Pete Wentz is known for a lot of things: His pop star girlfriend, the eyeliner, those pictures. But most of all, Wentz is known as the face, bassist and lyricist of chart-topping pop-punk band

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Fall Out Boy. In the five years since the pop-punkers from the Chicago 'burbs released their split debut, Fall Out Boy Project Rocket Split, the band have gone from playing scarcely attended shows to packing stadiums. We caught up with Wentz during a stop on the Honda Civic Tour Fall Out Boy's headlining this summer to play our guessing game.

The Promise Ring, "Size of Your Life" from Wood/Water (2002)

Pete Wentz: I have no idea.

VH1: It's The Promise Ring.

PW: Oh yeah -- I used to go see them in Madison. I would see them by virtue of the bands they played with, because I was really into Cap'n Jazz, and they played with The Promise Ring all the time. Andy [Hurley] our drummer is really into them.

Babyface, "When Can I See You" from When Can I See You (1994)

PW: [laughs] I have no idea.

VH1: It's Babyface.

PW: I should have known that one too. I'm a big fan of him as a producer. I'm really into The Bodyguard [soundtrack], and I'm into the Josie and the Pussycats soundtrack. That's how we knew that we wanted to work with him. It was him doing pop-punk. He was awesome. He was really funny and really dry. He would always make jokes that we didn't know if we should laugh or not, he was so dry. We took a private jet for some reason, and he said, "Don't get addicted to private jets." He's like, "It's a waste of money. I got a theory. It's called make friends with private jets."

Orchestral Manoeuvres in the Dark, "If You Leave" from Pretty in Pink OST (1986)

PW: I know this. What is this?

VH1: Orchestral Manoeuvres in the Dark, from Pretty in Pink.

PW: I would not have guessed the band, but I recognize it. The song I really remember was the Psychedelic Furs song from that movie. We were obsessed with most of the John Hughes movies. Shermer, Illinois, doesn't exist -- it's based on the town that me and Joe grew up in. There's a road that runs through it, called Shermer Road. He films locations [in our towns] all the time. When people come to our neck of the woods, we take them on John Hughes tours.

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Arctic Monkeys, "Fluroescent Adolescent" from Favorite Worst Nightmare (2007)

PW: I think I know this...I know this guy's voice. I think this band makes fun of us.

VH1: It's Arctic Monkeys.

PW: Oh -- they don't make fun of us. We get compared to them all the time when we go to the U.K. The press compare our ascent as a band to Arctic Monkeys' ascent in the U.K. It's kind of interesting. The only song I'm familiar with is that "I Bet You Look Good On the Dancefloor." That song's pretty sweet. I've read his lyrics, and I think he's a really good lyricist, a smart guy.

blink-182, "All the Small Things" from Enema of the State (1996)

PW: Our band wouldn't be where we are without them. The other day, we had my birthday in Long Island and I have a signature bass, and we only have three on tour. And Mark Hoppus threw my bass into the ocean. I was like, "That's kind of cool. Five years ago I would have never thought I'd even know Mark Hoppus. It's cool if he throws my bass in the ocean." I guess less specifically, they made it OK to go on TRL and pop radio and to do certain things within pop culture, as long as you were doing it on your own terms. They were one of the first pop punk bands to do it.

Christina Aguilera, "Beautiful" from Stripped (2002)

PW: It's Christina Aguilera. Everyone always says that Patrick should do a duet [with her]. Patrick sings "Dirrty," and "Ain't No Other Man." He warms up to it. It's kind of weird but the vocal range is retarded, so you don't think about the words. ["Beautiful"] is a great message to send, but it's a really mixed message. A lot of female singers say messages like this, but they're all really hot or airbrushed. It's weird to be in young Hollywood or in music as a girl; one minute [people are] like, "Oh, this girl's getting fat," and then they're like, "She's anorexic." It's even weirder to be like some regular girl growing up, listening to it, and seeing it, and getting [mixed messages]. [But] I think it's great to have a message like that in a song.