bryan fuller giving us a handy guide in case we ever need it
who’s free this weekend
I had heard all these legends about Pete Wentz, that he was in six bands at once, that he was the world’s greatest Casanova. But when we met, Pete and I looked at each other and went “Who the fuck is this guy?”
#we know you are the president of the Patrick Stump fanclub
#we know you are the founding member
#we know your adoration for Patrick outstrips everyone else’s admiration combined
#you don’t have to — oh you’re going to put it on a t-shirt anyway
#of course you are (via nonimaginaryfriend)
→ buffy vs the creepy angel statues that kept stalking her [btvs/dw]
"I swear those statues moved!"
Giles doesn’t quite believe her. “Buffy, statues don’t move.”
"Yes, but let’s be honest here, what are the odds of them being just statues?”
"I think I’ve figured you out." She says. It feels odd talking to stone statues, but then again they’re not really statues, are they? "You only move when I’m not looking. When I am looking, you turn into statues, isn’t that right? And I can’t kill a statue.”
She doesn’t blink.
"What would happen if I were to close my eyes?"
Needless to say those creepy statues underestimated the strength and speed of a Slayer (even with her eyes closed).
ahhh my MCR philosophizing isn’t as sharp as is it with FOB or Panic!, but I can spare a minute I think.
ok so like I grew up either listening to Britney Spears/Mandy Moore/Spice Girls/etc, or I was in my best friend’s basement watching her brother’s ska punk band play shitty green day covers, but then pop punk happened and reconciled those two seemingly incompatible worlds and I was thrilled. that’s what I got from FOB and panic.
But the thing about MCR that was so so so so important for me when I was 14 or 15 (when three cheers for sweet revenge came out) is that this was a band with this angry scream-y music, and gothic aesthetic, who sang about fucking vampires and cemeteries (and okay, I was really into buffy the vampire slayer also at this point so I mean, you know. I wasn’t a stranger to black nail polish is all I’m saying)
but they also sang about being really really fucked up and being not okay and how…okay it was to not be okay. MCR wanted me to get angry, they celebrated anger in a healthy way and I can’t think of anything that was more important to me at fifteen. Gerard way stood on a stage wearing a t shirt with thank you for the venom scrawled on it in sharpie and said he wanted to save my life. he wore a bullet proof vest and told women that they didn’t have to flash their breasts if they didn’t want to. He made a documentary that included some of his lowest moments, not as a cautionary tale but to say, hey I’ve been there, and it fucking sucks, and you’re not okay, but you’re gonna be okay.
MCR to me is angry violent self-love and protection.
(also Gerard Way spent a solid year in a Priest’s outfit and no one will let me fucking forget it)
(HA I finally got around to this!)
• when or if I started shipping it: • my thoughts: • What makes me happy about them: • What makes me sad about them: • things done in art/fic that annoys me: • things I look for in art/fic: • Who I’d be comfortable them ending up with, if not each other: • My happily ever after for them: • what is their favorite non-sexual activity?
you know I couldn’t even really answer these questions? because I don’t think of Pete/Patrick as something I ship just…as the natural order of the universe? You said at one point “it should be canon why isn’t it real life canon?!” and the thing is, it is canon. Pete and Patrick have the most co-dependent, cohesive, romantic friendship in existence. Both of them have said REPEATEDLY that they would not be where they are today without one another. Patrick “I wasn’t a singer until Pete saw it in me” Stump & Pete “Patrick is an ipod full of my favorite songs” Wentz, I mean come on.
also one time I said (re: this picture) that Patrick is the closest thing to holy that Pete Wentz has ever been able to reach out and touch.
also one time Pete was talking about On The Road and said: “patrick is my dean. he keeps the car between the lines. he unlocks the secrets. he is the conversation. he is the magic.”
ALSO one time an interviewer asked if the view of Pete and Patrick as total opposites has been exaggerated by the media, and they replied:
- Pete: I think so, it’s not so much like oil and water.
- Patrick: I never liked that analogy because oil and water don’t need each other.
SO I MEAN ? ? ? ? ? ? ?
[made rebloggable for alice because this is all her fault]shakespeareandco asked: what are your top 5, totally gut-wrenching FOB lyrics? I need to know this, for science. top 5, or 6, or 15, whatever I JUST WANT TO CRY OVER PETE WENTZ’S WRITING
UR GROSS AND I HATE U (this is going to be really incoherent and so so embarrassing oh my god):
- ashamed of the way the songs and the words own the beating of our hearts because you are never supposed to care about pop-punk, it’s just a bunch of fags in eyeliner and girl jeans with obsessive stupid teenage girls for fans, didn’t you know? because he made it our, because pete (and fob in general: they always want you to make it about you, make it personal so it’s universal) explicitly presents himself as ever other kid with a notebook, sharpie and livejournal account and stream of consciousness blog, every kid who wrote until their eyes stung in the hope of lessening the ache or the itch or the never-ending flurry in their rat-maze minds. for how invested every single one of them is in fob, in what they have created and bared their souls for.
- we only do it for the scars and stories, not the fame for being capital-f formative, for being the lyric i always come back to when i have done unbelievably stupid shit and knowing that, yeah, that wasn’t healthy but endless agonizing about how fucked-up you are isn’t going to help anyone
- i’ll be stuck fixated on one star / when the world is crashing down for this song being for every person who couldn’t not think about suicide, who try to commit suicide because their life went a little bit wrong, for this being the song that was the fixed, stabilizing point and safe place during the worst times in my life.
- any and all lyrics dealing with feeling’s of inadequacy for that desperation, for that ache to feel whole and right and the realisation that fame? fame is just not going to do that. special mentions go to sophomore slump, 27 (my mind is a safe and if I keep it in we all get rich and i’ve got a sunset in my veins vs. i want it so bad i’d shoot the sunshine into my veins / i can’t remember the good old days) and from now on we are enemies, in which pete literally positions himself as the salieri to patrick’s mozart i mean COME ON
- a downward spiral just a pirouette and alllllll the performative lyrics. for pete’s razor sharp self-awareness (even if it doesn’t always lead anywhere), for the fact that mental illness can make you a very public very hot mess and you can carve out your own space and own it, weaponise it, accept it.
aaaaaaaaaand top 5 from save rock and roll:
- i don’t have the right name or the right look but i have twice the heart because really, isn’t that kind of the whole point of pete wentz? yeah, maybe others could do it better and cleaner but none could do it as raw or more honestly.
- my heart is like a stallion; they like it more when it’s broken for owning the person he used to be but also explicitly stating that he is not going back, for growing up and progress on their own terms
- put on your warpaint for words/music/performance as weapons, as armour (for pete telling patrick to wear his words as armour lbr)
- we will teach you how to make boys next door out of assholes just because it still makes me smile and because this
- oh no, we won’t go because we don’t know when to quit for being a statement of intent and, hell, they’ve already said it all: