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mmA L L A R O U N D THE TOWN I H H ALL HW T H EAROUND T O W NAmazing Manhattan Facts and CuriositiesPatrick...
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mm
A L L A R O U N D THE TOWN
I
H H ALL HW T H E
AROUND T O W N
Amazing Manhattan Facts and Curiosities
Patrick Bunyan
Fordham University Press New York
1999
Copyright Q 1999 by Patrick Bunyan All rights reserved. No part of this publication may be reproduced, stored In a retrieval system, or transmitted in any formor by any means-electronic, mechanical, photocopy, recording,or any other-except for brief quotations in printed reviews, wlthout the prior permmion of the puhlisher. Library of CongressCataloging-in-l’ublication Data Bunyan, Patrick. All around the town: amazing Manhattan facts and curioslties / Patrlck Runyan. - 1st ed. p. cm. Includes bibliographlcal references and index. ISHN 0-8232-1940-2 (hc.).- ISBN 0-8232-1941-0 (pbk.) 1. New York (N.Y.)-Miscellanea, 2. New York (N.Y.)-Guidebooks. I. Title. F128.36.086 1999 917.47’10443-dc21 CIP Printed in the UnitedStates of America 03 02 0100 99 S 4 3 2 1 First Edition
99-19769
TOScott Burns
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CONTENTS
Acknowledgments
ix
Introduction
xi
Downtown
1
The Village
63
Midtown
163
Above 59th Street
285
Select Bibliography
347
index
351
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ALLAROUND
THE T O W N
City Hall in 1826.(Library of Congress)
ACKNOWLEDGMENTS I would like to thank thefollowing people for all their support and help on this book over the years: Nava Atlas, Leonard Kniffel, Dale Neighbors, Marsha Adams, Margaret Glover, Richard Foster, Peter Jaffe, my editor Jacky Philpotts, and my friends at FPG International.
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INTRODUCTION Manhattan is an amazing, energetic place, forever changing. Much has happened here in the four hundredyears since the first Europeans arrived. Events that reflect not only the story of New York City but the story of the United States as well. Events as varied as the first exhibition of an elephant in the New World to the last known sightingof Judge Crater. Much of this history is not so easy to see. In Manhattan, the remindersof the past are often torn down andreplaced with somethingnew. New Yorkers,who are always striving “toget ahead,” rarely have time to look back. Thisbook is a look back, a record of an assortment of Manhattan sites where history happened, a compendium of facts, history, birthplaces, and “firsts.” More than a thousand entries, arranged by their street address, were culled from many sources-histories, biographies, newspapers, guidebooks,and maps. They range from amusing anecdotes to familiar historical events and from the Dutch New Amsterdam period to the present day. The entries are arrangedby today’s street addresses. Manhattan is divided into four sections: W Downtown: all addresses south of and including ChambersStreet and the
Brooklyn Bridge. W The Village (which includes the Lower East Sideand Soho):all addresses north
of Chambers Street to and including 14th Street. W Midtown: all addresses north of 14th Street to andincluding 59th Street. W Above 59th Street: the rest of Manhattan.
Within each of these sections, the alphabetical streets arelisted first, followed by the numbered avenues and then the numberedstreets in sequence. Last, each xi
street or avenue is then arranged by individual address or house number. For example, 137 McDougal Street would be in the Village section, listed alphabetically under thestreet name, McDougal, then in order at 137. The entry for 124 West 55th Street would be in the Midtown section, listed in numerical order under 55th Street, both East and West, then in order at 124. The major parks are arrangedby name in the alphabetical street section. Streets are arranged by their most commonusage. A streetwith several different names will be listed under each name. An address on East 59th Street will be listed with the numbered streets, while a Central Park South address will appear with the alphabetical streets. Proper names appearin italics, and an asterisk marks what is currently at a site. An asterisk at an address denotes the structure is the same as referred to in the entry.
xii
INTRODUCTION
mm DOWNTOWN
m.
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BARCLAY STREET
22 Barclay Street St. Peter’s Roman Catholic Church*-The serene Ionic temple churchon this site is the secondSt. Peter’s.The firstwas consecrated on November4,1786,and was the first permanent Roman Catholic parish in New York State. The oncesurrounding burial ground was the first Roman Catholic cemetery in the state. The current churchwas built in 1836 to replace the original, whichwas severely damaged in the GreatFire of 1835.
BATTERY PARK
Castle Garden*-The U.S. government built this one-time fort in 1807 on what was originally an artificial island about three hundred feet from shore. Constructed along with four other new fortifications in anticipation of the War of 1812,the West Battery, asit was called,never fired a shot defense. in Renamed Castle Clinton, itwas vacated by the U.S. Army in 1823,and the fortwas turned over to the city, which used it as an official greeting site. The Marquis deLafayette in 1824,President JohnTyler in 1843,and Hungarian patriotLouis Kossuth in 1851 were all welcomed here. One rather unceremonious welcoming was for President
Castle Garden was still an island attached by a causeway at the tipof Battery Park in thls vlew of 1830. The popular waterfront park was later expanded with landfill, whlch connected the oldfort to Manhattan in the 1850s. (Library of Congress) DOWNTOWN
H
3
Andrew Jackson on June12, 1833. The timber bridge from the fort to the battery collapsed from the weight of the president’s procession, dumping a number of men andhorses into the harbor. The president was slightly ahead of the crashand unhurt. Jenny Lind, the “Swedish Nightingale,” had her tumultuous American debut concert here in the now-roofed-over converted theater on September 11, 1850. More than six thousand musiclovers paid atleast three dollars seat, a a major coup for master showmanP. T. Barnum, who convinced her to perform. From 1855 until Ellis Island opened in 1890, seven and a half million immigrants passed through this buildingwhile it was the country’s premier immigrantlanding depot. The fort’s last incarnation was as the city’s aquarium, from 1896 until 1941. It was the largest aquarium in the world when it opened, andits tanks were stocked with exotic fish from aroundthe world collected by local sea captains. It was popular with several generations of New Yorkers. Robert Moses,who forced the aquarium tomove to Coney Island, tried to have the old fort removed for his proposed Brooklyn-Battery bridge.A public outcry stopped the bridge and the demolition of the fort. It was declared a National Historic Monument in 1946.
BATTERY PLACE AT THE HARBOR
Pier A*-Recently restored, this pier has served asthe gateway for manycelebrities upon theirarrival in New York City: Charles A. Lindbergh‘s triumphal return after the first transatlantic flight on June 13, 1927; “Wrong Way” Corrigan Douglas for his off-course Atlantic flight on August 5 , 1938; and King George VI on June 10, 1939, are among many. But one visitor stands above all the rest: it was here that the legendary elephant Jumbo arrived on the Assyrian Monarch and first stepped on American soil with all the fanfare P. T. Barnum could muster, on Easter Sunday, April 10, 1882. Barnum had recently purchased the elephant from the LondonZoo for $10,000, much to the disappointment of English children, who started a letter campaign asking Queen Victoria to intervene and save the pachyderm.Nevertheless, Jumbo came to the United States to be the star attractionin Barnum’s circus. Ever after his death three years later in a trainaccident, Jumbo’s fame lived on. No otheranimal’s name has been so widely adopted into theEnglish language. 4
ALL AROUND THE TOWN
P. T. Barnum's most famous
circus attraction, "Jumbo," There was a notable departure from Pier A on theevening of June30,1893. paraded to the openingof President GroverCleveland was secretly ferriedto theyacht Oneida anchored in the East River. The purposeof the trip, a presidential operation, was kept from the "The Greatest Show on Earth" at Madison Square Garden. public and the press. Five doctors and one dentist removed a large cancerous growth fromCleveland's upper jaw during the shipboard operation. The admin- Jumbo arrivedin America with istration denied the rumors and insisted the president had had routine dental Matthew Scott, his beloved surgery. The truthremained hidden for more than twenty-five years, long after keeper of twentyyears. The pair became inseparable when Cleveland's death. Scott nursedthe sick baby elephant back to health. (Frank Leslie's, April 22, 1882) DOWNTOWN
w
5
BEEKMAN STREET
Beekman Street and Nassau Street, Southwest Corner Beekman (Chapel) Street Theater-The earliest New York performance of Harnlet took place here on November 26, 1761. Twenty-one-year-old Lewis Hallam Jr. played the title role. Hallam wasthe first star knownto Colonial audiencesand the first leading actor whose debut and early experiences were American. The theater was closed down by a riot over the StampAct controversy on May 5 , 1766. 101 Beekman Street The fourteen-year-old aspiring artistBen Shahn was apprenticed to Hessenberg’s Lithography Shop atthis address from 1913 to 1917. The Lithuanian-bornteenager was attending high school at night.
BOWLING GREEN
1 Bowling Green between State and Whitehall Streets A small clearing in the primal forest, thisarea of lower Manhattan was the likely site of Peter Minuit’s celebrated exchangewith the indigenous “Indians” in the late spring of 1626. The end of an age-old Native American trail that began north in Westchester, this is the beginning of today’s Broadway, or “Breede Wegh” as the Dutch called it. Minuit, the French-born director-generalof the Dutch colony of New Netherland, metwith the natives and“bought” the island for sixty guilders, or twenty-four dollars, worth of beads and tools. Fort Amsterdam-Early Dutch settlers built this fort,designed in 1626 by Kryn Frederycks. It wasa four-bastioned compound that contained governor’s the house, the officers’ quarters, the barracks, the prison, and a church. The fortwas the site of the first recorded murder in New Amsterdam, when Gerrit Jansen, a gunner, was stabbed to death in front of the gate in May of 1638. The murderer, JanGysbertsen, quickly fledthe settlement,never to beseen again. The fortwent through several name changes and additionswith each succeeding tenant-the Dutch, the English, and theAmericans-until it was torn down in 1790. Government House-An impressive two-story porticoed mansion was built here as a home for the presidentof the new country, but by the time it was completed the newly formed federal government had left for Philadelphia.The house then served asNew York‘s Governor’s Mansionuntil thestate capital left for Albany 6
AALRLO U N D
THE T O W N
in 1797. It wasduring this period thatGovernors GeorgeClinton andJohn Jay lived here. The mansionwas demolished in 1815 and replaced by a row of smallertownhouses. As business droveout residences in lower Manhattan in the mid-nineteenth century, these townhouses eventually became headquarters for the leading shipping companies, and theblock became known as “Steamship Row.” Alexander HamiltonUnited States Customhouse*-In 1907 the country’s largest and most profitable customhouse occupied this site. The elaborate building was designed by Cass Gilbert and decorated with sculpture by Daniel Chester French. After the Customs Service moved to the World Trade Center in 1973, the building stood emptyfor more than twenty years.As a fitting memorial, this spot-long ago a meeting ground between the native population, the ancestors of the Delaware Nation, and the first European settlers-is now the New Yorkbranch of the National Museum of the American Indian. TheDelaware people calledthe tipof lower Manhattan hay-la-py-ee chen-quay-hee-laas,“the place where the sunis born.”
BOWLING GREEN PARK
A Dutch cattle market from 1638 to 1647, this spot was later the city’s first park. In 1732, whileunder British rule, it was fenced i n and rented to Frederick Philipse, John Chamber, and JohnRoosevelt, local merchants, foruse as a bowling area. The ten-year lease was for one peppercorn peryear “for the recreation and delight of the inhabitants.” It was here that American patriots pulled down a gilded-lead equestrian statue of George 111 on July 9, 1776. They melted down the statue and used the lead for musket balls to shoot at theBritish.
BROAD STREET 8 Broad Street New York Stock Exchange*-This current homeof the exchange dates from 1903. All great booms andbusts in the market will be measured against what happened here during the Stock Market Crash of 1929. The great boom of the 1920s ended here on “Black Thursday,” October 24, 1929, when thirteen million shares were traded. Within a week, the losses totaled $26 billion. One of the reasons for the crash was that speculators had bought stock on margin, paying only a portion of the price, then borrowing therest and using the stock as security for further loans. DOWNTOWN
rn
7
This continued tofuel the boom as long as the market rose. But when prices fell, the borrowers needed more moneyto back up the drop in the value of their collateral. This forcedpanic selling. Later, one of the reforms in the marketwas to have the Federal Reserve Board fix margin rates.
15 Broad Street This wasthe address ofthe law offices of Bangs, Stetson, Tracy and MacVeagh. President Grover Cleveland accepteda jobhere after losing the election of 1888to Benjamin Harrison.Cleveland livedin New Yorkuntil he returned Washington to after winning thepresidential election of 1892. 26 Broad Street The first Latin school inNew York wasestablished at thisaddress in the summerof 1659. Alexander Carolus Curtius, aprofessor from Lithuania, was hired as headmaster. He didn’t last verylong. He was unhappy abouthis salary, and parents complained he was a poor disciplinarian. Dutch governorPeter Stuyvesant closed the school two years later, and Curtius sailed back to Europe. The school reopened a year later with a new teacher.
38 Broad Street When theFire of 1845 reachedthe warehouseof Crooker and Warren on the night of July 19, a tremendous explosion shook the city. The saltpeter stored hereblew up with such force that the entire building was blownaway, except for somebricks. The blast was feltin Brooklyn and JerseyCity and heardas far away as SandyHook. 44 Broad Street Woodhull, Clajin e$ Company-On February 4,1870, investors, traders, and the curious crowded the sidewalk at this address, straining to see something never before seen on Wall Street, the country’s first brokerage firm operatedby women. Victoria C. Woodhull and hersister Tennessee Clafin opened their companywith the aid of their patron Commo. Cornelius Vanderbilt, a client from Victoria’s earlier career as a clairvoyant. This officealso served ascampaign headquarters for Woodhull’s candidacy for theU.S. presidency, forty-eight years before women couldvote. 60” Broad Street This office building was once the headquartersof Drexel Burnham Lambert, one of the country’s largest brokerage firms. On December 21, 1988, the company 8
AALRLO UTN THD OEW N
pleaded guilty in federal court to insider trading and stock manipulation and agreed to pay penalties of $650 million. The chairmanof Drexel, Michael “Junk Bond King” Milken,and his friend and fellow trader Ivan Boskey both received jail terms for theirinvolvement in the scandal. The firm, which closed in February of 1990, came to symbolize the worst excesses of WallStreet during thefreewheeling and freedealing of the Reagan era.
Broad Street and Beaver Street In the headydays leading to the Revolutionary War, this intersection marked a milestone on the road to war for American independence. On June 6 , 1775, British soldiers garrisoned in the city were about to embark on the frigate Asia to join their fellow troops in a more receptive and safer Boston. They were stopped at this spot by Marinus Willett, an officer in the New York militia, who seized a cart full of their weapons. Willett, actingunder local authority that had permitted the troopsto depart but with only their own personal arms, insisted they leave the cart of weapons. The showdown ended with the British leaving peaceably without the additional weapons. These confiscated arms were later used by the first American troops raised in New York under the ordersof Congress to fight the British. Willett served with distinction in the war and later served as mayor of the city. Broad Street and South William On the night of February 28, 1741, a chain of events began here that became known as the “Great Negro Plot,” one of the saddest chapters in race relations in the city’s history. On that winter night, someone broke into the homeof Robert Hogg, who lived at this corner. Some of Hogg’s stolen linens later fell into the hands of John Hughson, the shady owner of a tavernthat catered to slaves. Within the next few weeks, Fort George burned to the ground, and therewere several more mysterious fires.Determined to make a connectionbetween the robberyand the fires, authorities arrested and questioned Hughson’s young servant girl, Mary Burton. Offered money and threatenedwith damnation, Mary spun tale a of a plot to burn the city and kill allthe white people, except her boss Hughson,who would then be crowned “King of New York.” The rumoredslave revolt inflamed the White colonists, whose resulting rampage ended with the execution of thirty-one African Americans, many of whom were burned at thestake. Another 154 were cast into prison, and 71 were transported to the West Indies. John Hughson and his wife were executed. DOWNTOWN
9
101 Broad Street The German-bornC. T. Pachelbel, son of the renowned Johann, performed thefirst documented concertheld in the city at this site, the house of Robert Todd, a vintner, on January21,1736. The programwas ofinstrumental music for harpsichord, flute, and violin. The Anglers’ Club ofhrew York*-A lunchtime blast on January24,1975, rocked this club, an annexof nextdoor’s Fraunces Tavern, killing four people. The F.A.L.N., a Puerto Rican nationalist group, claimed responsibility for the bombing.
Broad Street West of Water Street The ExchangeBuilding-Besides being the first capital of the United States, New York City was also the first capital of New York State. The statelegislature’s opening session took place in this buildingin January of 1784.The senatorsand assemblymen continued to meet here until 1796, when the new capital was moved to Albany. On November 3, 1789, the U.S. District Court convened here. Established under the JudiciaryAct of 1789, it was the first federal court organized under the new Constitution. President Washington appointed James Duane, former mayor of the city, to be the First District U.S. Judge. Thehighest court in the land, theU.S. Supreme Court, held its opening session here on February 17, 1790, presided over by Chief Justice John Jay. The building was demolished in 1799.
BROADWAY
1 Broadway Kennedy Mansion-Built by Capt. Archibald Kennedy ofthe Royal Navy in 1760, this elegant home, on thesite of an earlier tavern, served as the Revolutionary War headquarters of Gen. George Washington until theBritish occupied the city in September of 1776 and used the house as their headquarters. It was converted into a hotel and lasted another hundredyears before being replaced by the currentWashington Building, the tallest office building in the world when built in 1884. This building was dramatically remodeledin 1921. 4 Broadway Aaron Burr, one-time vice president of the United States, lived at this addressin 1790-94.
10
W
ALL AROUND
THE TOWN
5 Broadway This addresswas the homeof Robert Livingston, chancellor of New York State and amember of the Continental Congress. Heis famous for administering the oath of office to George Washington. When helived here in theearly days ofthe Republic, his garden extended down to the banks of the Hudson River. 9-1 1 Broadway Bowling Green Offices Building*-This Egyptianstyle building once housed offices the of the White Star Line. For several daysin April of 1912 anxious relatives and friends of the passengers of the company's ship Titanic crowded the sidewalk out front and overflowed into Bowling Green Park. They had gathered here, hoping to learn word of the survivors of the doomedship. Many famous New Yorkers lost their lives on this voyage, including wealthy businessmen JohnJacob AstorIV and Benjamin Guggenheim. Also drowned were Isidor Straus, philanthropist andco-owner of R H. Macy's Department store, and his wife, Ida, whose bravery and devotion to one another has become part of Titanic folklore.
I
!c
Broadway and Beaver Street The first time an elephantwas exhibited in NorthAmerica was near this intersection on April 29, 1796. The three-year-old female had arrived two weeks earlier from Bengal, India. Theship's captain Jacob Crowninshield paid $450 for her. The elephant was a sensation. Crowninshield quickly resold his prize $10,000 for to a Philadelphian, who exhibited the animalall over the East Coast. 26" Broadway Allegedly, this comer was the site of the citfs first recorded play, perhaps so considered by biased theater historiansbecause of its Broadway address. On December 6,1732, The Recruiting Officewas r performed in what was likely the barnof Mr. Rip Van Dam.
DOWNTOWN
The crowd outslde 9 Broadway, the offices of the White Star Line, waits for a list of Titanic survivors after the ship sank on April 15, 1912. More than 1,493 passengers and crewmembers perished on the ship's maiden voyage to New York. ( F P Q
11
The play, a farce written by George Farquhar,had acompany of Englishactors. Both Alexander Hamilton and JohnJay, at different times, had homes atthis location. Standard Oi2 Budding-In 1886 the StandardOil Trust, the world’s largest and richest manufacturing organization, moved to 26 Broadway from Cleveland. That modest ten-story buildingwas remodeled and expanded several times into the present building. John D. Rockefeller had his office here until the turn of the twentieth century. After heretired and turned tocharitable work, the oilman-turned-philanthropist received at this address up tofifteen thousand letters a week asking for some of his money. One of Rockefeller’s most trusted partners, Charles Pratt, died here in his office on May 4,1891. Pratt used his fortune to build the Pratt Institute and Pratt InstituteFree Library,one of the first public libraries in the city. The Standard Oil Company moved to Midtown in 1956.
27-37 Broadway This site is the first recorded location of a burial ground in Manhattan.In 1649 it was referred to as the “Old Church Yard” in early Dutch records. By 1676 allthe lots were full. Within a few years, all the bodies were removed to a site farther north on Broadway, and this landwas sold at auction. 39-41 Broadway This is the legendary site of the first European dwellingson Manhattan Island. Capt. Adriaen Block and his crew were forcedto spend the winter of 1613-14 here after their ship, theTiger, anchored in thebay, had caught fire and burned thatNovember. The Dutch sailors built four small crudehuts assembled in Native American fashion by bending over and joining the topsof two parallel rows of saplings. The following spring, Block salvaged wood from theTiger and built a new ship, which he named theRestless. Only forty-four and half a feetlong, the Restless took thecrew back to Holland. Alexander McComb Mansion-President George Washington leased this mansion in February of 1790. He lived here only several months before moving to the nation’s new capital in Philadelphia. On August 30,1790, Washington took his final leave of NewYork City on a HudsonRiver wharf behind thishouse. The first president and first lady received a thirteen-gunfarewell salute. Bunker’s Mansion House-John Quincy Adams was a guest here at the old McComb Mansion, which had been converted into a hotel in1821. The ex-president was in town for a dinner honoring the New-York Historical Society on November 19,1844. 12
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Broadway between Morris Street and Exchange Place, West Side At this sitewas the home andorchard of Hendrick Van Dyck. A Native American woman was trying tosteal some peaches when Van Dyck spied her and killed her. Several dayslater, on September 15,1655, Native Americans attackedthe settlement in revenge. Over a period of two days, fiftysettlers were killed, and many women and children were taken as prisoners. This was the last major attack by native dwellers on the settlers.
50 Broadway Tower Building-A major advancement in the development of skyscraperswas skeleton-frame construction. The narrow21 %-feet-wide,thirteen-story building that once stood at this location was the first to use this innovation,albeit only partially. The first seven floors were built with thenew method, an iron armature supporting the weight of each floor. The top floors were constructed with the usual load-bearing walls, so those walls had to be increasingly thicker to support the weight of higherones. This key development allowedarchitects to build higher into the sky and notwaste valuable lowerfloor space to thick exteriorwalls. One problem yet unsolved washow to reassure the public thatthese tall buildings wouldn’t fall down. Bradford Lee Gilbert, the architect,solved this dilemmaby putting his own office on the topfloor to prove it was safe. This innovative monument was torn down in 1914 with littlefanfare to make way for an even taller building.
57 Broadway On September 7,1879,two days after returning homefrom atrip abroad, Stanford White started his first day asa new partner with Charles McKimand William Mead. The three partnerswould create some of the most beautiful buildings inAmerica. They mastered aclassical style particularly suited to America’s new wealthy class. They were to stay at this address until1894. 71 Broadway Empire Building-Russell Sage, the wealthy financier and namesake of the philanthropic foundation, hada brokerage officeon the second floor of an office building that once stood on this corner. On December 4,1891, a madman named Henry W. Norcross enteredthe office and demanded $1.2 million from Sage.When Sage refused,Norand aclerk. The blast injured seven othcross setoff a dynamite bomb, killing himself ers, includingSage. In addition to damaging the building, the explosion blew valuable securities out onto the street.The currentEmpire Buildingat this site wasbuilt in 1898. DOWNTOWN
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Like most of lower Manhattan, Trinity Church was destroyed in the fire of 1776. The British, who had lust occupied the city during the RevolutionaryWar, were accused of not effectively fighting the three-day fire that destroyed 493 homes and a third of the city.
Broadway at the Head of Wall Street Trinity Church*-Richard Upjohn designed the present GothicRevival church, the third on this spot, and was itconsecrated on May 21,1846, Ascension Day. The ornate 28 1-foot stone spire made the church the highest structure in Manhattan for thirtyyears until eclipsed bythe towers of the Brooklyn Bridge.During the nineteenth century the church became a popular gathering place on New Year’s Eve.The hushed crowd wouldlisten for the loftysteeple’s midnight chimes towelcome in the New Year with hymns. The party moved uptown toTimes Square in1904. The first church, chartered by British King William I11 in 1697, was destroyed in the Great Fire of 1776. Queen Elizabeth I1 visited hereduring theBicentennial Celebrations,on July 9, 1976. The dateof this visit wastwo hundred years to theday that American patriots had pulled down a statue of her great-great-great-great-grandfather King George I11 in Bowling Green Park. While here, the queenalso collected 279 years’ worth of “rent due the Monarchy”-279 peppercorns-since the royal charter on the church hadnever expired.
(Author’s collection)
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The churchyard is the final resting place for several famous Trinity parishioners, including Robert Fulton, Alexander Hamilton, and Francis Lewis, the only signer of the Declaration of Independence buried in Manhattan. Theyard also contains the nation’s first tomb to unknownsoldiers, the Martyr’s Monument, honoring unidentified colonials who diedin British prisons in the city during theAmerican Revolution. 111 Broadway Trinity Building-This five-story building, with the same name as the current building and replacement, was built in 1852.The structurewas an early example of the modernoffice building, withspecially designed spacefor multiple tenants.One of those tenantswas architect Richard Upjohn, whodesigned the building and Trinity Church next door.
115 Broadway City Arm’s Tavern-An important event on the American road to independence from England took place here on October31, 1765:a meeting of two hundred merchants and the“Sons of Liberty” to protest the StampAct, when the participants decided on a nonimportation agreement. Originally the mansion of Etienne De Lancey built around 1700, the tavern went through several name and owner changes. It was the site of President George Washington’sinaugural ball on May 5 , 1789. Vice President John Adams, John Hancock, James Madison, Alexander Hamilton, and John Jay were guests. Because Martha Washington, who did not arrive until the twenty-seventh,missed the party, George danced with Mrs. Peter Livingston and Mrs. Alexander Hamilton. City Hotel-This early example of atrue hotel, rather than an inn, was erected in 1794.The five-story brick structure withseventy-eight rooms was covered with the first slate roof in the city. The ground floor had fashionable shops along the Broadway side. Seven hundred guests attended a grand military ball here on Washington’s birthday, February 22, 1819, in honor of Gen. Andrew Jackson, a hero of the War of 1812. Broadway between Pine and Cedar Streets The National Hotel-Johann Maelzel and his invention “The Turk,” a fanciful chess machine, made their Americandebut at this hotel that once stood on the corner of Cedar Street on April 13,1826. “The Turk” wasa turbanedfigure made of wood and filled with whirling gears, wheels, cogs, and metal parts that sat in front of a DOWNTOWN
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Built in 1870, the Equitable Life Assurance Society headquartersat 120 Broadway was one of the first office buildings to incorporate elevators. Fire fighters continueto hose the
building's shell in sub-zero weather during a fire on January9, 1912. (Author's collection)
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A L L AROUND THE T O W N
large box with achess board on top. Maelzel and his mechanical marvel had only recently amazed European audiences. “TheTurk” had even played a chess game with Napoleon and won. Americans,too, were amazed,at least for afew years until the hoaxwas exposed. It was then learned that asmall but skilled chess player was inside, operating “TheTurk.” This hidden assistant managed to fool everyone by darting between inner compartments justbefore Maelzel opened aseries of doors exposing “The Turk’s’’ supposed mechanical workings. EquitabZe Building*-An earlier beaux arts headquartersof the insurance company on this block was destroyed in a spectacular fire on January 9, 1912. The replacement and current structure with more than 1.2 million squarefeet of floor space was the world’s largest office building when completed in1915. The overwhelming bulkof this edifice rising forty-two stories straightup from the narrow streets confirmed the need for the long-proposed zoninglaws. The city passed its first zoning law on July 25, 1916.The law restricted the total height of buildingsrelative to their site and encouraged theuse of setbackson higher floors to allow more sunlight to reach the street.
133 Broadway John Jay livedhere when he coauthoredThe Federalist in 1787. 140 Broadway MarineMidland Bank*-A bomb exploded here on August 20,1969, in protest of the VietnamWar. Twenty people wereinjured. 149 Broadway From 1794 to 1803 this was the site of the home andoffice of John Jacob Astor. 165 Broadway SingerBuiZding-From 1908 to 1967 this location washome to thebeautiful fortyseven-story Singer Building. The rococo-style skyscraper,with innovative setbacks, was the world’s tallest building for eighteen months until the MetropolitanLife Tower at Madison Square was completed. The destruction of this landmark, the tallest building ever demolished, was a great loss to thecity’s architectural heritage. 176 Broadway Howard’s HofeZ-President John Tyler stayed here on the night of June 25, 1844. The president hadsecretly arrived early in the day bytrain fromWashington, D.C., DOWNTOWN
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Two of the city's most beautiful early skyscrapers, the now demolished Singer and the Woolworth Buildings, lined up along Broadway. Seen between the two flagpoles is "Golden Boy," who stood atop the Telephone Company Building until the 1980s when he moved with AT&T to the new Madison Avenue Chippendale-topped highrise. (FPC)
for his wedding to New Yorker Julia Gardiner. The clandestine marriage at the Church of the Ascension the following day was kept from the public to ensure the newlyweds' privacy.
195+ Broadway American Telephone and Telegraph Company Building-The first transcontinental telephonecall from the fifteenth-floor office ofthe presidentof AT&T to San Francisco over a 3,400-mile-long wirewas held on January25, 1915.Alexander Graham Bell, from this address, spoke to his long-time assistant Thomas Watson on theWest Coast. They reenacted the world's first spoken wordson the telephone they had made in1876. But this time, whenBell said, "Mr. Watson, come here,I want you," Watson replied,"It would take me a week now." Shortly after their historic demonstration, President Woodrow Wilson called from Washington, D.C., with his congratulations. 18
ALL AROUND THE TOWN
Broadway and Fulton Street, Southwest Corner Brady’s National Gallery of Daguewotypes-Mathew Brady opened his first daguerreotype studioon Broadway at Fulton Street 1844. in The new medium was a tremendoussuccess in America. Within tenyears, there were more daguerreotype studios in Manhattan alone thanall in of England, where legal restraints interfered from innovator Samuel with their commercialization. Brady, who learned his craft F. B. Morse, was quick to see the commercial and documentary potentialof photography. All the leading politicians of the day-Henry Clay, Daniel Webster, Martin Van Buren, and Millard Fillmore-had their photographs taken here.
BRADY’S NdTIO?&!L G!&LERY OF DMJERREOTYPES
This collection embraces some of the most distinguinhed men of this country. T h e President and Cahinet. also t h e h t o President Polk and his Cobinet. Membors of the IJnitod States Senate and I!ouae of Rcpreaentativur. Judges of the Supreme Court nt Washington nnJ many otl:cr ominent ersona a r e included in this Gallery. The Proprietor being much of his tim; in Washington. hns the n!vanfa e of adding to these portraits nny others that may interest the public. This establishment 19 one ,?tho most extensive in the worli. its facilities for tho production of portmits by the Dageerrean art heiog unrivalled.It now occapies two larue builjin Y 205 and 207 Broadway. The opernting department is arranged in the most scientific manner, and fk e c te d by ~ ~ e r s o of n s nclinowledgcd skill in the profes&c sion. In the department arranged for copying paintings daguerreotypes.eogravings.statuory the light nnd instruments hare been expresqly designed fir this purposo. It 1s the aim of thr prdprie’! tor to render in every part of his business that atteution which the public are entitled to from the patronage he ha9 received. At the nnnunl exhibitions of the American Institute for five years, the prcturcs from this estahlinhmant h a r e received the first prize. consirting of a silver medal. T h e l a s t Year the first gold medal ever awnrded to DaguerreotlJ-pes was besfowed on the picturea from thls Gallery.Theportraitstakenforthe“Oallery of 1 ustrrous Americans." awork SO favorsbl receivedthroughouttheUnited States,oreengravedfromtheseDaguerreotypes.Strangers ani citizens will be interested and pleased by devoting nn honr to the Inspection of Bradyls National Gallery, Nos. 205 and 207 Broadway, corner01 Fulton-street, New York.
