Read Online Gray by Pete Wentz, James Montgomery - Free Book Online
Authors: Pete Wentz, James Montgomery
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relents. We pile into his Mustang (an ironic one) because we had for some reason decided that our van wouldn’t make it all the way down to Chicago. This was probably not exactly true, but, hey, we were rolling. We shoot our way down dark country roads, snow piled up high on either side of us, light posts whizzing by the headlights. We open the windows and feel the roar of the icy, black Wisconsin air; it stings our cheeks and makes our eyes water. The Mustang is slaloming down the roads now, slipping from side to side, the wheels frantically searching for traction. We latch onto the interstate in some place called Janesville, and the snow is starting to fall now, and everything is dark and quiet, except for when we overtakethe occasional eighteen-wheeler, and we roar past its tires and you can hear the wet road passing beneath them with a hiss. It’s slightly scary, to be honest: just one turn of the wheel . . . just one errant ice patch . . .
We limp into Chicago at around five, the sun not even a fully formed thought on the horizon, the city streets muffled by the snow. Our producer keeps the Mustang running as we trudge up to our practice space, our feet crunching beneath us, and grab the guitar (or any guitar). We all stand around in the room for a few extra minutes, partially because we’re frozen from the cold—not to mention a little dazed from the trip down—but also because we want to make it seem like this trip was actually worth it. To further that cause, we decide that we should probably get something to eat, so we make the producer drive us over to the place down on Clark Street, where we pack ourselves into a corner booth, order coffees, and plow through tofu scrambles. The light outside is turning soft and purple; the occasional apartment window glows gauzy and incandescent. The city is coming to life.
Across the room is the booth where we shot the cover to our first album. It’s empty now, but a year ago, we were packed in tight, Her on the other side of the table, looking at everyone but really only at me. We were just kids then. We’re basically still kids now. Only I feel older somehow, more hollowed out. I didn’t even call Her and tell Her we were coming back into town for the night. She’s probably waking up right now, actually, thinking about some exam she’s got today, or maybe kicking somestranger out of Her bed. I don’t know why that thought entered my head, but it did.
We head back to Madison just as the sun is turning the skyline red, and no one is the wiser. The Mustang slides onto the interstate, the tires spinning through the melting ice. The sun rises red over our shoulders. It is quiet now, just the wind brushing by the windows and the hum of the engine. Everyone is tired, staring out at the rapidly widening horizons, the cities and smokestacks and scrap heaps giving way to barren, windswept fields, bales of hay wrapped in tarps, distant farmhouses, roofs frosted with snow. The sunlight is warm against our faces, our eyelids are heavy but happy. Good songs are on the radio. We sing along and pound the roof of the car with our fists. It’s like a movie scene. Right now, she’s probably walking out of Her apartment, sitting in Her car while the engine runs, blowing on Her hands. Unaware that I was in our city tonight, or that I made our producer drive by Her apartment as we left town. I’m pretty sure the other guys noticed.
When we arrive back in Madison, we sleep until late afternoon on the dorm-room floor, waking up when we hear the chick return from her classes. We walk down to the studio and get a crash course in business when we find out that our label has talked a major into giving us an advance to make our album. That gave the major the rights to first refusal, which was something none of us understood until later, when I called my dad and he told me that it meant that our album might actually come out on the major. That freaked us out until we realized we
We limp into Chicago at around five, the sun not even a fully formed thought on the horizon, the city streets muffled by the snow. Our producer keeps the Mustang running as we trudge up to our practice space, our feet crunching beneath us, and grab the guitar (or any guitar). We all stand around in the room for a few extra minutes, partially because we’re frozen from the cold—not to mention a little dazed from the trip down—but also because we want to make it seem like this trip was actually worth it. To further that cause, we decide that we should probably get something to eat, so we make the producer drive us over to the place down on Clark Street, where we pack ourselves into a corner booth, order coffees, and plow through tofu scrambles. The light outside is turning soft and purple; the occasional apartment window glows gauzy and incandescent. The city is coming to life.
Across the room is the booth where we shot the cover to our first album. It’s empty now, but a year ago, we were packed in tight, Her on the other side of the table, looking at everyone but really only at me. We were just kids then. We’re basically still kids now. Only I feel older somehow, more hollowed out. I didn’t even call Her and tell Her we were coming back into town for the night. She’s probably waking up right now, actually, thinking about some exam she’s got today, or maybe kicking somestranger out of Her bed. I don’t know why that thought entered my head, but it did.
We head back to Madison just as the sun is turning the skyline red, and no one is the wiser. The Mustang slides onto the interstate, the tires spinning through the melting ice. The sun rises red over our shoulders. It is quiet now, just the wind brushing by the windows and the hum of the engine. Everyone is tired, staring out at the rapidly widening horizons, the cities and smokestacks and scrap heaps giving way to barren, windswept fields, bales of hay wrapped in tarps, distant farmhouses, roofs frosted with snow. The sunlight is warm against our faces, our eyelids are heavy but happy. Good songs are on the radio. We sing along and pound the roof of the car with our fists. It’s like a movie scene. Right now, she’s probably walking out of Her apartment, sitting in Her car while the engine runs, blowing on Her hands. Unaware that I was in our city tonight, or that I made our producer drive by Her apartment as we left town. I’m pretty sure the other guys noticed.
When we arrive back in Madison, we sleep until late afternoon on the dorm-room floor, waking up when we hear the chick return from her classes. We walk down to the studio and get a crash course in business when we find out that our label has talked a major into giving us an advance to make our album. That gave the major the rights to first refusal, which was something none of us understood until later, when I called my dad and he told me that it meant that our album might actually come out on the major. That freaked us out until we realized we
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