. Take me home. You both sing with your entire chest. Welcome me on those familiar roads. You see him turn his head to face you. You mirror the motion, and sing the next line looking right into his eyes. Embrace me in your arms. Have his eyes always been this big? Oh please, tell me I still belong. And of course it’s this line you’re singing to each other like this. Of course it’s the one line in the entire song that you didn’t actually write and the one line he did.

The chorus ends, and you slowly back away from his mic and move back towards yours. He rips away on his guitar, fingers still flying like it’s the easiest thing, all while never taking his eyes off you. Staring at you like he found something. Staring at you like it’s only you and him on that stage.

You don’t even remember the song ending.

Music flows through Northside Tavern. A jazz band is playing today, and the piano player keeps making eyes at you.

“I heard the show over the weekend went well.” Jihoon says into your ear. You just nod. “And that the label really liked what you did with the song.”

You laugh. “Not just the label. The whole country liked it.” You give one last look to the pianist, before turning to Jihoon fully. “I don’t know if you’ve forgotten, but I have a number one single.”

You head over to the bar and ask for an old-fashioned.

“Not just you.” Jihoon yells behind you to be heard over the cheers after the band’s last song.

You pivot. “Excuse me?”

“It wasn’t just you.” Jihoon flags down the bartender, orders a scotch, neat. “It was the Numbers too.”

The bartender slides over three drinks.

You lean in over the counter. “We only ordered two.”

Wordlessly, the bartender points to the other side of the bar. The piano player holds up their drink. Jihoon grabs his drink, and you grab the remaining two. You lift them both up towards the pianist who gives you a rather charming smile, and then take a simultaneous sip from the straws of both drinks. You taste your old-fashioned and what seems to be a margarita.

You and Jihoon make your way over to a booth.

“What I wanted to say,” Jihoon continues, “is that the label likes you with the band, and they want you to make an album with them.”

“An album?” You suck in your bottom lip, feeling a sudden rush from all the alcohol. An album is exactly what you’ve been pushing and working so damn hard for. So then why does this feel bittersweet?

“I think this is going to be a good thing.” Jihoon tells you sincerely, eyes softening. “You and Seungcheol…” he hesitates for a moment. You hate when he chooses his words like this, picking out the bad ones and testing out all the others. But perhaps you only hate it so much because you lack the ability to do it yourself. “You guys work.”

You take another long double sip of your drinks, squinting at Jihoon skeptically. “What did Seungcheol say?”

Jihoon’s mouth parts. There. There it fucking is. Running your tongue over your top set of teeth, you say, “you haven’t asked him yet, have you?”

“No, we haven’t asked him yet–”

“I can’t believe this.”

“–but the rest of the band is already on board, and we all thought it’d be smarter if you agreed before we asked him.”

You tilt your head slightly. You thought Jihoon knew you better than this. “I’m not saying anything until he does.”

“Be honest with yourself here,” Jihoon says seriously, pushing his drink to the side and leaning forward, “it’s no secret that you and Seungcheol don’t get along. And I get it; I really do. But I know you see it.”

You cross your arms over your chest. “See what?”

“Most people in this business spend their entire lives looking for what he and you found during the ‘Begin Again’ sessions and again on the stage at the festival. And most people fail. Don’t throw that away over whatever bullshit he gave you when you first met. Don’t throw away the chance you’ve been waiting for because of that. You guys belong together. Focus on that.”

You don’t say anything after Jihoon finishes his little speech. Instead you reach for your drinks and finish them both in one long, prolonged sip. You ignore his annoyed ‘tsk’.

Putting the empty glasses down and to the side, you nod up at him, pursing your lips. “Are you done?”

He takes a long, final swig of his drink. “Yes.”

“Ask Seungcheol first.” You pull out your wallet and drop a couple bills on the table. “Then, you can call me.”

Today is already off to a bad start.

Seungcheol had come into the studio ready to record and knock out at least 2 or 3 songs off the album today, but then Minghao wanted to talk about the album’s direction and Soonyoung wanted to request everyone to add as many drum parts as possible.

And it’s as he’s listening to Junhui and Soonyoung argue about the addition of piano solos, that you walk into the studio.

Jihoon welcomes you with a hug. Hansol, the sound engineer, offers to make you tea. Meanwhile, Seungcheol can’t understand why you deserve any kindness at this moment. Your session started an hour ago.

“You’re late.” Seungcheol says, bringing the rest of the band to notice your arrival.

You look at him with a smile, gesturing to the two boys who were just arguing. “Doesn’t really look like I missed anything.”

“We were talking about the album’s direction.” Minghao says from behind Seungcheol.

You nod, putting down your stuff and taking a seat. “Okay, shoot.”

Seungcheol puts his hands up. “Well since we’re talking about it. I’ve been working on a couple songs, and,” he hesitates, pulling out a couple sheets of paper that Jihoon helped him print and handing them out, “I think I might have something good that we can build the rest of the album off of.”

Everyone takes a moment to read. Seungcheol watches the room carefully. Joshua clears his throat. Junhui plays a loose note.

Your voice is the first that comes out of the silence. “Are you serious?”

He whips his head around. “What?”

“‘Will you still love me when I’m old? Will you still love me when I’m proud.’” You read aloud, before shoving the paper back towards him, that mocking smile still plastered on your face. “I’m not singing that.”

He scoffs, tongue swiping at his lips. “Why not? They’re good songs.”

You shrug. “They’re cheesy.”

“You haven't even read the whole thing.”

“I’ve read enough.”

“Are–are you… is this–I mean, like, you…” Seungcheol only knows one thing for sure right now: you might be the most insufferable person he’s ever met. “Jihoon!”

“Okay, you know what,” Jihoon’s voice comes through the intercom. You both turn towards it. “How about you two go home and figure out some way to work together instead of wasting my studio time. Write one song, just one, together, and the rest of us can go from there tomorrow.”

He slips a curse between a breath.

“Okay?”

You and Seungcheol look back at each other. It’s you who speaks first this time. “That’s fine with me.”

—

It’s a nice day out today. The sun shines through big clouds. There’s a nice breeze, and the roadways are empty. You’re sitting in the passenger seat humming something he can’t hear over the wind while Seungcheol drives. In all honesty, he doesn’t even know where he’s heading, but it might be the first time he's felt some semblance of peace with you around.

The announcer on the radio station introduces the next song. Seungcheol turns it up and sings alongside Kim Mingyu’s voice. You stop humming.

“You like this song?” You ask.

He quickly glances at you. “Yeah, who doesn’t.” The song was insanely popular a year or two ago. If you didn’t like it at first, you heard it enough on the radio and in every store until you did. Although, it doesn’t actually take anyone very many listens to fall in love with it. Unfortunately, the rest of Kim Mingyu’s songs never quite lived up to this one.

“I wrote this song.” You say to him, as if it’s the most simple thing.

“Oh, really?” Seungcheol replies with a chuckle. “You worked with Kim Mingyu?”

“Well, not all of it, but the melody and most of the lyrics, yes.” You tell him seriously, like you haven’t even registered that he thought you were joking. “I mean, worked is a strong word, but we did date for a bit.”

Seungcheol stops at a red light and spends it staring you in disbelief.

“Come on,” you say after a moment, “you really think Kim Mingyu wrote this song?”

Seungcheol listens to it again: They could never get it out of their heads. Like a scene on repeat. Like a mountain falling. Something unforgettable, but forgotten still. Something like you. Someone like me.

And instantly, it clicks–of course you wrote this song. Of course it’s the case that Kim Mingyu’s best song and one of Seungcheol’s favorites was written by none other than you.

He looks over at you while at another light. Your head leans back against the car seat, and your arm hangs over the edge of the open window. You don’t look like you’re enjoying listening to the song even if you are the one that wrote it. In fact, you look mildly annoyed, nose scrunched while inspecting your nail beds, teeth grinding.

Seungcheol changes the station thinking: why’d you let him take it?

Before he can really think about it any further, you sit up in your seat and point at the next light.

“Turn right up there. I know a place.”

—

When you had said that you knew a place, Seungcheol imagined that it’d be a coffee shop or an empty bar or anything other than the middle of the woods sitting on the rocks along a stream.

Although, he must give you credit: the setting you’ve taken him to is beautiful. There are birds humming and life strumming all around you. The water is a blistering blue that glistens and shines in the sunlight streaming through the trees like a million coins falling from the sky. The water has a small current running through it, and it beats against the rocks lightly, like the lightest, most gentle drum beat. The breeze is nice and cool on Seungcheol’s skin, sifting through his hair and past his limbs. And maybe the best part is how all around him, on every single side, he’s surrounded by green.

It would have been perfect, if not for the fact that you and him have been here for two hours and still have absolutely nothing.

“Okay,” you relent, after he turns down another one of your ideas for a song, “how about this melody?”

You start humming one of the worst melodies Seungcheol’s ever heard in his life.

“Absolutely not.”

You grunt frustrated, arms falling through the air. Your head follows suit, settling in your hands, face buried from his view.

“Why’d you even say yes to this?” You snap, looking up at him after a moment, brows furrowed and hands gesturing vaguely in the air. “If you have no intention of taking any idea I give you seriously, why did you say yes to this?”

“I didn’t.” Seungcheol reminds you. “Neither of us did. Jihoon kicked us out of the studio.”

“I don’t mean that.” You flare. “I mean letting me in to do this album with the Numbers. Why’d you agree to it?”

There’s a change in the wind. A sudden quietness that must be attributed to some insect dying. Seungcheol hadn’t expected you to ask this. He hadn’t even expected you to think it.

“It wasn’t…” he starts, looking for the words in the space between you and him. He looks up at you, hoping to find them there. Instead he finds hope in them.

Seungcheol has been in this exact spot before–sitting in front of someone that wants to believe in him and is asking him to give them a reason. He’s seen this before, and he has no interest in repeating his past mistakes. He sees no need to add you to the list of people he’s disappointed. With a short laugh, he says, “You know what, let’s just get back to writing.”

“Fuck that.” You respond immediately, grabbing at his guitar.

“What are you–”

“No. Fuck that.” You repeat, successfully pushing his guitar off his lap. “If this is going to work, you have to at least pretend like you trust me. Song writing isn’t just strumming on your guitar all day and hoping for the best. It’s vulnerability, and it’s pouring your heart and soul and life into something and praying that someone out there feels the same way. That’s what ‘Begin Again’ was. And every single person who listened and liked that song and every single person who sang with us at the festival is saying that they feel the same way. So, what are you so afraid of? Why do you feel like you can’t trust me?”

Seungcheol gulps. “Which question should I answer first?”

You inhale slowly. “The latter.”

Seungcheol just shakes his head. “I don’t know you.”

“Ask me then.” You say desperately, like it should have been obvious to him, “whatever it is that you want to know just ask it.”

Seungcheol nods. In truth, there’s a million questions he wants to ask you about everything, but at this moment, all those questions sink to the bottom of his mind and only one rises to the top and travels to the tip of his tongue. “Why’d you let Kim Mingyu take credit for that song?”

You lean back slightly at his questions. Looking away from him and towards the murky waters before answering. “Believe it or not, I wasn’t always like this.” You tell him, laughing lightly. “I used to let guys like you walk all over me.”

His heart jumps into his throat. He’s barely able to choke out a, “guys like me?”

You nod, still refusing to meet his eyes. “Guys who don’t believe that I have what it takes.”

“I never said that.”

“But you showed me.”

“When?”