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By the 1850s there were hundreds of daguerreotype gallenes in the city,
particularly along Broadway from Fulton to Canal Streets. This advertisement was designed to attract sitters to Mathew Brady‘s studio at 205-7Broadway. (Author’s collection) w
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Broadway and Fulton Street Loew’s Bridge-A lacy Gothic pedestrian bridgewas built over this busy and dangerous intersection in 1867. Philip Genin, a hatteron the southwest corner, had encouraged the span’s construction. A year later his archrival, Knox the Hatter from the northeast corner, had the bridgeremoved by a court order. The mad hatter b o x claimed it blocked light and air to his storeand attracted loiterers. Broadway between Fulton and Vesey Streets St. Paul’s Chapel*-Completed in 1766, this is the oldest public buildingstill in use in Manhattan. OnApril 30, 1789,almost the entirenewly formed U.S. government-the vice president, the speaker ofthe House, and bothhouses of Congressaccompanied their hour-old,newly inaugurated president,George Washington,on a walk to this chapel for special a thanksgiving service. The president worshiped here for most of the time he lived in New York. His pew, in the north aisle, is adorned with thefirst depiction in oil of the Great Sealof the United States. President George Bush usedthis same pew on April 30, 1989, while attending aspecial two hundredth-anniversary service commemorating that first inauguration. Former President James Monroe’s funeral was held hereon July 7, 1831. Broadway and Ann Street, Southeast Corner Spring Garden-This corner was the location of the first pleasure garden in New York. Pleasure gardens, an idea imported from England,were outdoor restaurants in a landscaped setting. The Spring Garden, begun in the early 1700s, lasted until 1768. American Museum-This sitelaterbecamethe home of P.T. Barnum’s museum, acollection of natural historyexhibits, “scientific”displays, and freaks. It was here that the self-proclaimed “Prince of Humbugs” introduced the Siamese twins Chang and Eng to the United States, along with Gen. Tom Thumb, the famous midget. The buildingcaught fireon July 13,1865, killing most of the assembled menagerie. One Bengal tiger did manage to escape but was killed by a fire fighter on Broadway. Barnum moved his new show uptownto 539 Broadway,only to have that museum burnthree years later. New York Herald Building-Another version of nineteenth-century mass entertainment occupied this site in 1866: the New York Herald newspaper. It was from this building that editor James Gordon Bennett Jr. sent his correspondent Henry Stanley to find the missing missionary David Livingstone on March 21,1871. Seven months later Stanley found the good doctor at Lake Tanganyika in Africa and 20
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The offices of the NewYork Herald are on the left in this greeted him with thewords, “Dr. Livingstone, I presume?”In 1896 this building was torn down, and the Heraldmoved uptown to 35thStreet at Herald Square. The last view of Broadway looking vestige of the Herald is the newspaper’s elaborate clock in the triangular plot in south from Vesey Street in 1867.St. Paul’s Chapel is on front of R. H. Macy’s. the right. The packed pedestrian bridge crossing Broadway between Vesey and Murray Streets busy Broadway is Loew’s The city’s first sidewalk lined these threeblocks of Broadway in 1790. The narrow walkways were pavedwith stones and bricks. Bridge, an early effortat traffic control. (Harper‘s Weekly, June 8, 1867) Broadway between Vesey and Barclay Streets Astor Hotel-The Park Hotel-later renamed theAstor House Hotel-was built in 1834 on thesite of a home once lived in byRufus King, a member of the Continental Congress. John JacobAstor, the hotel’s builder, purchased theKing home, lived in it awhile,and had it demolished along with rest the of the block to preDOWNTOWN
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The Astor House Hotel on Broadway and Vesey Street shortly before it was torn down in 1914; note the "Must Vacate" sign. The bar, famous for i t s "free lunch," continued to be a popular meeting place long after newer uptown hotels became more fashionable. ( F P Q
pare for his innovative hotel. Opened two years later on June 1,1836, it became the nation's favoritehotel. DavyCrockett was one of the first guests. Andrew Jackson, Henry Clay, James Polk, Abraham Lincoln, Jefferson Davis,Sam Houston all stayed here. William James, the psychologist, was born in the hotel on January 11, 1842. English author Charles Dickens stayed at this hotel on first his trip toNew Yorkin 1842, and itwas here seventy years later that his eldest surviving sonAlfred D'Orsay Tennyson Dickens died suddenlyon January 2,1912. Alfred wasin New Yorkto plan hisfather's centenary celebration.
Broadway between Barclay Street and Park Place This was once the siteof Mayor Philip Hone's home. Mayor from 1826 to 1827, Hone was also a bank director, trustee of Columbia College, vice president of the New-York Historical Society, and founderof the UnionClub. This brilliantRenaissance man is known today chiefly through hisdiary. His chronicle, kept from 1823 22
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to 185 1, has been blessing a to generationsof historians eager to learnof New York City life in the mid-nineteenthcentury. In 1836 Hone recorded in his diary a nowfamiliar New York phenomenon: how rising real-estate values had prompted him to sell his home to the American Hotel next door andmove uptown. The hotel was host toPresident Andrew Jackson, Daniel Webster, and other notables. WoolworthBuildinf-This Gothic-style masterpiece is nicknamed “the Cathedral of Commerce.”Opening celebrationson April 24,1913, included atwenty-seventh-floor dinner for three U.S. senators and seventy-eight congressmen. That night, President Woodrow Wilson, sitting in Washington, D.C., pushed a button that lit eighty thousand light bulbs world’s in thetallest skyscraper. The Woolworth held that title until the early1930s. Elegant ladies and gentlemen await their turn on New York first rhinoceros ever exhibited City’s first subway platformin February of 1870.The subway beneath Broadway Broadway and Warren Street, Southwest Corner On September 21,1837, Charles Lewis Tiffany and JohnB. Young opened a “fancy and Warren Street was an expenmental pneumatic goods” and stationery shop 259 at Broadway. Sales for the first day totalled $4.98, subway tunnel powered with with a profit the first week of$334. The store remained at this location 1841. until a huge helix fan. (Author‘s Devlin Q Company C2othing“The basement of a later corner building was the collection) hidden entrance to a subterranean chamber furnished with a grand piano, fountain, and goldfish tank. This sumptuous room served as the waiting room andticket officefor New York‘s earliest subway. The project, completed after fifty-eight nights of tunneling, was built secretlyto avoid the city corruption and graft kickbacks of the Tammanypolitical bosses. Thetunnel, 12 feet below Broadway, wasdesigned for compressed-air propulsion andwas only 9 feet in diameter and3 12 feet long. This prototype, invented by the publisher of Scientific American Alfred Ely Beach, was 26,1870. It was unveiled to the public on February an immediate sensation. The New York Herald reported the tunnelwas an “Aladdin’s cave” full of hidden magic. Over the next year, four hundred thousand people rode the fancy carat twenty-five
253-254 Broadway Pede’s Museum and Gallery ofthe FineArts-The in America was seen here September13-25,1826.
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cents a ride, the proceeds goingto charity. But this type of subway system was never built. It was too expensive to produce the tremendousvolume ofair needed to propel the train.Beach rented out his tunnel for a shooting gallery and wine cellar, but soon after he had it sealed. The station and the tunnel were forgotten-until February 8,1912, when subway workers, workingon the currentBMT, were astonished to rediscover it.
263 Broadway The drugstoreof Dr. James R. Chilton was once at thisaddress. He was a chemist and early photography buff. It was herethat thefirst successful daguerreotype ever taken in the Western Hemisphere was displayed on September 16, 1839. The picture was taken on a sensitized copper plate by D. W. Seager, an Englishman living in New York. The subject matterwas St. Paul’sChapel, just downBroadway. The camera exposurefor this picture was more thaneight minutes long. This streetscape has been lost, as have other early photographs of the city. Samuel E B. Morse was known to have made several cityscapes, but these too are either lost or were destroyed. The earliest known and identified photographs of New York City were made by Victor Prevostin the 1850s.
BROOKLYN BRIDGE
A wonder of the nineteenth century, the East River Bridge, as it was first called, was a result of the engineering geniusof its chief designer, John A. Roebling. He was one of the first to use steel cable on such a colossal scale in a suspension bridge. Roebling, who died while working on the project, was replaced by his son Washington. While working in the caissons on theriverbed, Washington was disabled by the pressure, what is now understoodas the “bends.” It took fourteenyears to complete the world’s longest suspension bridge, aproud symbol of the Industrial Age. Its Gothic towers strung with harplike cables towered over the city. During opening-day ceremonies,on May 24,1883, New York-born President ChesterA. Arthur led a walk across the span from thenation’s largest city, New York,to the nation’s third-largest city, Brooklyn.A week later, on Memorial Day weekend,a tragic stampede that killed twelve people, including two children, marred the celebrations.A man named Steve Brodie claimed to have jumped on July 23, 1886. Although no one saw him take the plunge, he was seen being pulled from theEast River,and that was enough for him to become an actor, owner, bar and folk hero. 24
A LAL R O U N TD H TE O W N
On May 30,1883,after
hearing the screamsof a woman, who had fallen on a staircase, the crowd panicked, believing the new Brooklyn Bridge was collapsing. The resulting stampede killed a dozen people, including two children, and injured several more. (Frank Leslie’s, June 9, 1883)
CHAMBERS STREET
During a devastating yellow fever epidemic-in August of 1822-a fence was erected along Chambers Street. This barricade was intended to prevent citizens from returning to their homes andbusinesses in lower Manhattan. Earlier, the authorities had forced the evacuation of much of the population in the hopes of stemming theepidemic. A contemporary account recorded the scene: “Saturday the 24th August, our city presented the appearance of a townbesieged. From daybreak
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till night one line of carts, containing boxes, merchandise, and the effects,were seen moving towards GreenwichVillage [from] the upper parts of the city? These summer outbreaks of yellow fever accelerated the development of the city northward up the island of Manhattan. ree r o ~ ~ n ~ ~ - Tclassical, his domed, templelike structure, erected in 1818 by the painter John Vanderlyn with the help of his patron Aaron Burr, was intended as an art center for the new nation. The paintings of Thomas Cole, John Trumbull, Samuel F. B. Morse, and Asher Durand were exhibited along with Vanderlyn’s own panorama of the Gardens of Versailles. The space beneath the dome served as a viewing room for the elaborate painted panorama. Guests, who stood in the center on an elevated platform, were surrounded by the painted garden. The venture was a financial failure. The city took over the building, and it housed government offices until it was demolished in 1870.
n ~ o ~~ e~s e ~ ~ n~ ~ancient yr - A nEgyptian-style reservoir topped with a reclining statue of Aquarius, the water-bearer, stood at this spot. Aaron Burr founded this enterprise, called the Manhattan Company, in 1799. It supplied the growing city with fresh water from pine-wood pipes coated with tar for tightness and longevity. An unusual charter from the state legislature allowed the company to engage in banking activities. (The company was an early parent of the Chase Manhattan Bank.) One vocal critic of this reservoir company’s involvement in the banking business was Alexander Hamilton. This disagreement between Burr and Hamilton was the first of many that eventually led to their fatal duel in 1804.
pened by Signor Ferdinand0 Palmo in 1844, this small theater was built to bring Italian opera to New York on a permanent basis. Palmo lost his opera house and all his money within two years. It later reopened as Burton’s Chambers Street Theater. It was the first theater in the city to sell numbered seats, and late theater-goers were assured of an empty seat. This theater was one of many that staged risquk “artist model shows” in the middle of the nineteenth century. A contemporary account of the show described “living men and women in almost the same state in which Gabriel saw them in the Garden of Eden on the first morning of creation,”The shows were eventually outlawed. 26
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~e~ Y o r ~~n s ~ ~ ; i t u t i o n ~ r i g i the n a lcity’s l y second almshouse in the park, this building was set aside for a variety of other benevolent purposes in 1816, when the poor were moved to Bellevue. It was an early home to the New-York Historical Society, the New York Society Library, and the American Academy of Fine Arts. Another early tenant was the Bank for Savings, the first savings bank in the United States. It opened for business on July 3,1819, in the Institution’s basement. ~our;it~ouse*-The “Tweed” Courthouse has come to symbolize the most corrupt era in the city’s government. A bill in 1858 set aside $250,000 for construction of this Victorian pile. But when it was completed in 1872, the total cost to the taxpayers came to more than $12 million. The difference ended up lining the pockets of Boss William Tweed and his cronies. The eventual cost for New York‘s new courthouse was twice the price the United States had paid for Alaska just five years earlier. This courthouse served as a fitting stage for Judge Samuel Seabury’s investigation into city corruption. On May 25, 1932, Mayor Jimmy Walker took the stand and confirmed what even his admirers suspected-that the popular “Night Mayor”wasn’t very honest, even by New York standards. The mayor was summoned to Albany by fellow Democrat Governor Franklin D. Roosevelt to face charges. Wdker resigned on September 1,1932, and promptly left for a European vacation.
During a state committee investigation into New York City government, Judge Samuel Seabury questions Mayor Jimmy Walker in Old New York County Courthouse in May of 1932. The corruption scandals forced the mayor to resign. (fPC)
t From April 23,1789, until February 23,1790, President George Washington lived at this address in a red brick mansion owned by Walter Franklin. De Witt Clinton occupied the same house in 1817 before he moved to Albany to be governor of New York,
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This address was once the home of John Hancock. It was later the birthplace, on April 3,1823,of New York City’s most notorious politician, William Marcy Tweed. Tweed’s father ran his chair-making business from his home at this address. This entire stretch of Cherry Street no longer exists; it was replaced by the Manhattan approach to the Brooklyn Bridge.
New York City’s answer to Betsy Ross, Samuel Chester Reid, lived in a house that once stood at this address. Reid, who was a naval officer in the War of 1812,is credited with designing the U.S. flag in its present modern form, the thirteen stripes with a varying number of stars. The first flag of his design, sewn by his wife, Mary, in their dining room, was raised over the U.S. Capitol on April 12,1818.
tree In 1859 this intersection was part of the wharf district where George H. Hartford and his partner, George E Gillman, began their small tea company. This fledgling enterprise, which sold tea directly from ships arriving from Asia to their New York City c ~ s t o ~ e rwould s , grow to be one of the largest companies on earth, the Great Atlantic and Pacific Tea Company, commonly known as A 8r P.
This address was once the home of John Wesley Jarvis, an i ~ p o r t a nearly t American portrait painter. His friend, the writer Thomas Paine, lived with him here for six months in 1806.
ere was the first permanent home of King’s College, which was renamed Columbia College after the RevolutionaryWar. Alexander Hamilton, John Jay, Robert Livingston, Gouverneur Morris, and De Witt Clinton, all leaders of the newly independent nation, studied at this campus. Columbia was here from 1760 until 1857, when the school moved to Madison Avenue and East 49th Street.
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* This delicate French Renaissance-style structure has served as City Hall since its dedication just before the outbreak of the War of 1812. For almost 190 years it has been a focal point for the city’s triumphs and tragedies. It has been a site for the mourning of fallen leaders and heroes who lay in state: Henry Clay on July 3, 1852; John Quincy Adams on March 8,1858; and Uysses S. Grant on August 5,1885. Abraham Lincoln’s body was placed on the circular staircase. More than 120,000mourners paid their respects to the Great E~ancipatorin the twenty-four hours his body was on
City Hall was draped in mourning for President Abraham Lincoln on April 25, 1865. Lincoln’s body lay in
state here on the long
funeral journey from ~ a s h i n ~ oD.C., n , to Springfield, Illinois. ~ ~ o l / e ~ of ioff
the ~ e wYork - ~istorical Soc~ety~ DOWNTOWN
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view. The front steps have been a stage for mayoral inaugurations, protests, and speeches. These steps often serve as the finish line for Broadway ticker-tape parades honoring foreign dignitaries, winning athletes, politicians, and explorers. City Hall Subway Station*-After an hour and a half of speeches above ground, newly inaugurated Mayor George B. McClellan, the sonof the Civil War general, and other dignitaries made theirway down to this station underneath the drive in frontof City Hall to officially open thesubway on October27, 1904. This beautifully tiled station, unfortunately now closed to the public,was the start of that first ride at 2:35 p.m. With the words “I now, as Mayor, in the name of the people declare the subway open,” McClellan pulled the Tiffany-made solidsilver control handle, and the train lurched uptown. The enthusiastic mayor refused to relinquish the controls, as planned, and continued in hisrole as conductor. He overshotseveral stations andjerked afew ofhis notable passengers off their seats. Despite the mayor’s unsure hand, that first subway arrived at the last stop at 145th Street, twenty-six minutes later. At 7:00, the Interborough Rapid Transit, or IRT as it became known, was opened to thepublic. By the end of the day, more than 110,000 passengers had entered the system. CLIFF STREET
97 Cliff Street An eighteen-year-old Samuel Clemens worked at this address in1853 as a journeyman printer. Hewas living in a boardinghouse on DuaneStreet. CORTLANDT STREET
Cortlandt Street and West Street This spot-now covered by the World Trade Center-was the landing dockof the world’s first steam ferryboat. On July 2, 1812, the Jersey carried the first passengers from here to New Jersey just south of Hoboken. Designed and operated by Robert Fulton, the innovativeall-wooden ship was 118 tons, 30 feet wide, and 80 feet long. The open double-endeddesign made it unnecessary to come around180 degrees before or after each landing, enablingwagons to disembark from the same direction inwhich they had boarded. Thissaved time andeffort on every crossing and docking.Before steam,ferries were powered bydraft horses harnessed to treadmills connected to the paddlewheels.
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DEY STREET
Dey Street and Greenwich Street During an excavation at this intersection in 1916, the earliest known artifacts of European explorers in New York were discovered: the charred timbers of the Dutch ship theTiger. The ship’s captain, AdriaenBlock, and his men were forced to camp on ManhattanIsland for the winter of 1613-14. The Tiger burned, and the crew built a new, smaller ship. This part of lower Manhattan, rich in early New YorkCity archaeological history,is buried beneath the present World Trade Center.
DOVER STREET
Dover Street and Pearl Street Cornelis Dircksen established the first ferry to Long Island around 1640 at thissite on what was then the East River shoreline. The passengers signaled Dircksen and his rowboat with a blow on a conch shell horn hung ontrees on each side of the shore. These passengers, the earliest recorded New York City commuters, were Dutch planters who farmed small plotsin Brooklyn. The land, justrecently purchased from Native Americans, was still the property of the Dutch West Indian Company and leased to the planters until their debtwas paid. This arrangement gave the boroughits name: theword Brjikenleen is derived from two Dutch words, Brjiken for “use,” and leen for “loan.”
FRANKFORT STREET
39 Frankfort Street George B. Smith, a member of Engine CompanyNo. 12, placed the first modern fire hydrant in New York City at this address in 1817. Mr. Smith installed the hydrant, an octagon-shaped wooden enclosureheld together with iron straps, in front of his own house at his own expense. Unfortunately, low pressure in the water main reduced the effectiveness of the new device, and it wasn’t until the 1840s that hydrants becamewidespread.
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FRANKLIN SQUARE
Now replaced bythe anchorage to theBrooklyn Bridge, this squarewas at the end of Cherry Street. It was the location for a public demonstration of the city’s first gas street lamp on June 11, 1824. Two years later these new gas-burning lamps were lighting up Broadway from theBattery to Grand Street.
FULTON STREET
Fulton Street at the East River The Fulton Ferry Company, headedby engineer and businessman Robert Fulton, began the first steamboat ferryservice to Brooklyn on Saturday, May10,1814. The ship, Nassau, made the trip in about eight minutes at a speed of five miles per hour. Fulton’s ferry hastened the developmentof Brooklyn as a residential community, the nation’s first suburb. The ferry landings were later honored and renamedFultonStreet,one in NewYork and the other across the river in Brooklyn. Now further inland, the ferry landingsite is currently the South Street Seaport. The Nassau, after many years in service, was converted into a floating chapel tied to a New York wharf. 71 Fulton Street Situated in a courtyard at the back of this lotwas the city’s first recorded permanent fire station. Built in the early 1820s, this “Fireman’s Hall” served as both a headquarters and social club for the volunteer fire fighters. Priorto construction of this structure, crude neighborhood sheds filled with ladders, hand engines, and buckets were the only meansof defense againstfire in the predominantly woodencity. 148 Fulton Street On October 25, 1857, Joseph Wedemeyer, afriend of both Karl Marxand of New York. His club, which met Friedrich Engels, founded the Communist Club at this address, was the first Marxist organization in the Western Hemisphere. 168-1 72 Fulton Street Opened in 1795, this was the warehouse, workshop, and showroom of America’s leading furniture craftsman, Duncan Phyfe. He lived across the street at number169. 32
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252 Fulton Street Jimmy the Priest’s Saloon-This building, with a saloonon the groundfloor and a flophouse above, was often home to sailors in town between voyages. One of those long-ago sailors was Eugene O’Neill. It was here, upstairs in his room, that the future playwright attempted suicide in December of 1911. The saloon, complete with an old mahogany bar and sawdust on the floor, served as a model for his plays The Iceman Comethand Anna Christie. The World Trade Center replaced this literary landmark.
GREENWICH STREET
Greenwich Street from Battery Place to Cortlandt Street This length of Greenwich Streetwas the test section of the world’s first elevated railway. The inventor, Charles T. Harvey, rode the cable-driven car on its initial run onJuly 3,1867. Theline was built on a row of iron supports andconsisted of a single track. Steamengines housed in underground vaults supplied thepower to pull the continuously moving three-quarter-inchsteel cable. The car edged forward when the driverengaged a clamp that extendedbelow the wooden car and gripped the cable. Repeated cable breakdowns doomed the system until locomotive power replaced the cable system in 1871. Harvey’s mass-transit innovation evolved into the NinthAvenue Elevated Line. 82-84 Greenwich Street These two lots extending throughto Washington Street were once the site of one of the earliest circuses in America. Scottish showman John Bill Ricketts put together some equestrianacts, an acrobat, and a ropewalker, called his show a circus, and brought his troop up from Philadelphiain 1793, first to asite on Broadway and Exchange Alley, then to thissite in 1797. It was here that President John Adams watched the showon October 24 of that year.
HANOVER STREET
Hanover Street and Beaver Street Comstock and Adams Dry Goods Store-The fire, caused bya gas-pipe explosion, that startedin this storeon December 15, 1835, wasthe origin of the Great Fire of DOWNTOWN
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1835. This conflagration burned for two days and engulfed the heart of the business section, everything south of Wall Street and east of Broad Street. More than six hundred buildings were totally consumed. In addition to the enormous loss to the financial community, nearly all the city’s fire-insurance companies were destroyed or ban~upted-which left their clients with no possibility for compensation. Yet for all the destruction, there was ~iraculouslyno loss of life.
The greatest amount of property damage in the history of the city occurred during the Great Fire of 1835. This engraving by William Bennett records the scene on
Wall Street. The building with the columns, left, was the new Merchant’s Exchange at 55 Wall Street. ~~~~r~~of
ne of the earliest theaters built in New York, the John Street Theater stood here from its opening on December 7, 1767, until 1798. The building was described as “principally of wood; an unsightly object, painted red.”
Congress)
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en~ravin~ is based on a Smith of 1768. The large
block is the Wesley Chapel, the first ~ e t ~ o d iEpiscopal st Church in America. ~ A u ~ ~ o ~ ’ ~ co/l~~io~)
Royal1 Tyler’s The us^, the first comedy in America produced by a native author, was performed at this theater on April 16,1787. It introduced the character of Jonatha~,the stereotypical rustic Yankee. President and Mrs. Washington, who had their own box, were welcomed each performance with the “President’s March,” later known as “Hail Columbia.” Washington’s attendance here helped mollify local ~eligiousopposition to the theater.
*-This is the site of the oldest Methodist Society in A ~ e r i c aPhilip . Embury preached at the dedication service here at a small ‘“WesleyChapel” on October 30,1768. The current church, the third on this site, was erected in 1840.
The Battle of Golden Hill was fought on this spot on January 19,1770, shedding the first blood of the ~ ~ e r i c Revolution, an several weeks before the Boston Massacre. The Sons of Liberty and their sympathizers rioted on this site of a British Army barracks, outraged by the British removal of their liberty pole and over the issue of quarter in^ British soldiers in their homes. One patriot was killed, and several were wounded. DOWNTOWN
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This address was once the office of J. L. Haiger. In 1877 he became the first paid telephone subscriber in the city. A five-mile-long wire was laid across the half-finished Brooklyn Bridge, connecting this office to his steel-wire plant in Brooklyn.
~ ~ ~Sugar ~ House-A ~ g warehouse s ~ o once ~ on this spot served as a British military prison for American Revolutionary War soldiers from 1776 until 1783. The British commonly used sugar houses as jails. Built of stone walls, with small windows and low ceilings, they were adept at holding prisoners as well as sugar. This is now the site of Chase Manhattan Bank Plaza.
I
he current co-operative apartment house was once the twenty-ninth-~oor headquarters of the Sinclair Consolidated Oil Company run by Harry Sinclair. In the early 1920s U.S. Secretary of the Interior Albert B. Fall secretly transferred government oil lands here to Sinclair’s company. The deals, exposed by the end of the decade, became known as the “Teapot Dome” Scandal and resulted in prison terms for both Sinclair and Fall. Franklin I>.Roosevelt had a first-floor office here in the mid- 1920s. He was then vice president and New York representative of the Fidelity and Deposit Insurance Company of Maryland.
In the early 1870s Charles Guiteau had a struggling law practice in a building that once stood at this address. Guiteau become infamous about ten years later for assassinating President James A. Garfield on July 2, 1881, in a Washington, D.C., train station.
James Madison was living in Elsworth‘s Boarding House, which once stood at this address, in 1787. It was here that the future president of the United States co-wrote The ~ e ~ e ~essays a ~ explaining ~ s ~ , the new Constitution and advocating its adoption. 36
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After moving to the city in 1790, as the country’s first secretary of state Thomas Jefferson wrote, “My first object was to look out a house on the Broadway as being the centre of my business. Finding none there vacant for the present, I have taken a small one in Maiden Lane, which may give me time to look about.’’ He lived here three months, in a house that stood at this address until 1929.
It was near this spot, in an orchard once owned by Mr. Cook but long ago replaced by modern office buildings, that a group of twenty-five African American and three Native American slaves met after midnight on April 7, 1712, to plan an insurrection against their white masters. They waited until the moon was setting at two o’clock, and then their leader, a slave named Coffee, set fire to the outhouse of his owner, Peter Van Tilburgh. The plotters watched and waited as a crowd gathered, drawn by the blaze. The slaves attacked, killing nine people and wounding six others. The local militia caught and killed some of the insurrectionaries within hours. The rest were rounded up and brutally executed-most burned alive-as an gruesome example to the colony’s slaves.
was used as a prison and riding school for the British during the Revolution. On April 29, 1839, the city celebrated the fiftieth anniversary of the inaugural of George Washington here. The guest of honor was sixty-nine-year-old ex-president John Quincy Adams, who spoke for two hours. Mr. Adams shared the stage with a chair used by Washington at his inauguration. In 1845 the building was leased to the federal government as a post office. It was here, in a second-floor office, that the first US. stamps were issued on July 1,1847. The stamps, a five-cent issue with Benjamin Franklin’s image and a ten-cent issue with George Washington’s image, were a new innovation: prepaid postage. Prior to this, all letters were delivered with postage due.
ange-The Bell Company opened the first telephone exchange here in March of 1878. Later, in October, the city’s first telephone directory, with 252 names, was issued on a small card. In the early days, there DOWNTOWN
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were no telephone numbers.Calls were made by asking the operator for the name of the person being called.
115 Nassau Street Currier 6 Ives Shop-The offices and salesroom of America’s foremost lithographic team were at this address inthe 1880s. Nathaniel Currier started his print shop in1834. For the next seventy years he and James Merritt Ives, his partner after1857, produced thousands of cherished prints. These prints, whose subject matter range from domestic scenes to disasters, arean important visual record of nineteenth-century America. 126 Nassau Street A boardinghouse at this address was once home to Mary Cecilia Rogers, a beautiful young woman who sold cigars and tobacco on Broadway near Duane Street. Shewas a familiar andbeloved figure in the neighborhood. Her disappearance on July 28,1841, and the finding of her strangled body floating in the Hudson River shocked the city. Her murder was never solved. Edgar Allan Poe, an admirer who frequented her shop, later based his “Mysteryof Marie Roget” on this case. TwoCurrier & lvesemployees pose in front of the shop at 115 Nassau Street in August of 1885. The firm is displaying portraits of Ulysses s. Grant and is draped in mourning for theNew York City funeral of the former president. (Museum Cify of New York) 38
135 Nassau Street Clinton Hull-Built by the Mercantile Library Association as their circulating library, this buildingwas the office of Lorenzo and OrsonFowler in 1835. The two brothers were thecountry’sleadingproponentsandpractitioners of phrenology, the artof analyzing character from the conformation of the skull. The “head reading” fad swept the nation in the mid-nineteenth century. As with many pseudo-sciences, phrenology had many unshakable devotees, including Walt Whitman and Edgar Allan Poe. This address served as the Fowlers’ base of operations, with examination rooms, a museum, a lecture hall, and publishing center for their numerous books and journals. W
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140” Nassau Street Morse Building-This twelve-story structure, now converted to an apartment house, was once home to oneof the world’s earliest film studios, the American Vitagraph Company. Founded by two English vaudeville performers, J. Stuart Blackton and Albert E. Smith, the company made silent motion pictures here from 1897 until 1903. The roof served asa studioto take full advantage of the sunlight needed forearly cameras. Vitagraph‘s first feature, aptly named The Burglar on the Roof; was a sixty-second melodrama starringBlackton as the burglar.
Nassau Street and Spruce Street, Northeast Corner Tribune Building-It was from here in a rented office in the building of a competing newspaper that the young millionaire William Randolph Hearst set up shop after buying the New York Journal on October 7,1895. He spent muchof his own fortune to boost the readership of this paper. Hearst then launched acirculation war with the powerful Joseph Pulitzer’s World. This rivalry spawned the era of yellow journalism in America. Both papers’ sensational coverage of the conditions in Spain’s colony, Cuba, helped push the United States into the SpanishAmerican War. Nassau Street and Frankfort Street, Southeast Corner This was the first permanent home of Tammany Hall, which opened in 1812. Founded as a fraternal society in 1789, it became the DemocraticParty organization in the city. It grew in political power with the arrival of Irish immigrants. The party supplied the jobs, and the Irish supplied the votes. By the 1880s it had become completely corrupt.
N E W STREET
7 New Street Exchange Buflet-Opened on September 4, 1885, this was the world’s first selfservice restaurant. 34 New Street On July 19, 1845,at 3:OO a.m., a fire began at this address, then the spermwhale-oil shop of J. L. Van Doren. Before it was extinguished twelve hours later, three hundred buildings were destroyed and thirty people died. There was also more than DOWNTOWN
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$6 million in property loss, due largely to the destruction of the imported goods stored in the warehouses. The extent of the damage was almost as severe as that from the earlier GreatFire of 1835. These two blazes virtually destroyed the last remnants of seventeenth-century Dutch Colonial architecture in the city. 58 New Street New York Gold Exchange-The building that once stood at this addresswas the center of a financial whirlwind surrounded by anxious brokers on September 24, 1869, later to be knownas Black Friday. It was herein the Gold Room, where gold was sold as a commodity, that traders began tofeel the effects of Jay Gouldand Jim Fisk‘s attempt to corner the market. Gould and his partner had hoped to buy all $15 million worth of gold then in circulation and thus drive up its price. President Ulysses S. Grant prevented this by allowing the U.S. Treasury’s gold to be sold in the market. However, Gould’s Washington spies, including Grant’s brother-in-law, leaked him the news of Grant’s decision, and Gouldwas still able to make an $1 1 million profit.Many brokerage firms and individual speculators were financially ruined.
