i forgot to post this yesterday, Elijah Wood and Leonardo DiCaprio at the 1994 Academy Awards.
(Source: fuckyeah1990s, via bohemea)
"Never lie, cheat, steal, or drink. But if you must lie, lie in the arms of the one you love. If you must cheat, cheat death. If you must steal, steal away from bad company & if you must drink, drink in the moments that take your breath away."
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An FYBA reader sends this kitten in saying:
Meet Billy :-)
#obsessed
Fall Out Boy Returns, Trying to Save Rock and Roll | Andy Greenwald for Grantland
This is a great and spot-on review.
Though the backhanded compliments in nearly every review I’ve read are getting old.
But even despite the abundance of buzz and bluster, the bad breakups and worse puns, Save Rock and Roll is more or less excellent. Stump’s tuxedo-wearing time in the solo trenches seems to have bolstered his ear for melody — “Alone Together” and “Miss Missing You” are skillful, skyscraping dance pop — and his eye for casting: “Rat a Tat Tat” finally hands Courtney Love the role she was born to play, that of Mark. E. Smith. (As for “The Mighty Fall,” a tepid collaboration with rapper Big Sean, well, there’s a case to be made for it on a conference call with investors but that doesn’t mean I have to listen in.) The production, by chart-whisperer Butch Walker, polishes everything until it’s in your face and gleaming: the apocalyptic strings of “The Phoenix,” the louche bottom-feeding of “Where Did the Party Go,” the Adele-aping intro of “Just One Yesterday.”
Wentz’s wordplay occasionally needs a timeout — “my heart is like a stallion / they love it more when it’s broken” is one clunker — but over the course of the album’s 11 tracks his unironic wistfulness strikes a chord. A decade ago, his Peter Pan–in-a-hoodie act seemed emotionally stunted but culturally attuned to the world at large. It was a time of big, dumb politics and big, scary events; naming albums after children’s books and writing children’s books named after Smiths songs seemed like a reasonable response for a generation that had plenty of reasons to avoid growing up. Now 33 years old, divorced, and the father of a young son, Wentz seems nostalgic for immaturity, not shackled by it. The album ends with the title track, a heavy-handed, heavy-hearted piano ballad featuring Elton John. Like this album, it’s the sort of thing that should tip over like a lead balloon, but instead it soars. “I need more dreams and less life,” Stump-as-Wentz sings, before claiming to be “the last kid kicking that still believes.” It’s a relatable sentiment for anyone who spent their youth without realizing it could never be paid back.
Robert Downey Jr photographed by Peggy Sirota for GQ, May 2013