You look at him then, squinting. He hopes what you see is genuineness. He asked the question sincerely. “When you were so quick and ready to dismiss my changes to the lyrics during the ‘Begin Again’ takes. When you let me join your band on this album, and then expected me to sing an entire record full of songs that mean nothing to me. I’m a songwriter, Seungcheol. It’s the one thing about me that no one can take.”

Something between intrigue and malice slips in behind his tongue. “So what can people take?”

You shake your head, smiling ever so slightly. “My turn. What are you so afraid of?”

Seungcheol inhales sharply. “Well, I’m afraid of dying and of heights and–”

“Stop that.” You cut in, like you really mean it. “Why are you so afraid to say what you really think?”

He sucks in his bottom lip, shrugging. “‘Begin Again’ was your song more than it was mine. What if people don’t like what I have to say? What if they can’t relate and just think I’m fucked up and crazy?”

Your eyes soften, and your smile lines deepen. It takes a moment for him to register that you're smiling, really smiling, at him. He’s never known a smile could feel so inviting.

“But what if they do?”

Seungcheol takes a moment to think about what you’ve said. And in that moment, whatever insect had died gets resurrected, returning to nature’s hum, filling his ears. Seungcheol looks all around him. The hum of life, the beat of water, the tune of leaves falling. He’s surrounded not just by nature and greenery, but also by music. And it’s erupting from every corner of these woods.

His eyes finally land on you.

“I think I found our melody.”

When you come into the studio the next day, the song is done. You went to sleep humming it still and running through the lyrics over and over again in your head.

“Let us sing it for you first,” Seungcheol suggests to the rest of the band with Jihoon listening in from the control room. “And whenever you feel like you got it, just hop in with what you think works, and we can refine and shape it from there.”

You watch the rest of the band as Seungcheol explains it. Minghao looks shocked, but excited. Soonyoung looks proud. And you can’t really read what the other two are thinking.

“Jihoon, are we good?” Seungcheol asks, turning around to the window into the control room.

“Whenever you’re ready.” Jihoon replies, voice filtering in through the intercom. You nod. Seungcheol nods. The rest of the band nods. Jihoon presses a couple buttons and says, “This is ‘Can You See Me’.”

Seungcheol starts playing the chords he found yesterday. You’re not sure why or how but it reminds you of those woods. His voice starts singing the first line of the song. You close your eyes and take it in. You join him for the chorus, singing alongside his voice feeling the words flow. It’s Junhui that joins you two first, playing a couple loose notes, testing things out. By the end of the chorus, he’s found it, playing a little more confidently and adding a whole new level of depth to the song. A depth that makes you feel like you’ve only ever known two colors your whole life and in a matter of seconds Junhui added in a third. Joshua joins in next, as your voice takes over for the second verse, playing off what Seungcheol was playing but making it his own. Seungcheol goes over to where Soonyoung’s sitting and says something to him in his ear. Soonyoung nods. Seungcheol goes over to Minghao, but Minghao shakes his head, already starting to play something. Seungcheol heads back to his mic right before the second chorus starts. You turn and sing the last line of the pre-chorus to him

And I know that you never trusted me.

He joins you for the chorus, singing back.

Can you see me standing from there? And can you see the blood on my hands? If I give you all of the parts to my heart, Will you care that I’ve been scarred and stitched up?

Soonyoung starts playing then, the drums filling in the last thing the song needed. You listen to the rest of the band play and marvel at how insanely talented they all are to pick up and play something that actually works after only a minute of hearing it. The song needs polishing, yes, but it’s got a good sound and it’s heading in the right direction.

You don’t take your eyes off Seungcheol, and he doesn’t take his eyes off you. And for the remainder of the song, you sing to each other.

The song ends. The last one playing is Junhui. And for a couple seconds, no one says anything.

It’s Jihoon’s voice that comes out of the silence first. “I’m a fucking genius.”

You smile at Seungcheol. He smiles back.

After recording and polishing ‘Can You See Me’, you and Seungcheol fall into a song-making rhythm of sorts.

(We don’t always have it perfect.)

“I feel like this lyric in ‘Puzzle Pieces’ doesn’t fit.” You say to Seungcheol, before muttering the lyric outloud. “It’s too shy. I don’t know. I just think it’s missing the mark a little bit, don’t you think?”

Seungcheol groans tiredly. “God, I can’t think about this anymore. Can we take a break? Go get some food or something?”

“Yes, but before we do, do you think ‘I see us standing in the distance’ or ‘I see you standing in the distance’ works better here?”

Seungcheol just stands ignoring your question and muttering ‘no’ repeatedly.

You follow, running after him and begging him to listen.

(Boy, do we fight.)

“I think there should be more drums in the hook.” Seungcheol announces after the third run through.

“Why?”

His eyes widen, sarcastically. “Because there should be.”

“Don’t do that.” You scoff, used to his antics. “Answer the question: why?”

He sighs, resting his hands on his hips. “It’s missing something. The song still feels empty. I mean, the lyrics allude to a love that’s blooming and growing between two individuals, but nothing behind the lyrics build up with it. There’s almost a disconnect between the words and the music.”

“I disagree.”

He scoffs. “All that for–”

“I think it works just fine without the drums, and if you add the drums it’ll become more suspenseful. The song is supposed to feel like falling.”

He shakes his head. “It’s supposed to feel like butterflies.”

“It’s supposed to feel like peace.”

(Sometimes you win.)

“Let’s vote.” Seungcheol suggests. “If you’re for the drums, raise your hand.”

Only Soonyoung (the drummer), does.

(Sometimes you lose.)

Jihoon presses the red button on the sound board, announcing to the recording stage, “Take 3 of Aurora. Seungcheol, try softening your voice a little for this one.”

“Jihoon, can we just try one take with me in it?” You ask him. “I think even if I were just singing a harmony or in the background of the bridge, it would add so much.”

“No.” Jihoon says, scribbling something down in his notebook. “I’m with Seungcheol on this one.”

“Jihoon, you haven’t even heard my–”

“This song doesn’t need your voice.”

(But sometimes, we get it just right and fit like the last two puzzle pieces.)

“No,” you say, shaking your head as Joshua and Minghao finish off the last chords of the song, “It needs to sound murkier.”

Joshua, Junhui, Soonyoung, and Minghao just stare at you blankly.

“Less cymbals, Soonyoung.” Seungcheol says over the speaker from the control room. “And Minghao, ride out the low tones more.”

You turn and see him. He catches your eyes, smiling slightly, reassuring you. Like he gets you.

From behind you, you hear Junhui lightheartedly mutter, “since when do they have their own language?”

Joshua and Soonyoung laugh, but you barely notice because you see him. You see the way his brows furrow when he’s thinking. You see the way he sticks out his tongue when he’s focused. You see all of it.

And for a moment, he sees you. All of you. And he doesn’t turn away from it.

Today’s songwriting session quickly turned into a field trip from the studio to grab food which then turned into you leading Seungcheol’s car to the beach. You and Seungcheol sit on a stone ledge, right where the sand begins, 20 paces away from the ocean. Between you sits leftover fries and your untouched song notebook. You watch the sun dip into the sea and listen to the waves crash over and over again. The wind pushes furiously, tossing his hair to the side and pushes his head away from it. It just so happens that away from the wind means towards you.

“So,” you begin, popping a fry in your mouth and dusting the salt off your hands, “when are you going to answer my question of why you let me in the band?”

Seungcheol figured this question was coming. He’s been avoiding answering it. “You really want to know?”

You look at him sincerely. “Yes.”

Seungcheol looks out to the water. “After our first album, Jihoon prepared a tour for us. It was this tiny tour, not even big enough for a tour manager. We played in the smallest venues with okay-sized crowds. I mean, it was barely a tour, really more of a way to get our name out there. And after the northern leg of it, I…” Seungcheol closes his eyes and sees moments from that tour flash behind his lids: strobe lights, bodies in bed, empty glasses, and negative pockets. Sometimes memories can feel like nightmares. “I was just in a really, really, bad place. By the time we were halfway down the east coast, I was barely even able to play. Jihoon saved me then. He saved my fucking life. But he had to cancel the rest of the tour in that process. The rest of the band, man, they couldn’t even stand the sight of my face. Minghao especially. It was Jihoon who ended up being the one to convince them to let me back in. I owe Jihoon my entire livelihood and my life. So when he asked what I thought about you joining the band for this album and when I saw how badly he wanted it to happen, I owed it to him to say yes.”

It’s been so long since he’s recounted that story, even to himself. It doesn’t hurt as much as it once did. That knowledge surprises him.

“Where are you now?” You ask suddenly, pulling him out of his head.

He turns to you. “What?”

“If you were in a bad place then, where are you now?”

The wind quiets for a moment; he feels a warmth overtake him in its absence. “Someplace better.”

He looks down, not even noticing the smile growing on his face, and catches sight of your notebook. He points at it, asking, “may I?”

You look down at it as well, grabbing another fry. “Sure.”

He flips through the pages of your notebook. The first half isn’t even songs. It’s snippets, words, singular sentences taking up an entire page. It’s only halfway through the book that it actually turns into something that could be called songwriting. He asks you about it.

“Ah, that’s when I met Jihoon.” You tell him, smiling fondly. Seungcheol puts the notebook down and waits for you to explain. “Before him, I had songs, but they weren’t real songs, you know? They were just some combination of all the snippets and sentences I had written down. But then Jihoon heard me play at the Eastern, and said that I had a good voice. He asked if he could give me his card so that we could talk more, and I said that I wasn’t interested in people who only saw me for my voice and walked away.”

“You’re insane.” Seungcheol mutters, baffled. He remembers the chance encounter he had with Jihoon right after he and the band moved down here to make a name for themselves. He remembers how hard he begged for the same chance Jihoon offered to you so simply. “So, how’d you end up working with him then?”

“He found me again at the diner I used to work at after that. I told him I still wasn’t interested, and he asked if I had written the song I played that night at the Eastern. I said yes, and he said that he was only interested in my voice because my songs weren’t there yet.”

Seungcheol chuckles. “So he’s always been an asshole then?”

“Oh yeah.” You nod, mirroring the sound. “He was an asshole about it, but he was right. And it was the first time that someone believed in me enough to think that I could be better. That is what made me want to try and write a song that would make him see that I’m as good of a songwriter as I am a singer. I spent a lot of time working and got out one good song. I sang it all across the strip. He finally saw me play again at Ben’s Garage. I let him sign me after that.”

“What was that song about?”

Your lips do this half frown thing that makes Seungcheol want to peer inside your brain and figure out exactly where it came from. “It was about what all songs are about.”

“Which is?”

You look at him like it’s obvious. “Love.”

It feels like a shot of sunlight through his veins.

Seungcheol drives you back home after the beach. You had gotten nothing done in terms of the album, but you felt happy, and you felt free. You watch him from the corner of your eye. You’ve only known each other for some months now, but it feels like so much longer. You’ve told him more about yourself and your past than anyone else you’ve met in your adult life. You’ve told him your deepest worries and darkest secrets, and he never turned away from you, not once. Instead he took your insecurities and turned them into beautiful melodies. He turned all your doubts into celebrations of hope. And he did it for you.

Suddenly, it no longer feels like you only met him when you recorded ‘Begin Again’ together. Suddenly, it feels like you’ve known him since you were a teenager and like you’ve been in love with him ever since. Your palms start to sweat. Your heart sinks past your lungs. Is it all those goddamn fries or him that’s making your stomach turn?

He turns onto your street. This is it, you think to yourself. This is everything I’ve been waiting for.

He walks you to your door, and you stand facing each other on your porch.

