{"id":1476,"date":"2019-02-23T23:51:54","date_gmt":"2019-02-23T23:51:54","guid":{"rendered":"https:\/\/wers.org\/wecb\/milkcrate\/sellingout\/"},"modified":"2019-02-23T23:51:54","modified_gmt":"2019-02-23T23:51:54","slug":"sellingout","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/sellingout\/","title":{"rendered":"What Does It Mean to “Sell Out” (And Did Fall Out Boy)?"},"content":{"rendered":"
<\/p>\n
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\"Selling<\/p><\/div>\n<\/p><\/div>\n<\/figure><\/div>\n

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by Erin Christie<\/p>\n

I recently came across a tweet that put a lot of things into perspective. It read, \u201cIt\u2019s the 6-year anniversary of [Fall Out Boy] coming off hiatus and I remember exactly where I was\u2026 Little did I know 6 years later, I\u2019d be begging for them to stop making music.\u201d Currently, I\u2019m a sophomore in college and I\u2019m facing a similar conundrum to this Twitter user. Recently, I\u2019ve been wondering when and why my once favorite band cemented itself as a fond memory of a past life, something that I\u2019ve been drifting away from. Is it because they aren\u2019t the same band I had been so obsessed with as a Catholic schoolgirl uniform-clad adolescent?<\/p>\n

In recent years, discussions regarding artists \u201cselling out\u201d\u2014oftentimes with hopes of achieving higher commercial success\u2014have grown more and more frequent. \u201cSelling out,\u201d in a musical sense, refers to a stigmatized trend where an artist or musical act opts to compromise their own integrity, morality, authenticity, or principles in exchange for fame, money, or popularity. People tend to tack this descriptor onto any minute change that they catch an artist delving into, which leads to a premature notion of distaste. Sure, It\u2019s often disappointing to see the artists that we\u2019ve grown up loving turn a new leaf and shift away from the sound and style that served as our introduction to their work. The question is, though, even if this change inherently feels like a bad thing, is it really<\/em>? Why are we so unable to give artists a chance when they stray from what we\u2019re used to?<\/p>\n

As a band grows and evolves, it\u2019s customary that they change and adapt to the climate around them. That doesn\u2019t have to be seen as a negative thing, even if we might prefer their style from before. Change might simply be sparked due to an artist\u2019s desire to do just that. Is it really up to the mass market or even the fans to decide what an artist is and isn\u2019t allowed to create, even if the end result isn\u2019t what they want?<\/p>\n

In my eyes at least, a lot of that inherent dislike comes from our craving and nostalgia for the past. When I first began hearing Fall Out Boy\u2019s newer tracks\u2014which are much more synth-based and heavy in terms of production as opposed to the gritty, sometimes theatrical releases that I had grown up with\u2014I was disheartened. Why couldn\u2019t I accept the fact that Patrick Stump and Pete Wentz were no longer twenty-somethings with the same creative priorities they had when recording albums like Take This to Your Grave <\/em>(2003): they have wives, kids, mortgages, and it isn\u2019t appropriate to write lyrics like, \u201cLet\u2019s play this game called \u2018when you catch fire, I wouldn\u2019t piss to put you out.\u2019\u201d Maybe \u201cselling out,\u201d in that sense, really means \u201cgrowing up.\u201d<\/p>\n

A huge part of the argument against \u201cselling out\u201d is that this change seems to be prompted solely by commercial gain, not genuine artistic interest and exploration. Capitalism is a deadly machine, and many artists fall victim to it: with capital in mind, these artists become Barbie dolls which industry officials can dress, pose, and display at their whim, either against said artists\u2019 will or not. One can argue that even on their sixth album, American Beauty\/ American Psycho<\/em> (2015), they were already taking strives in the direction of the cash cow, opting to re-record single, \u201cIrresistible\u201d with pop powerhouse, Demi Lovato, for example. <\/p>\n

Herein lies what The Conversation<\/em><\/a> calls the \u201cartist\u2019s dilemma:\u201d \u201chow does one cooperate with a large entity while ensuring moral ground?\u201d Large entities, in this quote, take shape in label executives, demanding primary control so as to ensure commercial success and fame over an artist\u2019s personal desires, intentions, and in a sense, morals. With the corporate pressure placed on artists to follow the demands of higher-ups with the power to make or break their career, it might seem impossible for them to remain in control of their craft. What are they to do?<\/p>\n

As long as the artist is clear about their overarching goal, as in, what they hope to achieve with the art that they share with the world, \u201cselling out\u201d shouldn\u2019t be a threat. Artists must ask themselves, \u201cIs what they are creating true to their desired image of themselves as an artist?\u201d In terms of Fall Out Boy, I can\u2019t necessarily speak for them, but I\u2019m sure that their evolution in sound is not motivated solely by the musical market: they probably earned enough royalties from \u201cSugar We\u2019re Goin Down\u201d to make as many passion projects as they\u2019d like.<\/p>\n

In their case specifically, their most recent project and seventh studio album, MANIA<\/em> (2018), certainly reads differently than a lot of their past work, armed with heavily produced machinery and synths galore. Though it might be assumed that this choice was an effort to \u201cstay relevant,\u201d bassist Pete Wentz had different intentions (as he described in an interview with Rolling Stone<\/em><\/a>): \u201cIt feels like every once in a while, you\u2019ve gotta do a hard restart that clears the cache and erases the hard drive,\u201d noting that MANIA<\/em> became a space where they could create something completely brand new. In spite of the fact that this record isn\u2019t what Fall Out Boy fans are used to, it was an attempt to break from the norm and be able to blur the lines between the expected and unexpected.<\/p>\n

\u201cNo one wants to be who they were two years ago or 10 years ago\u2026 it\u2019s great to have that snapshot, but it\u2019s time to hand up your hat when you think your glory days are behind you,\u201d Wentz continued. MANIA<\/em>, in that sense, presents itself as less of a rebrand, but more of a vehicle by which the band can express the same ideals that they\u2019ve always had since they were playing basement shows in Evanston, IL. To Wentz, the idea is to create something that\u2019s bigger than Fall Out Boy itself; \u201cto outlive the brand and exist on [their] own.\u201d <\/p>\n

As I finished up writing this article, coincidentally, \u201cCalm Before the Storm\u201d began seeping through my headphones and I couldn\u2019t help but tap my toes along to the beat. Regardless of whether they\u2019ve \u201csold out\u201d in your mind or not, Fall Out Boy will still be one of the most important bands to me and their legacy is palpable.  Fall Out Boy isn\u2019t the only band that\u2019s followed down this same garden of forked paths\u2014to meet consumer demand vs. to go where the \u201cmoney flows\u201d vs. to pursue what they truly feel proud making. Witnessing artists take new directions shouldn\u2019t inherently be a bad thing, but rather, it should be an opportunity to broaden your horizons musically\/stylistically, and a chance to become reintroduced to a new version of a band that you\u2019ve always loved.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

I recently came across a tweet that put a lot of things into perspective. 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