PARK R O W
21-25 Park Row Park Theater-The theater that once stood on thissite opened on January29, 1798, with a performance of As You Like It. It was also the site of America’s first grand opera ever presented in full in its original language,Rossini’s The Barber of Seville, on November 29, 1825. On the night of February 14, 1842, 2,500 guests attended the “Boz Ball” in honor of English author Charles Dickens’s first visit to America. The stage and orchestra pitwere covered over to accommodate the crowd. Between the cotillions and waltzes, a curtain would rise revealing a small stage with tableaux vivants from thestoryteller’s writings. Violinist virtuoso Ole Bull made his American debut on this same stage on November 25, 1843. 31 Park Row New York World Newspaper OfFces-A World reporter, Nellie Bly, returned to this addressafter her journey around theworld on January 26,1890.Bly, the nom de plumeof Elizabeth Cochrane, was hoping tobeat the record set by Jules Verne’s 40
AALRLO UTNTHD OEW N
Before federal government regulations, the nmeteenthcentury stock exchanges were susceptible to rogue traders. This was the case on Black Fnday, September 24, 1869, in the GoldRoomon New Street. Jay Could and Jim Fisk financially rumed hundreds of Investors by trylng to corner the market on gold. (Author’s collection)
fictional character PhileasFogg in Around the World in80 Days. She did it in 72 days, 6 hours, 11 minutes, and14 seconds-including a short detour to meet the author inAmiens, France. The front-page headline on day the of her return trumpeted, “Father Time Outdone.” Later thatyear Joseph Pulitzer would move his of Park Row and paper into the new World Building down theblock at the corner Frankfort.
37 Park Row The first public demonstrationof the phonograph tookplace here at the offices of the Scientijc Americanon December 7,1877. Thomas Edison brought oneof his DOWNTOWN
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two working models(the only other was already at the patentoffice) to the magazine’s editor, Alfred Ely Beach. The inventorset the machine downand turnedthe crank, and the machine promptly bid the editor a good morning. The modest talking machine was created with just aneedle and a tinfoil cylinder attached to a hand crank.
Park Row and Frankfort Street,West Side On Friday, April 17, 1914, Mayor John Purroy Mitchel left City Hall to attend a luncheon andwas approaching awaiting car when aman walked up andshot him point-blank. The mayor was only grazed and escaped serious injury, but an aid was hit in the mouth. Theattacker, Michael Mahoney, was declared insane and sent to an asylum. Ironically, five years earlier, Mitchel, whowas then the president of the boardof aldermen, was made actingmayor during the previousmayor William J. Gaynor’s recuperation from an attemptedassassination. Mayor Gaynor resumed his duties but died three years later as a result of his wound. Gaynor’s death during thenext mayoral election campaign helppaved the way for Mitchel’s election win.
PEARL STREET
6 Pearl Street At 11:30 p.m.on August 1,1819, author Herman Melville wasborn atthis address. His mother, Maria, was the only daughter of the Revolutionary War hero Gen. Peter Gansevoort, and his father, Allan, was in the import business on the nearby docks. The future authorof Moby Dick lived here until 1824. Pearl Street and Whitehall Street This was the site of the first market in the city for the townspeopleto buy country produce. Governor Peter Stuyvesant and the city council established the weekly Saturday marketon September 12,1656.
39 Pearl Street Under the director-general of New Netherland, Wouter VanTwiller, the first building solely dedicated to religiouspurposes was built here in 1633. This wooden structure was abandoned in 1642 when a church was built inside Fort Amsterdam. 42
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54” Pearl Street Fraunces Tavern-As was the case with many taverns of the Colonial Period, Fraunces Tavern wasan important gathering place, particularly for early business meetings. TheNew York State Chamber of Commerce was founded here on April 5, 1768.But this tavernisbest knownfor its connectionstoGen.George Washington. It served for ten days as his last residencewhile general of the American Revolutionary forces. He delivered his famous farewell speech to his officers here on December 4,1783. Thenewly formed government’s Departments of War, Treasury, and Foreign Affairs, which were later combined as the State Department, were quartered here while the city served as the nation’s capital. The current building, completed in 1907, is not the actual tavern but an educated guess as to what the buildinglooked like. This reconstruction served as the locale for a special breakfast on April 30, 1989, celebrating the two hundredth anniversary of George Washington’s inauguration. The invited guests were all descendants of former U.S. presidents, from Lacey Washington, thefirst president’s sixth great-niece, to Karen Denis, President Reagan’s third cousin.
61 Pearl Street The deed for this propertywas the first to be recorded in the Register’s Office of New York County. Dated October 12, 1654, it documents that Cornelius Van Tienhoven sold this address and 26 Stone Street to Jacob Hendricks, oneof the first surgeons in New Amsterdam. The doctordidn’t own this real estate long; he resold it the sameday to Jacob Steendam. 66 Pearl Street This address sits on a portion of the city’s earliest landfill project. In 1684 this property across from the Stadt Huys was created with earth and debris from nearby hills. Called “water lots,” this landfill was the first of many devised by generations of Manhattan developers and city bureaucrats who sought to add more land to sell and tax. A small, gabled, Dutch-style house that was the first built on this lot was owned by Peter and Mary Jay, who were most likely living here when their son, John, was born on December 12, 1745. John Jay went on tobecome the first chief justice of the U.S. Supreme Court. 71-73 Pearl Street Stadt Huys-Rising above the neighboring Dutch gabled homes, this five-story stone buildingwas a prominent landmarkalong the shoreline when it was built by DOWNTOWN
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Governor WillemKieft. On NewYear’sDayof 1642,itwasleased for a Stadt Herbergh (Public Inn) to Philip Gerritsen for three hundred guilders a year. For the next several years, outlying Dutchsettlers sought refuge here from Native American raids during Governor Kieft‘s War. In 1653the building becamethe Stadt Huys (City Hall), New York City’sfirst. A cupola was added, and its entrance, which had faced Fort Amsterdam, was changedto face the East River. It served as the seat of government until 1699. In 1979 excavations revealedthe foundation,only 42 feet by 52 feet, of the old Stadt Huys. Archaeologistsfound many colonial artifacts, including fragments of Dutch and English pottery andeven some Native Americanwampum.
81 Pearl Street This was the site of the first printing press in the New York colony. William Bradford was appointed public printer onApril 10, 1693. He was involved in several firsts in the history of printing in America: the first legislative proceedings published, the first New York paper money, and the first newspaper to appear in NewYork, the New York Gazette, on October 16, 1725. Bradford is buried in Trinity Churchyard. 119-21 Pearl Street On May 16, 1691, Capt. William Kidd, the shipowner and sea captain, married Mrs. Sarah Oort, whowas probably the richest widow in New York at the time. The happy couplemoved into her mansion,which once stood approximately in the rear of this lot. The captainlived here foreight years, then sailed for the Indian Ocean. It was at this point that Captain Kidd began his infamous career as a pirate. After he was hanged in London on May 12, 1701, rumors spread that he had buried his plunder along thecoast near the city. 218 Pearl Street This site once held the home of Hercules Mulligan, a member of the Sons of Liberty andanIrish-born secretagentfor the Americans duringthe Revolutionary War. On November 25, 1783, when the British left the city, George Washington and four of his officers visited this house to pay their respects to Mulligan for helping the Patriot cause. 255-257 Pearl Street The two dilapidated buildings that once stood at thissite, in what was then a rundown section of the waterfront, were home to Thomas Edison’s first commercial 44
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electric generators. At exactly 3 p.m. on September 4, 1882, the Pearl Street Station started supplying fifty-nine downtown customerswith electricity.Edison had chosen this location, paying little for the two buildings at a time when his capital was low, because he wantedto be near the financial section and potential investors.
326 Pearl Street Walton House-Built in 1752, a four-story house on thissite was considered “the most beautiful home in America.” The extravagant parties held here during Colonialrule were referred to in the British Parliament as proofthatthe Americans could afford to pay higher taxes.By the end of the Revolutionary War, Pearl Street was turning morecommercial. The building became thefirst home of the newly established Bank of New York, which opened on June 9,1784. Alexander Hamilton, who bought asingle share of stock, was elected one of the bank directors. It later became a boardinghouse,before it was torn down in 1881. 362 Pearl Street Within ayear of moving permanentlyto New York City and marring Sarah Todd, John Jacob Astor moved to this address owned by his new mother-in-law in 1786. This was the first home and office of America’s earliest self-made multimillionaire. At this address he sold musical instruments and sheet music, one of the first music dealers in the city, before moving on to the morelucrative fur trade and real-estate businesses, in which he amassed his fortune.
PECK’S SLIP
Peck’s Slip and South Street During a smallblizzard on January 5, 1818, the packet ship James Monroe of the Black Ball shipping line set sail for Liverpool. The departureof this 424-tonvessel with two decks and three masts marked a high point in the economic development of New York City. What made this sailing a historic improvement was that the ship sailed on the very day her owners had said she would sail. The James Monroe inaugurated the first regular dependable shippingservice to Europe. Prior to this, ships left only when they were full and the weather was good. Now,full or not, sun or snow, the Black Ball ships would guarantee merchants the delivery of their goods. The journeywas also the first transatlantic scheduled departure for the eight pioneer passengers on the ship. DOWNTOWN
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PINE STREET
45 Pine Street In 1798 Charles Brockden Brown, the first American novelist to gain an international reputation,lived in a house that once stoodon this spot.
POLICEPLAZA
Rhinelander's Sugar House-Partof this plaza was once the intersection of Duane and Rose Streets, and it was here that a notorious Revolutionary War British prison once stood. Originally builtas a warehouse in 1763, the building housed American prisoners, manyof whom diedof starvation and disease. A window from the building serves as a present-day memorial. Newsboy's Lodging House-Another building now gone that stood in this vicinity at Duane andNew Chambers Streets was one of the most successful city charities of the nineteenth century, the Newsboy's Lodging House. Founded in 1853 for homeless boys, the home suppliedreasonable meals and shelter for the thousands of homeless orphans in the city. Horatio Alger, the author of industrious-boy-makes-good, rags-to-riches stories,was a guiding spirit and role model to the newsboys.
READE STREET
57 Reade Street Abercrombie and Fitch Company-This world-famous sporting-goods company made the news in 1908 by selling Theodore Roosevelt equipment for his upcoming African safari. The ex-president returned on June 18, 1910, to a welcoming parade on Fifth Avenue.
RECTOR STREET
2" Rector Street United Express Building-Four hundred and twenty-five plate-glass windows were broken as a result of the Black Tom Island explosion on Sunday morning, July 30, 1916. The United Express Building, particularly the sidefacing the har46
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bor, was the most severely damaged. Two tremendous explosions, heardas far away as Maryland, shook the entire tri-state area. Black Tom Island, aman-made peninsula along theNew Jersey shore inNew York Harbor, was a storagefacility for more than2,138,000 pounds of munitions bound for wartimeEngland and France. At first only suspected, and not proved until1939, the explosion was an act of German espionage-beforeAmerica’s entry into WorldWar I. Remarkably, only seven people were killed, but $50 million in damage were caused to theAllies.
SOUTH STREET
174 South Street This was the birthplaceof Alfred E. Smith, governorof NewYork and U.S. presidential nominee of 1928, on December 30, 1873. This site is now the AlfredE. Smith Houses, a housing development.
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Photographed for posterity, thisroom was thebirthplace of Alfred E. Smith on December 30,1873. The stalwart Democratic Party politician was the son of Irish immigrant parents. (FPC) 47
SOUTH W I L L I A M S T R E E T
26 South William Street The first synagogue in North Americawas builtonthis site.Congregation Shearith Israel, a Spanish and Portuguese synagogue, was dedicated on the seventh day of Passover, April 8, 1730. The one-storybrick building remained inuse for nearly a century.
STATE STREET
7" State Street Watson House-This mansion is the lone survivoron ablock once lined with the homes of wealthy New Yorkers. Attributed to John McComb Jr., the architect of City Hall, it was home to Elizabeth Ann Seton from 1801 to 1803. Mother Seton was canonized, thefirst American-born saint, in 1975.
STONE S T R E E T
10 Stone Street In the Dutch ColonialPeriod, this block was called Brouwers Straet because of the breweries between Whitehall Street and a canal along the present Broad Street. The West India Company brewery was operating at this address in 1646. By 1656 Oloff Stevense Van Cortlandt, patriarchof the prominent New York family, also opened his brewery on this block. One year later this streetwas the first in the city to be paved-hence the name StoneStreet.
59 Stone Street Asser Levy, one of the original Jewish settlers in New Amsterdam in 1654, had a home at this address in 1663 and had also lived at number 33 down the block. Levy foughtandwonanearlydiscriminationbattlewithcityauthorities. Governor Peter Stuyvesant ordered all Jewsexempt from military guard duty but imposed aspecial monthly tax in lieu of such service. Levy appealed to authorities in Holland, who then orderedStuyvesant to allow Levy to stand guard.He became the first Jewish soldier in America.
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Number 7 State Street wasthe Shrtne of Saint Elizabeth Seton and the last grand mansion on the block. This photograph showsthe building as the Mission of our Lady ofthe Rosary before it had skyscrapers for neighbors.(Author's collection)
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VESEY STREET
24 Vesey Street George Washington’sdentist, John Greenwood, hadhis office at thisaddress in the 1790s. Dr. Greenwood, a former cabinet maker and maker of nautical instruments, built aset of the president’s false teeth. Not wooden, the dentures,made from human teeth attached to an ivory base, were held in place by Washington’s lone remaining tooth. The renowned dentures are now in the collection of the New YorkAcademy of Medicine.
WALL S T R E E T
Wall Street, now synonymous with high finance, was named after a woodenstockade fence with a twelve-foot ditch on the northern side, built here at theboundary of the settlementin 1653. Governor Peter Stuyvesant ordered the barricade built by all male residents “without exception” as a defense against the British colonists of New England and not, as is widely believed, as protection against the indigenous people. The wall ran from the HudsonRiver to theEast River and had one entrance, at Wall and Pearl Streets. Called the Watergate, it was shut every night at nineo’clock under the Dutchrules. It stood until 1699, when it wastaken down by the British. 7 Wall Street At this address on October 15, 1915, Charles E. Merrill took on thefirst of many partners, Edmund C. Lynch, and changed his company’s name to Merrill Lynch. In business for only a year himself, Merrill would go on to head the country’s largest retail stockbrokerage firm. 23 Wall Street Downing’s Oyster House-In the years before the Civil War, this corner restaurant was famous for its tasty menu. The owner, Thomas Downing, an African American man, was a popular host to his Wall Street power-broker customers. The restaurant’s basement also played host to runaway slaves as a station on the Underground Railroad. Morgan GuarantyTrust Company*-An earlier Drexel, Morgan and Company bank building on this same site was the scene of one of the first commercialuses 50
A L L A R O U N TDHTEO W N
of electricity. On September 4, 1882, Thomas Edison personally connected the electric lamps in the office of his friendand enthusiastic supporter John Pierpont Morgan. The power was supplied fromthe inventor’s Pearl Street generators. The current building, built in 1913, was the scene of a noon-time bomb blast that killed thirty-three and injured four hundred on thecrowded sidewalk outside on September 16, 1920. Despite an $80,000 reward, the bomber or bombers were never caught, and their motive was equally mysterious. The most common explanation was that the blast was the workof foreign anarchists.A lasting reminder of the explosionis the damaged marblestill visible on thefaqade.
DOWNTOWN
Police and investigators surround the offices of the Morgan Guaranty Trust Company on the afternoon of September 16,1920. A worker with a crane, left, towers over the sidewalkat the site of a bomb explosion on the Wall Street sideof the building. (FPG)
51
Wall Street and Nassau Street, Northwest Corner Simmon’s Tavern-At a special meeting of the City Council, James Duanewas sworn into office as the mayor of New York City at this tavern on February 7, 1784. Duane, the country’s first American-born mayor, had been appointed by GovernorDeWittClinton.The new mayor replaced the StateProvisional Council, which had managed thecity. 28 Wall Street Federal Hall-This is one of the most important sites in the historyof the United States. In 1703 this was the location of New York City’ssecond City Hall. The trial of John Peter Zenger, editor of the New York Weekly Journal, for libel against the English colonial governor William Cosby began here on August 4, 1735. Zenger’s acquittal, with the help of his “Philadelphia 1awyer”Andrew Hamilton, established the principle of freedom of the press. Another significant step toward American independence from England also took place here: the StampAct Congress met in the same building to draft a Declaration of Rights and Grievances on October 7, 1765. Twenty-eightdelegates from theAmerican colonies met to outline the fourteen articles, chief among them the protest against “taxation without representation” and the demand for the right to a trial by jury. After the Revolution, the building was remodeled by expatriate French architect Pierre L’Enfant as Federal Hall, and the governmentof the newly organized UnitedStates began to function in a second-floor chamber. Outside this room on a balcony, on April 30, 1789, George Washington was inaugurated as the nation’s first president and John Adams as the first vice president. The new Congress adopted the Bill of Rights here on September 25, 1789. Federal Hall National Memorial*-The current Greek Revival building was built in 1842 to house the first U.S. customhouse and served for a timeas a subtreasury. JohnQuincyAdams Ward’s statue of Washington,dedicated on November 26, 1883, by President Chester A. Arthur, stands on the approximate spot whereWashington took the oathin 1789.
40” Wall Street A contender for the title of“world’s tallest building,” this 1929 tower lost out to the Chrysler Building when a 175-foot art-deco spire was added to theChrysler after 40 Wall Street was too far along to be changed. Thetower proved too high, though, for a twin-engine Army Air ForceC-45 Beechcraft airplane. Thedoomed plane, flying at 650 feet, crashed into thefifty-eighth floor of what was then called 52
A L L A R O U N TDH E
TOWN
The only eyewitness renderingof the nation's first inauguration, Amos Dolittle's engraving depicted the April 30, 1789, event. George Washington, with his hand on a Bible, is being given the oath of office by Judge Robert Livingston. (Library of Congress)
DOWNTOWN
53
the Manhattan Bank Building. Apparently lost, it hit the buildingon a foggy evening, May 20,1946. The crashkilled all five occupants of the plane, but none of the five hundred night workers in the building.
52 Wall Street This was the first and long-time home of City Bank, now Citibank. The nation’s first bank robbery took place hereon Sunday, March 20, 1831. The theftwas undiscovered until Monday morning when the bank opened. More than $200,000 in bank bills and two hundred Spanish doubloons were missing. Edward Smithwas caught within a week and sentenced tofive years in Sing Sing for the crime.
The wrecked tail section of the Army Air Force plane hangs over the twelfth-floor setback roof after itfell forty-six stonesat 40 Wall Street after it crashed there May 20,1946. All the occupants of the plane were killed. (fPG)
55* Wall Street Merchant‘s Exchange-The first exchange on this site was only eightyears old when itwas destroyed in theGreat Fire of 1835. The present structure, a masterpiece of Greek Revival architecture, was convertedtothe U.S. CustomHousein 1862. Chester A. Arthur, before he became president, worked here as collector of the Port of NewYork from 1871 to 1878. In 1904 architect CharlesMcKim added five floors in his sensitive remodeling for conversion to the headquarters of National City Bank, later renamed Citibank.After ninety years the bank moved out, making way for the building’s current incarnation as a dining space in the grand hall and lavish hotel of the 1904 addition. 56 Wall Street The pirate CaptainKidd owned but did notoccupy this propertyin 1691. He sold the lot ayear later for thirty-five dollars and made afive-dollar profit.
58 Wall Street This addresswas the home andlaw office of Alexander Hamilton from 1783 to 1790. 54
A L LA R O U N DT H ET O W N
Wall Street between William and Pearl Streets The legendary birthplaceof the New York Stock Exchange is in the vicinity of number 72 Wall Street. When the new Congress had issued $80 million worth of bonds topay for the RevolutionaryWar, traders began meeting here in the open air to trade the securities. On May 17,1792, under a buttonwoodtree, twenty-four of these merchants and auctioneers, future stockbrokers, established the new Exchange. They initiated rulesof conduct and pledgedthemselves to give preferThe architect lsalah Rogers ence to the othermembers. That famous buttonwood tree, another name for a designed the Merchant's sycamore, survived until June 2 1,1865, when itwas felled bya storm. Exchange at 55 Wall Street In 1842. This monumental 74 Wall Street Edward Livingston lived at this address in the early part of the nineteenth century. building still stands as the base for the handsome and Livingston was mayor of the city and amember of the Houseof Representatives. He served with Andrew Jackson at theBattle of New Orleans and later became a sympathetic CharlesMcKim addition of 1904. (Author's U.S. senator fromLouisiana. collection)
DOWNTOWN
55
Wall Street and Water Street, Southeast Corner Merchants’ Coffee House-This was the secondsite of this tavern that earlier had stood on the oppositecorner. Paul Revere, on one of his many rides, delivered a dispatch from the Boston Committee of Correspondence to theNew York compatriots on May 17, 1774, encouraging them to protest a British order to close Boston Harbor. On February 24, 1784, a meeting was held here to establish the Bank of New York,the oldest commercial bankin the country. Wall Street and Water Street, Northwest Corner Tontine Coffee House-Opened in 1793 on the site of the first Merchant’s Coffee House, this establishmentwas built with money raised by early brokers looking for a home for the new stock market. The first floor was used as a place for trading, and the rest of the building housed a ballroom, a dining room, and bar.a Wall Street and South Street For much of the eighteenth century thiswas the foot of Wall Street. Landfills have since extended the shoreline.By 1709 this was the site of a thriving slave market. The city was the second-largest slave-owningcity in the British colonies, second only to Charleston, South Carolina. The auctionedslaves were not only African Americans but whites, dependent women, orphaned children, and debtors. On the nightof April 22, 1774, the New York equivalent of the Boston Tea Party took place here on Murray’s Wharf. Future first president George Washington arrived in New York at this spot on April 23, 1789, for his inaugural. He stepped off an elaborately decorated barge manned by thirteen oarsmen representing the first colonies. The journey had begun nine days earlier at his Mount Vernon home. Washington’s landing was reenacted on April 29,1889-somewhat farther east-by then-President Benjamin Harrison. The arrivalwas again recreated here in 1989 byan actor who portrayed the first president on his journey all the way from Virginia. A retinue of reporters recorded every step of the reenacted journey. WARREN STREET
57 Warren Street Master glassmaker and artist Louis Comfort Tiffany was born at thisaddress on February 18, 1848. He was the son of Charles Lewis Tiffany, the founder of the famous jewelry store. 56
A L L A R O UTNTHD OEW N
WASHINGTON STREET
Washington Street between Dey and Cortlandt Streets Eli Hart a n d Company Warehouse4itizens protesting flour and grain prices broke into two warehouses here on February 13, 1837. They dumped flour and wheat into the streets. Mayor Cornelius W. Lawrence tried to quell the riot butwas pelted with stones andforced to flee for his life. This site is now part of the World Trade Center Complex.
WATER STREET
58 Water Street James Hamlet, afreed African American man, was a porter working here at the st
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SHEA, Sir AMBROSE – Dictionary of Canadian Biography
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SHEA, Sir AMBROSE, newspaperman, businessman, politician, and governor of the Bahamas; baptized 15 May 1815 in St John’s, fifth son of Henry Shea* and Eleanor Ryan; m. first 24 June 1851 Isabella Nixon (d. 1877) in New York City; m. secondly 26 Nov. 1878 Louisa M. Hart, née Bouchette, in Quebec City; there were no children of either marriage; d. 30 July 1905 in London, England.
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Dictionary of Canadian Biography
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SHEA, Sir AMBROSE, newspaperman, businessman, politician, and governor of the Bahamas; baptized 15 May 1815 in St John’s, fifth son of Henry Shea* and Eleanor Ryan; m. first 24 June 1851 Isabella Nixon (d. 1877) in New York City; m. secondly 26 Nov. 1878 Louisa M. Hart, née Bouchette, in Quebec City; there were no children of either marriage; d. 30 July 1905 in London, England.
Ambrose Shea’s father, Henry, an immigrant from County Tipperary (Republic of Ireland) about 1784, founded one of the most talented and influential of 19th-century Newfoundland families. A respected merchant in St John’s, he could afford to provide his ten children with a decent education though he was of modest means, and it was presumably he who furnished the money to start the Newfoundlander newspaper, begun by his son John in 1827. On Henry’s death three years later John took over his father’s premises and trade, which he apparently gave up in 1836. The following year he moved permanently to Ireland, eventually to become the mayor of Cork. The Newfoundlander was taken over by his brothers William Richard* and Ambrose as joint proprietors. On William’s death in 1844, Ambrose became printer and publisher as well as editor, but in 1846 he moved away from journalism, the paper going to his younger brother, Edward Dalton*. It is likely that Ambrose had decided to concentrate on a business he started that year in partnership with James Murphy of Liverpool, England, as a shipbroker and commission merchant. The partnership ended, probably in bankruptcy, in 1848, and Shea subsequently launched his own, independent business. The same year he was elected to the House of Assembly as a member for Placentia–St Mary’s, having declined nomination in 1842. Thus began a political career that was to last 40 years.
Contemporaries recognized that Shea possessed considerable ability. He was intelligent, articulate, well informed, with what Daniel Woodley Prowse* described as a magnetic personality. All agreed that he was influential, for years a significant player on the political scene. Yet he never achieved high public office locally, a puzzling fact which demands explanation. It is important to remember that Shea was a native Newfoundlander and that he came from a family which espoused the older Irish tradition of cooperation with the British authorities. In the 1830s the Newfoundland Roman Catholic church, and the Liberal party which emerged after 1832, became dominated by immigrant Irishmen whose political attitudes were conditioned by the more aggressive nationalism of the period. Moreover, the party became closely allied with the ecclesiastical hierarchy. The Shea family had always opposed clerical interference in public life, and as editor of the Newfoundlander Ambrose had consistently promoted the interests of native Newfoundlanders regardless of denomination. He welcomed the foundation of the non-sectarian Newfoundland Natives’ Society in 1840, and he joined its management committee in 1842 and became president in 1846, in the face of fierce attacks on the society from “priests’ party” Catholics and from the priests themselves. His brother Dr Joseph Shea had in fact left the colony in 1837 as a result of such attacks. Therefore, though elected to the assembly as a Liberal, Ambrose stood apart from the mainstream of the party. He supported the O’Connellite agitation in Ireland and Newfoundland and other Liberal causes, such as the introduction of responsible government, but there was little chance of his becoming party leader. His identification was far more with fellow natives of a similar social class than with the network of immigrant Catholic families, headed by such figures as John Kent* and Patrick Morris*, that clustered around the Benevolent Irish Society, of which, significantly, Shea was not a member.
The Liberal party of the late 1840s was neither militant nor well organized. This situation gradually changed after 1850, when John Thomas Mullock* became Roman Catholic bishop, and Philip Francis Little* replaced Kent as leader. Shea at first refused to toe the party line on two issues: the subdivision of the Protestant education grant and the redistribution of seats under a future responsible government. But by 1852 he had closed ranks with the new leadership in the campaign for responsible government and had emerged as the Liberal spokesman on reciprocity with the United States. The Liberal party adopted “free trade” as one of its main causes – the largely mercantile Conservatives were on the whole opposed – and was concerned lest Newfoundland be overlooked in the treaty negotiations in Washington. In 1853, therefore, Shea went to Washington as the delegate of the Liberal-dominated assembly to press for the colony’s inclusion. His mission was successful, and it marks the beginning of his long identification with the idea that strong trade links with the United States would be of great benefit to Newfoundland.
The May 1855 election inaugurated responsible government, and Shea was returned on the party slate for St John’s West. When the assembly convened, he was elected speaker. Any bitterness over his exclusion from the Executive Council was mitigated when his brother Edward, one of the Ferryland members, was promoted in 1858. His omission may be explained in part by the demands of his business. Shea was never a wealthy man. He had neither partners nor sons and therefore was forced to devote a considerable amount of time to a firm that was expanding from the general trade of the colony into insurance and into acting as agent for the new transatlantic steamer service, which was inaugurated in 1859. In addition, Shea was active in the formation of the General Water Company, launched in January the same year to extend and improve the St John’s water system and fire brigade. He served as the company’s first president and again during the 1860s.
In July 1858 John Kent replaced Little as premier. Before long, serious tensions developed between the immigrant, pro-clerical wing of the Liberal party and the native wing, of which Shea was a prominent member. Moreover, there was a certain coolness between Shea and the new premier. It was publicized in February 1859, when Shea threatened to resign as speaker because Kent had not consulted him over a local appointment to an Anglo-French commission on the French Shore – a post which Kent took for himself. The premier found himself in the humiliating situation of having to move a resolution in the assembly asking Shea to stay on.
The Liberal government survived the 1859 election with an unchanged majority, but had had to face more challenges than in 1855. In partnership with the prominent Methodist James Johnstone Rogerson, Shea contested the marginal Burin district against the Conservative leader, Hugh William Hoyles*, and Edward Evans. It was a hard-fought battle long remembered in the colony, from which the Liberals emerged with a slim majority. Though such a famous victory must have given Shea a claim on a cabinet post, he stayed on as speaker, and apparently did little to patch up the divisions within the party. The 1860 session saw acrimonious exchanges between Shea, Kent, and the attorney general, George James Hogsett*, but what his precise role may have been in the collapse of the Kent government in February the following year is hard to assess. Though Shea was ill and absent from the assembly for much of the crucial period from December 1860 onwards, there were many who believed that, in spite of his brother’s presence in the cabinet, he was orchestrating the tactics of the anti-Kent forces. In any event, when Governor Sir Alexander Bannerman* dismissed the Kent ministry and installed Hoyles as leader of a minority government, Shea and Laurence O’Brien* were invited to join. The latter agreed, but Shea did not. It may have been, as one newspaper suggested, that Shea demanded three Catholic seats in the executive (as Bannerman wanted) and Hoyles was not prepared to grant more than two; or Shea may have anticipated a Liberal victory in the May 1861 election; or he may simply have decided to wait and see what emerged from the political crisis he had helped to create. The Liberals fought a disorganized campaign in the May election. Shea abandoned Burin to the Conservatives and retreated to Placentia. The party as a whole was narrowly defeated, and Shea found himself a leading member of a demoralized and bitter opposition.
In the summer of 1864 the mainland architects of confederation remembered Newfoundland’s existence and invited the Hoyles government to send representatives to the Quebec conference. Since the issue of union had not been debated in the colony, the government cautiously decided to send a bipartisan delegation without binding powers. Frederic Bowker Terrington Carter*, the speaker, represented Conservatives and Protestants; Shea, Liberals and Catholics. Both delegates became instant and enthusiastic confederates. They participated fully in the conference and signed “as individuals” the resolutions that resulted. At a dinner in Montreal Shea spoke glowingly of the mutual benefits to be expected as a result of confederation, and with Carter he signed a formal report warning that union could not be rejected “without aggravating the injurious consequences of our present isolation.”
In Newfoundland the Quebec resolutions were discussed extensively during the 1865 legislative session. Confederation proved to be an issue that cut across existing party lines, and in supporting union Shea once again set himself apart from most Liberals and most Catholics. Indeed, very few Catholics, and those members of the élite, were to support confederation. Not surprisingly therefore, when Carter became premier on Hoyles’s resignation in April 1865, the Shea brothers and John Kent (who also favoured union) joined the new government. All three became members of the executive, though Ambrose was without portfolio. In the election that fall he was again returned for Placentia.
Shea’s role as the chief Catholic spokesman for confederation, as well as his change of parties and his obvious influence in the administration, made him the object of a great deal of criticism and abuse. He was widely seen as an ambitious, greedy manipulator, “a political dodger and schemer,” the centre of a family compact that fattened off taxpayers and fishermen. Though respected for his abilities, Shea was mistrusted. Far more than Carter, who was generally popular, he became the lightning-rod for many anti-confederate attacks. This treatment did not alter his views, but it made virtually impossible his task of rallying Catholic opinion behind confederation. If anything, Catholic antipathy increased between 1864 and the 1869 election, in which union was the only issue. In an attempt to bolster the confederate cause, Shea made arrangements in 1869 for several hundred men to be employed on the Intercolonial Railway in the Maritime provinces. But not all found work, and men began to drift back home or elsewhere – many, indeed, never returned – with the result that Shea was subjected to a good deal of obloquy, and confederation was dealt a serious blow:
Their leader, sly Ambrose, beware of,
And keep his past conduct in view,
Remember his trick with the Navvies,
He’ll try the same treatment with you.
In Placentia district Shea and his colleagues faced a slate headed by Charles James Fox Bennett*, the leader of the anti-confederate party. The electorate was overwhelmingly hostile – at Placentia itself he was greeted by priest and people bearing pots of pitch and bags of feathers – and he was badly defeated. The confederate party, led by Carter, as a whole salvaged only nine seats.