“This was nice.” You tell him, taking another step towards him.

“It was.” He mumbles, a lazy smile on his face.

You take another step towards him. He doesn’t move back. His mouth parts. You watch his lips, trace them with your gaze. You think about what it would feel like to kiss them.

“Do you want to come in for a bit?” The words come flying out of your mouth involuntarily. You barely register that you’ve said them. They didn’t come from your mind but from a tiny spot deep in your gut where the urge to take another step towards him lies. You give into that urge without thinking twice about it. You’re closer to him than you’ve been in months. The last time you were this close being that moment on stage during the ‘Begin Again’ performance. You’re surprised you remember that. His breaths then were ragged, uneven. His breaths now are barely there, like he isn’t even breathing. You can smell the mint he popped in his mouth when you left from the beach. You can smell whatever perfume he must’ve sprayed on his neck this morning.

And you’re so wholly aware of the fact that his eyes are looking at your lips.

He turns away from you and glances at your door, saying, “I should go.”

You feel something in your chest sink and sink and sink.

“I’ll see you in the studio tomorrow.” He continues. “We still gotta help Junhui figure out his part for ‘Puzzle Pieces’.”

And with that he’s off, and you’re left standing on the porch alone wondering how someone can look at you like that and then just leave. You look down by your feet and see your heart sitting there, next to your shoes. You leave it there and head it inside.

The next day, Jihoon cancels your studio time without explanation and reschedules you and the band for the following day.

When that day finally does come, Seungcheol doesn’t show up on time to help you and Junhui figure out the right notes to play for the song you wrote together like he said. Instead, he stumbles into the studio late with a song in his hand wearing the same clothes he wore with you at the beach. And that alone, feels like a betrayal of some sort.

“What’s it about?” Joshua asks.

He looks around the room, excited. “It’s about my new partner.”

You feel the urge to vomit all over the recording stage.

—

Jeonghan, it turns out, is Seungcheol’s partner’s name. Seungcheol had brought him into the studio a week after they started dating, and he’s been coming routinely ever since. As much as you hate it and as much as it makes your heart bend and break, Seungcheol looks really, genuinely happy with him. You wonder if he ever looked like that with you.

You really wish you hated Jeonghan, but you don’t. He’s actually quite nice and gets along with the whole band so easily. He even makes friends with Jihoon. You thought he might be a distraction to Seungcheol while writing and recording, but Seungcheol is more focused and productive and creative than ever. The song he wrote right after meeting him is good, like stupidly good. There isn’t a single word in it that needs changing.

With your help, Seungcheol writes another song about him, called ‘Light of My Life.’ It’s while writing that song that you find out that Jeonghan was never a stranger, and that day after the beach was not their first meeting. It’s Soonyoung who tells you how Jeonghan is from their hometown and how Seungcheol and Jeonghan used to date.

The day that you record ‘Light of My Life’ Jeonghan is also in the studio, sitting in the control room and laughing at something with Hansol.

You light up my life even when it’s dark. You both sing together. It’s an acoustic song; only Joshua stands behind you guys strumming the chords on his guitar. The rest of the band didn’t even come in today. You color my world even when I’m feeling blue. You glance over at Seungcheol. He isn’t looking your way. He’s looking at Jeonghan through the control room window. When I’m with you, I never feel alone. You think about the times when he used to look at you while recording. When you hold me, baby, I feel at home. Jeonghan looks back at Seungcheol. It hits you how beautiful he is, with his dyed silver hair and slender face. You don’t blame Seungcheol for writing such a beautiful song about him. You don’t blame yourself for helping him. I can’t believe this has happened to me. Seungcheol wrote this song for Jeonghan, but he wasn’t the only writer on this song. Right before the next line, Seungcheol finally finally turns and looks at you. I feel alive because of you.

Seungcheol turns back to the control room, and for the rest of the song, you wonder that if Seungcheol wrote this song for Jeonghan, who the hell did you write this song for?

—

A tune comes to you while you drive home that night. You scribble down a couple lyrics in your notebook as soon as you walk through your door.

Silver hair. Silver skin. Sliver of my heart you took with him.

Joshua throws a party that weekend. A housewarming for the house he bought with the ‘Begin Again’ checks. Stepping in through the foyer, you question whether you should be buying a house too. You forget that thought by the time you reach the drinks table.

After your hellos to the rest of the band and all the small talk with people Joshua wanted to introduce you to, you end up standing alone in his backyard, sloshing around the dark liquid in your cup. Truthfully, you’ve barely left your apartment all week. You hadn’t been in the mood for a party. But it’s nice out here. The air is fresh and crisp. The lights, which Soonyoung and Minghao enthusiastically and drunkenly told you they helped put up, are warm but not too bright. You imagine you’ll stay out here for the rest of the party.

“Hi,” you hear a voice say from behind you. You turn around only to find Jeonghan. You hope your face doesn’t betray you when you greet him back. “What are you doing out here?”

You gulp down a bitter sip of your drink. “Just wanted some quiet.”

“Same. Junhui started doing karaoke again.”

“Oof.” You groan sympathetically. “Already?”

He just nods with a laugh. “It’s been a long time since I’ve seen all of them.”

You like Jeonghan. You really do. It’s just taken you until now to realize that you don’t really know him apart from small talk in the studio and the two songs Seungcheol wrote about him. “When did you move down here from your guys’ hometown?”

“Oh.” His chin juts out a bit. “I moved down with the band actually.”

You don’t hide the surprise on your face.

“I take it no one told you that then.” Jeonghan chuckles darkly. You shake your head. “Uh, well, yeah,” he continues, shoving his free hand into his pocket, “Seungcheol and I started dating right when the band formed. I used to do the photography for them. And when they proposed moving out here, I thought I ought to come with. And I did.” He gulps his drink. “It was good for a while. Really fun in the beginning. But then I got my job taking pictures for the paper, and they were doing the album. And well,” he looks at you like you already know what he’s about to say. You don’t. “It already wasn’t really working anymore by the time the album was finished. And then they went on tour…”

He leaves that part blank. But based on what you heard from Seungcheol about that first tour, you can piece together what might’ve happened. You question whether Jeonghan left that empty to spare Seungcheol or to spare himself. Then you question how he knew you knew about it.

“Oh.” Is all you say. You don’t ask about when they encountered each other again. You don’t want to hear it.

“You know,” Jeonghan begins again, “I actually used to watch you play at the Tabernacle.”

You groan immediately. You only ever played at the Tabernacle when you first started. You cringe thinking about what you might’ve sang on stage in front of him. “Oh my god. I’m so embarrassed to even think about those days.”

“No! Don’t be!” He reassures, kindly. “You were really good. I especially liked that one song that went like… The days were wide open, as far as the eye could see.”

Your heart nearly soars straight out of your body. You had forgotten about this song. You used to love it dearly. You join Seungcheol’s boyfriend for the second line.

The world was mine to take, but I’ve never been good at accepting things.

“You and the band together,” Jeonghan says a moment after you both stop singing, “it’s magical, don’t get me wrong, but that song,” he smiles at you, “it’s a damn good song.”

You can’t help but smile back. “Thank you.”

“Cheol showed me a couple of the songs from the album.” Jeonghan mentions, and it instantly and heartbreakingly reminds you who you’re talking to. You hate that he has a nickname for him. “They’re amazing.” You look at him. He seems genuine. “They’re so good and real and raw that it almost makes me wonder…” his voice tapers off, losing the sound to a small exhale that appears as if it was meant to be a laugh, “Nevermind.”

“What?” You poke, instinctively leaning in towards him.

He meets your eyes, creases running along his forehead and frown lines more prominent than ever. “It almost makes me wonder if there was something between you both.”

You swallow, pointing at your chest. Your voice comes out raspy without you meaning for it to. “Me and Seungcheol?”

He nods. “Yeah, I mean the lyrics in ‘Begin Again’—“

“That song’s not about me. Or about him.” You defend. “We didn’t even know each other when we wrote that.”

“What about ‘Can You See Me’?”

Your breath catches. Truthfully, you answer, “I don’t know what that song’s about.”

—

When you get home that night, you finish the song you started writing about Seungcheol and Jeonghan.

When you breathe in his lips, do you think of mine? What kind of songs were we making? Were they all lies?

“What’s it called?” The question comes from Soonyoung.

You look up from the paper in your hands filled with the lyrics you had completed over the weekend and after Joshua’s party. You notice he looks sad. You turn your gaze to Minghao. You can’t really tell what he’s thinking in that moment.

“Uhm–I don’t know. I haven’t thought of a title yet.”

Seungcheol walks in then. “What are you guys talking about?” He asks, setting down his stuff. Then, more to himself than to you guys, he murmurs, “And where are Junhui and Josh?”

Soonyoung and Minghao don’t say anything. Instead, when Seungcheol asks what you’re doing, they both look at you. You imagine even if Junhui and Joshua were here, they’d do the same. Have you really been this transparent? At what point did they put together all the pieces?

You hand Seungcheol the song. You have no idea what his reaction will be.

He just nods, like he has no idea what the song is about. Like he doesn’t see his name and Jeonghan’s scribbled in the margins.

“Call it ‘Silver Lies’.” He says.

Minghao makes a noise. “Call it ‘Silver Linings’.”

“Vote on it?” Seungcheol proposes.

“No.” You look at Minghao. He stares back at you. Something unspoken lies in the space between. “We’ll call it ‘Silver Linings’.”

A party rages around you. Flashing teeth and flashing lights. Another drink, another riff. You don’t even know where you are right now. You remember coming home after working on ‘Silver Linings’; you remember wanting to forget your own mind. This is the only way you know how.

You don’t even know how long it’s been.

This is what you do know: You’re sitting by a pool. Your feet are wet. You haven’t been this drunk since your 18th birthday. Choi Seungcheol is standing across the pool from you.

Your face breaks out in a smile. Sober you will regret that. Sober you will also regret how your first thought is that he looks beautiful. You’ll regret the fact that you finally, drunkenly but honestly, admit to yourself how pretty you think he is, how you’ve thought so since your first time hearing him sing, and how you’ve been so painfully aware of it ever since.

You let yourself fall in the water. Head sinking for a moment, before breaking the surface again. Floating on your back, you start humming the melody to ‘Silver Linings’ in your head.

Silver hair. Silver skin. Sliver of my heart you took with him.

You can’t tell if it’s the chlorine or something more pathetic that burns the corner of your eyes and runs down the side of your cheeks.

You feel something tug on your arm. The sudden jolt makes you lose your balance, falling beneath the water. You’re so fucking wasted you forget if you even know how to swim; you almost forget to not breathe.

You feel a pair of arms pull you up and hold your head above the surface. You know who they belong to. It strikes you in the back of your mind that this is the first time you’ve been touched by him. So maybe that’s why you relish in the feel of his arms around your waist and the way his hand grips at your hip.

He looks at you like you’re filth. Just as all your partners before him did. First they’re sweet and charming, but it always ends like this. In their arms, simultaneously wanting to be far away and fighting the urge to beg: love me, please.

Even if he wasn’t your partner, even if all he was was a hope and a ‘what if’.

You barely even register it when you say, “you're just like the rest of them.”

“What the fuck is wrong with you?” He rages back, not even acknowledging what you said.

“Nothing.” You tell him, smiling, wishing like hell that you believed it.

“You missed our studio time. We were supposed to record ‘Silver Linings’.” He fumes at you. “Do you know what time it is? Do you even know what day it is?”

“Do you know how much of a fucking mood kill you can be?” You bite back.

“What are you on?” He looks repulsed. You hate it. Hate the way that you showed him your whole heart and that he still looks at you like this.

Seething, you say, “What do you think?”

And that—that is what breaks him. What makes him lose his shit and start screaming.

“Jihoon is fuming at us!”

You barely notice it. Instead, you repeat in your head the words to the one song you truly, wholeheartedly wrote for him.

“The record label isn’t going to let this slide, you do realize that, don’t you?”

When you breathe in his lips, do you think of mine?

“You wasted an entire day of recording!”

What kind of songs were we making?

“No.” You say finally, voice coming out quiet. It sounds so misplaced and so wrong next to all the yelling between you two. “We wasted so much more than that.”

Were they all lies?

For the first time since you’ve seen him tonight, he doesn’t say anything back. He just stares at you, like he can see straight through. The party continues all around you. It never stopped. It never quieted down. And yet, it somehow feels like you and him are the only ones in this pool. Like you’re stuck in time. Like you’ve created your own world with him and that’s where you’ve retreated to now.

“Was any of it real?” You ask before you can stop the words. You hate how pathetic you sound. You hate how desperate it all is.

All he says before leaving you in the water alone is: “I’m with Jeonghan now.”

He splashes water in your face on his way out.

When Seungcheol walks into the studio, you’re already there, talking with Jihoon and someone else he doesn’t recognize.

“Hello.” He says cautiously to the group.

The man says hi back. You don’t look at him. Jihoon is the one that finally explains.

“Seungcheol, hey, this is Wonwoo. He’s from the paper, The Stones, and he’s going to be doing a piece on the band and the creation of the album. It’ll be an inside look into the process of making an album and a bit about the band itself.”

“Hey, man,” Seungcheol greets properly, extending his hand to shake. Wonwoo fumbles with a place to set down the pen and notebook in his hand for a second, before shaking it. Seungcheol doesn’t miss the way you scoff under your breath. “Wonwoo, right?” The reporter nods. “Anything you want us to do for you or for the piece?”

“No. Not at all.” He shakes his head profusely. “Just keep working on the album as you would normally. I might pop in here and there with questions, but other than that, it’ll be like I’m not even here.”

Seungcheol smiles brightly. “Well, you’re in for a treat today because we have a song to record.”

For the first time that day and for the first time since that night in the pool, you look at him. “No, we don’t.” He wonders if you remember that night, what you said to him, what he said back.

“Actually,” he reaches into his bag and pulls out a piece of paper he’s been working on for the past two days. He hands it to you. “We do.”

You read the lyrics silently for a moment, then frowning, you read them aloud. “I’m used to making games out of broken hearts. Silly me for trying to play around with yours.”

Wonwoo makes a noise. “Damn. I wonder who that’s about.”

You snap, whipping back around to Wonwoo. “What happened to ‘it’ll be like I’m not even here’?”

He mutters an apology and quickly scribbles something down in his notebook. You turn back to Seungcheol. “I’m not singing that.”

He ignores you and looks at Jihoon. “Let me see the song.”

You extend the paper out to him without taking your eyes off of Seungcheol. In Jihoon’s defense, he’s been working the hardest to keep the peace as early as when you recorded ‘Being Again’ together. Nonetheless, your face still morphs from hurt to angry. Seungcheol doesn’t blame you, but he also doesn’t really give a fuck.

Jihoon, sounding more exhausted than Seungcheol has ever heard him sound before, only sighs. “How about we just try the song?”

—

Recording first starts with the instrumentals. The rest of the band recording their parts exactly as Seungcheol heard it in his head.

Finally, with the rest of it recorded, he focuses on vocals.

He only wants you singing it.

“Take one of...” Jihoon starts, speaking through the intercom. “What’s it called again?”

Seungcheol answers: “‘We Are Not Done.’”

You’re the only one in the recording stage. Seungcheol sits in the control room with Jihoon, Hansol, and Wonwoo. The rest of the band is either home, in the lobby, or behind him in the control room. Seungcheol’s already demonstrated for you the general beat of the lyrics against the instrumental. You still hold the lyrics up behind the mic, brows furrowed at them.

“Pour me a drink I–for all…” Normally, you’re a picture of confidence in the recording studio, but your first attempt to sing the song is an absolute train wreck.

Seungcheol reaches over Jihoon’s shoulder and presses the red button. “Cut. What’s going on?”

You look through the window, exasperated. “I don’t get it. The words, they just–”

“It’s–Pour me a drink for all the fools made out of me.” Seungcheol demonstrates again. “I can’t live with myself half past 12–and it’s just like that for this whole verse.” He waits a moment. “Good?”

You stare at the lyrics, brows still scrunched together. “Yea.”

“Okay. Take two.”

You sing: “Pour me a drink for all the fools made out of me.” Your voice is timid, almost. Seungcheol’s never heard you sound or act anything close to timid before. “I can’t live with myself half past 12.”

“Cut.” Seungcheol stops you again. “You have to sound larger than life singing, like you don’t care if people see how fucked up you are.”

“Excuse me?” You nearly scream at him.

“I’m talking about the song.”

Jihoon shakes his head. “Take 3.”

You look mad now. At least that will be closer to what Seungcheol wants. “Pour me a drink for all the fools made out of me.”

“Cut.” Seungcheol can see you biting your tongue. “Sing it looser. Less restrained. Don’t worry about hitting the notes. Take 4.”

“Pour me a drink for all the fools–”

“Cut.”

“Are you fucking kidding me?”

“Even looser. Take 5.”

“Pour me a drink f–”

“Cut. Let your voice get ‘ugly’. Take 6.”

“Pour me–”

“Cut!”

—

(Wonwoo’s interview with Seungcheol)

Wonwoo: So, Seungcheol, I remember there being an impossible number of takes for the track ‘We Are Not Done’, specifically for the vocals. In the end, How’d you get them to sing like… that?

Seungcheol: Sometimes all it takes is a little push

—

(Wonwoo’s interview with you)

Wonwoo: ‘We Are Not Done’ is such a force of nature. How’d you end up singing it like that?”

You: Well, let’s just say that Seungcheol is really good at what he does.

Wonwoo: And what does he do?

You: He inspires.

—

The red light flashes again. “Take 32.”

The only thought you have when the blue recording light turns back on is that you fucking hate Choi Seungcheol, but you still want him and you hate that he knows that.

The track starts.

Pour me a drink for all the fools made out of me. I can’t live with myself half past 12. I’m used to making games out of broken hearts. Silly me for trying to play around with yours. I know you’re with someone new, But is that really true If you’re still thinking of my kiss and my tongue? I’m your wildest dream. I’m your best nightmare. You and me, baby, we are not done.

You’re beyond pissed driving home from the studio that day.

The first fucking day with the reporter and Seungcheol chose to make you look like an idiot. He chose to make you sing that song with Wonwoo sitting behind, taking it all in.

Not to mention that that was the first time you’ve seen him since he showed up at the party while you were trying to get over him the only way you know how. When he held you in his arms, made you feel so stupidly warm, and then left with someone else’s name on his lips.

You hate Seungcheol. Maybe joining the band wasn’t worth it. Wasn’t worth him.

Your vision goes red and all you can think is: isn’t he over this yet? Aren’t I?

Suddenly, there’s a bang. A puff of smoke. The airbag releases. Your entire body clenches, lurching forward and then back again harshly.

A crash, you register belatedly, staring at the hood of your car folded up like a piece of paper.

Paper.

You dig inside your glove box for your notebook and shove your hand in the space between the passenger seat and the center console to find a pen.

“What the fuck?” The man from the car you hit screams, stepping out of his car.

You ignore it. A song, you had it just then. You had it.

“You hit me!” He yells again, getting closer.

Your pen hits the paper, and it doesn’t stop until the song is on it. Not even when you notice blood drip. Not even when the man starts banging on your window.

Is it over now? Do you have the guts? To call it quits, baby, Say I’ve had enough. Is it over now? Can we say the words? I used to love you, Now I’m not sure.

(Wonwoo’s interview with you)

Wonwoo: What’s it been like working with the band? From ‘Begin Again’ to now?”

You: Oh, well, ‘Begin Again’ was a totally different story. I wasn’t really part of the group or anything. I was more just an outsider that Jihoon and the label had brought in. I changed up most of the lyrics, but the song was never really mine. I think it’s taken me a while to realize that. But, now, I mean, working on the album together couldn’t be more different. Seungcheol and I co-write almost all of the songs. It’s been a much more collaborative project compared to ‘Begin Again’. It’s been exhausting and tiring and life-consuming, but um, it’s been a lot of fun.

Wonwoo: So, going back a bit, if you rewrote all of the lyrics to ‘Begin Again’, how is it not your song?

You: Seungcheol already had some lyrics written for that song. I was just the one to figure out what he was really trying to say with them.

Wonwoo: Hm

Wonwoo: So what’s it been like working with Seungcheol?

You: Well, it definitely wasn’t easy at first.

Wonwoo: Why not?

You: I think we were both just used to writing alone. We learned a lot in those first couple writing sessions, and I think we’ve both grown a lot since then.

Wonwoo: What’d you learn?

You: We’re very similar people. We think about love very similarly. We have fought the same battles, and we’re both able to turn our pain and struggling into something beautiful.

Wonwoo: How would you describe you and Seungcheol’s personal relationship?

You: What do you mean?

Wonwoo: Friends, lovers, enemies, etc.

You: We have chemistry, but

You:

You: But I think that to write together there has to be love. What else would all the songs be about?

Wonwoo: Is that what ‘Can You See Me’ is about? Love?

You: That’s for each listener to figure out for themselves.

Wonwoo: You also said that you co-wrote most of the songs with Seungcheol.

You: Yes.

Wonwoo: So, did you guys co-write ‘We Are Not Done’ and ‘Is It Over Now?’?

You:

Wonwoo: No need to go into details if you’re not comfortable. I’m only really looking for a yes or a no.

You: It–

You: It’s not as simple as a yes or a no.

—

(Wonwoo’s interview with Seungcheol)

Wonwoo: What’s it been like working with someone else for the song writing on this album?

Seungcheol: It’s been hard. There’s a lot of push and pull for each word in each song, but I think at the end of the day, we’ve been able to put together an almost complete record of songs that we’re both proud of.

Wonwoo: It’s been said that the two of you have chemistry–

Seungcheol: Who said that?

Wonwoo: –do you agree with that?

Seungcheol:

Seungcheol: It’s not what you think.

Wonwoo:

Seungcheol: Look, whatever chemistry people think there is between us, I mean, it–it’s for the music and for the songs, not for each other.

Wonwoo: Are you saying it’s all fake?

Seungcheol: No, but it’s not real life either.

Wonwoo: So you guys fabricated some of it to sell records?

Seungcheol: I just don’t want people to get the wrong idea.

Wonwoo: Which is what?

Seungcheol: That there’s something between us romantically. There isn’t.

Wonwoo: Not even a little bit?

Seungcheol: Not even once.

The photo shoot for the album they decided should be in the desert. You’re not really sure why. Probably something to do with the desert show where you and the band first played together. You didn’t have a choice in the matter. If you did, you would have suggested the opposite. Maybe something on the shore. Nonetheless, you let them tell you where to sit and exactly how to do it.

The photographers look between each other after each flash of light in your face. Thank god they aren’t actors. You can read on their faces how much they hate each photo taken.

“You know what,” the head photographer says to the band, “let’s just take 5.”

You’re up immediately, walking away from the weird set they’ve put together and heading straight to the snack table. You say hi to Jeonghan standing there with a camera around his neck.

