Kat Bein, writing at Billboard:
Rock, rap and electronic music will each get their own special episode. Fall Out Boy’s Pete Wentz and Patrick Stump will represent for rock with a taping on Dec. 9. Anderson .Paak will come through for rap to tape on Dec. 9 as well, while Diplo will have his electronic taping on Dec. 10.
These tapings are public and fans of each act are encouraged to fill the stands, so register to attend your favorite of the shows (or all three) at priceisright.com.
Yeah, I think if we had met the right person at that time—like if we had met Luke Wood at that time, we would have signed with him. Let’s say we didn’t meet people that felt familiar, like they’re from our world of music, and they get it there. They support artists, and it’s not just about making a profit or whatever. But eventually, we did find them in Vagrant Records. They were the same kind of people that we knew from Equal Vision. They were just on the West Coast, and they had a slightly bigger operation at the time. And that felt comfortable. The Get Up Kids had signed to Vagrant.
It’s interesting to think back if we had signed to a major label based on Through Being Cool. I think they would have wanted us to keep making that same record to make it a brand. And I think for me as a songwriter, I just would have flinched at that. And I wouldn’t have made it through that. I just would have given it all up.
“Brendan gave me a real chance as a composer,” says Stump of working with director Brendan Walter on the soundtrack to “Spell.” “I was allowed to explore elements of my writing that I could never have without the narrative of the film. This score was fantastic to work on because I got to play with the film’s theme of emotional ambiguity: How much of this is actually happening? How much of this is in Benny’s Head? Is he working towards achieving a goal or is he being consumed by some kind of ominous horror? Asking and in some cases answering those questions with music was a real thrill.”
Born out of the idea of wandering, a samurai without a master, and the free dreams that accompany facing the world on your own, Ronin is a jewelry line built for modern times. Founded in 2019 by Pete Wentz, the line focuses on simple, quality unisex pieces that externally project one’s inward creativity and individuality.
The song that we’re always in search of, to me, is ‘Hey Ya.’” That’s the song. It’s like this perfect song because it’s weird and you’ve never heard something like that before, but at the same time it feels like, warm and fuzzy, because it feels like something you have known. That’s what we’re on the search for.
Pete Wentz is helping write music for an upcoming Snapchat series:
Two series, anthology series Mind Yourself from Barcroft Studios and scripted comedy Everything’s Fine from Paul Feig’s Powderkeg, deal with mental health. The former will tell the story of a young person suffering from or recovering from a mental health issue, while the latter will look at a college student dealing with bipolar disorder and trying to make it in the music industry. Pete Wentz of Fall Out Boy will serve as a producer and music supervisor on Everything’s Fine and will bring original music to the show.
Fender Play Foundation works with organizations, educators and artists to support communities through equipment donations, personalized instruction and artist experiences. Operating under the belief that music is the universal language that empowers self-expression and community building everywhere, the Fender Play Foundation strives to place these powerful tools in the hands of youth who aspire to play.
Chris Payne, writing at Billboard:
Masterminding the operation is Crush Music, the New York- and L.A.-based company that manages all three acts: Fall Out Boy since 2002 (the band has helped Crush grow as much as Crush helped it), Weezer since 2016 (Crush’s label arm has released the band’s last four albums with Atlantic) and Green Day since 2017 (when the group parted ways with its manager of 21 years, Pat Magnarella). “I asked Green Day what their goals were because they have already achieved almost every goal a band has,” recalls Crush co-founder Jonathan Daniel. “And Mike said, ‘Well, we want to play stadiums.’”
John Bazley, writing at Catapult:
We didn’t yet know exactly how the following year would work its fingernails into our neighborhood and pick it apart, but there was a palpable feeling of impending doom lingering over the roofs in my hometown.
All easy to ignore, of course, when Fall Out Boy would release a new record. I was twelve, living within my CD collection and the narratives it projected upon the world in front of me. I didn’t know about subprime mortgages or Lehman Brothers then. I just counted the days until Infinity On High. There was no other world event that could possibly take precedent over the release of that album. My excitement for Infinity On High may have been an unsustainable motivator, but sustainability itself was a questionable construct in 2007.
This is very well written.