Over the next few years Shea did not play a prominent part in public life. In 1873 he ran for the Conservatives in St John’s East. It was a heavily Catholic district and, being still viewed as an arch-confederate, he was defeated. However, a vacancy soon appeared at Harbour Grace, where he was returned without opposition in January 1874. In this predominately Protestant district, his return was allegedly (and quite possibly) courtesy of the Orange lodge, Orangemen having played an unusually active role in the 1873 election. Though the Bennett government had survived that contest, albeit with a reduced majority, it rapidly fell apart. In late January 1874 Carter resumed the premiership, and an election that fall gave him a working majority. Shea remained a member for Harbour Grace, the district he was to represent until 1885. Though not on the Executive Council, he was an influential and important member of the Conservative party. Both his brother and his brother-in-law William J. S. Donnelly were in the government, and it was alleged that he had considerable power over at least two other members of the executive, J. J. Rogerson and William Vallance Whiteway.
In line with attitudes he had frequently expressed in the past, Shea championed Newfoundland’s adoption of the fisheries clauses in the Treaty of Washington (1871), which provided for limited reciprocal trade with the United States. Equally consistently he supported efforts to diversify the colony’s economy, which in the 1870s centred around the scheme to build a trans-island railway. Shea had been the first to raise the matter in the assembly, proposing resolutions in favour of a railway in 1868. Like others who supported the line, he argued that it alone could bring about the economic stability that was needed to underpin political independence. Given Shea’s prominence – Canadian newspapers tended to identify him as the colony’s premier – it is at first sight surprising that he did not succeed Carter when the latter retired from politics in 1878. Instead Shea acquiesced in Whiteway’s succession to the premiership. The reason, probably, is that the Conservative party was not yet ready for a Catholic leader, particularly one with so long and controversial a history. In any event, there is truth in the frequently repeated criticism that Shea preferred to work behind the scenes; as the Terra Nova Advocate and Political Observer of St John’s acidly noted, he had little need to wear the feathers when he was already cock of the roost.
Shea was a member of the joint select committee that in 1880 recommended the construction of a railway from St John’s to Halls Bay, and he actively championed a tender submitted by Edmund W. Plunkett of Montreal. This position set him against Whiteway, who supported a tender from Albert L. Blackman of New York. The dispute raised the question of the railway’s gauge, since Plunkett was not prepared to build narrow gauge, as recommended by the government. Blackman eventually won the contract, and as compensation Shea and Company was awarded the agency for the Newfoundland Railway Company, which began work in the summer of 1881. Improperly spent railway funds, so it was alleged, allowed Shea to create sufficient jobs in his district to win re-election in 1882. This contest saw the virtual coalition of the Conservative and Liberal parties against an amorphous New party, which opposed the railway, and with the appointment of Joseph Ignatius Little to the Supreme Court in 1883, Shea was without question the most senior and influential Catholic politician. The Liberal leadership, however, passed to Robert John Kent*. Having taken his nephew George Shea* into the business in 1884, Ambrose set his sights on imperial preferment. He collected a kcmg in 1883, the same year in which he acted as Newfoundland’s commissioner at the International Fisheries Exhibition in London, and in 1884 he sent a note to the Canadian prime minister, Sir John A. Macdonald*, suggesting that the latter might like to support his bid to be appointed governor of Newfoundland. After all, he wrote, for 30 years he had been “never in office but always doing the work of those who were.”
This letter was written against a background of great political complexity. An Orange–Catholic riot at Harbour Grace late in 1883 and the ensuing trials of a number of Catholics accused of murder had placed the Liberal–Conservative coalition under great strain [see Sir Robert Thorburn; W. V. Whiteway]. This tension in turn imperilled colonial approval of an Anglo-French fisheries convention that the imperial government was anxious to conclude. Shea exerted his diplomatic talents to keep the Whiteway coalition together, a task in which he succeeded until February 1885, when the passage of an offensively anti-Catholic resolution in the assembly caused all Catholic members, including him, to sit as an independent Liberal group. Leaving his present and former colleagues to struggle through to the end of the session, Shea himself went to Washington as a delegate of the St John’s Chamber of Commerce. His task was to discuss with American authorities the possible renewal of the fisheries clauses of the Treaty of Washington, which were due to expire that July.
The visit caused a flurry of controversy. Some in Canada feared that Newfoundland had received permission to negotiate an independent treaty, while in Newfoundland there were those who felt that Shea had made the colony appear as a supplicant, when in fact it was in a position to drive a harder bargain than the Treaty of Washington. Shea had discussions with Thomas F. Bayard, the secretary of state, and then went on to Ottawa, where he saw Macdonald and the governor general, Lord Lansdowne [Petty-Fitzmaurice*]. His shuttle diplomacy helped prevent a fisheries crisis between the United States and Canada by instituting a modus vivendi, and it effectively paved the way for the substantive discussions on trade and fisheries that started in 1887. This contribution made Shea “persona gratissima” with the Colonial Office, where Frederick Arthur Stanley told him that his services would be suitably recognized. Lansdowne found Shea “pleasant and presentable” and reported that he had undertaken to press for confederation if appointed governor. Since Governor Sir John Hawley Glover* was ill, it seemed that Shea might achieve his ambition.
In Newfoundland, Shea assumed the leadership of the Liberal party as the general election scheduled for 31 Oct. 1885 approached. Most Protestant politicians had coalesced in the newly created Reform party under the compromise leadership of Robert Thorburn, and the campaign was virulently sectarian in nature. However, Shea discreetly opened negotiations with senior Reform politicians, offering the Catholic vote to Reform candidates in districts with Protestant majorities and broaching the question of an amalgamation of parties in the future. He did not, it seems, raise the matter of the governorship. Shea delivered the Catholic vote in the agreed districts, thus helping to ensure a Reform victory. He himself ran successfully in the Catholic district of St John’s East.
The election safely over, Shea departed for London. Glover had died at the end of September, and Shea had immediately begun to lobby for the succession. But he was not the only Newfoundlander in competition: Carter, now chief justice, also wanted the post and was supported by Whiteway, who, having resigned from politics, was angling for a seat on the bench. In the event, the Colonial Office decided to appoint Shea, presumably because of his pro-Canadian attitudes and proven diplomatic abilities. It was an insensitive decision. Shea was the Catholic leader of the Catholic opposition party, and was certainly not acceptable to senior politicians in the colony. Once the news became known in St John’s late in December, the protests gathered strength. Thorburn, now premier, Carter, Whiteway, the chamber of commerce, all joined in the chorus. The government prepared to resign if the appointment went through. In the face of such opposition the Colonial Office had to withdraw Shea’s name. A bitterly disappointed Shea returned to St John’s late in February 1886 and treated his sympathetic constituents to a venomous public speech attacking his opponents and alleging that he was the victim of Orange bigotry.
His replacement as governor was Sir George William Des Vœux, who reported that Shea felt the slur keenly and had been placed in a “painful and humiliating position.” Though Shea huffed about his ability to bring the government down, and the government certainly feared his influence, he did not seriously attempt to embarrass the new administration when the assembly met. Des Vœux did what he could to promote a rapprochement and the government, unwilling to upset Shea further, appointed his brother Edward, who had incongruously stayed on as colonial secretary, cashier (general manager) of the Newfoundland Savings’ Bank and president of the Legislative Council. Further, it did not try to change the transatlantic steamship agency when the contract came up for renewal.
In the summer of 1886 the bitterness caused by the 1885 election had lessened sufficiently that the amalgamation of parties planned the previous year could take place – though in Shea’s absence. He had become an awkward and uncomfortable presence, and Des Vœux recommended that he be considered for the post of consul general at New York, passing on the Newfoundland government’s desire to see Shea employed elsewhere. In the event, the government sent him to London to negotiate the colony’s first foreign loan and to press its case for royal assent to an act to control the sale of bait [see Des Vœux; Thorburn]. He returned to Newfoundland briefly early in 1887 and then went back to London with Thorburn, the pair forming Newfoundland’s delegation to the first Colonial Conference. They successfully arranged for royal assent to the bait bill, and Shea completed negotiations for a second loan. The news that Des Vœux was leaving Newfoundland revived his hopes for the governorship, but neither Thorburn nor Des Vœux was prepared to support him. There must have been a universal sigh of relief when the Colonial Office decided that Shea could have the vacancy created in the Bahamas by the transfer to Newfoundland of Henry Arthur Blake.
Shea left for his new post in October 1887. He remained in the Bahamas until December 1894, by all accounts an energetic and popular figure, closely associated with the promotion of sisal plantations. Though he never returned to Newfoundland to live, retiring instead to London in 1895, he remained closely in touch with local affairs, and never lost his desire to reverse the slight he had suffered in 1885–86 and be appointed governor. In 1888 he attempted to involve himself in abortive confederation negotiations – Macdonald brushed him off – and as late as 1894 solicited Canadian support for the governorship. Whiteway, who returned to the premiership in 1889, thought Shea a malign influence, with some reason, given Shea’s suit against the government for commissions on the loans negotiated in 1886–87 and his advice to the Colonial Office in 1891 not to give the colony financial assistance since it would be misapplied. Whiteway’s suspicions became more acute when Joseph Chamberlain was appointed secretary of state for the colonies four years later, since Shea had induced Chamberlain to invest in Bahamian sisal and the two were well acquainted.
Ambrose Shea retained a lasting bitterness against those who had denied him the Newfoundland governorship, and perhaps also resentment against a community that had prevented him from rising to high office. Newfoundland society, small and in some respects intolerant, clearly restricted Shea, who needed a larger stage on which to display his ability and pursue his ambitions. Always an outsider in his own land, he had many friends but few supporters, many admirers but few followers. His death in 1905 was the occasion for St John’s, at least, to try to make amends. His remains were brought back from London, and there was a lying-in-state in the Legislative Council chamber and a state funeral. He was the first Newfoundlander to receive such elaborate obsequies, a sign of his fellow-countrymen’s pride in his achievements, but as well an expression of unease that one so talented had ended his life in self-imposed exile.
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Democratic Messenger from Eureka, Kansas
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1895-01-25T00:00:00
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Get this Democratic Messenger page for free from Friday, January 25, 1895 A PANIC. WINTERS' HOME. Tl t.xn tVW COM.KKSS.. Edition of Democratic Messenger
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Newspapers.com
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https://www.newspapers.com/newspage/378902265/
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A PANIC. WINTERS' HOME. Tl t.xn tVW COM.KKSS. The 1'iKillnif mil Favoruuly Itxported to the en'ieTh Indian Appropriation liiil 1'itMMfd In the lloiian. Washington, Jan, 2't yesterday the (Firsi pub.lsli, ii ury lull, (No .
4,1.) Notice for Publication. Land onice ut Tnpeka, Kiimtus, 1st, Is hereby given 'luit I lie fo'lnwlng. Hllllell Selllei litis liliil I'Ollce of Ins inl. 11U011 1 111, ike iiiiui i 01 hifliiiin. mil lil Mild piimi nil) bf ule lii lnre llieei .
ik of be dislilel ci.uri ol Givi iiniHiil cmihU. 1,1 Kit-reka. Kmiisu, on Kelirn irv Mih, llirain I', (iw. (Kugn ii s. mi, n .
4 K. we at, it III chsI. He liiimea Ilie lohoivliiit In prove liiscoiiliuiniiis resilience, upon Hll eulliialioh f. siiitl i.iImI. viz; William lleli of Eureka, Kitusim .
rimers, til I Umax. KiiumiH. ''Vlie. Climax, Kinmils. George Moore, of Climiix, hiinii II, Von I.am.kn, lii gister, THK I.iHTOIlS or ASS i t .
Paper Head on Vannm Toplo I.egl.Utlve Itoairm New Oltti-er tioaeii. Toi'KRA, Jan. I'll The State Kdilorliil association yestur-lay listened to pupern by V. A. Miller, of the Council (irove Kt-piibliuau, on "The Bust Makeup;" C .
O. Smith, of the Hurling-ton Republican, on "Folding Machine;" 8. II. 1.hI re, of the Heloit on "1'reviwork;" W. 11 .
Morgan, of the lVabody (lunette, on "Ready l'rluts," and Lyman of the Wellington Voice, on 'The Best Power;" and K. (1. Pipp, of the Bui lin-ta tie Chronicle, dismissed "How Much p.tco to Polities;" H. A. PerUius, of theOlathe Mirror, "Personals," and H .
11. Claiborne, of the Oswego Times, "Comps." 1). It. Anthony presented th report of the legislative The recommendation that a bill bo passed requiring all insurauce companies do-in business in the state to publish their regular roports in a paper in each county in which policies ore written and providing a penalty of $100 for each violation, was unanimously indorsed. There was protracted discussion of the recommendation for a law providing that the county commissioners of each county shall designate an ollieial county' paper each year, which shall publish all official as well as legal notices for which the remuneration shall be the regularly established rate .
After a great deal of pulling and hauling one way and the other the entire matter was referred to a committee of five, consisting of 11. A. Perkins, of theOlathe Mirror; A. L. Sponsier, of the Hutchinson W .
Brown, of the Kingman Jouvnul; It. T. Simons, of 'the Caldwell News, and T. W. Eck-ert, of the Arkansas City Traveler .
The committee's recommendation that the profits of the state printer be reduced was voted down. Papers were read by W. E. Stoke, of the Great Bend Democrat, on "Fair Prices;" by George W. Bowers, of the state printing otliee, on "How to Buy a Paper;" by F .
P. MacLenuan, of the Topeka Journal, on "Ituilroad Advertising," and by Charles F. Scott, of the lola ltegister, on "County Correspondence." New officers were elected as follows: President, W. II. Nelson, of the Smith Count Pioneer; secretary, H .
A. Perkins, of the Olathe Mirror; treasurer, W. L. Brown, of the Kingman Journal; vice presidents by district, Frank Roberts of the Oskaloosa Independent, V. J .
Lane of the Wyandotte Herald, Mrs. C. E. Harbaugh of the Erie Re-publican-Itecord, John McDonald of Western Jourual, L.J. Sprengle of the Washington Republic, Frank Mclver of the Hoxe Sentinel and Lyman Naugle of the Wellington Voice .
Delegates to the national asso-cition: E. B. Burnett, A. L. Sponsier, T .
W. Morgan, John Q. Uoyce, W. C. Lansdon, L .
F. Randolph, J. A. Reynolds, J. F .
Thompson, J. E. Marshall, Ewing Herbert, W. L. Brown, Charles F .
Scott, D. Stewart Elliott, W. D. Chambers, II. A .
Perkins and E. B. Burnett. The editors went to Lawrence this morning and spent the day at Haskell institute and the university. Lunch was served at Haskell at 11 o'clock and at the university library at 4 o'clock .
One hundred and fifty members were in the party. KANSAS LEGISLATURE, Senate Hill for the Relief of Mm. Lease Hourie Iel Hte on Employing Clerks. Tope Jan. 23 .
Seventeen bills were introduced at the morning session of the senate, the most important being one by Mr. Smith to regulate the practice of medicine within the state and to prevent the sale of drugs and medicines by itinerant vendors. It provides that no person shall practice medicine unless of good moral character and a graduate of a 'egally chartered medical institution of good reputation. Mr. Forney presented a bill to repay to Mrs .
Mary E. Lease $850 expended by her and salary lost in contesting the appointment of Mr. Free-horn as a member of the board of charities, to retain her place on the board when removed by Gov. Lewelling last summer. HOUSE PROCEEDINGS .
Topeka, Jan. 23. In the house to-day the subject of employing enrolling clerks came up for another cross fire of discussion. The attorney-general had advised the house that enrolling and engrossing must, under the law, be done at 25 cents and 13 cents a folio, instead of $3 a day, but there was a sentiment in the house in favor of having the work done in the latter way, and Mr. Rohrbaugh introduced a resolution authorizing the chief enrolling clerk to employ a sufficient number of clerks to do the work .
Mr. Benedict fought the resolution as extra va rant and said that the eighty persons who were waiting for places ought to be sent home forthwith. Mr. Benefit, with some heat, challenged the statement of Mr. Benedict, and Mr .
Bono followed in the same line of argument. The debate continued with a great deal of feeling and some offensive allusions, but the friends of the resolution were in the majority, and the roll call resulted: Ayes, 8i); noes, 80. Just before noon Mr. Miller, chairman of the committee on elections, attempted to make a verbal report in the case of Glenn against Wightman, but Newman (pop.) objected. The report when made will unseat Wightman, and Miller's plan was to vote Wightman out and Glenn in at once, in order that the latter might vote for United States senator to-day .
The house adopted Mr. Butler's resolution providing for a committee of five to investigate S. W. Chase, warden of the penitentiary. Chickasaw Gov .
Mosely Desison, Jan. 23. Gov. Mosely, of the Chicasaw nation, died Monday at his home in Pontitoc county. Gov .
Mosely was national interpreter, district judge and superintendent of edu- The Proximity of the Japanete Excite 'ie Inhabitant 0f Chee Foo. THE AMERICAN MISSIONS. They Hulil to lie In Kttreiue Peril Tlie I'rmilileiit of the tri(imtlna lie-pit bile UealKiiAronfedoria Hull Talk, London, Jan. S3. A dispatch from Cltce Too hay tlmt sailors from all the foreign warship have btieu lautlul to protect tlio consulutfiB of the ililtVreut countries they represent Viviens to tim I'ull Mull Gazette iimler tluto of 4, pu hlislitl this afternoon, report thut panic existe 1 there anion tin inhabitant of Chee Foo on ucoount the proximity of the Japanese sol .
tilers to that city and Chinese troops were wihl to be on the point of mutiny. Owiu'r toiliplom -itlu objections the plan vas not to land any bluejackets from this foreign warships without urgent necessity for'so doing. Hut the aitial uirn ashore ami utlout were to remain lookout tliay ami ni'jhtno longui the "rather was clear and snfi. It is added that frequent utiles of snow and spray liavo obscured the tiignals In the town. Continuing, tlie correspondent says: foreigner, numbering about tl.My re armed, and they are able to told the Chinese in check till help ar-ives .
he adds, "liod help the outlying' American missions." WHIVT TUP. JAPS HAVE CArrt'RKD. Yokohama, Jan. 2:1. Anoilie.ial statement of the valuable spoils taken from the Chinese, published by the Japanese Sfoverniuent, shows Hint 007 lurge guns bave changed ownership .
The estimated value of these is 2,000,000 yen. The number of small arms is 7,400, worth 30,000 yen; ammunition for large narms, roun.ls, worth 3,000,0 )0 Jen; ammunition for small arms, rounds. Three ships of war, trtie medium and two small are rate at 1,000,000 yen. Most important of all the arsenals, foundries and machinery of every description secured at 4'ui-t Arthur and Talienwan. What the value of these will be to their new possessors cannot yet be calculated .
I-RESIDKST l'ENA RESIGNS. "Buenos Ayrf.h, Jan. 23. Dr. Saenz JPona, president of the Argentine republic, sent in his resignation to congress yesterday, and that body proclaimed Senator Uriburl, the vice president, president of the republic .
In -his message to congress conveying his (resignation, Senor Saenz Pena said that he was impelled to resign in view of 4he decision of congress on the ques-'tion of general amnesty, which decision be declared he regards as a veritable stimulus to military anarchy and a discredit to the nation. confedkwation talk. 'St. Noun's, N. Jan .
23. Confederation is the main topic of conversation here. The government will send a delegation to Canada immediately to negotiate terms. The delegation is likely to consist of Premier Green, ex-Premier Whiteway, and ex-Colonial Secretary Bond. The legislature is expected to submit the question to a pleoiseite in May, when it is almost certain to foe carried .
Sir William Whiteway is ssaid to be striving to obtain the1 lieutenant-governorship on condition that lie advocate consolidation. THE ISROOKLYX STRIKE. One Life Sacrificed and Several Others liadly Injured. Brooklyn, Jan. 33 .
One life has "been sacri6ced in the strike of the TOotor men and conductors of the trolley lines, and several of the injured "are- tin a bad way. llenry Alms, sfor disregarding a command to halt, was shot by the militia last night, and died in a hospital this morning. This 3s the tenth day of the big strike and the result is still in doubt. Every part of the city where the trolley cars xun is patrolled by the militia and the 'police are thus enabled to attend to their proper duties. In every quarter of the city wires were cut during the aright, and the stables and power liouses of the company were subjected to desultory bombardments of Few of the malefactors were caught .
On many of the lines the linemen have stopped work, but, so far as can be learned, they have not been called out as an organization. It is probable that the electricians and expert mechanics employed by the companies may also, refuse to continue work. THE CONDITION OF WHEAT. The Farmers Review Summarizes the Wheat and Water Supply in Certain Stolen. Chicago, Jan .
23. The Farmers' Review to-day prints reports from its correspondents on the condition of wheat nd the water supply. In Missouri the conditions vary greatly. Considerable damage is reported from drought and poor snow protection. The plant got a slow start in a number of counties and has not improved much since .
The general average is fair. In Kansas the condition is generally good, though many western counties areport injury by drought. In some fields the grain did little more than sprout. Nebraska reports condition fair, but the plant needs rain in many counties. Iowa conditions vary greatly, all kinds of conditions being found .
It will average about fair. For an Indian Territory Delegate. Washington, Jan. 2a Mr. Little, of Arkansas, introduced in the house today a bill providing that an election be held in the Indian territory on the "first Tuesday after the first Monday in next November and thereafter on the same day in even numbered years to choose a delegate in congress, that the gent for the five civilized tribes shall appoint the election boards and that -only citizens of the United States shall -entitled to vote .
The legislature of Minnesota on the S3d chose Gov. Knute Nelson for United States senator to succeed Senator Washburn. Sail L-vkta'-ly Tiis Hub's Famous iatHo-Foot Oofs I For Buys from 5 to 15 years old. wiir j.i Pulraol Knee I'uiiIh, a Muiilcj Chii, made lo nuiU'li Hie. ti iid Oiif k'aiv oI'Miock, of solid Icitihrr very m-at, yet ns Mitfiik' us a lirirk, and the prim of the entiru "HeaU-Tu-Foul" Uutllt Ui Toni of thousands c .
to every htm e'nf the 1'iilou, a everyone fit de'iii-hled with thi" You'll lie pleased, too, if yov let us semi mi enurni prepaiu 01 uny zr pint 'm I'. S. orC. O. li .
Willi privilege of examination be-li i. .1. i ai rji i. fil in. in pi.w tn sent itli tlie oilier .
Sum pie of Cloth and GO-pnge lllm'li'Hti-d Catalogue telliue you iihotit tho (rreiiti'st lino of Men's and Hoys" Clot lilns, I'lirnlsli. biK CiiMMls, Hals, Flmes for Men and Women, mill bailies' (Monks and Furs, Mut Tree and postage paid. N. W. Cor .
Stale and Jackson CHICAGO, ILL. The Hub has no Branch Stores Anywhere. il-'e have no branch houxex. Liiki or all mmn kin country has seen. Albany Argus .
IN THE NORTH AMERICAN REVIEW are always found ilie Hight Topics, By the Wight Men, At the Right Time The North American reeog, nizeu on both sides of the Atlantic as the foremost Review in the English Ian--guage, and no expenditure is spared in maintaining it in us unrivalled position. The Keview ta the mouthpiece of the men and womeu who know most about the great topics on which Americans require and desire lo be informed from month to month. Its list of conlriuu-lors forms a roll of the representative men and women of the age. Subjects that concern tne interests oi AMERICAN WOMEN receive constant and special attention. Among topics recently discussed are: "Woniaii Suttrae in 'Tlie Kenais-sani'eui Women in "Hie New Aspect ot tlie Woman Question" ami "The Modern Girl," uy the aulaor ol 'Tlie Heavenly "The Future Oi "Evils ui i.arly "Tlie nervaiit (iln ut the "Tlie Financial lie penitence o( Women," "Trades-Unions uir "lVLai'S ot (Jood "American Ufeand Physi cal "Good and bad "The Tyranny of the "Tlie Amateur Mark Twain's Deiense ot Harriett slielley, etc .
A New Feature for' 1SSS. The Review will publish in 12 chapters, beginning with the January number, the Personal History of the Second Empire, a historical work of unsurpassed importance, which will throw a Hood of new light uHii Ilie chequered career ot Napoleon 111, and the inliiieuees which led to the collapse ol his empire ill the gigantic struggle with united (ieriiiaiiy. under WMIhelm and his Iron Chancellor. It. is as fasciualini; as a romance, beuiK richly anecdotal and lull of intormaiion, drawn from sources liitlierlo inaccessible, presented in the graphic and vivacious style which "The Englishman in Faris," by the same author, has made familiar to thousands of readers .
SO Cents a Copy $5 a Year. THE NORTH AMERICAN REVIEW, 3 East 14th New York. First published January 18. 1W)S.) Sheriff's Sale, State of Kansas, Greeuwood eou.ity, ss. W .
Hayes, plaintiff, vs. William Sniethers, Sarah K. (Smelhers, his wife, 1. N. Uenuison .
1'ama A. Denni-son, his wife, J. J. Dnrkee and Emma C. Dui kee .
his wife, defendants. by virtue of an order of sale issued out of the Oreenwood district court, sitting in and tor said Greenwood county, tn tlie above entitled action and to me directed, I will on Monday, tub. 21st day of Fkhhuary, a. D. 181)5, at 1 In the afternoon of said day at the frontdoor of the court house 111 said county, offer for sale at public auction and sell without appraisement to tlie highest and best bidder for caNti in hand, to satisfy said order of sale-all the right, title ami interest whatsoever ol the above named defendants, and each of them; mid of all persons dunning under them hi nuu to the dlowlng described tract, piece and parcel of laud lying and situate in said county of Greenwood, to-wit: Commencing at the northeast corner of the southeast quarter of the southwest quarter of section two (2) township twenty-six t2ti) south ot range ten (in) and running west thirty-twp rods thence north fourteen (14) rods and II teen and three-fourths (IS5) links; thence east thirty-two S2) rods, thence south fourteen tH) rods and lilteen and three-fourths (lsii) links to place of beginning, together with all and singular the tenements, hereditaments slid appurtenances thereunto belonging or hi .
anywise appertaining. Given under my hand at my office tn the city Eureka, in said county, this 15ih dav of Jan-uarv, J. A. Smith, sheriff. H .
C. Si mmkks, attorney for plainlill. i li urc oll'ort'd ti by THE Urn t'lllcill'O (iotlllllR IJ store! Made i i all-wool yu riolh vrrll mid hi riniif wo cull (fiiutHiili'O llii'iu the (v) li Si.i:';-liin lor (lie iUoucy jffl fver given by uuybody. B1rh 00 HUB A Movement on Foot to Establish an Asylum at fexcelulor Springs SOME K. OF L .
WITHDRAW. The l'etltion for a Miiiliniia to I'revvnt Collection nt the Income Tut Overruled -Missouri Mllltla-llecf House KeoppvtMl, ExcKi.Hioti SrttiNUS, Jan. 23. There has befu in contemplation for some time a plan to establish a nti- i tional printer's home at this point. The Excelsior Springs Co .
has inter- ested itself in the project so far as to aree to give ten acres of (rrouiul, or more, if necessary, for the site. The guueral Idea of the home is that it shall bo national in' character, with doors open, under rules, to the needy members of the craft in all sections of tho country. The home Is to be properly officered under efficient directors or trustees, and it is agreed that every successful publisher and printer in the nation will coutribute to its construction and support. KNIOIITS OF LAllOH wrriiuitAw. Wn.KKsiiAHitK, Jan .
23. District assemuly No. Hi of tho Knights of Labor has decided to withdraw from the general assembly and will hereafter continue as an independent labor organization. The assemby was organized by T. V .
Powderly, and since his defeat as master workman by Mr. Sovereign tho members of the assembly have been more or less dissatisfied. AN INCOME TAX CASE. Washington, Jan. 23 .
The petition of John G. Moore for ninndiimns against Commissioner of Internal Revenue Miller, to prevent the collection of the Income tax, was overruled this morn-tug by Judge Haner in the district equity court. The case will now be taken on appeal to the United States supreme court, in order to test the constitutionality of the income tax. MILITIA I.KADKK8 ASK FOR FAVORS. Jkkfeiison City, Jan .
2tf. Gen. Milton Moore, of Kansas City; Col. Charles D. Comfort, of St .
Louis, and other militia leaders are here to urge the general assembly to appropriate for the support of the national guard for the next two years. Hammond's iieef housk reopened. Omaha, Jan. 22. Hammond's beef house at South.Onn ia, burnod in, November, reopened to-day with 200 men employed .
It has been rebuilt to a capacity of 1,000 cattle per day. MAKER FINALLY CHOSEN. The Kansas Legislature Select a Successor lo henator John Martin. Topeka, Jan. 23 .
At 12 o'clock to-day the senate appeared in the house and the joint convention was formed for the formal election of United States senator. Troutman presided, Speaker Lobdell a seat on his right, with packed galleries and the lobby looking on. Secretary Brown called the roll of the senate and thirty-seven senators responded, after which Assistant Chief Clerk Sears called the roll the house, and 124 members an-I swered. Mr. Troutman announced that as no candidate received a major- ity of each house yesterday it was nee-I essary to vote in joint convention, and ordered the roll call .
Secretary Brown calling the roll of the senate and Clerk 1 Sears that of the house, with the folio w-j ing result: Lucien Baker, 104; Louis P. John Martin, J. D. Bodkin, i G. W .
Glick, 1. The ninety-one repub-I licans of the house and twelve of the fifteen republicans and Senator O'Bryan of the senate, voted for Baker; all of the populists of both bodies except Mr. King himself, for Mr. King; Senator Dillard and Representatives Schlyer and Wilson, Barber, for John Martin; Senator King for J. D .
Botkin; Representative Smith, of Sherman, for G. W. Glick. The absentees were Senators Price and Scott, Senator Baker having resigned had no vote, and was not in the hall. This morning Mr .
Baker placed his I resignation as state senator from Leav-! enworth county in the hands of Gov. Morrill, because the question had been I raised that possibly if he continued to hold his state office he would not be eligible to the federal senatorship, and he concluded to be on the safe side and resign before his formal election at noon. i CURRENCY BILLS. The Arkansas Senator Introduces Ills Proposed Compromise Hill A Currency Commission. Washington, Jan .
23. Senator Jones, of Arkansas, introduced his financial and currency bill in the sen ate to-day. Mr. Smith, of New Jersey, presented a bill which provides for a non-partisan currency commission of twelve members to make investigations of fiscal questions and for an issue of bonds to produce revenues for the government. He said that he had hoped to see some solution of the present currency emergency .
He was convinced, how- i ever, that so little time remained for legislation that no bill would be passed at the present session. Under the circumstances he proposed this plan, which would set on font a full investigation, with a view to securing the proper remedy. It was desirable to have a non-partisan commission in order that its work might commend itself to the new congress. Tlatt's FlKht in Vain. Albany, N .
Jan. 23. The assembly has passed the power of removal bill, which ie designed to give to the mayor of New York the power to remove the chiefs of departments in the city government. The vote was 102 to 13. The bill was opposed by ex-Senator Piatt and by Tammany .
Counterfeiter Stratton Arrested. Keokuk, Jan. 23. Albert Stratton, a notorious counterfeiter; who has been playing hide and seek with the authorities of Clark county. Ma, for three years, has been arrested and lodged in jail .
pooling bill was favorably reported to the senate from the committee. Then the llitwuiiun mutter come up on Mr. Kyle's resolution expressing the disapproval of the senate with the action of the administration in withdrawing warships from Hawaii, Senators George and Gray defended the administration and Senator Lodge spoke vehemently in opposition. At the close of the Hawaiian debate the Nicaragua canal bill wus further considered. The house finally passed the Indian appropriation bill, which carried 64U.02O, as reported, but was increased before final passage, one amendment ad ling to pay the first installment for iyment for the Cherokee outlet .
The house adjourned ut 5 o'clock. HAY OKALKKS. They Meet at Cleveland and Form a National Cleveland. Jan. 23 .
About Soo hay dealers from nil parts of the conn-try met in convention at the chamber of commerce yesterday afternoon. The object of the meeting was to form a national association of hay dealers, and to arrange some uniform method of grading hay and of designating the griules in terms of universal use. The organization was formed under the name of the National Hay Association of the United States, and the following officers were elected: President, John N. Wootiscroft, of Cincinnati; vice presidents, George W. Johnston of Pittsburgh, C .