“Did the paper send you or did you come with Seungcheol?” You ask lightheartedly, picking at some grapes.

He laughs, fiddling with the lens. “No, not the paper. I just like to bring my camera with me sometimes. Plus,” he adds with a far off smile, looking up the hill at Joshua, Junhui, and Minghao talking, “reminds me of the old days.”

You look up past those three to where Soonyoung and Seungcheol are laughing at something you wish you were privy to. “I get that.”

“Actually, Seungcheol and I wanted to talk to you.” He says. His lips look pressed, eyes bright, fighting a smile but also fighting something else far beneath that. “Once the album wraps, we’re, uh, we’re gonna get married.”

“Oh.”

“Yeah, I know. It was his idea, but I’m really excited about it too.” He tells you, abashedly. “We’re gonna keep it small, I think. Do it back in our hometown so that our families can be there and everything. I think most of the band is gonna travel back too to be there, and, uh, I know it would mean a lot to both of us if you were there too.”

You look at Jeonghan. You don’t really think he’s lying about the last part, but that still doesn’t make it any easier for you to swallow. “I don’t really know if that’s a good idea.”

“I do.” Jeonghan doesn’t falter. It reminds you of you before Seungcheol. You wonder where that version of you went. After a moment, his face softens, lips turning down a bit, but eyes looking as kind and as big as ever. You notice that his hair isn’t silver anymore.

“I know that it’s complicated between you and Seungcheol. And I’m not going to act like I get it because I don’t. But I like you and I know he loves you. If not for anything, then for this.” Jeonghan gestures to the shitty set they prepared. You look at it, chuckling. It’s shitty, yes. But Jeonghan’s right. This must’ve cost the label a fuck ton of money. “He and the band wouldn’t have any of this if not for you. You did that for them.”

You turn back to Jeonghan. Genuinely, you tell him, “Thank you.”

You open your arms to him. He welcomes it, hugging you back. You exhale. You can barely remember the last time you did.

“Congratulations, Jeonghan.” You feel him grin.

“Please come.” He requests.

You don’t know if you will. But you do know that you’re happy for him.

—

The next round of photos are no better than the last. You hope at least Jeonghan, who’s moved on to taking pictures of the scenery, is having a better shoot day than the label-hired photographers.

You find Seungcheol again during the next break, standing in the back at the top most part of the hill, sun shining down directly behind his head.

“Hey.” He says to you, not casually but not maliciously either.

You stop in front of him, just staring. Without you even meaning to, you frown. Seungcheol must notice. He tilts his head. “What’s up?”

You inhale sharply. “You’re getting married.”

His mouth opens, then closes. “I’m getting married.”

You shake your head. “Why didn’t you tell me?”

“I-it never..” He stops trying to find the words. You find that as more of an answer than anything he could’ve said. “I’m sorry.”

“Take me home.” You recite, thinking of the first window you ever had into Seungcheol’s heart. “Welcome me on those familiar roads. Embrace me in your arms. Oh please, tell me I still belong. It was always about him, wasn’t it?”

Seungcheol doesn’t say anything. You know him too well to think he would. Instead, he sucks in his bottom lip and turns his gaze to the ground. You bend your neck to see his face, see his red eyes. This is the only time you’ll have him like this again. This is it.

The only thing you have left to say to him is: “I hope you’re happy.”

—

When you go home that night, you drink yourself past consciousness. It’s only when you wake up with a pounding head the next morning do you see the song sitting next to you, written in sloppy, drunken handwriting.

Tell me was it worth all the pain Tell me would you do it over again Tell me was it worth the lights and your name Tell me was it worth the sound of my shame Tell me was it worth the album and the songs That I only sang thinking they were about us Tell me some it was true, not in my head Did we only kiss to sound how you wanted?

I know I’m not yours But let me your wildest dream You think of again On a bad night After a bad fight

(Wonwoo’s interview with you)

Wonwoo: Who wrote the last song on the album: ‘Not Yours’?

You: I did.

Wonwoo: When?

You: Right after the album cover shoot.

Wonwoo: What inspired it?

You: Well

You: I think that song had been singing in my heart for a while before I finally wrote it.

—

(Wonwoo’s interview with Seungcheol)

Wonwoo: ‘Not Yours’ is such a heart-breaking song. What was it like recording it?

Seungcheol: Believe it or not, it was one of the easiest.

(Wonwoo’s interview with Jeonghan)

Wonwoo: It’s nice to finally meet you.

Jeonghan: You too. If I can be honest, I really didn’t expect to be called about this piece.

Wonwoo: Oh

Wonwoo: I just like to get all sides of it.

Jeonghan: Okay.

Wonwoo: I wanted to talk to you about the album photo shoot.

Jeonghan: Oh yeah of course.

Wonwoo: From my understanding, the picture that was chosen as the cover, was one that you took. Is that correct?

Jeonghan: Yeah. I took it during one of the breaks.

Jeonghan: I mean props to the photography team that was hired, I’m sure they’re amazing, but it wasn’t hard to tell that they were really struggling to photograph the band.

Jeonghan: I just happened to have my camera on me, and you know, I had photographed the band in the past, so I just kind of knew what to look for. And when I saw Seungcheol and them go off to the side to talk, my eyes just happened to follow them. And

Jeonghan: Well, I don’t know what they were talking about, but you can see it in the photo, you know?

Jeonghan: They’re looking at each other like it’s a very important conversion. And well, let’s just say that I know Seungcheol very well, and he’s never been a good actor, so it must have been. And, and the sky is so blue and so clear behind them which, I don’t know, to me sort of represents how there’s nothing coming between them in this moment either. There’s nothing that isn’t being said.

Jeonghan:

Jeonghan: When I saw that, I just knew I had to capture it.

Jeonghan:

Jeonghan: I had no idea that Jihoon would want to use it for the album cover. I wasn’t thinking like that.

Wonwoo: Was it weird at all?

Jeonghan: How so?

Wonwoo: To capture a picture of your finance and his bandmate looking at each other like that?

(Wonwoo’s interview with Jihoon)

Wonwoo: So does the album have a name?

Jihoon: Yeah. Of course.

Jihoon: Aurora

Wonwoo: Can you tell me anything about the band maybe going on tour?

Jihoon: Well, can’t say anything for sure yet, but there’s definitely been some talk from the label about it.

Wonwoo: If there were to be a tour, are you able to give us a sneak peek as to what it’ll be like?

Jihoon: Hmm

Jihoon: Did you happen to see the band play the festival in the desert?

Wonwoo: No, I did not.

Jihoon: Well, I’ll tell you what anyone who saw that show would say.

Wonwoo: Which is?

Jihoon: Get ready for the best fucking show of your life.

(Wonwoo’s interview with you)

Wonwoo: I heard most of the band is heading back to their hometown for the break.

You: Yeah, they are.

Wonwoo: Do you plan on joining them?

You: No.

You: I don’t think I will.

Wonwoo: What do you plan to do during your time off?

You: Well, I bought a one way ticket to Italy, so that should start something. Maybe I’ll go to Nepal or Japan or Brazil after that. I haven’t really decided yet.

Wonwoo: So, traveling.

You: Yeah, I guess.

You: Can you believe that the festival show we did is the farthest I’ve ever been from home?

You: It’s time I saw a little more of the world.

Wonwoo: The fans are really looking forward to a tour. Can you speak to when you will be coming back?

You:

You: Who’s to say I will?

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oh-stars · 3 months

Text

Special Treatment

Love is letting him pick the music.

a @steddielovemonth prompt | 519 words | CW: N/A | Rating: G

It comes to no surprise that Eddie’s particular about his music. He doesn’t hate other types, despite what he says and how he reacts to Wayne cranking up the bluegrass or the old school country. In fact, he loves exploring new genres and figuring out how they work. It’s what makes his songwriting so strong, he thinks.

But he’s spent too many years hearing how awful his music preference is. People shitting on his bands and his taste because they don’t understand, they’re not listening to it. They’re not even trying to hear what he has to say, what the music is trying to tell them. They just say it’s all screams and unnecessary guitar riffs.

So yes, he gets defensive and he’ll be the first to scrunch his nose up at other genres to keep up this scary façade he wears like armor.

“Do we have to listen to Madonna again?” Eddie whines as he drapes along Jane’s shoulders, putting all his weight on her.

She giggles and pushes at him. “Yes!”

And when the boys climb into his van on the way to school or Hellfire, Dustin asks without fail if they can play Weird Al. Eddie always scoffs and swats at his hand. “No one,” Eddie says with a severity he usually keeps for Hellfire alone, “touches my radio.”

“No one?” Dustin will counter, narrowing his eyes.

Eddie glowers. “No one.”

That’s how he likes things. With only the closest people knowing how he really feels about music, how deep his love goes that it transcends genre. He’s not heartless, he can appreciate a good tune no matter the nasally singer or funky lyrics. It’s just not something he advertises to the general public, or even his friends.

But then he’ll be driving Steve out to the little cafe he likes a few towns over, a day trip just the two of them, and Steve will happily swap tapes the entire way there. Sometimes it’s a mixtape, blending their tastes together, and other times he’ll pop Eddie’s tapes in and ask questions, replaying songs so he can try to make out the lyrics.

He tries to understand what Eddie hears, even if he doesn’t.

Eddie was destined to fall no matter what.

And when they’re at the trailer, hanging out with Wayne, and Steve changes Eddie’s tape for an old Johnny Cash one of Wayne’s, Eddie doesn’t make his usual comments. He doesn’t whine or stomp his foot, even for the hell of it to rile up Wayne, not when Steve’s singing along softly to the lyrics.

He doesn’t want Steve to feel the way he did about his own music, not when he gets enough shit from the kids about his other interests.

Wayne raises an eyebrow at him, smirking as he leans back in his recliner.

Eddie shrugs. He knows his feelings are written along his face clear as day, but he can’t find it in him to care. All he can do is get up and crank the volume up so they can belt along to Cash’s voice to “I Walk The Line.”

Thank you @lady-lostmind!

Ao3 Link

#ohstars fic #steddie #steddie fic #stranger things #steve harrington #eddie munson #steddielovemonth #ohstars posting challenge

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anothermansjeans · 9 days

Note

Okay so singer reader idea and if you’re not feelin it then that’s okay! But maybe Bye by Ariana Grande. And I imagined it like her and Spencer were together but have been broken up for a couple months and reader comes out w this song and changing the lyrics in the song to “so I grab my stuff, Penny just pulled up in the driveway.” And then they eventually get back together.

THANKS FOR REQUESTING!! ALSO some quick headcanons for this au so it makes more sense: the other 4 songs i mention reader wrote are down bad, the archer, hits different, and stranger and then after this blurb i picture reader wrote feels like !!

cw: hurt/comfort warning :((( spencer self sabotages !!!!! but happy ending :)

wc: 1k

singer!reader masterlist

Heartbreak has always been a real motivator for you when it comes to songwriting. You just hoped this motivator died the moment Spencer came into your life… unfortunately, it didn't.

Something serious happened at the BAU three weeks ago, so serious that Spencer went to your place in a panic and told you it was best if you two stopped your relationship now before anything bad happens. The media still weren't a hundred percent sure who he was, the disguises and staying on the down low really helped with that, and he claimed that's a good thing– it’s good that no one (other than close friends and family) really knew about him and his job. He told you he didn't want you in danger.

And some very small rational part of you knew he was doing the best thing his brain told him to, you were just angry and sad about it all. You love Spencer; that’s a no brainer, but you wish he would have given you the chance to make the decision if it's going to impact you. So, because of the heartbreak of him leaving that night and making absolutely no contact with you afterwards, you kind of went on a rampage with your writing.

