This is music designed for literal twelve year olds. Nothing will ever convince me that an adult actually takes this slop seriously.
WHEN I WAS
A YOUNG WARTHOG
>>129075639>describes all emo
>>129075639You're a braindead retard. This album was widely praised by music magazines, with many including it in their top 500 greatest albums, it ranks 120 on aoty 320 on Besteveralbums, 380 on rym, reached number 2 on the US and UK, 8 in Mexico, 10 in Japan, 11 in Germany. If "emo" doesn't deserve respect as a genre, then neither does glam rock, and you can write off Ziggy Stardust/Hunky Dory, Electric Warrior, Here Comes the Warm Jets Sparks, Transformer etc... as "not serious music" as well.
This stuff basically ended rock since nobody could take it seriously anymore.
>>129075639Also, you can discard the Beatles, just another one direction boy band, same with the Beach Boys, Black Sabbath, a bunch of druggies, etc...
>>129075882>You're a braindead retard.Projection
>>129075639It's great. I don't care if it's cringy or emo I loved this as a kid and I love it now.
>>129075882Huh what u mean
>This is music designed for literal twelve year olds. Nothing will ever convince me that an adult actually takes this slop seriously.
>>129075639It's music designed for women and women are mentally 12 year olds for their entire lives.
>>129075882Only #2690 on Acclaimed Music. The title track is only #1895.For the record, I think it should be way higher. It did make Rolling Stone's Top 500 somehow though.
>>129081353 2 reasons : 1) most of the lists made by music critics used to rank the albums are older, 90s 00s, before MCR, or at least before they got the re-evaluation. 2) Old critics with their head stuck up their ass, pretentious shits who dismissed the whole "pop-punk, emo, screamo etc..." era as not "valid music", because you're not "supposed" to like that kind of music, they're only "guilty pleasures" which is dumb as fuck, since the same could be said about 70s heavy metal, kids were listening to sabbath, while girls were listening to the Beatles in the 60s, not critics in their 50s. Also, emo as a whole, and MCR in particular, got unfairly maligned, the "re-evaluation" is simply a new generation without that prejudice telling the truth, the fact american idiot ranked 248 on rolling stone 500, while TBP only ranked like 360, and Revenge didn't even show up, shows how terrible the opinion of biased and outdated critics can be.
>>129081715>Old critics with their head stuck up their ass, pretentious shits who dismissed the whole "pop-punk, emo, screamo etc..." era as not "valid music", because you're not "supposed" to like that kind of musicI was in the notional target audience for that music back then and found it repulsive and mainly listened to by subhumans. Wasn't wrong either since it essentially killed mainstream rock forever.
>>129081729What killed rock was retards like you, only pushing garbage instead of actual good music. the fact MCR is so widely liked then and now, shows how, far from "killing rock" they kept it relevant for longer, what killed rock was the subsequent lack of innovation, no new good rock genre came out in the past 20 years, while poptimism like Swifty, or cRap like SoundCloud and kendrick, destroyed the taste of younger generations by exposing them to only that, and at very young age.
>>129081715>most of the lists made by music critics used to rank the albums are older, 90s 00s, before MCRTo Pimp a Butterfly is #17 on Acclaimed Music. >Old critics with their head stuck up their ass, pretentious shits who dismissed the whole "pop-punk, emo, screamo etc..." era as not "valid music", because you're not "supposed" to like that kind of musicDookie is #320 and American Idiot is #444
>>129075639This applies to all pop music, friend.
>>129081772Because Dookie is from 94, Green Day was already a big established band by 2000, and unlike MCR, they never got tarnished with "suicide cult" accusations, or "faggot music" derision, Green Day was used as a replacement to try to be inclusive of more modern music, while still shunning anything associated with emo, the fact NME ranks Hot Fuss in the top 100 albums of the 2000s, while TPB barely breaks the top 200, and Revenge doesn't even shows up, makes that clear as day light, just compare the rating for both on rym.
>>129075639Same for Linking Park, Limp Bizkit, Green Day, Korn, Slipknot and all those other 2000s plastic retard bands. But yes, that wave with My Chemical Romance, Panic at the Disco and all that other shit was especially disingenuous, juvenile and ridiculous.Zoomers all have brain cancer so whatever they think is wrong.
i mean it's not as if boomers didn't jerk off 50s R&R slop even though it was 90% lyrics about teenage love/drama shit as well
>>129081772Also, as for tpab, dude, the past 15 years have been at the same time, both the peak of hip-hop as the dominant genre, as well as the age of political correctness and identity politics, what do you get when you join mass appeal, rap popularity, with music critics being overwhelmingly liberal ?
>>129081881Are you implying that To Pimp a Butterfly didn't deserve the praise it got?
>>129082008>Are you implying that To Pimp a Butterfly didn't deserve the praise it got?If you're Fantano I'm sure it did.
>>129082008Not in the slightest, extremely overrated album, in fact THE most overrated. Virtually nothing about it stands out, feels more like an audio book than a music album. It's just a run-of-the-mill rap that got lucky to resonate with the right amount of people at the right time, and got bandwagoned by pretentious tards later on.