Hatcher of Tiffin F. 1). Woods of Illinois, George A. Hlakslee of Chicago, F. L .
Rodgers of Chicago; secretary and treasurer, P. W. Pitt, of Baltimore. A committee of fifteen was appointed to prepare a report upon the diffjrent grades of hay. Wichita's I'oliee Uoard Removed .
Wichita, Jan. 23. Gov. Morrill this morning removed by letter the populist board of police commissioners of this city and Chairman George Dickson handed over the keys and books of the office to Chief Cone. Wichita is thus temporarily without a police commission .
The members of the old board express the opinion that the populist senate will not confirm new appointees. Resuhnilsslon fo Maine. Augusta, Jan. 23. In the house to-day, Mr .
Patton, of Bath, presented a- bill embodying the resubmission proposition so long discussed and by the prohibitionists so strongly objected to. Woman HufTrafce Defeated. Santa Fe, N. Jan. 23 .
In the lower house of the legislative assembly yesterday a bill to grant the right of suffrage to women was defeated by a vote of 16 to 7. A Law Unto Itself. Pittsburgh. Jan. 23 .
The standard till Co. has created a sensa tion by declaring that hereafter it will fix the dally price of petroleum regardless of quotations on the oil exchanges. TELEGRAPH II BREVITIES. A car load of provisions was shipped from Carthage 111., to Nebraska sufferers on the 22d. The house judiciary committee receded from its resolution impeaching Judge Ricks but censured him .
Two small children of Charles Nilo-denay, of burned to death while locked in the house. A bill is being urged in the Missouri legislature to relieve members of the Missouri national guard from jury service. Ex-Postmaster E. R. Crafton, of Liberty, has purchased the Progress of that city and will make it a republican paper .
At 4:30 o'clock on the morning of the 23d two white men entered the drug store of Colin Cable. Kansas City, and robbed the night clerk of The building of the natural gas company of Cherry vale. was destroyed by an explosion and fire Tuesday night It was necessary to shut the gas off all over town. Seuator Piatt, of Connecticut, has prepared an amendment to the sundry civil bill to give to settlers on Indian lands in Oklahoma two years more in which to make first payments. The government has brought suit against about 1,000 settlers in Dickinson, Saline and Ellsworth counties, in Kansas, to recover land purchused by the settlers of the Union Pacific railway .
The Sons of the American Revolution of Kansas, in session at Topeka. elected George D. Hale president; 11. J. Adams, secretary; A .
IC. Rodgers, treasurer; T. E. Bowman, registrar, and J. Furber, historian .
These post office appointments were made Wednesday: In Missouri At Durgen, Lewis county, .1. Elois, and at Franks, Pulaski county, Thomas Lynch. In Oklahoma At Davenport, Lincoln county, J. Glover, vice .1. Kin-zie, removed .
Among the bills introduced in the Oklahoma legislature on the were the following: Taxing liquor dealers $1,000 perannum; for the establishment of -a reform school for incorrigible youths, and to limit new contract interest to 0 per cent. The Nebraska legislature has adopted a resolution to appoint a committee to investigate the state relief commissioner. is alleged business is not being expedited and that aid contributed by other states remains in cars vhen it is badly needed. In the South Dakota legislature Tuesday the vote on United States senator was: R. F .
Pettigrew 100: J. C. Crawford 21. The senate passed the resubmission bill by a vote of 2fi to 17, which assures the wiping out of prohibition in South Dakota. A vote was taken in both houses of the Tennessee legislature on the 22d for United States senator, Isham G .
Harris (dem.) being chosen. Senator Harris has served three terms already in the United States senate and is new elected for his fourth terra of six years. IHrsl published January iMIi, IMil.) Publication Notice. In the district court of Greenwood county. Kansas .
Annie M. Ililes.plaliillir, vs. Kiln. Wliitaker. Sarah A .
blinker, Howard Slate Hank, a corporation tinder the law ot Kansas, uiul S. Horn, defendants. The above named M. H. llnru and How art) lnle hank, a corporation under tlie lints of Kansas, an- herein- uoiilicd Hint lliey have eeit sued liy Hie uliote naineil in the court 01 Greenwood enuniv .
Kansas, in he above eiitllled cause, mid lliitt tliey must iiisWit the pelithui said plaintiff, tiled in -aid act Ion. on or ln-lorc Hie sih Uitv of March. Iwifi.orsalil will he taken as irne ami Judgment will be rendered iiccnrdlnglv, In floor of said plainlill anil against Hie defendants, Kile. C. Wltilakeriintl Sarah A .
Wliitaker, lor Hie sum of willl luli-rest titer al the rate of 12 per em. per 1111111:111 from the 41 Inlay of March. ii on 11 re rutin real eslate mortgage bund and inieresl miles lln-n-lo itiiaehed. executed the said Kiie. C .
Wliitaker and Surah A. Howard Stale Haul; and by sitltl Howard Slate Itank endorsed anil deliv- ereil lo pl tlniill ami for Hie lured re of the mortgage lo and upon 2:1 feel off ol Hit- north end ol lots liter 1 1. 1.r. In. 17 mid In block number imrlll Severv .
Greenwood couiilv, Kansas, given to secure said notes, and tor Ilie -nli-ot said mortgaged properly, without np praisi-menl. to saii-ly said Judgment, lob-rest mil co.sls ol said iieilnii. in lu-eordance Willi the raver of said petition. That hv such sale nil he right, lillt and interest of tlie defendant -nil eaeli itnd nil of ilium and of till persons 'brminir ler III, -in. in ami 10 said Until will bo foreclosed and forever barred .
Doi.TtllTT AYItKS. Attorneys for plaintiff. SOMETHING OF INTEREST Choice Literature TO THOSE WANTING WE HAVE MADE ARRANGEMENTS WHEREBY WE CAN OFFER THE WORLD FAMOUS Weekly Detroit Free Press AND THE MESSENGER Both, One Year for $2.00. The Free Press is a Large Twelve Page Weekly, and Has the Number of Special Contributors of any Weekly Published In America. IT ALSO HAS A Special "Merry Times" Department FOR THE CHILDREN, AND A Special Woman's Page You can save more than the cost of botB papers by taking advantage of the special low prices given to subscribers on tho Many Valuable Premium Offered By the Free Press .
Send for a Sample Copy of Tbc Free Press anfl Premium Supplement Address, Eureka, Kansas. WHY IS THE L. DOUGLAS JS3 SHOE CENTLEMV1EN BEST SHOE IN THE WORLD FOR THE MONEY? It Is a seamless shoe, with no tacks or waif thread to hurt the recti mails of the best tine calf, tvhib ana easv. and fwatuut t- nt erode tiian mil- Alter manufacturer, it equals haad-: sewed sbnes costing from $4.00 to $5.00. i Rt 00 Genuine llaiid-seneri, the finest ealf shoe ever offered for equals French i imported shoes which cost from IHKI .
Ral 00. Ujnl-seed Weir Mine, flne ealf, stylish, comfortable and durable, Thebm shoe ever offered at this price same grade as ou tom-made shoes coBtlng from 6.iio to CO 30 I'olicc Miofi Farmers, KAilroad Men and LetterCaniersntl wearthems finocalf, seamless, smooth Inside, heavy thsee sole, extension edge. One pair will wearayear. CO 50 fine cnlfi no better shoe ever offered at 1 this price; one trial will convince those who want a shoe for comfort and service. (SO 3 ana 8'i-OO Worklngman'ti shoe are very strong ami durable .
Those who nave given them a trial will wear no other make. FtrtVC' $'-00 and school shoes am J'J worn by the buvs tboysell on their merits, ns the increasing sale show. LflriipC lliuil-eed shoe, best VI ICS lionu-ola. vervstvllsh; equals French Imported shoes costing from ii.iiu to H6.0U. Lndiea' i.ftO .
nnd shoe for Hisses are the best fine ltongola. Ktvltsh and urable. Cautioii.See that W. L. Douglas sams aad price aro stamped on the bottom of each shoe .
-I ffTARK NO PIBSTITIITRJI 'Insist on local ejvertlsed dealers supplying yon. W. In DO.VjfS. Brockton, MaTsold by I cation al matters for a number of years. Ue was oue of the strongest men in the territory to oppose statehood. .
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A History of Britain - British Wars 1603-1776 v. 2 - The British Wars 1603-1776 (PDFDrive)
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A History of Britain_ British Wars 1603-1776 v. 2_ The British Wars 1603-1776 ( PDFDrive ) - Free ebook download as PDF File (.pdf), Text File (.txt) or read book online for free. Volume 2 schama
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https://www.scribd.com/document/633399473/A-History-of-Britain-British-Wars-1603-1776-v-2-The-British-Wars-1603-1776-PDFDrive
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A History of Britain - British Wars 1603-1776 v. 2 - The British Wars 1603-1776 (PDFDrive)
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http://ngb.chebucto.org/Newspaper-Obits/twil-sun-1889-nov-dec.shtml
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Twillingate Sun 1889
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Welcome to Newfoundland's Grand Banks Genealogy site. It's a starting point to Newfoundland's unique background and way of life in North American history.
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Politics ""PULLING THE STRINGS"". Merchant Influences. (To the Editor of the Twillingate Sun) Sir, -- Can you tell your readers why the Polling Station has been removed from the Congregational School to some other place farther down the South Side? We have long been hearing that Mr. LETHBRIDGE means to know how his dealers vote, and we were told he was taking steps to secure his party, but as this was to be an election by Ballot, we thought we were safe from any merchant control. Now, at the last moment, we are told we must go and vote in some place where the agents of Messrs. LETHBRIDGE or OWEN will be present in large numbers. How can a poor man, whose living depends on these merchants, give his vote, in their presence as he would wish? Sir, it means starvation for himself and family this winter, if he will not vote with these merchants. It is an outrage of the secrecy of Ballot, to remove a polling station from the only place where a free and independent vote could be given, to another place where we shall be forced to vote against our convictions. It does not show any wish to consult the convenience of the voters, for what could have been more central than the Congregational School, for persons who had to come from Tickle Point, the Point or Bluff Head Cove?" Sale of Works The Sale of Work for the purpose of defraying the cost of renovating and furnishing the Methodist parsonage, is announced to take place on the 19th, 20th and 21st of November. Ship News The ""Fleta"" with the two government candidates, Messrs. GOODRIDGE and KNIGHT, arrived from the North side of the district on Tuesday night, and left for the Cape Shore on Thursday. Departure W. WATERMAN, Esq., of Poole, England, who has been spending a few months with his friends in this Bay, left for St. John's on Monday last in the fine schooner ""Portland"" en route for England. Mrs. WATERMAN who was visiting with him, went by last ""Conscript"" and both will leave St. John's in the first Allan boat. We wish them a safe and speedy passage across the Atlantic. Bazaar The bazaar in connection with St. Andrew's Church was opened on Tuesday last and continued the following days. A fine display of fancy and useful articles was exhibited which met with a ready sale, and the undertaking all through, was a decided success. A full report which was promised has no yet been furnished, but we hope to be able to give it in next paper. Nominations Wednesday last, the 30th ult., being Nomination Day, the candidates for our district were duly nominated at the Court House. The Hon. A.F. GOODRIDGE, Messrs. Smith, McKAY and M. T. KNIGHT were put in Nomination as Government candidates, and Messrs. Thomas PEYTON, E.R. BURGESS and J.P. THOMPSON for WHITEWAY party. There were no speeches on the occasion and everything passed quietly. Ballot Papers The action of the Government with respect to the printing of the ballot paper, should be sufficient of itself to open the eyes of our people as to the meanness and contemptability of the Government. The ballot papers could have been printed at the Sun Office, but because our political views are adverse to the Government, they prefer sending a printer from St. John's to do them, at five or perhaps ten times the cost that they could have been printed at the Sun office; but then they are running the Government on ""Sound Commercial Principles!""" Politics The ""Hiram Perry"" arrived here noon on Tuesday, bringing the three WHITEWAY candidates also Mr. F. WALSH of Little Bay. After leaving Little Bay, several places were visited, and a public meeting held. The one at Little Bay Island was well attended and much interest was manifested by the electors present. The conduct of the Government in the public affairs of the colony, was reviewed by the candidates, and at the close of the meeting, the candidates were loudly cheered. Our meeting at Fortune Harbor was an immense success. Mr. Francis WALSH of Little Bay Mines, was present and in an able and eloquent speech, reviewed the history of the Government during the past four years. His explanation of Railway matters whereby the support of the Liberal Party was purchased; his though explanation of working of the Bait Act; his bitter condemnation of the monopoly of mining and timber lands were clearly explained. He was listened to attentively and loudly cheered during his able address. Mr. WALSH is a young man of considerable talent and will no doubt in the near future take a prominent part in the public affairs of his native land Ballots ""Secrecy of the Ballot Vote." The voting by ballot is perfectly secret and no one need fear it being discovered as to how he may vote. Those who are attempting to do so are misleading the people, and are liable to the penalty of the law. We were informed by a very intelligent laborer on one of the city wharves yesterday, that many of the uneducated people of the city are still under the impression that it is possible for it to be known for whom a man votes. For the information of every one having doubts on this subject, we say, emphatically, that it cannot be known to any one, how a man places his cross, except in the case of a man not being able to read or write, in which event it is known only to the returning officer who is sworn to secrecy. Should the latter, despite his oath, betray the secret (which is highly improbable) he will, on being convicted of the offence, be subject to twelve months imprisonment. The ballot is the poor man's safeguard, he can vote according to his conscience and no one will be the wiser. -- St. John's Daily Colonist. By Telegraph (Special to the Sun) Little Bay, Oct 29. - GOODRIDGE and KNIGHT held a public meeting here last night. They were contradicted in many statements and could not give satisfactory answers. WHITEWAY and party were cheered throughout the meeting Voting CAUTION! As everything is being done by the Government agents to mislead the public in voting, in the hope of counteracting their base designs, we print, for the information of the public, the following rules, to guide them on Polling Day. We also append a form of ballot paper, made out for the district of Twillingate. The ballot paper shows that the voter has voted the straight ticket for BURGESS, PEYTON and THOMPSON. Form of Ballot Paper after voter has marked his cross on it, 1. BURGESS, Edward R. Burgess of Little Bay, Contractor, X. 2. GOODRIDGE, A.F. Goodridge of St. John's, Merchant. 3. KNIGHT, M.T. Knight of St. John', Gentleman. 4. McKAY, Smith McKay of St. John's, Gentleman. 5. PEYTON, Thomas Peyton of Twillingate, Surveyor, X. 6. THOMPSON, J.P. Thompson of Twillingate, Editor, X. Rules: 1st - Each Elector when he enters the booth shall give his name. 2nd - He shall then receive a ballot paper in the above form (without the crosses). 3rd - The voter can only give as many votes as there are members required for the district. 4th - After receiving a ballot paper the voter going inside marks a cross in the division on the ballot paper containing the name or names of the candidates for whom he intends to vote, thus: - X. 5th - The voter will then hand the ballot paper folded up, to the returning officer who will drop it into the ballot box. It must be so folded as to show the initials of the returning officer, which is on the back of it. 6th - If the voter spoils a ballot paper he may get another one. 7th - If the voter votes for more than the number of members he is entitled to vote for, his ballot paper is void and his vote of no use. The above are the principal rules. If a man is blind or cannot read, the returning officer marks his ballot paper for him in the presence of an agent of each candidate, all of whom are sworn. If any one divulges for whom a voter voted, he is liable to be sent to the penitentiary. So no one need fear discovery. Politics (Part 1) Political Meeting At Herring Neck. On Monday evening last a public meeting was held at Salt Harbor, Herring Neck, though under somewhat adverse circumstances. It was generally known there that the Editor of this paper, one of the Whiteway candidates, would be there, at the solicitation of some of the supporters of the party, to address there, for the second time during the campaign on election matters. But on arriving late in the evening, it was found that the school house had been engaged by a few supporters of the Government, with the intention no doubt of preventing our meeting from being held in the building, and the idea of holding a meeting that evening was abandoned. After tea, however, large numbers commenced to crowd toward the school, thinking that the meeting was to be held, and we were summoned to put in an appearance. Great indignation prevailed among the assembled crowd, nearly all of whom were determined supporters of the Whiteway candidates Politics (Part 2) The door was forced open and lights put in for the purpose of holding the meeting, but without the consent of the members of the Board, who were opposed to us in politics, we did not deem it advisable to enter the building, and addressed the large and enthusiastic crowd at some length under the broad canopy of Heaven; and although human nature appeared to conspire against us, Providence smiled upon us, for the moon in all its grandeur luminated the settlement, making it almost impossible to witness a finer night any time through the year. Added to this we were in close proximity to the parish lamps, which have recently been erected there. The audience listened with rapt attention, and the orderly conduct maintained throughout under the excited state of feeling, in consequence of not having the school, was most commendable, and reflects the highest credit upon the good people of Herring Neck. Politics (Part 3) When it was found that a dodge had been worked to prevent a meeting being held in the interest of the Whiteway party, it was decided by the people that no other should take place there that night, and two or three of the sturdy electors guarded the door until half past twelve, and kept any of the opposite party from entering, as they intended holding a political committee meeting there. This is not the only place where such contemptible meanness was shown to the Whiteway party during their canvass, by what are looked upon as the leading men of the settlements, and is a specimen of the adverse circumstances under which the canvass had to be carried on, and the disposition that existed to grind out every spark of independence in the breasts of the electors. With regard to not having the use of the school at Herring Neck, however it is only right for us to exonerate the Rev. G.S. CHAMBERLAIN from any blame in the matter, as he had nothing to do whatever in withholding its use, as can be seen from a note over his own signature in another column. The following evening (Tuesday) another meeting was held in the Methodist school, Greens Cove, which was largely attended, and great interest appeared to be manifested by all present. The meeting was also addressed by Mr. F.W. COAKER and the WHITEWAY candidates were loudly applauded. A Disclaimer (To the Editor of the Twillingate Sun) Sir, -- Permit me through the medium of the Sun to repudiate any connection in withholding the School House in this settlement from you, for the purpose of your public meeting on Monday last. The whole episode has occasioned me deep pain. I am Yours faithfully, G.S. CHAMBERLAIN, Chairman C.E.Bd. Education, Herring Neck, St. Mary's Parsonage, Nov 5 Letter to The Editor From A Herring Neck Planter. (To the Editor of the Twillingate Sun) Dear Sir, -- please insert the following in behalf of the people of herring Neck, who I must say are rejoicing over the New Party's success at present. On Monday the 4th inst., a meeting was announced to be held in St. Mary's school at 7.30 p.m. at which Mr. THOMPSON was to address the people. At the time appointed a large crowd gathered, but to their amazement they could not get the school, Messrs LOCKYER & Co. of the Old Party, had worked a disgraceful scheme to try to put down Mr. THOMPSON. He had obtained the key of the school by force, and had claimed the possession of the school, without the consent of the Chariman, Rev. G.S. CHAMBERLAIN, to whom much credit is due, insomuch as that he declared before a large mass of people that they (Messrs. LOCKYER & Co.) had ignored him the right of the position of Chairman, and taken the key of the school without his consent, also declared himself neutral in Politics, and showed the people that he was no tool of the slave-driving merchants, at the close of which he was cheered to the utmost, and the people felt that they owed to him a place in their hearts that could never be taken again, and as long as life lasts he will have the best sympathies of the people of Herring Neck. And, Mr. Editor, we as the people of Herring Neck, will no more be ruled by the staving power of merchants. This event of Messrs. LOCKYER & Co., will forever be a blank in the Merchant's Books. The people are determined that they will in future, have the control of the school which they built and paid for, also that never again will they allow such a tyrant as LOCKYER to rule their private affairs. Trusting I have not taken too much of your valuable space, I am, on behalf of the people, Yours etc., A.H.N. Planter" Ship Arrival The steamer ""Walrus"" arrived here noon to-day with the ballot boxes, &c., and counting commenced this afternoon. Ship Departure The steamer ""Conscript"" left St. John's about noon yesterday for the Northern ports of call, and may be looked for here to-morrow. Her trip will probably extend to Griquet this time Fish Several cargoes of fish have left here the past few weeks for foreign markets. The ""G.C. Gradwell,"" Capt. BURHITT, sailed for Lisbon yesterday with 3,200 qtls. Labrador fish from the firm of Messrs. W. Waterman & Co. Christmas A Christmas Tree will be held at herring Neck to obtain help in completing and furnishing the Parsonage. Contributions in money or goods will be thankfully received by Mrs. E. BLANDFORD, Mrs. T. BLANDFORD, Mrs. W. MURCELL, Mrs. HINES and Mrs. REX. Diphtheria Within the past few weeks there have been several cases of Diphtheria in this community, but we are happy to say that the disease has not increased to any great extent, and has been confined to a few families only. We are not aware that any fresh cases have broken out lately. Visitors During the past week or two, a good many of our old friends from various parts of the bay have been here transacting their Fall's business. Among the number we were pleased to see Mr. W. ROUSELL of Leading Tickles and Mr. James PARSONS of Lushes Bight, the latter we regret to know being in a delicate state of health. Politics A Lying Telegram. On Wednesday afternoon Mr. KNIGHT received a telegram from a Mr. MARCH who is in Little Bay, saying that Mr. BURGESS, the local Whiteway candidate of that mining settlement, had been soliciting support for himself and the Government candidates, which is one of the greatest falsehoods ever invented. No doubt it was intended to get here early in the day, but providentially it was not received until the afternoon, a little while before the polls closed. the intention was to damage Mr. BURGESS and the party here, which would have been the case had it come along in the early part of the day, and particularly would it have affected our Little bay Colleague. This was a most malicious and dastardly attempt to ruin a political opponent and no language can be employed that would too strongly condemn such political rascality Election Returns ""By Telegraph"". Election Returns. Grand Victories For The Whiteway Party. (Special to the Sun) St. John's, Nov. 9. The Government has been badly beaten. WHITEWAY will have a big majority. The following are the returns known as yet. St. John's six - For the East - Dr. DEARIN and Messrs. MURPHY and HALLERN. For the West - Messrs. DAY and GEARIN. Harbor Main - Messrs MORRIS and WOODFORD. Brigus - Mr. CLIFT. Harbor Grace - Messrs WHITELY and Eli DAWE. Carbonear - Mr. DUFF. Bay de Verds - Messrs WOODS and WHITE. Burin - Mr. TAIT and Mr. ROTHWELL. All the above sixteen are Whiteway supporters. So far only four Government men are known to be elected, Messrs. GREEN and SHEA for Ferryland, Mr. MUNN for Harbor Grace and Mr. ROLLS for Fogo. Married On October 27th at Change Islands, by the Rev. W. REX, Elias BLAKE to Jane GILLINGHAM Married On November 5th at Herring Neck by the same, William WITT to Rosannah FARTHINg Married On November 6th at Herring Neck by the same William WHITE to Elizabeth JUDGe Ship News Port of Twillingate. Cleared: Nov 5 - ""Arthur,"" HARGRAVE, Fogo, 2200 qunitals codfish O & E. Nov 7 - ""G.C. Gradwell,"" BURNITT, Lisbon, 3100 qtls Labrador fish - W. Waterman & C0. Notice In're the Estate of John CANTWELL, Esq., late of Tizzard's Harbour, in the Northern District of the Island of Newfoundland, Trader and Planter, deceased. We, the undersigned executors of the above estate, hereby give Public Notice, that one month from the date hereof, we shall proceed to distribute the effects and proceeds of said estate, in accordance with the provisions of the Will of the above named estator, John CANTWELL, Esquire, and we herewith notify all who may be legally indebted to said estate, to pay to us, or any one of us, such debts as may be due, on or before the fifth day of December, Anno Domini Eighteen hundred and eighty nine, and all parties to whom the Estate may be legal indebted must produce their claims in writing to us, on or before the same date for liquidation. And we hereby give further notice, that in performing our duty as such executors, we shall have regard only to those claims that may be presented for payment to us, on or before the date above named. Given under our hands at Twillingate this 5th day of November, A.D. 1889 Advertisement Walter CLOUSTON, Manufacturer of Superior Single and Double OIL CLOTHING. Factory Barnes Road. St. John's, Newfoundland. All Goods Made From Gopod Plain Calico, and Finished with Three Coats of Oil. Orders will receive special attention. Write for price, terms and discount. Sick Fishermen (Part 1) Sick Fishermen Badly Treated on Labrador. Instances have been brought to our notice within the past few weeks, which show that sick fishermen are very badly treated on the Labrador, by those in charge of the steamers, that are employed by Government to convey mails and passengers up and down the coast. During the past season, one of our fishermen was overtaken by sickness while on the coast, and feeling so poorly, he decided on coming home. When a passage was applied for, the sick man was refused because he did not have the full fare, and consequently he was denied the privilege of embarking on board the steamer and returning home, and had to remain on the Labrador in his enfeebled condition, and run the risk of his life, which was greatly imperiled by the inhumane act of the commander in charge of the ship Sick Fishermen (Part 2) We hardly know who is at fault in a matter of this kind; whether it is optional with the Captain to deal with such cases, or whether orders are given to this effect by the Government, but it is certainly a most arbitrary rule, and one which subjects a poor sick fisherman to severe hardship. When we consider that these steamers are largely subsidized out of the public funds of the colony, it appears decidedly wrong that a poor fisherman, when overtaken by sickness, should be refused to be brought home in one of these steamers. By not being able to leave the coast it might be the means of losing his life, and the craft with which he would be connected missing a voyage of fish. There are very few fishermen who take money with them to Labrador, in fact thousands seldom see a shilling in the early part of the summer especially, let alone being in a position to take money enough with them to cope with such a contingency as we have alluded to Sick Fishermen (Part 3) It is the fishermen of the country who principally pay the taxes, and the least that could be done for any who may unfortunately be overtaken by sickness on the Labrador or elsewhere while prosecuting the fishery, is that a passage should be secured for them to their homes in the coastal steamers. It is hoped that this matter will be investigated so that in the future our poor suffering fishermen will have no need to complain further of the bad treatment that they have received when applying for passages homewards. At the same time we would call the attention of the authorities to the way in which our fishermen were served the past summer with respect to their letters. Some of them who were fishing in harbors long distances from where the mail steamers used to call, took the trouble to row in their boats some miles from their craft in order to meet the steamer to put their letters on board, and although they were near the ship the captain did not pay the slightest attention to them, and passed along without waiting a moment to take the letters from the fishermen, and consequently they were denied the privilege of sending them home. It made no difference how important such letters were, they could not be forwarded which might mean a serious loss to the parties concerned Death of Mrs. BERTEAU We regret to have to record to-day the death of Mrs. BERTEAU, wife of F. BERTEAU, Esq., Stipendiary Magistrate, which sad event took place yesterday afternoon. For several months the deceased had been subject to a severe attack of illness which not only prostrated her bodily but likewise affected her mind; and for the greater part of her illness she was apparently insensible to even her nearest relations. During the summer Mrs. BERTEAU was removed to St. John's with the hope that the change and additional medical attendance would prove favorable to her recovery, but such however was not the result, instead of which she seemed to be getting worse, and she was brought back. Since then the deceased has been gradually sinking, until yesterday afternoon, when the death visitor appeared and she passed calmly and peacefully into rest. Mrs. BERTEAU was a very kind and charitably disposed lady, and in her the poor ever found a real friend, and many will miss a true heart that always beat towards the poor and who was ever ready to administer to their wants. The bereaved family have our heartfelt sympathy. Letter A Letter From Mr. CARELY. Herring Neck, Nov 18th. (To the Editor of the Twillingate Sun) Sir, -- Having been informed that my name has been used around this settlement in connection with the scurrilous attack made upon Mr. LOCKLYER, in a letter lately published in your paper over the signature of ""A.H.N, Planter"", permit me to say that I had nothing whatever to do with the letter in question, or knew anything about it until shown me in print. I may say that I express the general opinion of the planters of this settlement (both Now and Old Party) in saying that they very much regret any person should have written such deliberate untruths from this settlement over the signature of ""A.H.N. Planter,"" and I can assure you, Mr. Editor, that the imputation cast upon Mr. LOCKLYER of scheming to put you down, and taking the key of the schoolroom by force, is and uncalled for and untruthful statement. Yours Truly, Joseph CARELY. Ship Arrival The steamer ""Conscript"" arrived at Greenspond at 9.30 this morning. Subscriptions We are thankful to subscribers who have already sent in their subscriptions and would feel obliged if others would do so at an early date, particularly those living at a distance Ship Arrival/Departure The little steamer ""Matilda"" belonging to R. SCOTT, Esq., came here from Fogo on Thursday and returned the following day. The ""Portland"" arrived from St. John's on Thursday afternoon with a general cargo of merchandise for Messrs. W. Waterman & Co. Mail The English mail was late in arriving at St. John's this time and the ""Conscript"" did not leave for Northern ports until midnight Thursday. She may be expected here to-night. Meeting Companions of the R.S.C. Edward 7th, Chap. No. 3, will meet in the Hall on Saturday, 14th December, for the election of officers. Also, there will be some important business to transact which calls for the attention of all Companions. -- Advt Visiting Clergy On Sunday last, the Rev. W. HARRIS of St. Anthony who is spending a few days here, preached in the South and North side Methodist churches, morning and evening, alternately, delivering earnest discourses on both occasions to the congregations to whom he formerly expounded the Word. He leaves by this ""Conscript"" for his mission. Firewood With the exception of a few days, this has been a delightful Fall for getting about on the water, and it has been taken advantage of the past few weeks by a large number of craft that have been frequenting the bays for firewood. A good many are still engaged in this business, and some will be going until Christmas unless the weather should set in very severe in the meantime. Sale of Work The sale of work in aid of the Methodist parsonage, as announced the previous issues, was opened in the South Side school house on Tuesday afternoon, and continued the two following evenings. The room was nicely decorated for the occasion and the display of goods very attractive, and met with ready sales. Between two and three hundred dollars were realized Visiting Clergy The Rev. Mr. SNOW of Exploits and Leading Tickles mission, spent a few days in town the early part of the week and preached in St. Peter's Church on Sunday morning last, giving a fine discourse. Mr. SNOW has only been a few weeks in the mission, and the esteem in which he is held by the flock under his charge, many of whom we have had personal intercourse with, augers well for a successful ministry while laboring in that parish New Schooner ""A Splendid New Craft." Another excellent schooner which was recently launched at Rabbit's Arm for the firm of Messrs. Waterman & Co., arrived in port the early part of the week. She was built by Mr. Francis WARR, whose reputation as a master-builder is so favorably known and who has turned out so many fine craft in the past. The ""Canford"" adds one more to the many superiorily built vessels that he has put out of hands, and is one of the largest that has been built at Rabbit's Arm for sometime. She has not yet been measured, but is supposed to go about ninety-six tons. A more strongly or faithfully built craft could scarcely float on the water, while her model is such as to command the admiration of all who are competent to form opinions respecting the same. An immense quantity of iron has been utilized in her construction which is an evidence that she has been firmly and strongly built, and without due regard to economy, the true object being to have her thoroughly well fastened so as to make her suitable for contending with the mighty elements with which she will be brought into contact during her existence. The Canford is adapted for the Bank fishery or the general trade of the Colony. She will do credit to her builder wherever she goes and it is hoped that a long and prosperous existence awaits this fine craft" Died Yesterday afternoon after a lingering illness, Mary, beloved wife of F. BERTEAU, Esq., Stipendiary Magistrate, aged 60 years. (Other papers please copy.)" Ship News Port of Twillingate. Cleared. Nov. 18 -- ""Forward,"" DAVIES, Lisbon, 3700 quintals fish. -- W. Waterman & Co. NOTICe Public Health Act, 1889. Sec 13. -- It shall be the duty of any householder, so soon as he shall become aware that any occupant of his house is suffering from any infections or contagious disease that may be detrimental to the public health, to give notice of such disease to the Chairman of the Board of Health or a Justice of the Peace, as the case may be, under a penalty not exceeding Fifty Dollars. Sec. 14 -- Any person suffering from any contagious or infectious disorder who willfully exposes himself, without proper precaution against spreading the said disorder, in any street, public place, or public conveyance, and any person in charge of one so suffering who so exposes the sufferer, and any owner or driver of a public conveyance who does not immediately provide for