The first song was written not even three days after it happened. Penelope pulled up to your place to give you a hug and to let you know that just because Spencer doesn't allow himself to be happy, doesn't mean she will stop being there for you. You love Penelope so much. After the visit though (and a few too many glasses of wine) you kind of threw anything you saw that was Spencer’s into a bag and handed it off to her. You wanted to keep only what was yours, and you didn't want to have to deal with it later; you didn't want to deal with the heartbreak later.

Still a bit buzzed, you decided to start working on some music. Phone recording, and fingers playing the piano, you sang whatever popped in your head.

“So I grab my stuff

Penny just pulled up in the driveway

It's time

Bye-bye

Boy, bye

Bye-bye

It's over, it's over, oh yeah

Bye-bye

I'm takin' what's mine, yeah

Bye-bye

It's over, it's over, oh yeah”

And it was out to stream within the week. You went through a lot of loopholes, long talks with your management, and producers to get it out as soon as possible. When you wrote it, it felt like it was on the tip of your tongue, and that anxious feeling made you loath everything around you. For your own mental health, it was released way before any other song or even mention of a new album. That week that was spent tying up loose ends on your management’s side was a week also full of songwriting, and you were sure you'd have an album by the end of the month.

When the surprise drop happened, people were confused. Supportive, but confused. You normally did a lot of interactions with fans online before or after a release, so your silence was concerning. You proclaimed it was your hermit season, and with that, people (that being friends and family) knew not to bother you. So you could say that when a knock on your door was heard throughout your place, you were hesitant.

You got up and looked through the peephole, sighing when you saw the genius you were still very in love with. It took you a minute to collect yourself– you didn't want to speak to him but all parts of your heart were aching for a moment with Spencer– and you slowly opened the door, seeing the sadness pool in his eyes.

“Uh– h-hi.”

“What are you doing here?” You didn't mean for your words to come out so harsh, and neither did he by the flinch he gave you.

“I wanted to talk to you…” You scoffed and shook your head. This wasn't a good idea. You began to close the door, only to abruptly stop at his voice. “I heard your song.” You stayed still, waiting for him to continue. “And I spoke to Penelope, and everyone on the team and I hate myself for letting you go the way I did and–”

“And what?” You cut him off, practically begging him to give you something to hold on to.

“And I want to try and talk to you about this and do anything I can to try and make this up.”

You softened a bit, and gave a nod, opening your door wider for him to enter. When he did, you motioned at him, “keep going.”

He took a deep breath and gave direct eye contact as he spoke, “I self sabotage, but in addition to that, I’m terrified of anything happening to you.” He waited a moment, clearly collecting his thoughts, “I see what happens to the loved ones of those on my team. I never want that to happen to you.”

“I understand that, but that doesn't give you the right to make the decision to end things without consulting me.”

“And I completely agree and understand.” His words were quick. “I know I’m allowed to be cautious but I should have spoken to you and tried to figure out how you felt on the subject.”

“Exactly.” You stared at each other, and your eyes began to fill with tears. “You are never allowed to do that to me again. Leaving me… safely stranded… I hated it, Spencer, and I love you so much, so you are never allowed to do that again.”

He took that as his in, and tentatively took a step towards you, bringing his hands up to your arms and gently squeezing them. “Never. I love you too, I am so sorry, Y/N.”

You gave a nod and moved closer to him, loosely wrapping your arms around his waist and feeling his arms engulf you. You waited a moment before speaking, “I wrote four other songs about you.” He hummed in agreement, “and they're all going on the next album.”

He gave a soft chuckle, “I completely understand,” and he left a soft kiss on the top of your head. A huge weight was lifted off of you, and you never felt more at home.

singer!reader taglist: @itsleilabxtch @wietske27 @taylorswiftilovecowboylikeme @marshatesthisreality @ladylincoln @delightfulmakerpiegiant @chericherrypie @punksnotdeadbutiam @stillhere197 @laddywitch @httpstoyosi @obi-wansgirl @amandareids

let me know if you would like to be added or removed!

#spencer reid #dr spencer reid #spencer reid x reader #dr spencer reid x reader #criminal minds #singer!reader

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averagewriter-inthedark · 1 year

Text

Lover 💗 | Bradley Bradshaw Imagine

TGM masterlist

Characters & Pairings: Bradley Bradshaw x singer!reader (female/romance)

Content Warnings: fluff, mentions of sexism, references to pop culture, profanity | female!reader (she/her) | wc: 5.6k

Requested 📨 yes/no (for @auroradawnwrites 💗)

Premise : When it came to her love life, singer and songwriter Y/n L/n had a reputation where it felt like the world was against her to the point she doubted ever finding her perfect match. Being in the industry for so long made it difficult to envision what a life with her potential soulmate would be like. But sometimes great things come to people who are patient. And finding the person who made Y/n feel like the only girl in the world had that reputation flicker away like dust on a bookshelf.

Note: I know I keep apologizing for the long waits in my requests but I promise it’s because of having to balance school, random shit happening in my life, and wanting to put out a developed, well-thought out story that the requested person deserves 🥹 and I realized about week ago when I started writing this one after finally getting to it after it was sent in February. @auroradawnwrites I saw that you posted last month that you were leaving your blog but if you happen to see this on another account or still have the notifications on for that blog just know I’m so sorry for this taking so long and I hope it was everything you imagined 😭

Songs headcanonned for singer!reader: ‘Love Story,’ ‘Bad Blood,’ ‘Look What You Made Me Do,’ ‘Getaway Car’ ‘You Need To Calm Down’ by Taylor Swift. ‘Love’ by Lana Del Rey. Albums mentioned that are headcanonned for singer!reader: ‘Lover’, ‘1989’ (I just changed it to 1986 to suit the headcanonned year of birth for reader), ‘Reputation,’ ‘Fearless,’ ‘Red’

——————————

“Ladies and gentlemen, please welcome back our next guest,” Jimmy Fallon grins to the audience, arm slightly raising towards the curtains. “She’s been a friend to The Tonight Show for a long time. Here to celebrate twenty years since her debut and to talk about her newest album ‘Lover,’ singer and songwriter—the one and only, Y/n L/n!!”

There’s no need to turn on the sign reading ‘Applause,’ because the audience are on their feet when the curtains draw open slightly to reveal the beaming popstar. People are waving frantically, whistling, some even on the verge of tears at the fact they were in the presence of their idol. It was even hard hearing the band play from the noise

Y/n smiled the entire walk to Jimmy, blowing kisses at the crowd before embracing the man in a hug and settling down on the arm chair. “Wow, wow, wow,” he shouted, watching her give one last wave as he sat in his own chair. “Hi, Y/n.”

“Hi, Jimmy! It’s wonderful to see you again.”

“It’s great to see you too, it’s been awhile since we’ve had you on, huh?” Both make faces indicating they were thinking about her last appearance on the show.

“I think it’s been almost…six years,” Y/n tapped her lips with a finger. “Pre-pandemic I believe—because I haven’t really done much since 2019.”

“Yeah, you took a bit of a break.”

“A much needed one,” she chuckled, “But it feels so great to be back. I’ve been taking this time to really put time into discovering who I am as a person and what is next for me. I’m so grateful for the fans who’ve supported me all this time—I know,” she looks to the camera, “I know I kept you waiting, but fear not, I am back and better than ever.” The statement ignites a holler and applause from the crowd.

Jimmy claps with the audience, “That’s what I’m talking about. What can you tell us about this new music you’ve been working on? I know I mentioned your upcoming one, but you actually announced you will be releasing another at the end of this year, correct?”

Instantly Y/n lights up, “That’s right, Jimmy. For starters Lover is probably my most personal album to date. During the pandemic I basically shut myself off from everyone—and the world because I deleted the social media apps off my phone,” there’s a light chuckle from the crowd, “which made everyone go crazy thinking I died. But I can assure you I was just trying to put all my time and energy into writing, producing, selecting which songs would go on the track list. Each song is there for a specific reason—telling a story per say, and I feel listeners will be able to relate in some way.”

“Why the name ‘Lover,’?” Jimmy asked with curiosity, “is it a metaphor for the story or does it have a deeper meaning?” Judging by the cheesy smile Y/n started to do, Jimmy straightened his posture. “Are you….?”

“It’s for the lovers, you know?” Y/n shrugged nonchalantly. Those around didn’t buy it, leaning forward in their seats with curious eyes. “Yeah it’s about love and those feelings where you think your heart is about to burst from your chest. Like I said, many will be able to relate to it.”

Jimmy gave a look, “So did someone in your life inspire it perhaps?”

Instead of answering right at that second, Y/n remained grinning as the face of inspiration and the owner of her heart appeared in her mind. His gorgeous hazel eyes glowing under the sunlight. The feeling of his warm body against hers each time he held her in his arms. Tickling sensations from his mustache when he rained kisses across her skin. The sound of his laugh whenever he made a joke or she did something silly just to see him smile. Fingers dancing across the piano while they sang their favorite songs in their own private concert.

Her lover. Her life. Her reason for waking up everyday in an endless state of bliss. The person who inspired nearly every song on the album, best describing it as a love letter to him.

Relationships and romance had been a complicated part of Y/n’s life and career. A reputation often frowned upon despite only seeing a small picture.

It all started one summer day in Nashville, Tennessee. 17-year-old Y/n had big dreams and aspirations of being a singer, spending her free time playing guitar and writing songs about teenage experiences. Growing up in Tennessee, the birthplace of country music, Y/n was surrounded by the legacy of icons like Dolly Parton, The Dixie Chicks, Johnny Cash, Hank Williams, Reba McEntire, and Kenny Rogers. It was all she listened to growing up, though she did dabble in pop and R&B—going on to cite Aaliyah, TLC, Whitney Houston, and David Bowie as influences in her music.

“I hear the high school is having a talent show Friday night,” her coworker hummed, handing over the now clean plate to be dried. “Did you sign up?”

“No,” Y/n tiredly exhaled. It was pushing 8 o’clock and she still had one more hour until closing. Working at a popular diner gave Y/n the ability to save for college and an apartment, but it meant working more hours than what she legally was supposed to—on top of balancing school and band. “I have a pre-cal test on monday so I planned to stay in and study.”

“Oh c’mon! You’ve been itching to sign up all year—why back out now? All for a test you know you’ll get an A on?”

Y/n rolled her eyes, taking another plate to dry, “That’s reaching and you know it.”

“Y/n, you’re one of the smartest people in our grade. Literally will be in the top five come graduation. It’s a Friday night and the whole school is gonna be there,” her friend pleads to her, “you’ve got a voice that’s meant to be heard and songs that should be on the radio.”

The teen gives a ‘I don’t think so,’ shrug, “Eh, I feel my style is not exactly what country music is looking for.”

“Maybe so…but maybe it’s what it needs.”

Guitar in hand and shaking like a leaf, Y/n pulled everything in her to drum her fingers on the strings. The spotlight shining down on her made her squint, unable to see into the crowd save for the silhouette of their heads.

“Just breathe, Y/n,” she mentally told herself. It was dead quiet in the auditorium after a light applause when the drama teacher called her name. And since she wasn’t using an electric guitar, there was no way to hook hers up to the speakers. “Breathe and let your voice do the work.”

Clearing her throat, her lips curled into a shy smile, “This is an original song I’ve been working on. Hope you like it.” Slowly the tune began to echo through the auditorium. Y/n’s voice was shaky at the beginning, but soon found confidence when she closed her eyes and pictured herself in the comfort of her own room.