>>129075639I was literally 12 when this popular.The other 12 year olds loved it and I told them they had shit taste unlike me, who was sophisticated and listened to The Beatles and Radiohead and The Cure (not actually but I pretended to listen to The Cure because of that one South Park episode).
As an OG fan of My Chem who thought they were unfairly maligned, I felt vindicated when they got their critical re-evaluation. After returning to their music over the past few years, though, I've concluded the re-evaluation is misguided and that the criticisms originally directed at the band were largely accurate. The Black Parade is particularly unworthy of being canonized as a classic album. It's a work of pastiche from practically beginning to end: >The End is a shameless mashup of Bowie's Five Years and In the Flesh?>Dead! is just Mr. Blue Sky>This Is How I Disappear is Cheap Trick's Heaven Tonight>House of Wolves cribs Detroit Rock City>Mama is Alabama Song and The Trial>Sleep is Final Dream from the Dune soundtrack and Thru The Eyes Of RubyEveryone has influences, but once you hear all the recycling on TBP it's impossible to take seriously as an authentic artistic statement. It's the sound of middling talents striving for greatness by emulating what was regarded as "great" 30 years ago. The overwrought melodrama of the production and lyrics, arguably one innovation, don't redeem it. Three Cheers for Sweet Revenge, while similarly adolescent in its sensibilities, is a far more authentic, musically interesting, and original album, revealing a band pregnant with potential. It's tough to listen to without feeling disillusioned by the knowledge of what would come after: two albums of slop, tasteless marketing of men in their 30s as tween heart throbs, a fake breakup, misleading marketing ploys to sell compilations and reissues, and then years of nostalgia tours lacking any maturation or artistic progression.
on rym with the scores is there used to be a bunch of low rating spammers who would make fake accounts to spam low ratings. after being inactive for years those accounts were all deleted, inflating scores. other releases which were given low ratings by frequent users didn't receive this bounce. now 3.8 is the new 3.4. if there's so many ratings and I want to raise or lower the cumulative score I have to go 1 star or 5 stars otherwise there's no weight. getting a bit crowded between 3.5 and 4 when that used to be rare and special>>129076857
>>129082393>Everyone has influences, but once you hear all the recycling on TBP it's impossible to take seriously as an authentic artistic statement. It's the sound of middling talents striving for greatness by emulating what was regarded as "great" 30 years ago. The overwrought melodrama of the production and lyrics, arguably one innovation, don't redeem it.>Three Cheers for Sweet Revenge, while similarly adolescent in its sensibilities, is a far more authentic, musically interesting, and original album, revealing a band pregnant with potential. It's tough to listen to without feeling disillusioned by the knowledge of what would come after: two albums of slop, tasteless marketing of men in their 30s as tween heart throbs, a fake breakup, misleading marketing ploys to sell compilations and reissues, and then years of nostalgia tours lacking any maturation or artistic progression.>no boomer rock band ever did lame pastiches of Chicago electric blues or marketed 34 year old men as teen heartthrobs no not at all
>>129075639Do you ever get tired living by the expectations of others?
>>129082490>>no boomer rock band ever did lame pastiches of Chicago electric blues or marketed 34 year old men as teen heartthrobs no not at allThere's plenty of boomer rock bands that did lame pastiches of blues music - however, they are largely forgotten today. Boomer bands that had lasting cultural relevance are those that innovated the form. For example, take When the Levee Breaks - while it originates from an acoustic blues song, it interprets the song in a dramatically new way: the expanded form, the orchestral approach to arrangement, the heavy, reverb-laden drum beat that would go on to be sampled by hip hop artists. It couldn't have been made in the 50s, and countless recordings that followed couldn't have been made without it. It's part of a process of cultural dialogue and evolution.What you hear on TBP is different: it cribs the trappings of concept albums from the 70s because we're culturally conditioned to perceive these albums as "important" - and expects that this will make it important, too. Of course, what made those albums exciting in the first place is that they were doing something that hadn't been done before.It's the sort of stagnant repetition that Mark Fisher writes about.
>>129081847Okay obsessed millennial faggot
>>129082737the fault was the same one as Diana Krall and her boring as shit elevator jazz. she was conditioned to interpret GASB standards as "important" and to play it as straight as possible to not dishonor them or some bullshit, but completely ignoring how all the old vocal jazz legends in the 50s-60s put their own eccentric spin on those songs.
why would i take this hot topic nightmare before christmas merchandise shit seriously? i just think the melodies are pretty good
Those who are not zoomers and were there know exactly the kind of "people" that listened to this stuff.
>>129083255I'd take poser "emokids" over whatever bullshit we have now.
>>129085621Stop taking children
>>129083255All the emos back then became hipsters and purple haired feminists without exception. We used to beat those people up.
>>129085687will you stupid redneck Bizkit and Creed fans fuck off?
>>129075639hop off mcr nuts
>>129085687I didn't
i conflated them with my bloody valentine and refused to listen to mbv for years because of it
I listened to MCR's first 2 albums. They were okay, The Ghost of You was a notably good song. Any reason I should keep going or should I stick with earlier waves of emo?
>>129086176What do you mean "any reason" ? isn't the music being amazing reason enough already ? Anyways, there are around 20 albums I'd consider essential 21st century emo albums, MCR first 3 are on the list.
Kpop too
>>129075639Pitchfork lost