the disinfection of his conveyance after it has, with the knowledge of such owners, or drivers, conveyed any such sufferer, and any person who, without previous disinfection, gives, lends, sells, conveys, transmits, or exposes any bedding, clothing, rags, or other things which have been exposed to infection from such disorders shall, on conviction, before a Justice of the Peace, be fined in a sum not exceeding One Hundred Dollars, or in default thereof, to imprisonment for a term not exceeding Three Months. Providing that no proceedings shall be taken against persons transmitting, with proper precautions, such articles for the purpose of having them disinfected by order of the Board or a Medical Man. F. BBERTEAU, Stipendiary Magistrate. Twillingate, Dec 12. Monetary The Union Bank Of Newfoundland. Notice is hereby given that a dividend of Six per cent on paid up capital stock of this institution has been declared for the half year, ending November 30th, 1889, payable at it's Banking House in this city, on and after Monday, 9th inst. Transfer Books close from the 3rd to the 8th, both days included. By order of the Board. James GOLDIE, Manager. Dec. 14. Fogo Marriage The stir and struggle of politics is over and we have our old member in still. He is looking well and happy after his political campaign. And now, Fogo seems almost dead, nothing scarcely moving, save poor folk carrying home a few burnt sticks to try and warm their thinly clad limbs. However, there was a little stir Monday, November 5th for early in the morning, guns heavy guns, disturbed the sleeping village. The object of the salute was for a time unknown, at length it was discovered that Mr. J. HODGE, in the quiet of the lonely sanctuary, for the congregation had departed, had passed from the state of solitude into matrimonial bliss. Miss MEEK, the bride, having arrived by the ""Conscript"" on the Sunday morning. The continuous firing expressed the good wishes of the inhabitants to the happy pair. Long may they live. Fogo News Dec. 4th a capital concert was held in the Fishermen's hall towards the debt on the Methodist parsonage. Though the night was exceedingly cold the large hall was full, and $25.85 were realized, out of which the hall expenses, $5, had to be deducted. It was hoped the society would have charged less for the building, it being for a charitable object. Mr. STONE, one of the performers at the concert and secretary of the society, considering it was too high a charge, gave a subscription to help pay for the building. It is thought the hall would be much oftener hired if the charge were reduced. It was a capital concert and the audience was delighted for the three hours. Among the performers were Dr. MALCOM, Mr. STONE, Messrs. J. SCOTT and F. SCOTT, Mr. STEPHENSON and Rev. A. SKINNER and Mr. J. HODGE. Mrs. ABRAHAM, Miss ROSS, Miss KIROY and Miss SCOTT. On Dec. 23rd. a Xmas Tree will be held in the Methodist school house. But for these and a few other diversions we should be asleep nearly all the time. It is feared there will be much poverty here this winter. The cases of diphtheria at Seldom-Come-by are fast dying out. Mr. T.C. DUDER has gone to St. John's for the winter and Mr. EARLE is at present in England. Mr. FITZGERALD is now quite well. Seals A few seals have been captured in nets within the past week or ten days Ship News Several craft returned from St. John's the early part of the week. The ""Mary Parker"" sailed for there this morning. Meeting A meeting of the Patriotic Club will take place in the Hall next Friday evening at eight o'clock when all the members are requested to attend Meetings Interesting Church of England Missionary Meetings have been held this week. On Tuesday evening one was held in St. Peter's Church and the following evening in St. Andrew's, report of which will be found in another part of this paper. Meeting We are requested to announce that a meeting of the Dorcas Society will be held at the Court House on Wednesday evening next at 3 o'clock. This is the first meeting for the season and it is desired, that if possible, all the members will be present. Meeting Companions of the R.S.C. Edward 7th, Chap. No. 3, will meet in the Hall this (Saturday) evening at 7.30 sharp, for the election of officers. Also, there will be some important business to transact which calls for the attention of all Companions. -- Advt. Drunkenness It is said that the scene on the coastal wharf on Sunday night, while the Conscript was in port, was somewhat disgraceful. Some parties were under the influence of strong drink, but whether it was procured on board or ashore we cannot say. However, the authorities should be vigilant on such occasions Burglary at the Army On Sunday night week, between nine and ten o'clock, the house occupied by the Captain and Cadet of the Salvation Army, on Tickle Point, was burgularously entered by the back door, a cash box broken open, and some twenty-one or twenty-two dollars stolen therefrom. No clue to the miscreants has yet been discovered. Death News was received here the early part of the week, of the death of Smith McKAY, Esq., who has been ill for some time past. For fourteen or fifteen years he represented this district and for the past two terms he occupied the position of Chairman of the Board of Works, giving general satisfaction. The intelligence of his death will be received with regret by his numerous friends far or near The Law We have received a communication from a ""Sufferer"" about the negligence of the authorities in not bringing to justice guilty parties who have been violating the law, but we consider it rather personal and pointed, for a place in our columns. The writer says the ""past twelve months there have been no less than six shops, offices or dwelling houses burgularized and no trace has yet been found of the perpetrators." This certainly is an unfortunate and unsatisfactory state of things, yet we do not know whether any blame can be attached to our police officers for not ferreting out the guilty parties. In reference to the last burgulary that has been perpetrated, however, it is only right to say that Constable BURT was suffering from an attack of illness at the time and has scarcely been able to perform duty since Ship Arrival The coastal steamer ""Conscript"" arrived Sunday night. She goes as far as Griquet and is expected here to-day. Appended is the list of passengers: -- Bay de Verts - Mrs. MURRAY, nine steerage. Trinity - Constable WALSH and wife, Messrs. PIPPY, HISCOCK, CROSS, McGRATH, DOOLING, BROWN. Catalina - Mr. E. SNELGROVE, King's Cove -- Miss H. CURTIS. Greenspond -- Capt. WINSOR, Miss WINSOR, Messrs HADDEN and MURRAY. Fogo -- Messrs. SCOTT and H. LIND. Twillingate -- Mrs. MOORES, Messrs. PEYTON, THOMPSON and Wm. BAIRD, jr. Exploits -- Messrs Thomas WINSOR and GUTHIER. Pilley's Island -- Messrs John ROBERTS and E. ROBERTS. Little Bay Island -- Messrs Joseph STRONG and James STRONG. Little Bay -- Messrs BURGESS, BENSON, O'REDDEN, BURKE, BOYLE, J. WALSH., R.D. WALSH, Mr. BUZZAN, Mr. and Mrs. CALHOON, Rev. Mr. GEDDES. Nippers Harbor -- Mr. Eli STARKS and wife. Tilt Cove -- Rev. Father S....AN, Messrs GILL, H. HAYWARD, A. ADAMS. St. Anthony -- Mr. J. PENNY, Mr. MOORES. Catalina to Twillingate -- Messrs. WHITE and J. DAVIS. Lodge Elections L.O.A. The following officers of Crosby Lodge, No. 30, were elected and duly installed on Wednesday, 4th inst., as follows: Bro. Charles MAYNE, WM. Bro. William ASHBOURNE, DM. Bro. Revd. R. FREEMAN, Chap. Bro. Thomas YOUNG, RS. Bro. John LUNNEN, FS. Bro. Josiah COLBOURNE, T. Bro. Thomas WARR, DC. Bro. George CARD, L. Bro. Benjamin BLACKMORE, IT. Bro. Charles NEWMAN, OT. Investigating Committee: Bros. Reuben BlACKMORE, George MURRAY, Walter PURCHASE, David WHELLOR, Noah WHELLOR. Sick Committee: Back Harbor -- Bros. George MURRAY and James PURCHASE. North Side -- Bros. Charles MAYNE and Charles NEWMAN. South Side -- Bros. Noah WHELLOR and Shem YATES. Farmers Arm -- Bros. Adam POND and Isaac POND. Durrels Arm -- Bros. Peter JENKINS and Edward INGS. Change Islands -- Bros. George PORTER, Sen., and John ELLIOTT. Auditing Committee: Bros. Thomas YOUNG and Arthur W. SCOTT. Trustees: Bros. Reuben BLACKMORE and W. B. HUGHES. Dr. 1889 Dec 1st To paid for Benefits and other expenses $349.15. To Balance in Treas Hands, 88.85. Total $438.00. Cr."By amt Brought Forward from Last Year $137.85."By recd Fees and Dues 3 .15 Total $4 ""Amount in Treas Hands $88.85."Amount in Union Bank 583.26."Amount out at Loan $920.00. Total $4592.47 Thomas YOUNG Rec. Secretary. Missionary Services All the missionary services held in Methodist Churches here yesterday were largely attended. Indeed, at no time has there been more interest evinced in this important department of Christian work than at the present. Throughout the day the churches were filled to their utmost capacity, and the collections taken at the various services bore ample testimony to the great liberality of the congregations. The sermons preached by Rev. Dr. LATHERN, of Halifax, were eloquent and effective. Not only is he an able speaker, but, in addition to this great and powerful characteristic, the Reverend gentleman possesses a venerable and commanding exterior, well calculated to favorably impress an audience. A meeting will be held in George Street Church, this evening, at which the Rev. Dr. LATHERN will again speak. The service tomorrow evening will be conducted in Cochrane Street Chruch. Evening Telegram, Dec 2. Ship Grounding ""Ashore At Chain Rock." A vessel named the ""Hyacinth,"" belonging to Mr. J. MANUEL, of Exploits, and commanded by Capt. A. LILY, went ashore at Chain Rock, yesterday, whilst beating the Narrows. Another vessel was beating in at the time and the Hyacinth would have collided with her had she not gone ashore. Notwithstanding her being a new vessel, her bows were badly broken and the two pumps have to be kept continually working to keep her free. She is a substantially built vessel of eighty tons, and had on board at the time of the accident eight hundred quintals of fish and two hundred barrels of herring. The fish is damaged very little. She will go on dock after the cargo is discharged. -- Colonist, Dec. 2. Died On Nov. 30th, at Friday's Bay, Julia daughter of Thomas and Ellen GOSS, aged 5 years. Died Of diphtheria, on Dec. 6th, Paul, aged 6 years; On Dec. 8th, Bennett, aged 8 months; on Dec. 8th, James, aged 2 years; on Dec. 9th, Samuel, aged 8 years; on Dec 10th, Phillip, aged 4 years; on Dec 10th, Selina, aged 11 years, children of Philip and Georgina PIPPY. Died At Philadelphia, USA, on November 24th for the effects of a surgical operation, Edgar S., of Sydney, CB, second son of the late Edgar and Elizabeth STIRLING of St. John's CAUTION! The Bread now being offered for sale marked F only (in black) is not of our manufacture. Our Bread is all marked in full. BROWNING'S F. and M. in black. We ask parties purchasing our bread to see that each bag bears the full mark. Our Bakery has recently been refitted with all the latest improvements at very considerable expense, and we now offer Bread superior to any ever manufactured in this country. Ask for BROWNING'S BREAD and see that you get the right article. C. Browning & Son. Dec. 14, 1889"
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https://goout.net/en/frank-iero-and-the-future-violents/pztqlcg/
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Frank Iero and the Future Violents
|
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What is Frank Iero and the Future Violents up to? Check for news, concerts, tour details, latest info, complete overview for August 2024 on GoOut.
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https://goout.net/en/frank-iero-and-the-future-violents/pztqlcg/
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The band Frank Iero and the Future Violents is a group around the musician Frank Anthony Iero Jr., who is an American musician. He was a rhythm guitarist and background vocalist of alternative rock band My Chemical Romance. They released the album Barriers in 2019.
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https://themusic.com.au/features/frank-iero-ls-dunes-2023-interview/IHKeMjU0NzY/17-03-23
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en
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L.S. Dunes' Frank Iero Has No Ego: 'I Like The Work To Speak For Itself'
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"Mary Varvaris"
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2023-03-17T03:25:55+00:00
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"It's a lot of responsibility when someone asks you to participate in the writing process of a song like that, you know? So it's something I don't take lightly..."
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en
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The Music
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https://themusic.com.au/features/frank-iero-ls-dunes-2023-interview/IHKeMjU0NzY/17-03-23
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More Frank Iero
Frank Iero has been a key member of one of the most commercially successful, beloved emo bands of the last 25 years in My Chemical Romance. But no matter his achievements with the band, Iero has a hunger to create with other people, expand his horizons, and somewhat chase that thrill of forming a new band.
That excitement, and working with longtime friends heâs never worked with before, led to the formation of L.S. Dunes, one of the coolest post-hardcore bands to surface in recent memory.
Iero plays the guitar alongside Coheed And Cambria guitarist Travis Stever in L.S. Dunes, alongside Thursdayâs rhythm section - bassist Tim Payne and drummer Tucker Rule, with the band completed by Saosin and Circa Survive vocalist Anthony Green.
Since their formation last year, they performed at Riot Fest (their first-ever live performance, in actuality), toured the UK and Europe and the US, and released the brilliant debut album, Past Lives. Itâs a testament to the groupâs boundless creativity that the album wound up being one of the finest albums of 2022, and also dispels the myth that only bands made up of teenagers or twenty-somethings can make good, vital rock music.
Past Lives is essential - more The Shape Of Punk To Come than any emo record you want to name, the album explores punk and post-hardcore genres, with each band member freed from the expectations of their main musical groups.
Iero gets to let rip or hold the fort, as Green finds vocal melodies in the most unusual of places. Past Lives was produced by Will Yip (Turnstile, Citizen, Balance & Composure) and with the popular record producer at the helm, the album has the signature raw sound Yip gets out of bands. The production almost makes you feel like youâre in the loudest, most frenzied rehearsal room watching a seasoned post-hardcore outfit. Thatâs another joy of L.S. Dunes: they sound like theyâve been at it forever â and in a way, they have â but it hasnât even been a year since they shocked the music world with lead single Permanent Rebellion.
After some cryptic teasing of the band logo and the L.S. Dunes name appearing on the Riot Fest 2022 poster led to punters speculating a possible supergroup, the five-piece dropped Permanent Rebellion in August and announced the upcoming record. Iero, who had some input into the decisions, put his trust in Fantasy Records for the rollout.
Catching up with the guitarist from a Melbourne hotel on the eve of one of two My Chemical Romance shows at Rod Laver Arena, he says, âI always feel like when you're working with a label, it has to be partnership has to be a lot of trust there. When I'm doing that kind of thing [releasing an album], I tend to relinquish a lot of that control over to somebody that maybe knows a little bit better than I do.â
Frank Iero is softly-spoken and thoughtful, and when you quiz him about the cool shit heâs been up to, the passion just pours out of him. âYou know, as far as marketing and stuff like that goes, there's one thing that I feel like I do not excel at is, I'm not a good salesman when it comes to selling yourself,â he laughs. Part of that admission stems from his New Jersey upbringing, where you donât brag about things youâre doing; you show it. Donât look like an asshole.
L.S. Dunes wanted to keep the secret until it was the right time to share their music with the world, no matter how hard that was. âI will say this too, it definitely wouldn't have been my first choice to have our first show at a festival with, like, one song out. That's always scary,â Iero admits. But the shows were unbelievable, in a good way. âI didn't know what to expect going in, I was trying to be positive about it. But in my experience, that's not the easiest way to showcase new songs.
âI've played Riot Fest before in different incarnations. Iâve played very, very early on when people arenât there yet. And so, I think I took solace in the fact that, like, alright, we're on kind of early, so maybe there won't be that many people there,â he continues. âIt won't be that big a deal if we're playing songs that nobody's heard before. And then all of a sudden, we walked out and it was like, âOh my God, there's tens of thousands of people here. This is crazy.â But it was the best first show I've ever had with any band. It was crazy. It felt immediate. And I think if I didn't know before, I knew at that moment that we had something special.â
Permanent Rebellion came into existence when Iero discovered a chord progression he liked; the song was coming to him in ten-to-twenty-second increments, and âI was like, I think I have something here. If we have an extra five minutes, I think we should lay it down. And then I started to worry that we wouldnât have those extra five minutes,â he chuckles, but Rule came to the rescue. âTucker was the one that was like, 'if Frank says he's got something, we should try it.'â Good call, Tucker.
The first track on the album, 2022, is one of the most personal songs Anthony Green has ever written - in the chorus, he croons: âIf I can't make it 'til 2022 / Least we'll see how long I can swim / Sometimes wish she hadn't found me on the night / I tried to disappear, all at once.â âIt's a lot of responsibility when someone asks you to participate in the writing process of a song like that, you know? So it's something I don't take lightly,â Iero admits.
When Green presented the song to his bandmates in L.S. Dunes, Iero recalls asking him on a few occasions, âAre you sure you want this song out there; you donât want to keep it to just you?â But Green was insistent, âhe felt like it wasn't complete until we attempted it,â Iero says. âI think what the band brought to that song, maybe it just increased - not the importance of it, but the gravity of it. It became more of a triumphant thing than a sad thing for him. And that's the beauty of this stuff. It can be very healing. I like to think that we're trying to heal the wound a little bit.â
On the poignant It Takes Time, Iero was the person Green was writing about. In a track-by-track explanation provided to Apple Music, the singer elaborated, âI wrote this song about Frank. He was in an accident and really fucked up his wrist and hand, and he had to get surgery during the recording of the album⦠I donât think he knew if he was ever going to be able to play again. So, I was thinking about him and his relationship with his instrument.â Green says that the songâs first line, âHello? Iâm not sure if you remember, we connected a long time agoâ is supposed to be Iero talking to his guitar and his muse.
âEverybody had to wait for me, basically, it was really nice of them to do that,â Iero shares. He was supposed to record his parts in September 2021, but âI ended up having to push it to December. It was a very unconventional recording process. But somehow, someway, it ended up becoming one of my favourite-sounding records I've ever worked on. It's a very visceral-sounding record. And I really, really enjoy it.â
That visceral sound came from the band members channelling hardcore punk and from their producer, Will Yip, getting an almost animalistic sound on the record. Green had worked with Yip on the Circa Survive records, Violent Waves (2012), Descensus (2014), The Amulet (2017), and Two Dreams (2022), so the pair naturally felt comfortable together.
Beyond the album itself, just creating with L.S. Dunes brought Iero immense joy. âIt's always fun to play with new people. Everybody in the band is a fantastic musician,â he begins. âTim is especially one of the greatest bass players I've ever seen. I play with some really great bass players, but he's on another level; some of the choices that he makes are just⦠I don't even know how to describe it.
âAnd the way he works with Tucker, of course, is impeccable because they've had such a long history together. I've gotten to play with Tucker before, I've been lucky enough to write with him and play with him in the past. And this is just even more fun because that rhythm section is so already locked,â Iero adds. âAnd then, of course, Travis is such a different player than anyone I've ever gotten the opportunity to play with before. His melodic choices, the technique that he has, he's just very accomplished, you know? So for me, it presents new challenges, like: 'Alright, what do I bring to the table? Where do I push myself and do things Iâve never done before?'
âIt's just a totally different experience. I think that's what excites me so much about this band and why I keep starting new bands,â he laughs. Each band is different and presents new challenges, with ups and downs along the way. âIt's how you grow as a player.â
In a previous interview with Atwood Magazine, Iero said, âThe New Jersey mentality is, you donât boast about yourself, you donât complain, you put your head down and you do the work.â That mindset is integral to Ieroâs belief system and explains why he spends more time talking up his bandmates than his own abilities.
âOh, yeah, in my head, or at least in my experiences, the people that talk about how great they are or about all these great things they did or talk like, âI'm a genius,â youâre not; you're an asshole, basically,â he laughs. Of course, itâs nice to take a compliment, even if it feels a bit weird. âI don't know if I understand how to do that just yet. But you don't talk about yourself, basically. So, for me, I like the work to speak for itself.â
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https://warl-etcetera.livejournal.com/27062.html
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Frank Iero (My Chemical Romance/Leathermouth)
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Name: Frank Anthony Iero Date of Birth: October 31st, 1981 (HALLOWEEN! :D) Height: 5'6 or 5'7 Livejournal: frankenmouth Famed for / How we might know him or her: Frank is the rhythm guitarist (sometimes backup vocals/scream) for My Chemical Romance. He is also the singer/lyricist for…
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Name: Frank Anthony Iero
Date of Birth: October 31st, 1981 (HALLOWEEN! :D)
Height: 5'6" or 5'7"
Livejournal: frankenmouth
Famed for / How we might know him or her: Frank is the rhythm guitarist (sometimes backup vocals/scream) for My Chemical Romance. He is also the singer/lyricist for his side project Leathermouth (a post-hardcore punk band) and the founder and cerebellum (head honcho) of Skeleton Crew which is a clothing and publishing company as well as record label.
To what extent will he or she be 'AU'?: He will follow any and all tour schedules for both MCR and Leathermouth including studio time. However, I don't mind bending dates by a day or two from time to time if he's needed for another function.
Sexual Orientation/Preference: Heterosexual
Player's preference for romantic or erotic SL's: Heterosexual although Frank has been known to kiss/make out with other guys (especially Gerard on stage) and I wouldn't be surprised that he'd follow that pattern here as well.
Brief notes about your character's personality: Frank's well known for having incredibly strong family values. He loves his family more than anything and will do just about anything to protect them. He even has a tattoo of his grandfather on his left arm. He's friendly, appreciative, outgoing, and has a tendency towards mischief. Ever the prankster, no one is safe from him however everything is harmless fun. Frank will always speak his mind and always weigh his decisions as to what is right and wrong for him. He is opinionated but open-minded and all-around has a punk rock core.
Brief history/background information: Born and raised in Belleville, New Jersey into a Catholic/Italian family, Frank is the only child of Frank (Cheech) and Linda Iero. His parents divorced when he was a meer 2 years old so he has always been fairly adjusted to the situation almost considering that the "norm" until he was old enough to understand. While growing up and getting better on guitar Frank was in many different bands starting when he was 11 years old. Most notably were the bands Pencey Prep and I Am A Graveyard, the two bands that Frank was part of directly prior to joining My Chemical Romance. He, as well as bandmate Mikey Way, dropped out of college to pursue full-time touring in My Chemical Romance and hasn't looked back since.
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https://www.facebook.com/premierguitar/videos/how-frank-iero-was-inspired-by-a-squier-vintage-modified-baritone-jazzmaster-rig/2798204717098841/
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en
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My Chemical Romance rocker Frank Iero details how a Squier by Fender - Stop Dreaming, Start Playing! Vintage Modified Baritone Jazzmaster influenced...
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My Chemical Romance rocker Frank Iero details how a Squier by Fender - Stop Dreaming, Start Playing! Vintage Modified Baritone Jazzmaster influenced...
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de
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https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
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https://www.facebook.com/premierguitar/videos/how-frank-iero-was-inspired-by-a-squier-vintage-modified-baritone-jazzmaster-rig/2798204717098841/
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Frank Iero explains MCR reference in “Young And Doomed”
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2019-05-27T22:35:55-04:00
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Frank Iero just finally explained why he made that My Chemical Romance reference on his third Solo project Barriers. In case you have no idea what’s going on, Frank Iero recently dropped the song “Young & Doomed” from Barriers under the name Frank Iero and The Future Violets. Read more: Video game addiction is officially classified […]
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en
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Alternative Press Magazine
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https://www.altpress.com/frank-iero-my-chemical-romance-reference/
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Frank Iero just finally explained why he made that My Chemical Romance reference on his third Solo project Barriers.
In case you have no idea what’s going on, Frank Iero recently dropped the song “Young & Doomed” from Barriers under the name Frank Iero and The Future Violets.
Read more: Video game addiction is officially classified as a mental health disorder
“Young & Doomed” makes the reference to the iconic MCR song we all know and love.
“I promise that I’m not OK … Oh wait, that’s the other guy,” Iero sings in one verse.
He spoke to Hysteria Magazine and explained his reasoning behind including the reference.
“I don’t know if I was purposely trying to stir shit? It was more that I liked the idea of breaking down this fourth wall,” Iero said during the interview. “To me, it was very much like reading a comic and you find out that two superheroes are in the same universe even though they don’t necessarily interact. I like the fact that it called back to a previous works. I feel a song like ‘Young & Doomed’ is very tied to a song like ‘I’m Not Okay’ and it’s also really tied to a song like ‘I’m a Mess.’”
“So that line, it just fits so perfectly. Yeah, I knew that it was going to cause some disruption for others, but what I was hoping for was that attention would be brought to what I was actually trying to say within the song.”
In the interview, Iero also discusses what touring with Taking Back Sunday is like as well as discussing what making music more than two years after his accident way like.
“I knew that it was something that I needed to address because it was such a life changing event. I was having a really hard time though. The things that I was writing, I didn’t feel encompassed every emotion that I had about it and it was this huge, giant elephant in the room and I felt like the things that were coming out of me just didn’t do it justice,” he said.
“I ended up getting calls from some amazing musicians, Tucker Rule, Matt Armstrong, Kayleigh Goldsworthy and Evan Nestor,” he continued. “Everybody said ‘Hey we’re free and we want to do this record’. I have known some of these people for like 20 years! And I’ve wanted to start a band with them for so long!”
“That the fact that these stars were aligning just really kinda blew my mind! I knew that I didn’t want to pass up on this opportunity just because I couldn’t get over this hurdle of writing about this experience. So, I just tackled it head on and started chipping away at it and didn’t shy away from the things that really scared me.”
“I think that in accomplishing that, it gave me a lot of confidence and, all of a sudden, all of these other things that maybe I’d shied away from in my writing throughout the years didn’t seem so scary. So, that became the battle cry, I think, for the record ‘Attack the things that scare you.’ If you find something that you are uncomfortable with, go for it! That’s the path! Get yourself out of your comfort zone at all times! That became the theme of the record, ‘Break down every wall’.”
He continued saying he loves the way the record ended up.
“I really feel that this record is a record that, out of everything that I’ve ever had a hand in, is the most proud that I’ve ever been! It’s kind of insane! I do feel very fortunate to have been able to say that almost every time I make a new record! You know? That’s hard to do! I feel very blessed and very fortunate.”
You can listen to the song below.
More Frank Iero news
Frank Iero appeared on Nickelodeon’s Double Dare Live to take part in a physical challenge involving quite a lot.
The challenge involved passing balloons on plungers, and Iero ended up beating two strangers.
Before the actual event started, he talked to host Marc Summers about the strange resemblance he has to one of his family members.
“Everybody used to say that you look just like my dad,” he said, adding that they’re both handsome.
Then, he faced off against his two opponents. He shared a video of his win on Instagram, and you can hear his three children cheering him on from the stands.
“Sometimes you have to wait 30 years but your dream finally comes true ….and you get to destroy two young strangers on a Double Dare physical challenge in front of a live studio audience. (while your kids cheer you on!),” he wrote in the caption.
Check out the video below.
Earlier this year, Pete Wentz made a guest appearance on Double Dare and really got slimed.
The game show originally aired from 1986 to 1993. It has been revived twice, once in 2000 and again last year with a second season airing this month.
Last week, Frank Iero had to postpone his upcoming tour in Mexico due to health concerns, but now he’s rescheduled those shows.
His band, Frank Iero and the Future Violents, were set to play Monterrey, Mexico City and Guadalajara last week, but now they’ll be coming later in the fall.
The rescheduled dates will take place September 27 through September 29 and all originally purchased tickets will be honored.
We’re glad Iero has been able to reschedule his shows and wish him a speedy recovery.
You can catch Iero and the Future Violents later this month when they kick off their East Coast tour. Check out the full list of dates below and pick up your tickets here.
Dates:
05/29 – Philadelphia, PA @ The Foundry
05/30 – Baltimore, MD @ Baltimore Soundstage
05/31 – Hamden, CT @ The Ballroom At The Outer Space
06/01 – Pawtucket, RI @ The Met
06/02 – Boston, MA @ Brighton Music Hall
06/04 – Harrisburg, PA @ Harrisburg Midtown Arts Center
06/05 – Pittsburgh, PA @ Rex Theater
06/06 – Detroit, MI @ El Club
06/07 – Cincinnati, OH @ Bogarts
06/08 – Louisville, KY @ Mercury Ballroom
06/10 – Atlanta, GA @ Terminal West
06/11 – Birmingham, AL @ Saturn
06/13 – Tampa, FL @ The Crowbar
06/14 – Orlando, FL @ The Social
06/15 – Jacksonville, FL @ 1904 Music Hall
06/16 – Columbia, SC @ The Senate
06/18 – Charlotte, NC @ Amos Southend
06/20 – VA Beach, VA @ eLEVATION 27
06/21 – Washington DC @ Union Stage
06/22 – New York, New York @ Rocks Off Cruise
09/27 – Guadalajara, Mexico @ C3 Stage
09/28 – Monterrey, Mexico @ Cafe Iguana
09/29 – Mexico City, Mexico @ Auditorio Blackberry
What do you think of Frank Iero’s latest interview? Sound off in the comments below!
See more: 10 most iconic music video looks
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[
"thanks current mcr news",
"june 2019",
"2019",
"jean jacket frank",
"first band"
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[
"callmeblake"
] |
2020-11-20T01:13:18+00:00
|
current-mcr-news: “bringinbackpod: Frank Iero and I were both hit by vehicles. We shared our near death experiences and his journey to stardom in our episode:...
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https://www.tumblr.com/callmeblake/635263829292482560/current-mcr-news-bringinbackpod-frank-iero-and-i
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https://www.wikiwand.com/en/Epiphone_Wilshire_Phant-O-Matic
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en
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Frank Iero
|
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Frank Anthony Iero, Jr. is an American musician, singer, songwriter, and record producer, best known as the rhythm guitarist and backup vocalist of the rock band My Chemical Romance and as a guitarist in the supergroup L.S. Dunes. He was also the lead vocalist of the post-hardcore band Leathermouth. He has a solo project titled Frank Iero and the Future Violents. He released his debut solo album titled Stomachaches on August 26, 2014.
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en
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Wikiwand
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https://www.wikiwand.com/en/Frank_Iero
|
American musician (born 1981) / From Wikipedia, the free encyclopedia
Dear Wikiwand AI, let's keep it short by simply answering these key questions:
Can you list the top facts and stats about Epiphone Wilshire Phant-O-Matic?
Summarize this article for a 10 year old
SHOW ALL QUESTIONS
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279
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https://mychemicalromance.fandom.com/wiki/Frank_Iero
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Frank Iero
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2024-07-29T22:27:06+00:00
|
Frank Anthony Iero, Jr. (born October 31, 1981) is a guitarist and backup vocalist of My Chemical Romance. He has also held various roles in other bands including Pencey Prep, LeATHERMOUTH, Death Spells, and " Frank Iero and the Future Violents" (formerly "frnkiero andthe cellabration" and...
|
en
|
https://static.wikia.nocookie.net/mychemicalromance/images/4/4a/Site-favicon.ico/revision/latest?cb=20220519073112
|
My Chemical Romance Wiki
|
https://mychemicalromance.fandom.com/wiki/Frank_Iero
|
This page uses Creative Commons Licensed content from Wikipedia (view authors).
Frank Anthony Iero, Jr. (born October 31, 1981) is a guitarist and backup vocalist of My Chemical Romance. He has also held various roles in other bands including Pencey Prep, LeATHERMOUTH, Death Spells, and " Frank Iero and the Future Violents" (formerly "frnkiero andthe cellabration" and "Frank Iero and the Patience").
Early life[]
Iero was born in Belleville, New Jersey and grew up in Kearny, New Jersey.[1] As a child he suffered numerous bouts of bronchitis and ear infections which meant he spent a lot of his childhood in the hospital.[2] Frank is also lactose intolerant and has other various food allergies. [3][4] He went to a Catholic school growing up, and later went to Rutgers University on a scholarship, but dropped out to go on tour with My Chemical Romance. He is also 3/4 Italian and 1/4 Polish.
Iero's parents separated when he was young and he grew up living with his mother, Linda, who lent out her basement to her son's many band practices; his father and grandfather were musicians and both were big influences on Iero when he was young. His father urged him to play drums, but Iero later began playing the guitar.