“We were both young when I first saw you.”

“I close my eyes and the flashback starts, I’m standing’ there.”

“On a balcony in summer air.”

Those in the crowd perked up, schoolmates looking at each other with impressed gazes.

“See the lights, see the party, the ball gowns.”

“See you make your way through the crowd, and say, “Hello.”

“Little did I know.”

Finally finding her rhythm, a genuine grin broke out on her face.

“That you were Romeo, you were throwin’ pebbles.”

“And my daddy said, “Stay away from Juliet—and I was cryin’ on the staircase,”

“Beggin’ you, “Please don’t go,” she let her voice drag out the ‘go’, igniting jaws to be dropped. “And I said.”

“Romeo, take me somewhere we can be alone. I'll be waiting, all there’s left to do is run.”

“You’ll be the prince and I’ll be the princess.”

“It’s a love story, baby, just say, ‘Yes.’”

Needless to say, Y/n went home with the winning trophy….and a meeting with Capitol Records Nashville.

Going to college was no longer the plan for Y/n once her signature hit the contract. 3 albums and a promise to take country music by storm was the new future. Staring as soon as her tassel turned from right to left with the class of 2004. Y/n packed up her tiny Honda Civic with everything she had, kissed her family goodbye with plans to see them for the holidays and settled into a cozy studio apartment smack in the middle of Nashville.

“You have a unique voice and lyrical direction, Y/n,” Randy Kingston, one of the execs at CRN said to her one day. “You’re not full country—by that I mean there’s a pop element you bring to the table. Country-Pop if you will.”

Y/n didn’t know how to respond except nod, “Uhhh yeah? I listen to a lot of different genres—-Pop being a big one. A-and I like to experiment by adding different….flavors to my music.” Her expression turns nervous, “is that gonna be a problem, sir?”

Randy rubbed the bottom of his chin with a hand, “No, I don’t think it will. It’s refreshing and something new. Frankly I think you’re gonna do well with the youngin’s. Your age range will likely be the best receivers.”

Turns out Randy was right. Releasing her first two singles were met with wide recognition from teenagers and young adults. Topping the country music charts for several weeks. During that time Y/n began working on her debut self-titled album on top of filming her first music video for ‘Love Story’. When it dropped, it didn’t just get noticed within the country scene. MTV released it during their early morning showings most people played when getting ready for school and work. Doing so allowed ‘Love Story’ to get more attention that people who were not even country fans were purchasing the single.

“Platinum?!” Y/n screamed at the sight of the framed record indicating ‘Love Story’ sold one million copies.

“Platinum,” Randy grinned, presenting it to her. “Well done, kiddo. You deserve it.” He also dropped the ball that Ellen Degeneres called to schedule an appearance—which nearly had Y/n drop the frame in her hands.

The Ellen Degeneres Show was the first public interview Y/n had ever done. And….it was the first time she was questioned about her love life. Something that would become her greatest nemesis throughout her entire career.

“So your song ‘Love Story’ is all about love, yes?” Ellen asked, igniting a laugh from the audience given the title of the song made it obvious what it was about.

“Yes.”

“So does that mean you got some love going on for yourself? Anyone who inspired this for you?”

“U-Uh, no?” It came out more like a question, causing the audience to laugh while she nervously smiled. “Not really—I-I’m not dating anyone currently, but the song sorta came from my love for romance novels and movies. Everyone desires love,” she nods to herself, “and I wanted to write something that people could relate to. Plus I love Romeo and Juliet—which is the big inspiration for the song.”

Following the appearance on Ellen, Y/n focused on writing music and releasing her albums. Her unique sound of combining country with elements of pop and R&B had listeners from all over the world drawn to her. It was a new era of country music.

But not everyone was very accepting of it.

Older generations and die hard lovers of traditional country were very unwelcoming to Y/n. They felt she didn’t belong in the genre and was better suited for pop. Though Y/n agreed to some extent, she feared making the transition from country to full pop wouldn’t be wise. She was still roughly new to the industry, trusting the judgment of her label who she was contracted to do 3 albums for. So she continued to fulfill her duty until the right moment came.

By the end of the first decade in the 21st century, Y/n had established herself one of the leading artists in country music with four Grammys, six MTV Moonmen, four AMA’s, five Billboard awards and 12 CMA’s. She appeared twice on SNL, performed at Dick Clark’s New Year Rockin’ Eve, and even collaborated with Miranda Lambert.

Yet the media liked to only talk about Y/n’s dating history.

In the first year of her career, Y/n briefly dated Jesse McCartney after first meeting at the 2005 Kids Choice Awards. Shortly after their breakup she was seen with Harry Potter actor Tom Felton, but nothing came out of it. The ‘date’ the media thought had actually been a handout between several of their mutual friends where they happened to be pictured smiling and laughing. After that incident Y/n did get into a five month long relationship with Leonardo DiCaprio, who was twelve years older than her and sparked endless conversation in the media.

Then in 2007-2009 Y/n became involved with Eddie Redmayne following their introduction to each other at Ellen Degeneres’ birthday party. They remained friends afterwards, but their relationship inspired a lot of Y/n’s work which resulted in people criticizing her for making too many break up songs.

“You’ve had quite the track record when it comes to the romance scene, Y/n,” David Letterman voiced during her appearance on his show. The singer was overcome with immediate dread. Again was she subjected to questions about her love life when it was no one’s business. But of course, if there’s one thing men like David have, it’s the audacity. “Which brings me to my next questions: are you dating anyone? And are they gonna have a song about them once you two break up?”

Now unfortunately it was common knowledge late night show hosts were disrespectful towards their guests and didn’t know what boundaries were. Though this was known, however, there was still the underlying pressure to keep silent by smiling and pushing through. Sometimes playing it off like it doesn’t affect you was better than having an outburst and being criticized more by the media. Displaying any offense would label them emotional and sensitive.

Though she wanted nothing more than to walk off the set and cry in her dressing room, Y/n swallowed the lump in her throat and answered as calmly as she could muster. “I’m not seeing anyone at the moment. I just want to focus on my music and what comes from my heart is what I put out.”

When Y/n did get into a relationship or was seen on a friendly date—hell even being spotted when out with a male friend for lunch had paparazzi and tabloids bombarding her.

“Is love in the air….again? Country music’s it girl, 24-year-old Y/n L/n, was seen holding hands with Australian actor Xavier Samuel who’s playing Riley Biers in the upcoming third installment of The Twilight Saga. Just this past March Y/n was linked to the son of Tennessee’s Attorney General. Let’s not forget L/n was in a two year romance with Eddie Redmayne before calling it quits last fall. Fans are starting to notice a pattern when it comes to L/n’s relationships and album releases. Should we expect her new single to drop within the next year? And will this romance with Samuel blossom into something long term or end as a spur of the moment flame?”

Notice how all the attention is Y/n and her life? Never once were the men she dated ever asked questions like she was—even if they had a history rivaling hers. Take Leo for example. The women he dated only got younger than Y/n as the years went on and people barely bat an eye.

After the release of her third studio album with CRN, Y/n had a tough decision to make. By that point her last album had more pop than country. The reaction of the fans was pretty much, “You need to just label yourself a pop artist now.” “‘Red’ was literally 90% Pop with 10% Country.” “Stop saying you’re a country music star when the last album you put out was anything but country.”

So…it was safe to say it was time to make the move to a different genre. Thankfully Capitol Records in Los Angeles was ready with the pen in hand to sign Y/n on. There she had creative control on what she put out and Y/n was excited to get started on a new era in her life.

2012 would go down as the year where Y/n was on the edge of her seat with how her career would go. Fans were mixed about her going to pop despite her recent music having mostly pop elements. Then there was the fact she was dating Tyler Hoechlin from Teen Wolf which had fangirls hating her guts for dating their celebrity crush.

What’s sad is Y/n was used to that reception whenever she was in a relationship with a public figure. First Jesse then Tom, Leo, Eddie, and Xavier. Can’t forget the times she got caught on dates with Robert Pattinson, Micheal B. Jordan, and Chris Evans. Then there were the incidents where the paparazzi captured her making out with Sebastian Stan at an after party and leaving the 2011 Grammys with Nate Buzoliac before he made it big as Kol Mikaelson in The Vampire Diaries.

Getting a break was not in the cards for the singer.

When things ended with Tyler in 2015, Y/n told herself she would not date anyone for awhile. Her album ‘1986’ was met with critical acclaim and positive reception from fans, earning her more awards to her growing collection, including the Grammy for Album of the Year. The entire time on tour she focused on having fun and not worrying about what people thought of her. Yeah she still got questions from interviews and hosts about dating she’d simply reply with, “I’m single, and let’s not entertain that further. Next question.”

@ inmyreputationera: I guess @Y/nL/n86 decided romance isn’t exactly her thing. I wonder how that’ll change her music.

@ stanningselenerr: not me checking @ Y/ndatingupdates daily for any new info.

Those were just the handful of tweets Y/n saw everyday on her Twitter feed. It got to the point she’d have to mute notifications whenever she was tagged. While she hated doing so because she loved interacting with fans, the singer needed time away from the constant surveillance of her personal life.

So fast forward to mid-summer of 2018. Y/n hadn’t put out an album in nearly three years nor had she been dating anyone. Yeah people still asked her from time to time though she learned to not let it affect her. Honestly it was a breath of fresh air. She was happy, healthy, and living her best life. Putting her heart and soul into songwriting which was heavily inspired by the reputation she’d garnered since her debut. Not to mention developing closer bonds with her friends and family after making the impulse decision in 2017 to move back to Tennessee. It felt good to be back home. Returning to her roots and the place that started it all after being away for so many years. It was a great time.

Now she was due back to Los Angeles to meet with her manager and producers. Y/n was ready to get back into the studio as much as her fans were telling her they were waiting for new music. With a first-class ticket in hand, Y/n boarded her red-eye flight from Nashville International to LAX and settled in for the five hour flight. It would have them landing at just after 3am Pacific time and while Y/n wanted to rest, she could not for the life of her sleep on a plane.

Approaching her seat Y/n noticed a man in a military uniform seated in the seat beside hers. “Excuse me,” she caught his attention, his head raising where he put two and two together by her hand pointing to the window seat.

“Oh sorry, ma’am,” it took everything in Y/n not to stare at him when he got up. He was very handsome. In his uniform, hazel eyes and sun kissed skin. The most notable feature was his mustache that most men could not pull off yet he seemed to.

“Do you need help with that?” The question pulled her from her mini daydream. He was referring to the carryon bag in her hand.

“Oh I got it—.”

“It’s no problem,” he was already taking the bag from her, securing it in the overhead compartment.

“Thank you so much,” Y/n thanked him while moving into the row, placing her purse in her lap when she sat down. The man returned to his seat just as the next wave of passengers boarded.

Manny, her personal bodyguard who’d been with Y/n since her first tour, was seated in front of her. When they got the tickets he purposely told her to have them separated saying, “I need my beauty sleep and while I love you, you will talk the entire time.” Sure enough when Y/n leaned over to ask him a question Manny was already knocked out, buckled in with his eye mask over his eyes and earbuds in.

Well that left Y/n with little to do. And when she went to retrieve her Kindle she groaned at the realization she forgot to turn back her reading light.

“Everything okay?” She saw the man in her peripheral vision slightly turn his head.

“Yeah just…annoyed with myself. I thought I packed my reading light but I must’ve misplaced it.” God that made her sound like a grandma.

