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Author: admin, 25.12.2013. Category: Tinnitus Causes And Cures

For this edition of Dusting ‘Em Off, CoS staffers Megan Ritt, Dominick Mayer, Killian Young, and Dusty Henry re-channel their teenage angst and don black marching band uniforms and plenty of guyliner as they aim to put My Chemical Romance’s sophomore album, Three Cheers for Sweet Revenge, in perspective a decade later. So having a record with roots in punk and hardcore embrace the pageantry of glam-rock with such open arms was a super-controversial stance at the time. Killian Young: Speaking as someone who grew up as a teen in New Jersey, My Chemical Romance were legendary. Does anyone find that the high drama interferes with your enjoyment of the album 10 years on? DM: To a certain extent, I think the long-term impact on the band itself might not have been for the best.
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Nowadays when you think of them, the image that comes to mind is all-black marching band uniforms and excess eyeliner. The music may or may not have been on point (that’s a whole different discussion, really), but the aesthetics and the sentiment were both there. From humble beginnings—check out this grainy video of Gerard Way thrashing to a mostly empty room in my hometown’s American Legion, circa I Brought You My Bullets, You Brought Me Your Love—it was amazing to see them in heavy rotation on MTV.


They’re probably the last band I can remember watching on MTV and feeling impacted by.
The dichotomy of having funeral mourners dance in front of an open casket captures the drama of that era so succinctly.
I was in college when the album came out, and when I saw MCR on the Three Cheers tour, I remember feeling marooned in a sea of teenagers. There wasn’t quite the same sense of raw self-disclosure, but beneath all the veneers, they were a vulnerable punk band composed of young guys obsessed with comic books and horror movies who wanted those things to not just inform but become part of their output. But Three Cheers for Sweet Revenge was a really important record for me when it came out, and it’s worth re-exploring if only to clear away the intervening haze.
Outlets like Alternative Press were a huge deal at the time (I believe Spin jumped on the train pretty hastily as well), and in general labels had become really amenable, in the wake of Blink-182 exploding, to bands that gave people the snarl of punk with fewer of the tricky political implications that made it historically such a hard sell. But it was that theatricality that, I’d argue, made Three Cheers such a good record, one that holds up long after third-wave emo sort of died down.
And I think part of what you said, Megan, about the primal teenage fury of MCR is telling in discussing why they hold up. In that way, the high drama feels a lot more honest than whatever platitudes The Used had to offer around that time.
I wouldn’t say that I listen to MCR a ton anymore, but if I were to give any album a spin, it would most likely be The Black Parade.
But I think in the grand scheme of things, The Black Parade will hold up better than Three Cheers because the lyrical themes are more accessible. To continue considering this against its contemporaries for a moment, this record blew up the year after Alkaline Trio began their transition into their own more theatrical period. That’s the part that I really feel when I play this record now—how hard the sound hit me then and how well it still holds up today. I remember reading that Way recorded some of the vocals while locked in an attic, just screaming into the rafters—that’s exactly how being a young person feels sometimes.


For all the goth marching band getups and the fact that most of their songs were, at the end of the day, the same lovelorn laments for implied women that many of their contemporaries were putting out, they were purging their anxieties about their scene and themselves and leaving them on record for other people to sort out.
There were more thoughtful meditations on death, disease, and love lost, like “Sleep”, “Cancer”, “Disenchanted”, and even the first half of “Welcome to the Black Parade” (lower-key rockers, as you said, Megan).
And in both cases, the older, more earnest records might seem melodramatic or silly in hindsight, but there’s a power to them that the later stuff kind of loses. I think I just appreciate some of the subtler moments a bit more, especially when I listen now. That being said, I think some of the Three Cheers tracks definitely reflect the transition that the band would make lyrically when they recorded The Black Parade. By the time MCR got around to Fabulous Killjoys (I refuse to type the entire unwieldy title of that thing), their music had become a lot more about the theatrics, the MCR Army, all that stuff, than the music itself. There was a lot of noise from a lot of hyped acts during that time, and MCR bottled it into something covered in a lot of makeup, sure. I still enjoy the words to “You Know What They Do to Guys Like Us in Prison”, “The Ghost of You”, and “Helena”.
So in some ways I think they found the band they wanted to be, but eventually discovered that it wasn’t sustainable.
As Dominick mentioned, it’s very theatrical—and this is before we even get to The Black Parade.
At least when MCR inevitably does the full-album reunion tour for this in 5-10 years, it’ll still hold up. The makeup, the dancing, manic eyes… he looked like I imagined a rock band leader should.



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