Music career[]
Frank started playing in local bands on the New Jersey punk scene at age 11. Before joining My Chemical Romance he served as vocalist for the punk band Pencey Prep. The band released an album, Heartbreak in Stereo, on the independent Eyeball Records before disbanding. Whilst playing with Pencey Prep, he became friends with Gerard Way and the other My Chemical Romance members, became a fan of their original demo and helped them get their first shows. After his band broke up, Frank played in several bands, including I Am A Graveyard, Hybrid, Sector 12, and American Nightmare before being offered the slot of rhythm guitar in My Chemical Romance. Iero also acted as the vocalist of the post-hardcore/hardcore punk band LeATHERMOUTH, who released their debut album XO in January 2009, on Epitaph Records. He was involved in a tribute band to The Cure named The Love Cats, after the song of the same name, and played bass with Reggie And The Full Effect on their farewell tour.
He was a judge for the 7th annual Independent Music Awards to support independent artists.[5]
On 7 December 2010, Iero parted ways with the record company Skeleton Crew he and his wife co-founded years earlier in order to concentrate on his family and his music with My Chemical Romance stating that, although he would have loved to carry on, he could not juggle his career with the band, the new additions to his family (newborn daughters) and co-running a business at the same time.[6]
After My Chemical Romance's breakup, Iero started to make music on his own as a form of therapy, to distract from his at the time severe stomach pain. This solo project, originally not intended for release, became Stomachaches, his solo debut. It was released 2014 under the name "frnkiero andthe cellabration." Also in 2014, he contributed a cover of Green Day's song "Extraordinary Girl" as part of Kerrang's 10-year tribute to "American Idiot". Following Stomachaches, he released the album Parachutes in October 2016 under the name "Frank Iero and the Patience." During the Australian leg of the tour promoting this album he, his bandmate and brother in law Evan Nestor and his manager were part of a near-fatal car accident. In May 2019 he released the album Barriers with the band "Frank Iero and the Future Violents."
On March 22nd, 2013, the band officially broke up, but 6 years later on October 31st, 2019, it was officially announced by the band via Instagram, Facebook, Twitter etc. that they were officially reuniting (minus former drummer Bob Bryar, who will be replaced on drums by former MCR touring drummer Jarrod Alexander) for their first show together on December 20th, 2019 in Los Angeles, California at the Shrine Expo Hall.
Equipment[]
In the earlier days of My Chemical Romance, Iero mainly used Gibson SGs & Epiphone Les Paul guitars (most notable was his white Les Paul nicknamed 'Pansy' which proved popular among his fans but has since been broken while onstage) and Marshall amps. He has since switched to using Gibson Les Pauls (with the Neck Pick-up removed) and occasionally uses a Gibson SG. He also used a Fender Stratocaster in the Desolation Row video. He has recently collaborated with Epiphone to design the Wilshire Phant-O-Matic guitar which he used onstage for the My Chemical Romance 'World Contamination' Tour, the Honda Civic Tour and for the Reading and Leeds festivals. [7]k
Personal life[]
On March 9, 2008, Iero married his long term girlfriend Jamia Nestor after proposing during the recording of The Black Parade.[8] On September 7, 2010, Iero announced on the My Chemical Romance official website that he and his wife had become parents of twin girls named Cherry and Lily. [9]On April 6, 2012, Iero announced on his personal Twitter account that his wife had given birth to their son, Miles. He has also been claimed the Best Dad Ever. He also as a dog name Lois.
Frank has many tattoos, including the word "HALLOWEEN" tattooed on his fingers, a Jack O Lantern on his back, "Keep the Faith" on his upper back, the letters "N.J." inside his lip standing for New Jersey, "I wish I were a ghost" around his right wrist, a dove on his left lower chest, an anchor on the lower part of his right bicep with an "N" and "J" on either side, a large chest piece, a scorpion on the right side of his neck, portraits of his grandparents on both arms, logos for the bands Black Flag and The Misfits, a matching 'revenge' tattoo with James Dewees, and a Frankenstein monster. Frank revealed in Life On The Murder Scene that he got the scorpion tattoo as high up on his body as he could once he decided that he didn’t want a real job. Most of the tattoos were done by L.A.Ink's Kat Von D, and Frank even appeared on her reality show. In her book High Voltage, in which some of his tattoos are featured, Von D states that she was present at Iero's wedding indicating that the two have remained friends.
Iero has expressed his pro-gay rights stance on numerous occasions, including wearing a pro-gay marriage t-shirt on tour and his home-custom red "Homophobia is gay" t-shirt which has become a fan favorite. During the earlier years of MCR, he and Gerard had kissed several times on stage and briefly in their music video I'm Not Okay (I Promise) arguably as a pro-gay statement. He also revealed to Rock Sound magazine that he voted for Barack Obama in the 2008 presidential election.
He has been a vegetarian since childhood after discovering the mistreatment animals endure in slaughterhouses and rearing farms and in 2008 PETA dubbed Iero one of the World's Sexiest Vegetarians, alongside Alyssa Milano.[10]
In the making of 'Helena' video,he stated that he could not carry the coffin because he was too small. Jokingly he said he is 4"9. He is actually 5'6.
Quotes[]
"This is a band that will save your life."
"I can't imagine any other bands having better kids than ours, and if they do at least I know our kids can beat up their kids."
"I'm totally f-in' bummed about the 'Ghost of You' leak. If you see a site with a link to the video, please don't watch it. Don't send it out. Don't look at screencaps. It's NOT FINISHED YET!"
"If I revealed my secret identity, the world would go to shit."
"Oh, one time we got held hostage!”
"We've mutilated, killed and disemboweled rock 'n' roll clichés!”
"My biggest addictions have been chocolate cake, mashed potatoes, and butter sandwiches.”
"I burn everything and call it Cajun.”
"Really I don't know anything other than Jersey. I like the dirtiness of it. Now I'm getting to see the world, and it's great, but it's not better than Jersey"
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https://itsalldead.com/2019/05/30/review-frank-iero-and-the-violent-futures-barriers/
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en
|
Review: Frank Iero and The Violent Futures – Barriers
|
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2019-05-30T00:00:00
|
Frank Iero’s passion for rock music shines through his solo work more than the heavy mood would have you believe. Barriers, Iero's third solo album, celebrates rock music. The album is moody and constantly blitzing with wild energy. He sounds raw—similar to some of the best emo releases of the mid-2000s. Barriers sounds like a lost masterpiece from…
|
en
|
it's all dead
|
https://itsalldead.com/2019/05/30/review-frank-iero-and-the-violent-futures-barriers/
|
Frank Iero’s passion for rock music shines through his solo work more than the heavy mood would have you believe. Barriers, Iero’s third solo album, celebrates rock music. The album is moody and constantly blitzing with wild energy. He sounds raw—similar to some of the best emo releases of the mid-2000s. Barriers sounds like a lost masterpiece from a decade earlier, but isn’t dated in the least. Iero doesn’t have to work too hard to craft his own identity from past work with My Chemical Romance and Leathermouth. Barriers is an album that overcomes every obstacle to stand tall on its own, possibly as Iero’s best solo release.
Each new interpretation of his solo career has refined his sound and not shied away from the gloom that helped define him as a musician. The guitars are fuzzed, but still release a hard melody. Iero’s writing channels the best aspects of rock and focuses it down to a grungy tip. It allows the album to be a cohesive collection while adding a massive variety to the sound.
Opener, “A New Day’s Coming” mixes blues and a gospel-heavy keyboard with heavy, raw guitars. The chorus of “Fever Dream” rages with simple power chords, reminiscent of classic-era Green Day. Meanwhile, “Moto-Pop” rages with metal inspiration from Black Sabbath. Iero and fellow guitarist Evan Nestor are clearly relishing their ability to play whatever they want.
Bassist Matt Armstrong (Murder By Death) provides a hard, dark mood throughout the album (“Medicine Square Garden”). Keyboardist and backing vocalist Kayleigh Goldsworthy adds just enough to crank the effect of Iero’s demons throughout the album. She hides like an angel or a demon haunting Iero’s highs and lows (“Six Feet Down Under”). Former Thursday drummer Tucker Rue adds an energy to the album that keeps the music charged even in more somber moments (“No Love”).
Where Iero impresses the most is in his vocals. The wild change in singing styles throughout the album keep each line engaging. The preference to get the emotion out, even if it means falling flat, lends a haunting urgency to each line. Clean, lazy singing on “A New Day’s Coming” is inspiring. Slurred, charged shouting during “Young and Doomed” channels a blend of AFI’s Davy Havok’s eccentricity and Thursday’s Geoff Rickly’s angst. Meanwhile, singing through gritted teeth, grunge whispers and hedonistic shouting, “Fever Dream” is wave after wave of unfiltered energy thrown at the microphone.
Barriers is a thick album. There’s certainly an argument that it could have benefitted from being a couple tracks shorter. However, Iero’s passion for music shines through each track. Although it’s hard not to compare him to a few legendary bands he was a key part of, Iero has forged a solo career defined by the freedom to lay waste to expectation. Barriers is Iero at his best—doubling down on a genre he helped forge and paying homage to rock music from every region of the genre.
4/5
Photo credit: Mitchell Wojcik
by Kyle Schultz
Kyle Schultz is the Senior Editor at It’s All Dead and has worked as a gaming journalist at Structure Gaming. He lives in Chicago and stepped in a puddle this morning. Now he is known as “Dumb ol’ Wet Foot.”
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Gerard Has Mental Health Issues and Frank Comforts Him
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2020-05-03T00:01:48+00:00
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I know this might be hard to find (it might not have a tag, I'm sorry) but mentally ill Gerard and Frank caring for him?
No need to be sorry, Nonny!
These deal with a bunch of different mental hea…
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https://assets.tumblr.com/pop/manifest/favicon-0e3d244a.ico
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https://www.tumblr.com/mychemicalficrecs/617049340877422592/i-know-this-might-be-hard-to-find-it-might-not
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Anonymous asked:
I know this might be hard to find (it might not have a tag, I'm sorry) but mentally ill Gerard and Frank caring for him?
No need to be sorry, Nonny!
These deal with a bunch of different mental health issues, some closer to canon, others completely AU. They’re all tagged with Frank/Gerard, but as far as I can tell most of them aren’t very shippy.
Gerard Has Mental Health Issues and Frank Comforts Him
Schizophrenia {A Frerard Story} by Shadow_Hunter_8, 14k [WIP], Teen And Up Audiences. Gerard Way and Frank Iero have been dating since high school. Their lives seem perfect. Gerard is a comic book artist, while Frank works as a teacher. Their love for each other is so strong, they're sure that nothing can tear down their relationship. Then Gerard gets diagnosed with schizophrenia. Frank, having taken a psychology course in college, is determined to take care of Gerard instead of sending him to an institute. But as Gerard's condition worsens, will Frank be forced to admit that he isn't prepared to care for him?
in paper armor by sweetchems, 9k [WIP], Teen And Up Audiences. Gerard Way doesn't know what the hell to do. His mind is a wreck that he can't handle half the time, with a bunch of locked away memories causing said wreckage. He needs help, but you couldn't pay him to see a shrink. So he gets the other kind of help. The kind that just... directly helps. Frank Iero is a free working caretaker who feels a bit like he's an all ages nanny. Doesn't mind the fact. It's good work, though he does tend to see his client-slash-patients shift into other care at their family's hands. Or get help. It makes him feel impressively job-well-done to see someone he cared for improve. His one surprise of a patient though is a certain Gerard Way, an agoraphobic artist with a mind that blocks out his past sufferings in any way it can hope to.
Painfully Me by BasementVampire, 1k, Mature. In which Gerard is insecure and Frank is the sweetest boyfriend ever.
Baby, Won't You Lock the Door? by BasementVampire, 879 words, Teen And Up Audiences. Frank comforts Gerard during a psychotic episode.
The Mess We've Made by ViciousVenin, 122k, Explicit. Gerard isn't sure where his life is going. It feels like the world is shifting and changing around him and he's stuck in place, unable to move forward. But when he meets a guy at a club who tells him he's meant for something better, Gerard wants to believe him, and suddenly he's taking steps he never thought he would.
Off Month by orphan_account, 2k, Mature. Frank understands that if someone has depression, there will be times when they're blatantly miserable. Maybe they'll lock themselves away for a day or two, maybe a week. Maybe they go about their normal lives, but everything drags on longer and longer everyday until their mood boosts or the pills do their job again.
Lost Caves by trashanonymous, 8k [WIP], Explicit. Gerard's place of solitude is replaced with a dark, musty basement forced to follow his captors demands. Frank, a therapist, finds himself in charge of intergrating Gerard back into a world he's uneasy about rejoining.
put away the pills (come waste away with me) by endlessnighttimesky, 2k, Teen And Up Audiences. It’s three days after Osaka that Gerard’s breaks down and tells Frank everything. He thinks that maybe he should’ve done it sooner, at least the telling-Frank-everything part, but then he thinks that, perhaps, this is how it should be.
I'm Lying Here (In Despair) by thirstingdragon, 3k, Teen And Up Audiences. Gerard - who is in the beginning of his sobriety - thinks that things look bleak and dark. Frank tries to ease things if only for a moment.
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https://www.theaquarian.com/2018/01/03/frank-iero-i-aint-gonna-change/
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Frank Iero: I Ain’t Gonna Change
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2018-01-03T00:00:00
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New Jersey's Original Alt-Weekly
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en
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The Aquarian
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https://www.theaquarian.com/2018/01/03/frank-iero-i-aint-gonna-change/
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Art; Frank Iero creates art. From The Black Parade with My Chemical Romance to Keep The Coffins Coming with Patience, Frank Iero creates art. Whether it be his lyrics, his guitar riffs, or just his album covers, Frank Iero creates art. Music is an art and art is expression, of which he does so swiftly, so honestly, and so purely. With a new EP out, a relatively new band name, and his signature talent on clear display, Iero is ready to rock. New places, different cultures, and life changes all play a part in the down-to-earth, now 36-year-old New Jersey native’s music…or shall I say, his art.
Tell us about your new EP. What is the meaning behind the name it? Keep The Coffins Coming is pretty dark for an album that contains a song (one of my favorites) titled “BFF.” Although, it is a truly raw and intense album, overall.
Keep the Coffins Coming was the title of a “Pulp” novel by Julius Long about a guy who went around killing Nazis. The EP is not connected to the book really, but I loved the title so much because it conjured up so many images for me, and I loved the alliteration. I think about songs and the creations we make. We bring them to life, raise them, and then knock them off one by one. sending them off to slaughter so to speak. The title for me refers to keeping the art coming, constantly burning down the past and making something new.
How do you think you have changed as an artist? How do you think your music has grown over the years of being in different bands, as well as a solo artist?
I think I’ve learned how to better express my true self through my art…in a more clear and concise way. I’ve been playing in bands and writing songs for a long time, most of my life in fact, so I’ve had the opportunity to get some things right and also make a lot of mistakes. I enjoy working in a band setting and collaborating with other artists, but I also really enjoy the solo environment of everything relying on you. It can be stressful but also really rewarding.
New Jersey has been a home to many bands and music artists over the years. Do you think New Jersey has been a big effect on you? Do you find that there a true New Jersey music culture/scene?
Well yeah, I think it’s had an effect on me. It’s home and I love it. As far as a scene I think there’s a lot of talent here. A lot of musicians and artists playing together and being inspired by one another. It’s a bit incestuous where everyone has played in bands together or played shows with one another. That type of environment creates a bit of competitiveness sometimes, but I think it can be healthy. It forces you to get better and break down creative walls and make connections that help each other out.
What are some of your favorite things about touring? Your hometown stop at Starland on this tour, as well as on prior tours, must be exciting.
I love Starland, it’s a great venue and the staff is super rad. I’ve always had great shows there. it’s definitely a stop you look forward to on tour. As far as tour in general, I enjoy playing in different cities and countries. I wish there was more time in the day to experience the surroundings though. But I think the older I get I really enjoy the difference in cultures. The travel itself is never really fun though…that gets a bit harder the older I get.
This is the third album released from Frank Iero and the Patience. Although, the band used to be Frnkiero AndThe Cellabration. Why the name change? Any special meaning behind the new one?
The first time around I knew I wanted to name the band even though it was a solo project. So I thought maybe I should call it something that I wanted or felt I needed to have with me. And so the “cellabration” came to mind as a way to kind of detract from my feelings of inadequacy of being a new frontman. This time around I didn’t feel I needed that distraction anymore. But what I did want was the ability to take my time and appreciate the now. So I named the band the Patience.
As someone who has been inside the music industry and working hard in it for many years, how do you feel it has changed? From Pencey Prep to My Chemical Romance to Frank Iero and the Patience.
It’s completely different and changes on a daily basis. If I said I comprehended the complexities of it I’d be lying. The truth is I don’t know if I really ever understood it as a young man either. My dad once told me, “There’s music and then there’s the music business, and one very often has nothing to do with the other.” So I just create things that I love like I always have, and try my best not to get too caught up in the industry bullshit. I’ve never felt fulfilled by the business end, it’s always been the art of it that makes me smile. The rest often leaves you feeling empty or dissatisfied and I have no time for bad times.
Can you tell us what it was like to work with the talented and iconic people that are Ross Robinson, Steve Evetts, and Steve Albini? They must have brought a lot to the table when creating this EP.
Ross and Steve Evetts are so amazing. They worked on Parachutes and it was such an amazing experience. I love the way that record came out. Keep the Coffins Coming was our session with Steve Albini, and he’s amazing as well. It was a total dream come true for me to be able to work with all three of those guys.
As far as Albini goes though I’ve been a fan of his work before I even knew it was all his work. I would listen to records and fall for them and wonder why they made me feel the way they did. Why did it sound as though I was in the room with the band? I started to realize there was a common thread through these records, and it was Steve’s name in the liner notes. I think the openness of the drums and how raw those guitars sound is what really rings true for me in the EP. I love that he just really knows how to capture a band’s sound.
It has been just over a year since Parachutes was released. It is a highly regarded and acclaimed album. Did you expect that response from your sophomore album?
Thanks. No definitely not. I just knew that I had always wanted to work with Ross and Steve and when we were done and I listened back to it I knew we got it right. That was enough for me. Because really that’s all you ever want — to work with people you respect and who inspire you and to get it right. To be able to hear what’s been slamming around in your head be born into the real world. The rest is a bonus.
The album artwork for Parachutes, as well as Keep The Coffins Coming, is so cool. I have to ask, where does the idea for it, and the art itself, come from?
Thanks. I have been lucky enough to work with some incredible artists on all of our releases. Heather Gabel on Stomachaches, Angela Deane on Parachutes, and Daniel P. Carter on Keep the Coffins Coming. The ideas have all started in different ways. usually it’s that I know what feeling I want to convey with the cover and when I find something that inspires me or speaks to me on that level, I chase it down with the artist that really gets it. Heather had taken the photo for the cover of Stomachaches, and I just knew immediately that was it. Angela does amazing work with painting atop found photography and so I asked her to use an old family photo of mine, and it was perfect. Dan had done a cover for the split 7” we did with Lonely The Brave a few years ago and have been trying to do another project for a while now. And this aging vampire painting was exactly the direction I wanted to go in.
You seem to be making music and touring nonstop lately. What are you looking forward to in 2018? What can your fans anticipate in 2018?
Ha, yeah. I think the plan is to now just stop for a little while. Stop and take some time to live. To write and record. To make some new things. I like having a pretty open calendar, I’ve never really had that before. At first it was terrifying, to make that decision to just exist for a minute.
But now I’m getting excited by it. That tends to be my way. Find the thing that scares you the most and then do it to the fullest. I’m interested to see where this takes me.
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Posts about Frank Iero written by Destroya
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https://secure.gravatar.com/blavatar/773239fb22eaebc95ca1244675f0117f86bf2ee23c5af71f91a8df074a56274f?s=32
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Destroya News
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https://destroyanews.wordpress.com/tag/frank-iero/
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Over the past three years, Epiphone.com has had a running conversation with Frank Iero, inventor of the Phant-o-matic Wilshire and co-lead guitarist with pop sensation My Chemical Romance. When MCR broke up in early 2013, Frank granted us one of his first interviews and we’ve been along for the ride as he stepped back, re-grouped, and began making music again. Frank popped in to see us during NAMM and offered Epiphone and many of our friends around the world a sneak peak at his new album Stomachaches. And of course, we sat down with Frank before the show to talk shop about guitars and the mysterious ways of the music muse.
——————–
When we last spoke with you, My Chemical Romance had disbanded and you were working on some music at a very casual pace. Now things are picking up in a big way. What’s your life like right now?
You know, it’s crazy. I feel like if we had talked maybe… 4 months ago, I would have said: ‘Ok I have some down time on my hands. I’m enjoying the free time. I’m getting ready to pick things up.’ And now it’s so hectic, I can’t even breath (laughs)! It’s kind of nuts. Which is fun. I like being busy.
Did you miss that feeling? With My Chemical Romance, you kept a very busy pace. Physically, you must have been used to that. Is it good to have that energy back?
It is welcome but it’s a very different kind of busy. Mainly because I don’t have other people to rely on. Nobody else is picking up any kind of slack. And if things fall by the wayside, it’s all on me. If things go well, it’s all on me as well.
That must be pretty energizing, too since that gives you some more opportunities to be creative.
It does. I guess the concern there–or the juggling act–is not to let the craziness of the business-side seep into the creative. Because things will come your way and sound like really great opportunities and I always say ‘yes’ if it’s something I want to do. But I never think: ‘Oh my God! How am I going to pull this off?’
So what happened in those four months? What changed your answer from ‘I’ve got some downtime’ to ‘I’ve got a new record?’
I started out–well, I didn’t think I was writing a record. I was at a point where I was kind of beside myself with the way I felt physically. I just had these horrendous stomach aches–I battle with nausea, basically. But it had gotten where it was really coming to a head. It was sucking the life out of me.
So in order to kind of like–in a defiant way–reclaim my life back, my creative life back–I forced myself to do something to get my mind off of how I was feeling. And once again–like it did when I was young–music saved me. And I just started writing constantly and going down and demo-ing and recording. Slowly but surely, I realized I had this group of songs and I guess I had written a record. It was this weird reveal to myself. The funky thing about it is there are themes I feel run through that record but it’s very diverse musically–almost to a point disjointed–because it wasn’t ever thought to be a record. I like that janky feel to it.
Is there a theme or a thread to the new songs you’re writing now?
There are certain things I’ve always been fascinated with as a writer and as a person. The power in frailty–the beauty in the things that most people find mundane. Or even the things that some people are scared of. There’s a kind of purity that I see in these things, if take the time to look at them a different way. And the other theme that I feel runs through the album is this search for calm or peace of mind. A place where you can feel like you belong. At least in my experience we’re all searching for that. It’s kind of that life journey: what does it all mean? Where is my place in all of this? Where can I feel like I have finally found my point of existence, where I can finally feel safe.
Do you feel like you’re at that point as a writer because you’ve had such a big change in your lifestyle in terms of being at home and not on the road. Do you hear a different writing voice coming through?
You know–absolutely there’s a different writing voice come through. There is something to be said about coming home and having that down time. Because, you tend to have a hard time relating to real life again. When you finally come back down to Earth, it’s difficult to find your speed, so-to-speak. So there is something about that. But I feel like when I started writing songs and they started coming out of me, I had been off the road for awhile. Anything you go through changes the way you are now. And I had a lot of huge life experiences in a short amount of time. I came home off the road and I had three children. If that doesn’t change you then there’s something wrong (laughs)! But there’s definitely something to be said for a different outlook. I can’t imagine what the next stage brings.
Tell us more about your new record.
The title of the new record is extremely literal. It’s called Stomachaches and that’s for a reason. Because I kind of felt like the spark for this creativity, the seeds of these songs, started as these horrendous stomach aches. So I could have called it “12 Songs” or “12 Stomach Aches” (laughs). They are near synonymous with each other.
Did you write most of the songs on your Epiphone Phant-o-matic?
A lot of the songs stem from me playing bass. And I don’t know why. I have no good reason.
Now you have to design an Epiphone bass.
Yes, I would like that. I feel like the foundation of the melody and chord changes were written on bass. There are a lot of bass lines driving the songs on the record. Guitar on this record was another voice. And I think that’s something that I’ve always done with guitar lines that I write. Even with my past band, My Chem, I would come in and I would ride that space between vocal and rhythms. I tried to weave in and out of supporting those melodies. That’s something I’ve always loved to do. And on this record, I feel like the guitars are at times very dirty and squashed and it’s almost like a yell coming through.
Jarod Alexander played drums and you played all the other instruments. So when you went into the studio, did you track with bass and drums?
What we did was… well, you know there’s the correct way of doing things? That was not how it went! A lot of the demo-ing was me doing all the instrumentation and programming drums. And then I brought them to him. There’s a song on the record called “Blood Infections” that is basically almost all bass. It drives the entire song. So that one I did track with bass and Jarod. But then there are some songs like “She’s the Prettiest Girl at the Party and She Can Prove It With A Solid Right Hook” where I ended up using a lot of the original demo guitars. The way I recorded them was so integral that I couldn’t recreate it. So I thought, why try to mimic something that happened just in a moment in time. Now it’s done. It’s at the pressing plant. I got the test presses before I came to Nashville.
What kind of touring do you have planned?
So far, we’re booked for the U.S. We start in September. For the most part it’s supporting Taking Back Sunday and The Used. And then I would say we’re hopefully going to the UK in November. We’ll see what happens after the holidays.
When you’re touring as support, you have a chance to surprise the audience and it’s also a very confined set. Do you like that idea? And you can go out to dinner afterwards instead of waiting until late.
I do like that! For me, I requested a support slot. I wanted to take our time and really become a band. The funny thing about making this record was that I did it by myself. So these songs will live with a band for the first time. The rehearsals for this tour are the first time I’ve had a chance to perform these songs.
Do you want to tell the bass player what parts to play?
Well funny enough, I asked friend Rob to play bass who is usually a guitar player. The bass lines were so important and so weird I thought that to get the parts played incorrectly (laughs) the way I did it, I needed to get a guitar player since I play bass like a guitar player.
This is a very personal record. Do you feel like you can tell the band to let go or do you want to try to recreate the record on stage?
You’re right. I had a very intimate experience with that record. Those were late nights with just me pining over things. These stories that I wanted to tell. As far as the stage show, in no project that I’ve ever been a part of have I wanted to recreate the record live. I feel like the live experience should be a totally different animal. It’s like book to movie. If you want to listen to the record then you have to stay home and listen to the record!
Via
Frank Iero has done a little bit of everything in the music industry. Perhaps best known as the rhythm guitarist for My Chemical Romance, he’s also fronted bands like LeATHERMOUTH and Death Spells, and worked on original material for soundtracks. Before all of that, he was a member of Pencey Prep, perhaps one of the paradigm examples of contemporary garage punk.
In December, Iero set up shop with B.CALM PRESS, releasing an EP of covers called for jamia… Earlier this month, Iero took some time via e-mail to share the B.CALM origin story and his thoughts on DIY with Velociriot.
Velociriot: I know you’ve talked about this before, but what is B.CALM? Where did the inspiration for it come from? Where did the name come from?
Frank Iero: B.CALM is an entity under which I can release the different things that I make. Instead of finding a label and a publisher and a merch company and a fine art distributor, etc, etc, for all of my different outlets, I just decided to start my own thing, from which I can independently release certain projects under one umbrella. So far we have done music and merchandise and I would like to expand that into the other mediums I feel creative in, but it’s an extremely small operation and a lot of work.
The name B.CALM stems from the nature of the company I wanted to make. It’s intimate and pure, very hands on and personal to me. A place where I can release the things that I hold dear, a sanctuary for my art. It’s an acronym of sorts…possibly more of a letter jumble. I wanted the name to really mean something so used my children’s initials, LB CB MA, and formed a statement I needed to hear.
V: B.CALM seems like it has been a pretty personal project for you – do you see it continuing to be a place for personal pieces, like for jamia…?
FI: Yes absolutely. I’m not saying I will never release things that I make anywhere else, but I wanted a place to have absolute control to do the things I’ve always wanted to do, the way I wanted to do them. I think of B.CALM as a home base of sorts. There are no ulterior motives or big schemes, just a love of the craft and a place to be as crazy as I want to be.
V: How are your experiences working with B.CALM different than your experiences working with major or independent labels? Is it different from just releasing your stuff on SoundCloud?
FI: Well every label is different, but it’s a very different thing doing it all yourself. It’s fun, terrifying, difficult and exciting all at the same time. It provides a great satisfaction when things work out the way you wanted them to… but on the flip side there is also a horrible feeling of loneliness and fear when you need help and you turn around and realize you’re the only one there. But I am lucky to have an amazing wife and friends that help out wherever and whenever they can and ultimately I just have to realize it’s all for fun and the love of creating, otherwise what’s the point?
V: Your career has always highlighted your work ethic, and you’ve done a lot of do-it-yourself projects. What’s the draw in DIY for you?
FI: I don’t know, I’m a masochist probably. Haha. I guess I like getting my hands dirty. I have always been a fan of the do it yourself thing, ever since I was young. You start a band, you raid the copy shop, and you make do with the materials at your disposal. It’s inspiring, it teaches you problem solving skills and a good work ethic and ultimately, it means more. For me I enjoy the process…every step is important. The things I create are a part of me, and I like to be there every step of the way…falling all over myself. Fucking things up as I go along. My favorite parts end up being the mistakes.
V: Do you think DIY is important to the punk scene? Have you seen it grow in the community?
FI: I do, I think if it weren’t for the DIY ethics nothing would ever change. What you have to understand is, as disheartening as the thought may be, our world is run by business and all businesses have to make money. that means labels, distributors, publishers, hospitals, schools, government; you name it, it’s all about the bottom line. Yes, making ‘great art’ is wonderful and when ‘great art’ makes a profit everyone benefits and the world can change…(yes I believe great art can change the world). But if that ‘great art’ doesn’t sell, someone at the company is going to tell you and everyone else that your ‘art’ isn’t that ‘great’ and 99% of the time they will move on. It’s the nature of the beast, it’s not fair…but art and life seldom are.
Our creative world these days, especially the music industry, is set up to fail. We have a business that is losing money rapidly and the bossman is scared. ‘Don’t take any risks, play it safe, because we cannot afford to lose any more than we already are in this economy.’ So the same things are green lit over and over, more polished, more sexually explicit, dumb it down even more than last year, different packages of the same shit. Big money won’t take a chance on something new until it proves itself, because no one wants to be the guy or girl who lost their ass on some out of left field artist. But you see there is the problem..the only thing that can truly change the industry, or the world for that matter, is something truly new and inspiring. A hail Mary. Something so undeniably risky it ignites the world’s imagination. So, here we lie, dying in a vicious cycle. And this happens every 15-20 years or so.
DIY is where the revolution begins. Because greatness starts with being so goddamned crazy no one else in their right mind will help you, so you have to do it all by yourself. It’s how punk rock began, tattooing, street art, the fucking internet, you name it. Anything the mainstream has adopted, monetized, and bled dry over the years at one point in time started in someone’s basement. And that last statement sounds bleak as fuhk, I know, but it’s not all bad. Some amazing things have happened because of that. DIY has changed the psyche of the mainstream, of course it also means you have a billion or so dickbags wearing bedazzled tattoo flash on their jeans…but well you can’t win ‘em all I suppose.
V: DIY can mean a lot of things to different people – with B.CALM, you’ve released vinyls, whereas a lot of bands have taken to recording their music on their own and releasing it on sites like Bandcamp. What does DIY mean for you, as an artist?
FI: DIY to me just means doing it yourself on your own terms. I love the recording process. I enjoy it as much as I enjoy writing the songs and performing them… maybe even a bit more. And in today’s technological world it is a lot easier to have a home studio or a laptop and a microphone and be able to record a whole record in your bedroom. I for one feel blessed to be creating in a time where that is attainable. But that doesn’t mean you can’t record in an actual studio and still do it yourself, it’s all about the mindset and having your hands in the project at all times. The procedure of recording everything yourself allows you to make mistakes and learn from them. This will change you as an artist and as a player, and I wholeheartedly recommend it to all musicians at one point or another. I independently funded ‘for jamia…’ I created the art, I performed everything on it, recorded it and mixed it. I only turned the songs over to have them mastered and pressed. And when the records were returned to me I hand packaged, numbered and mailed all 400 to those who purchased them.