His response was an ‘ah’ sound. “Wish I could help ya there, but I’m not usually equipped with something like that.”

“It’s fine,” she chuckled, buckling in her seatbelt. “It was to pass the time—I can’t sleep on flights. Even though it's midnight and I should feel tired.”

“I’m the same,” he suddenly extended a hand, “I’m Bradley by the way.”

Hesitant to reply in case he were to react to her name, Y/n pushed back any concern and gave a warm smile as she took his hand, “I’m Y/n. Nice to meet you, Bradley.”

“Y/n…” her name was repeated slowly, Bradley’s eyes consorting as though they were deep in thought. A wave of dread and nerves coursed through her. Then Bradley grinned, “Oh! I thought you looked familiar. You sing that song—what was it, ‘Love Story?’ Sorry I don’t mean to sound weird,” he let go of her hand when he realized he was still shaking it. “And I don’t want to bother you. I just can’t help but go, ‘wow!’”

“No-no-no, it’s okay! You’re totally fine.” Before long the two fell into conversation following the typical pre-flight announcements. Y/n was amazed by how natural it felt talking to Bradley. She discovered he was a Naval aviator, coming home from an assignment overseas and was flying to L.A to visit some friends. Bradley had been a graduate of UVA and attended the elite Fighter Weapons School, marking ten years with the navy that year.

“Forgive me for admitting this,” he said after the first hour into the flight, lowering his voice when a passenger trying to sleep glared at them. “But while I know who you are…I’m not really familiar with your work. Y-yeah I mentioned your one song but that’s literally all I know,” he laughed nervously. “My taste in music, I’m embarrassed to say aloud, is very limited.”

Y/n tilts her head, “how limited?”

“Uh, I pretty much only listen to the 1950s all the way to the 80s. Dabbling in what’s popular nowadays once in a blue moon. My karaoke songs are all Jerry Lewis” Bradley gives a gentle smile, “And while I can easily do a Google search, I’d much rather hear it from you if you don’t mind telling me.”

What’s that saying again? Oh that’s right, ‘And the rest was history.’

No but literally Y/n could barely contain her attraction to Bradley after he said that to her. She hoped to God she didn’t look like a fool as she spoke of her career and cool places she’s been. Time flew as they talked. In fact the two were so caught up in their conversation they talked the remainder of the journey to L.A, ending with the exchange of phone numbers and the promise to meet up.

It was decided right from the get go that Bradley and Y/n wanted to keep their relationship hidden. Regardless if the one date went somewhere, the last thing Y/n wanted was to have Bradley in the public eye and cause complications with his job. And let’s not forget her album was releasing within the next year. So, there was going to be a lot of attention on her wherever she went.

“The fact we’ve managed to keep this quiet for a year is outstanding,” Y/n said through a mouthful of cake. Bradley had surprised her with her favorite kind, the icing on the top reading, ‘Happy Anniversary, baby—we’ve got them fooled.’

She couldn’t believe they were already marking one year. Time didn’t seem to exist when she was with Bradley. He was everything she envisioned in a partner. Caring, compassionate, funny, intuitive. Listened to her concerns and communicated. Never made her doubt herself or paid attention to the media.

When she brought up her reputation, or better yet the one the press painted her out to have, Bradley stopped her and said, “who you have history with is not my business—unless they did something to hurt you because then I’ll have a problem with them. And those people talking nonsense about you have nothing else better to do with themselves. I care about you, Y/n. The only one who has influence on how I see you, is you. And I see you as the most beautiful, hardworking, intelligent person who knows her worth. Fuck what they say.”

Yeah that night ended with her jumping his bones.

Bradley took a fork full of his own into his mouth, “I for sure thought they were gonna catch us the night I snuck you on base.” After their first meeting in L.A, Bradley had returned to Virginia while Y/n remained to work on her album. It was a couple months before she went home to Tennessee, then for the holidays they planned to meet up when Y/n was on her way to New York. Sneaking her on base involved the two going undercover where they met at a discreet location and having Y/n shove herself under blankets in his backseat.

The singer laughed at the memory, “Thank Goodness for Shania. Had she not posted that photo to ‘tip off’ the paps then we’d have a whole different outcome.” Bradley laughed with her, placing his fork down on the napkin.

“I’m sorry I can’t be there for your release day,” Bradley had been called back to Top Gun for a special detachment by the Navy. Unfortunately the timing was right when her sixth studio album would drop. The details were still unclear, but that it was a team mission where he would compete against his colleagues. Y/n had yet to meet any of Bradley’s friends and vice versa. The only people in her circle who knew of their relationship were her manager, Manny, and family. But when you signed up to keep your love life private, it meant friends were lost in the dark.

“It’s okay, Roo,” she told him. “We’ll have our own celebration.” Another cake, this time with the design being the album’s cover art on it, was brought over the day before Bradley was set to fly to San Diego and the two had their private release party with just the two of them. The music was blasting through the speakers, Y/n jumping up and down with Bradley who was singing at the top of his lungs.

“Band-aids don’t fix bullet holes! You say sorry just for show! If you live like that, you live with ghosts!”

“I’m in a getaway car. I left you in a motel bar. Put the money in a bag and I stole the key—that was the last time you ever saw me—Oh!”

“Ooh, look what you made me do! Look what you made me do! Look what you just made me do!”

Champagne was popped, kisses were shared, and they danced the entire night until it came time to sleep.

They FaceTimed whenever Bradley had free time, even if it was in the later hours of the night. Those three weeks Y/n felt her heart long for Bradley in a way it had never done with her previous partners. She felt his excitement, his distress. The day he left for the mission Y/n paced around her home for hours—unable to focus on anything and overcome with nausea. It was as though her mind was trying to tell her something was wrong.

Relief came at around nightfall, the singer tripping as she raced to grab her phone when it rang. Seeing Bradley’s picture pop up had the breath she was holding in release. “Oh thanks God,” was the first thing she said.

“I’m coming back to you,” was his response. Tears pricked in the corner of her eyes, hand going to her chest to calm the rapid beat of her heart.

“I would expect nothing less, Lieutenant Bradshaw.”

Several celebrations were in store for the couple when Bradley returned to the east coast. Not only did he receive a medal from the Navy for his brave actions but got a promotion. Y/n’s album hit #1 on the Billboard Hot 100 in the first hour of its release, prompting a record number of sales in a single night for the singer.

“I’m so proud of you, Bradley,” she praised, patting the new patch on his uniform indicating he was now a Lieutenant Commander. She was met with a sweet kiss on the lips.

“Thank you, baby. I’m proud of you too—you’re gonna win everything come awards season.”

During the 2020 Grammy’s, Bradley leaped from the couch in absolute joy when Y/n’s name was called for the winner of Pop Album of the Year and Record of The Year. She missed out on Album of the Year, but that was okay. She was now the owner of 12 Grammys in total. Coming home the following night Y/n’s home was decorated with balloons, a banner reading, ‘Congratulations!!’ and of course, a cake with an edible Grammy topper.

And so it came time for a break. Six albums in a fifteen-year long career, Y/n kept it under the wraps that she wouldn’t be putting out another album for some time. Fans had started to notice she was more uplifted and vibrant in interviews, posting things on social media that were suspicious. For example she uploaded a photo of red roses, captioning it “the symbol of love.” Then there was the screenshotting of well known love songs and posting them on her story.

@ Y/nstansince04: is it me or does @Y/nL/n86 appear happier than usual? Is she hiding something?

@ getawaycarlover_: @Y/nL/n86 totally has a man or someone in her life. That recent Instagram post had all the hints.

@ fearlessdefender: I bet it’s a normal guy she’s with and not a celebrity. If it was we’d probably would’ve known by now who it was.

@ Y/ns_red_lipstick: honestly if Y/n does have a boyfriend then I’m happy for her and wish them the best. She deserves to be happy and we should respect their privacy. She doesn’t have to share with the world if it’s their desire to keep it secret.

Right when the world went to chaos at the brink of a global pandemic, Y/n thought, “you know what, I’m gonna just delete my social media—not my accounts but the apps on my phone. I want to go off the grid for a bit and just enjoy my family and boyfriend.” Not having the constant shadow of social media on her back made it easier for the singer on the break she desired.

Everyday she fell more in love with Bradley. She had been visiting him when quarantine happened so they basically went to the next step in their relationship by living together. Again, it all felt natural. They settled into a domestic life with each other early on with homemade dinners, movie nights, nerf gun wars, and karaoke contests. Bradley on the piano and Y/n with her guitar, being each other’s act and audience in their private concert.

“You shake my nerves and you rattle my brain. Too much love drives a man insane. You broke my will, but what a thrill. Goodness gracious, great balls of fire!”

“Romeo take me somewhere we can be alone. I’ll be waiting, all there’s left to do is run. You’ll be the prince and I’ll be the princess. It’s a love story, baby just say, ‘Yes!’”

Late nights were reserved for drives with the speakers blasting. Y/n camera roll would be filled with endless videos of the two, but mostly of Bradley jamming to his favorite songs. More often than usual the thought of, “I’m gonna marry this man,” would cross her mind.

“You ain’t nothin’ but a hound dog. Cryin’ all the time. You ain’t nothin’ but a hound dog. Cryin’ all the time. Well, you ain’t never caught a rabbit and you ain’t no friend of mine!”

Y/n would lean her body out the window when it was a clear road where they were the only ones, hair blowing and the light from the moon shining down on her. Her beautiful voice carried in the night sky, Bradley in absolute awe of her and wanting to capture the moment forever.

“I came home in the mornin’ light—my mother says, ‘when you gonna live your life right?’ Oh momma dear, we’re not the fortunate ones. And girls, they wanna have fun. Oh girls just wanna have fun!”

But was supposed to be maybe two years at most…..ended up being close to five.

Honestly Y/n was surprised to still have fans. To say they were shitting bricks when she out of the blue dropped a cover art for her upcoming single, ‘Love’ would be an understatement. They were losing their fucking minds.

@ Y/nwhereforartthou: IS THIS REALLY HAPPENING OH MY FUCKING SHIT! PLEASE TELL ME THIS AINT A JOKE Y/N IS COMING BACK AFTER FIVE FUCKING YEARS

@ stilladirectionerbby: *insert Micheal Scott gif* OH MY GOD IT’S HAPPENING—Y/N’S RELEASING NEW MUSIC

@ MTV: when all hope was lost, our prayers were answered….by @Y/nL/n86

Then she announced in the same week they were getting not one but two albums that year.

@ themadalorianswife: TWO ALBUMS?!?! WE GETTING TWO?!?! GOD FUCKING BLESS

@ daddyisastateofmind: oh mother is spoiling us after making us wait so long and I absolutely am here for it.

@ neveroutofstyle_: love how @Y/nL/n86 basically said “this is my sorry for falling off the face of the earth, please forgive me.” On behalf of the fandom, we forgive you queen.

And wanna know something else?

What was even more impressive than becoming a ghost for five years with little to no sightings by the paparazzi, was that she and Bradley had yet to be discovered. Her lover was just as good of a ghost as she was. Their secret was like trying to find the Holy Grail.

Hidden like a treasure the world desired to unearth.

And on their six year anniversary, Bradley got them the same cake as the first time he did. The icing reading, "Happy 7 years, baby—we’ve totally got them fooled.”

…………….

TGM Tag list: @avaleineandafryingpan , @caitsymichelle13 , @poppyalice2001 , @cutelittlepotatofry , @luckyladycreator2 , @americaarse , @elenavampire21 , @back-tooo-black , @wildellaa , @artemissunn , @pinkpantheris

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