As far as releasing your material I believe that is up to the artist. No one should be able to tell you what to do with your art. If you want to put it up for free on a site like SoundCloud, as I’ve done in the past, or if you wanna put it on 8track and sell it through mail-order for a thousand bucks a song, that is your prerogative as the creator, and whatever you deem appropriate for you art is correct in my mind. DIY doesn’t have to mean give it away for cheap or free, that doesn’t change the do it yourself operation in my opinion, nor does the location of recording or sale.
I chose to press vinyl for my recent release because I have always wanted to release my own 45 and also because of the statement I feel vinyl has. For me I am a fan of the ritual. It takes more effort to put the vinyl on, and therefore demands more of you attention. I didn’t want ‘for jamia…’ to just be in the background, I wanted it to be an intimate conversation. I wanted the listener to be a part of it. You take the record out, lay it down, drop the needle and listen. Converse. Switch sides, hear a response, it should be an experience. Vinyl has more gravity than digital for me. However I am not oblivious to the world in which we live. I knew in order to have it reach more ears digital had to be widely available. But for me it was always about giving my wife the vinyl.
V: What effect does DIY have on the scene, given the recent trends of releasing music digitally?
FI: I think consumption of music digitally has really opened the doors and the reach for DIY artists. Before it was all about limited hand made releases, but now you have websites facilitating the worldwide distribution of independent artists, and I think that’s a great thing. Even though I have always been and will always be a fan of the artwork and packaging, I’m glad more independent artists will be able to see their work reach a wider audience. It’s much easier to fund your own batshit crazy projects these days, especially without the overhead of a physical release, and I think we’re going to see more and more artists doing what they want on their own.
V: It seems like DIY has become increasingly trendy – do you feel that it’s been commodified in any way? Do you think it will continue to grow as it has?
FI: I think DIY may be the new buzz word, but the trend of going back to basics in my opinion, is because of value. Doing it yourself brings the intimacy and care back to your art. Plus no one can tell you what to do, you’re your own boss, and that’s a special place to be as an artist. I’d like to think it’s also starting to make people realize there is a person and a soul behind the art and not just a product. But commodified? I don’t know. That seems to have a negative connotation, but I don’t think there is anything wrong with selling the things you create. Inventors and artists deserve to make a living and be paid well for what they do, I don’t see anything wrong with that.
People for some reason feel like if you’re able to download music easily or steal an artists whole discography in seconds that somehow you should, that it’s justified. That’s bullshit. The time taken to create and invent should be valued, respected, and revered…especially from independent artists.
Via
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https://www.rottentomatoes.com/celebrity/frank_iero
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Frank Iero
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Explore the filmography of Frank Iero on Rotten Tomatoes! Discover ratings, reviews, and more. Click for details!
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Rotten Tomatoes
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https://www.rottentomatoes.com/celebrity/frank_iero
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American musician Frank Iero, best known for his work as rhythm guitarist and backup vocalist of the rock band My Chemical Romance, was born in Belleville, New Jersey. He first learned how to play the drums from his father, who had also been a musician, but later transitioned to playing the guitar. By age 11, he was already playing in local bands on the New Jersey punk scene. He played in several bands before My Chemical Romance, even fronting Pencey Prep, with which he released an album, before joining Gerard Way's group. Iero eventually dropped out of college to go on tour with My Chemical Romance, and worked with the group on the release of their debut album, "I Brought You My Bullets, You Brought Me Your Love" (2002), and all their subsequent albums over the years until their breakup in 2013. During this time, he also fronted the hardcore punk group Leathermouth and The Love Cats, a tribute band to The Cure. His first solo song was featured in the film "Frankenweenie" (2012). After the end of My Chemical Romance, Iero focused on his solo work, releasing his debut solo album, "Stomachaches" (2014). His third solo album, "Barriers" (2019) was elected by Loudwire as one of the 50 best rock albums of that year. He has since reunited with his My Chemical Romance bandmates for a new tour in 2023.
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The Definition of Frank Iero: The rhythm guitar player of My Chemical Romance. Lead singer of Leathermouth. A tree. No.... – @life
|
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2011-10-31T22:39:36+00:00
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attomicbaby:
The Definition of Frank Iero:
The rhythm guitar player of My Chemical Romance.
Lead singer of Leathermouth.
A tree.
No. No. No.
He’s so much more than that………
He’s a hero. A hero…
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life-on-the-murder-scene reblogged
attomicbaby:
The Definition of Frank Iero:
The rhythm guitar player of My Chemical Romance.
Lead singer of Leathermouth.
A tree.
No. No. No.
He’s so much more than that………
He’s a hero. A hero to hundreds, maybe even thousands.
There’s something about Frank that people love…..maybe it’s his ‘I don’t give a fuck’ attitude, maybe it’s his beautiful eyes, his guitar playing, maybe it’s how much he cares for his fans, who knows? There is a lot to love after all.
I mean, how many people do you see getting onstage hooked up to an airtank? Or having to be physically TORN away from their fans?
No many.
But Frank’s not perfect.
Nobody is, but it’s our imperfection’s that make us beautiful.
Years ago, during Revenge Era, Frank suffered with a drug problem during Revenge Era, said he would “go out on the weekend, then wake up Monday morning having no idea what happened.”
But he made it though.
There’s a lot of us who wouldn’t have ‘made it’ if he had’t.
I honestly have no idea what I would do without him.
He’s given me a lot and I wish that I could thank him for all that he has done. He’s taught me to never be ashamed of myself. Fuck anyone who doesn’t like me. Just live, don’t give up because one day, I will find happyness.
The Definition of Frank Iero;
A Hero.
let me just cry at how true this post is :')
he's definitely my hero
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Frank Iero Confirms The Name Of His New Band
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2019-01-08T16:00:00
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Former My Chemical Romance guitarist Frank Iero has announced the name of his new band: Frank Iero and the Future Violents..
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RTTNews
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https://www.rttnews.com/2967972/frank-iero-confirms-the-name-of-his-new-band.aspx
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Former My Chemical Romance guitarist Frank Iero has announced the name of his new band: Frank Iero and the Future Violents.
This apparently is the answer to a new project that Iero teased on Instagram last year.
And on New Year's Eve he posted a video on Instagram that shows him writing the band's name on a piece of paper, with this note: "here's to a happy and healthy new jeers. Xofrnk #FIATFV - Spring 2019 chapter 3?.
Iero has also indicated that fans can expect new music from his new solo project in Spring 2019.
This is the third band named by Iero. The previous ones were "Frnkiero and the cellabration," and "Frank Iero and the Patience."
For comments and feedback contact: editorial@rttnews.com
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https://www.loudersound.com/news/my-chemical-romances-frank-iero-i-didnt-know-if-i-would-ever-be-able-to-play-guitar-again
|
en
|
My Chemical Romance's Frank Iero: "I didn't know if I would ever be able to play guitar again'
|
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[
"Paul Brannigan"
] |
2022-05-26T14:12:11+00:00
|
My Chemical Romance guitarist Frank Iero reveals fears that he might not play again... and announces new album with a new band
|
en
|
louder
|
https://www.loudersound.com/news/my-chemical-romances-frank-iero-i-didnt-know-if-i-would-ever-be-able-to-play-guitar-again
|
My Chemical Romance guitarist Frank Iero has admitted that he feared he might never be able to play guitar again after sustaining injuries in two separate accidents.
Back in October 2016 Iero sustained shoulder injuries following a serious traffic accident in Australia, when a bus collided with his tour van during a Frank Iero And The Patience tour, and more recently, in 2021, the guitarist broke his right wrist in 10 places following a fall from a ladder. In a new Instagram post Iero reveals that he feared the worst, "but I never let those words come out of my mouth."
In addition to celebrating MCR's return, and the release of their recent single The Foundations Of Decay, Iero's post reveals that he has been working on a new album with a new band.
“Nothing worth doing is easy, but anything is possible," the guitarist writes. "Thank you for my dreams come true. Keep the faith, sometimes it’s all we got."
Read the full post below:
MCR launched their long-awaited UK comeback tour in St. Austell, Cornwall in mid-May, with a rapturously-received set at the Eden Sessions.
"This is a really special and amazing night for us," frontman Gerard Way told the audience at the conclusion of an emotional evening. "I hope it was for you too."
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279
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dbpedia
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1
| 81
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https://www.celebritytalent.net/sampletalent/13682/frank-iero/
|
en
|
Hire Frank Iero for a Corporate Event or Performance Booking.
|
https://www.celebritytalent.net/favicon.ico
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https://www.celebritytalent.net/favicon.ico
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Frank Iero booking agent to perform at a corporate event, business party, private function, fair and festival, or celebrity appearance. Learn how to hire Frank Iero for a rock performance.
|
en
|
https://www.celebritytalent.net/sampletalent/13682/frank-iero/
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279
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dbpedia
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0
| 34
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https://www.celebritynetworth.com/richest-celebrities/rock-stars/frank-iero-net-worth/
|
en
|
Frank Iero Net Worth
|
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[] |
[] |
[
""
] | null |
[
"Alex Chan"
] |
2014-10-16T22:12:57+00:00
|
Frank Iero Net Worth: Frank Iero is an American musician who has a net worth of $16 million. Iero was born during October of 1981
|
en
|
Celebrity Net Worth
|
https://www.celebritynetworth.com/richest-celebrities/rock-stars/frank-iero-net-worth/
|
What is Frank Iero's Net Worth?
Frank Iero is an American musician who has a net worth of $16 million. Iero was born during October of 1981 in Belleville New Jersey. As a child he suffered from numerous bouts of bronchitis and ear infections. After completing high school, Iero was on scholarship at Rutgers University, but dropped out to go on tour with the band My Chemical Romance. The band practiced frequently in Iero's mother's basement. Growing up, the young musician lent his talents to a number of punk bands around New Jersey.
|
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279
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dbpedia
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3
| 61
|
https://whopperjaw.net/frank-iero/
|
en
|
Frank Iero on Peace, Pride and Parachutes
|
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[] |
[] |
[
""
] | null |
[
"Jeff"
] |
2017-04-18T03:37:40+00:00
|
"At this time, the main job for an artist is to remind people what it is to be human, and that we need to look out for each other and love each other unconditionally," says Frank Iero.
|
en
|
/favicon.ico
|
Whopperjaw
|
https://whopperjaw.net/frank-iero/
|
The former guitarist for emo heroes My Chemical Romance, Frank Iero began pursuing a solo career a couple of years ago with his band the Patience. Now, Iero and his band are heading out on the road in support of Parachutes, their sophomore release. Co-produced by Ross Robinson (Slipknot, Korn, the Cure, Deftones) and Steve Evetts (the Used, Saves the Day, Senses Fail), the album commences with the noisy “World Destroyer,” a song featuring parched vocals and snarling guitars. Iero, a vegetarian who has spoken freely about his pro-gay rights stance, recently spoke to us via phone about the album and what it’s been like to be an activist at a time when activism is under fire.
You grew up with parents who encouraged you to play music. What was that like?
My dad was a drummer and still is. My grandfather was a drummer. That was how I grew up. I would go through their datebooks and see where they’d be playing. They had huge datebooks with big rubber bands wrapped around them. They were like superheroes. When I got old enough, my dad would take me to shows that were more accepting. I got to see him play with B.B. King and all these blues legends. That was huge for me. My grandfather played at an old speakeasy. He played old standards.
I know other kids wanted to be baseball players when they grew up, but I just wanted to be in a band.
You were in a band by the time you were 11, right?
Yeah, and I played drums. It was horrible. We were terrible. I just needed to find someone else to play music with. We had a band and that was it. We spray painted our name on a drumhead. We would write the name on notebooks and jackets. That was it. In my mind, I fucking made it.
What was it like to transition from My Chemical Romance to your solo career?
It was weird because when we stopped My Chem, I wanted to go try other stuff. I just wanted to do something else, not even music. I wasn’t sure what that was. I worked on this project with my friend James. In the meantime, I started writing these songs and this label had gotten in contact and I put out the record out. I never in my wildest dreams thought I’d start a solo career. Never in a million years did I want that. First off, it’s hard to spell my name and pronounce it. I don’t have the name for a solo career. I never wanted to be a singer. All of a sudden, four years later, here I am and I’m actually really enjoying it. There’s something amazing about being the beginning to end of it all and getting to write all the lyrics. I thought I had it figured out until this came about. It’s an untapped outlet for me.
Parachutes is your second album since leaving My Chemical Romance. Talk about your approach on the album and how the album differs from Stomachaches.
When I was writing Stomachaches, I didn’t think I was writing a record. I was just writing the songs in my basement because that’s what I do. This time around, I had a label and I knew people were going to hear it. I knew it was going to see the light of day. That was a different animal. I was going to record Stomachaches and show it to my kids in 20 years. This time around, I had to get my shit together. I didn’t do that the first time. It was daunting. I put a lot of effort and work into it. It’s one of those things where all those sleepless nights paid off. When I listen back to the record, I feel really proud of it. That doesn’t happen all the time. I’m used to putting my heart and soul into something and then hearing it for the first time and hating it. This time around, I felt at peace and proud. That happens once every ten years, so I feel blessed.
Ross Robinson and Steve Evetts co-produced the album. What was it like working with them?
What a dream come true. I was so scared going into the studio. I had gotten to work with some heavy hitters and guys I really looked up to. I was afraid of these guys. You hear these stories and don’t know if you’re ready for it. I was scared to make that call. I started writing the songs and they wanted to push me beyond my comfort level. It was beyond any experience I thought I could have. Hands down, it was the most creative recording experience ever. I don’t think I could record another record without them.
“Dear Percocet” is such a blast. What’s the story behind that tune?
That song is about feeling that if you were allow yourself to fall over the edge, you totally could. It’s about the fear of falling into an abyss and loving it so much. You get to the point where you don’t know if you want to self-destruct anymore and leave your consciousness and surrender to it. Being an addict is a hard thing. You’re not just addicted to one thing. It’s anything. When you have that addictive personality, it’s not just alcohol but it’s TV. It’s sex, spending money and everything. You take your eye off what is really important and this song is about that.
What made you want to keep “Miss Me” as something stripped down and folk-y?
I think when I played it for Ross and Steve, they wanted to adopt that Johnny Cash vibe. I always wanted to try something like that but I didn’t feel confident enough to do that. They told me they didn’t want me to try it any other way. We tried it and it’s a palette cleanser. There are moments when it comes on and if you thought you knew what the whole record was about, at that moment you realize you have a lot more to learn.
As an activist, how do you deal with the current political climate?
It can be very disheartening at times. These past couple of months, I felt like if someone could wake me up, it would be great. At this time, the main job for an artist is to remind people what it is to be human, and that we need to look out for each other and love each other unconditionally. We’re all in this together. The only thing that can save us is love and respect. The most important thing you can do is remind people about that.
UPCOMING 2017 SHOWS
April 20
April 21
April 22
April 23
April 25
April 26
April 27
April 28
April 29
April 30
May 2
May 4
May 5
May 6
May 7
May 9
May 10
May 11
June 24
June 26
June 27
June 28
June 30
July 1
July 3
July 6
July 7
July 8
July 9
Hamden, CT | The Ballroom @ the Outdoor Space
Lancaster, PA | Chameleon Club
Baltimore, MD | Soundstage
Pittsburgh, PA | The Club @ Stage AE
Columbus, OH | The Basement
Cleveland, OH | The Agora Ballroom
Detroit, MI | The Shelter
Grand Rapids, MI | The Intersection
Chicago, IL | Bottom Lounge
Madison, WI | Majestic Theatre
Lawrence, KS | Granada Theater
Denver, CO | Marquis Theater
Santa Fe, NM | Meow Wolf
Las Vegas, NV | The Bunkhouse
San Diego, CA | Casbah
Anaheim, CA | Chain Reaction
West Hollywood, CA | The Troubadour
San Francisco, CA | The Chapel
Jacksonville, FL | Daily’s Place Amphitheater
The Woodlands, TX | Cynthia Woods Mitchell Pavilion
Dallas, TX | Gexa Energy Pavilion
Austin, TX | Austin360 Amphitheater
Denver, CO | Pepsi Center
Salt Lake City, UT | USANA Amphitheater
Seattle, WA | White River Amphitheater
Concord, CA | Concord Pavilion
Chula Vista, CA | Sleep Train Amphitheater
Las Vegas, NV | Downtown Las Vegas Events Center
Phoenix, AZ | Ak-Chin Pavilion
|
||||
279
|
dbpedia
|
1
| 78
|
https://www.getalternative.com/interview-frank-iero-breaks-down-his-new-album-barriers/
|
en
|
Interview: Frank Iero Breaks Down His New Album 'Barriers'
|
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[
""
] | null |
[
"The Alt Editing Staff"
] |
2019-06-25T12:58:23+00:00
|
I recently had an opportunity to talk to Frank Iero, formerly of the group My Chemical Romance, about his recently […]
|
en
|
/apple-touch-icon.png
|
The Alternative
|
https://www.getalternative.com/interview-frank-iero-breaks-down-his-new-album-barriers/
|
Posted: 25th June, 2019 by The Alt Editing Staff
I recently had an opportunity to talk to Frank Iero, formerly of the group My Chemical Romance, about his recently released LP as a solo artist. We discussed creative inspiration for the album, and the evolution of his solo project, from its inception as “frnkiero and the cellabration” in 2014, to now, as Frank Iero and The Future Violents.
After listening to the Frank Iero and The Future Violents’ new album, Barriers, I found that it reminded me of 2000’s era Weezer, with a mix of the aggressive vocal stylings of Modest Mouse’s Isaac Brock. I asked Iero what kind of content influenced the direction of the record while he was writing it. He said he tends to “shut off while creating. I don’t like to absorb too much else while I’m writing. I might unknowingly be shaped by new releases, because the perspective of the work is changed by your lens, especially in the early stages.”
Iero also elaborated on how he frames the construction of the writing. He states, “I go in with a sound in mind, and I relate that sound to color and emotion. For example, this album is very yellow to me. I can connect that sound to feelings and songs from my childhood; just funky. 70’s rhythms that present themselves through the album.” When I asked him what “yellow” meant to him in regards to the record, he explained, “Yellow is fall, it’s where I was born. It’s like learning to fall, and getting yellow bruises, and learning from that.”
We then moved on to talk about the progression of the project’s depiction. I noticed that the Future Violents were the third iteration of Frank’s solo work, the first being the “cellabration,” and the second being “the Patience.” I was curious whether or not these name changes represented a narrative movement, or maybe a shift in style. Iero replied that “when you start a band, you have your whole life to do your first record, and then you have six months for your second. It’s about trying to avoid sounding repetitive, subsequently. That way, it always becomes a ‘new’ project.
“When I started the solo project, I got to make all the rules, so I thought, ‘Let’s do all the fun parts of being in a band, every single time.’ That lead to ‘frnkiero and the cellabration,’ which was basically time to have fun, to party. Then, with the second album, I felt like I needed to learn to slow down and think things through, so I renamed the band ‘the Patience,’ hoping it would be like a self-fulfilling prophecy. Following my accident 2 years ago in Sydney, I felt like life can suddenly be abrupt and brutal. I was afraid of that, but then I realized we’re convinced that things happen to us, when really, they happen for us in order to teach us how to get back up. With the ‘Future Violents,’ I want to go out and create that lasting footprint for the future to form around.”
The Future Violents are a sort of supergroup, with the band being composed of members like Matt Armstrong, former bassist of folk rock band Murder By Death, and Tucker Rule, drummer of Thursday. Iero says of the group, “They think uniquely and differently from me, but they compliment the music. When your in the room with musicians like that, they open you up to new sounds and paths. Getting to write with people who are better than you inspires you.”
Before wrapping up our interview, I asked Iero if he could provide some “spoiler-free” notes on the concept of the album, and if he thought it even possible, as a writer, to give details on the writing process without skewing the listener’s perspective. Iero laughed and said, “Well, I love interpretation, so this question has a cautious answer. The accident definitely ignited the dialogue for Barriers. It made me recognize things in my life that I’d been shying away from out of fear. Concept-wise, I’d say the album is about doing what scares you, falling down, getting up, and doing it again. I hope people listen to the record, digest the content, and realize that failing again and again leads to the greatest results when you succeed.”
Frank Iero and the Future Violents new record, Barriers, is streaming everywhere, so go give it a listen, and do what scares you.
—
Luciano Ferrara // @LucianoRFerrara
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https://www.theothersidereviews.com/single-frank-iero-stage-4-fear-of-success-2013/
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Frank Iero - Stage 4: Fear Of Success (2013)
|
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"Nicole Mendes"
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2013-09-05T07:58:45+00:00
|
Internet jokes state that by the year 2025 Frank Iero will have created and disbanded 32 bands, Gerard Way would
|
en
|
The Other Side Reviews
|
https://www.theothersidereviews.com/single-frank-iero-stage-4-fear-of-success-2013/
|
Internet jokes state that by the year 2025 Frank Iero will have created and disbanded 32 bands, Gerard Way would have a Japanese pop career, Mikey Way will have discovered unicorns and Ray Toro will be doing something. No-one anticipated the pint-sized, overly enthusiast former My Chemical Romance guitarist will have launched a solo career. Yes, you read correctly, this munchkin maniac has not only mini-toured with his band Death Spells but has been pottering about on his own with ‘Stage 4: Fear of Success’ being his second unofficial release.
It is said that a family need not be the individuals you share DNA with but rather those who love and care for you unconditionally. If this is the case then one can understand completely why the loss of My Chemical Romance may have a psychological effect on the band members. Think about it, they were together for 12 years eating the same food, drinking the same water, sharing the same bathroom. By losing such a strong bond, one is sure to experience a surge of emotions irrespective of whether they are anxiety-inducing or not.
By listening to Frank’s latest track, ‘Stage 4: Fear of Success’, it seems that he experienced a rush of unconscious negative emotions that left him insecure and unsure of himself. While people still perceive him as that overzealous guitarist, he felt torn from this identity and was now required to establish something new. It can be an incredibly confusing and desperate time, and it seems by placing himself in lead vocalist positions he is trying to move away from the old Frank to a new Frank.
I believe this song is Frank’s attempt to share his inner turmoil with everyone through his means of self-expression. He is telling us what he felt, how he reached acceptance and where he wants to go from here. Yet, his doubt of the clear skies ahead and awareness of high expectations exposes his true vulnerability and fear of rejection should he reach for the stars. I find it interesting that he chose to present this track as an acoustic release which only enhances his exposure to critique. Perhaps this is his aim.
‘Stage 4: Fear of Success’ is a blatantly emotional song sung by a very nervous Frank Iero, something I never thought I’d see. The wavering vocals are more than likely due to inexperience as a solo artist but truthfully I believe they add to the overall message of the track. This is not a heart-warming song despite the theme, but it is one I would listen to again. ‘Stage 4: Fear of Success’ is a song about moving on with your life and I am keen to see what Frank’s stage 5 will be.
Related articles:
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279
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https://www.mycast.io/talent/frank-iero
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en
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Frank Iero Fan Casting
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View casting suggestions for Frank Iero, and make your own suggestions for roles you think they should play in upcoming films!
|
myCast - Fan Casting Your Favorite Stories
|
https://www.mycast.io/talent/frank-iero
|
Join myCast
Do you love movies? Fan casting? myCast is the place for you!
Join thousands of other users in fan casting your favorite stories. Take 30 seconds to create a completely free profile, which will allow you to:
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Join myCast
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Join thousands of other users in fan casting your favorite stories. Take 30 seconds to create a completely free profile, which will allow you to:
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279
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https://mychemicalromance142.tripod.com/id11.html
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en
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Interview With Frank Iero
|
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Rock n roll dreams still come true. Just ask My Chemical Romance guitarist Frank Iero about his band’s upcoming tour with pop-punk pioneers Green Day and he’ll be the first to admit it. That’s why My Chemical Romance stands as the sort of success story rarer and rarer in rock music these days. Formed just five years ago in New Jersey by vocalist Gerard Way and original drummer Matt Pelissier, the band soon solidified around Way, his brother/bassist Mikey Way, Iero and guitarist Ray Toro. After releasing their Eyeball Records debut, I Brought You My Bullets You Brought Me Your Love, produced by Thursday vocalist Geoff Rickley, My Chemical Romance made the jump to the mainstream last year with Three Cheers For Sweet Revenge. Now approaching gold status, with heavy video rotation for its two singles “I’m Not Okay (I Promise)” and “Helena,” Three Cheers has given the dark hardcore outfit something to celebrate. And celebrate they will, with fans, by continuing to tour, following their recent trek on the Taste of Chaos tour with their opening slot on Green Day’s spring tour (hitting Van Andel Arena May 7) and main stage status on this summer’s Vans Warped Tour. Iero explained some of the band’s dark imagery, while keeping things light and enthusiastic as he spoke to Recoil via phone from Taste of Chaos.
Recoil: How does it feel to be able to open up for Green Day this spring right before going out on the Vans Warped Tour this summer?
Frank Iero: I think the two are just not even connected for us. Actually, they are, in the way that they’re both childhood dreams. But the tours are just so different. Green Day is an inside arena tour. We actually just got off a scaled-down one of those for Taste of Chaos, and that was a real good test for us to get ready for those rooms. And when Green Day called us, since that happened, we still don’t believe it. We think we’re going to show up and they’re going to be like, ‘No, no, no. That was a joke.’ [Laughs] So we’re waiting for that. Ever since I was fifteen years old I wanted to play a show with Green Day. So I don’t even know how to describe that tour. But Warped Tour, we’ve done before, but this is the first time as a main stage band, and that’s flattering. We got asked very early on to do it. Last year was our first Warped Tour and [founder] Kevin [Lyman] was super nice to us and he put us on Taste of Chaos as well, and I’ve just loved his tours because they’re put together so well and it’s just a great time. All your friends on the same tour. And if they’re not your friends, you become friends. It’s like punk rock summer camp.
R: You’ve been on the road pretty much nonstop, coming off the Taste of Chaos tour and last year’s Warped Tour and everything else surrounding the record’s release. How do you find the energy to play the kind of live show you play every night?
FI: Umm, Flintstones Vitamins. [Laughs] No, I don’t know. You’ll get off a tour and you’ll be like, ‘Oh my God, I’m so done. I can’t even deal with this anymore. I need time off.’ And they’ll be like, Green Day says lets go out [on tour]. So you’re like, ‘Oh shit! Maybe I’ll have time off later.’ [Laughs] So then you’re like, ‘I’m done now,’ but then Kevin Lyman says he wants you to be on the main stage of Warped Tour this year and that’s really flattering. So you’re like, ‘Oh all right, goddammit.’ [Laughs] I guess I’ll rest when I’m thirty. I don’t know how you keep up the energy sometimes, you hope that the shows don’t suffer, but definitely when you have a couple of days off, the shows are much better the next day.
R: Another band My Chemical Romance seems to have a real affinity with is your Taste of Chaos tour mates The Used. How long have you known those guys and how have you connected so well with them?
FI: We haven’t really known each other for that long, in terms of the friendship aspect of it. Maybe a year and a half to two years. Honestly, they were one of the bands that, early on when we were first started, maybe about a year into what we were doing, we had our first indie record and they heard our record and liked it and asked us to come out for a couple of shows. So we did that, they liked us live, we really hit it off as friends and they were like, ‘Wouldn’t it be cool if we just tour together?’ And we’re like, ‘Yeah, sure.’ So we went to Europe on their first European tour and ours. Then we went on tour again. It was just great. They were just one of those bands that they didn’t know us, but they took us under their wing just because they saw something in us and to us that meant so much. I love their band. I think they’re a great live band. I really do. I think they’re great people and I think they really have something to say so to tour with them it’s always a pleasure because we all have such a great time.
R: Now since both bands are so close, it seems like both of your fan bases are growing together.
FI: Yeah, it’s kind of weird, huh? It’s a great feeling. I was just talking to [The Used vocalist] Bert [McCraken] about this, actually. It feels so weird that us and a couple of our friends can get together and play arenas. That’s a really scary time for music when real, regular bands can do that. I think that’s a really good thing and I think people should be scared.
R: You’ve played Queen and David Bowie’s “Under Pressure” together on stage with The Used and you’ve got a studio version coming out. What was that experience like?
FI: That was really cool. What’s weird about the collaboration was that we did it together when we were both in different countries. We chose who was going to play what and where and we went and did it and they were sent and matched together. It was really weird and done in such a strange way because our schedules are just so packed. Both of our bands. It’s one of those things where everything goes to charity. I think it turned out really good. It was so much fun to share the stage with them and play it every night. We played it every night of Taste of Chaos. Kids seemed to like it and I hope they go out and purchase the mp3 [available now via iTunes], or I think they might actually sell a hard copy of it, but whatever it is I hope they go out and buy it because every single cent is going to go to a charity [Linkin Park’s Music For Relief] for Tsunami relief.
R: Have you all thought about ever doing a larger collaborative project together sometime in the future?
FI: Maybe. It was fun. We definitely showed that we wanted to work with each other and that it worked. I think Gerard and Bert’s vocals go so well together and I think that’s the best part of it. I don’t know. We haven’t really talked about it. But if asked, that’d be really cool.
R: The new video for “Helena” has a really unique concept because it presents a pretty sad and angry song in a very unusual way by incorporating dancing to a funeral scene. Where did the concept for the video come from and what was it like to shoot?
FI: The song is in essence about Gerard’s grandmother, Helena, who passed away. So we kind of gave him all the art direction. I guess you can say it’s a celebration of her. And that’s exactly what we wanted to have was a celebration of her memory. He wanted a funeral, but he didn’t want it to be very bleak. So we had to decide if we wanted to go with a new director or if we should just go and do it with Mark Webb [director of video for the single “I’m Not Okay (I Promise)”] again because we know he’s the best one out there. We always like to try new people with creative outlets, because it definitely keeps things fresh, nothing stale, when you do that, but with this song and with the premise of it and just the way we wanted it to come out, we didn’t want any mistakes. Mark Webb is just amazing. I don’t know a better video director. So we went to him and explained it and he was like, ‘I got it. We’re going to do a funeral in a church. We’re going to have some choreographed dancing, very musical style, and it’s a celebration, not depression.’ And we were like, ‘Man, run with it.’ We dropped in and made a few suggestions here and there, but it was really hard for Gerard and Mikey, because when we showed up, the coffin just happened to be exactly the same. Just really weird coincidences. But it proved for a better performance and now it’s a timeless thing so she’ll always be remembered.
R: What will be your next single/video?
FI: The video is going to be for ‘The Ghost of You,’ and we’re going to go back with Mark I think. We have a few ideas. I don’t know how much I want to give away. I will say that it’s something that I haven’t seen. And also that there’s dancing in every single one of our videos.
R: You mentioned how Gerard does all of the band’s artwork. How do you think visual imagery, not just in videos, but in other ways, plays a part in the way you present your music and the way fans approach your music?
FI: I like the fact that the art direction of the band is done in house. There’s never that whole, ‘We want something like this,’ and they tell it to some third party and they kind of get it right but then you have to keep going back for revisions. It’s us, so we know what we want. It just so happens that Gerard can draw his ass off. [Laughs] And I think kids are attracted to that imagery that we use. It’s art that represents what we’re trying to do and what the band is about. If you’re interested in good art, that’s great, because he’s a great artist. If you see this imagery, and you feel the same way, that’s great because you relate to it more.
R: Lastly, how much new material have you had the chance to write and what can you tell fans at this point about what to expect in the future?
FI: We’ve definitely got a bunch of skeletons of songs coming. It’s hard to write full songs on the road because you don’t have a chance to solidify anything or isolate different parts. But we have been writing in the back of all of our transportation vehicles and we have a bunch of things set up. So I personally would say we have six skeletons [of songs] but Gerard seems to have been telling people that we have nine. [Laughs] So we have between six and nine new songs.
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https://kindacoolmagazine.com/features/transcending-barriers-with-frank-iero
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Transcending Barriers with Frank Iero — kinda cool magazine
|
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"Kinda Cool Magazine"
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2019-07-25T21:48:20-04:00
|
There were no choreographers, no stage set-ups, and no visual effects, but the vigorous reckless energy the band brought to a room full of kids made up for it all.
|
en
|
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kinda cool magazine
|
https://kindacoolmagazine.com/features/transcending-barriers-with-frank-iero
|
Written by Polina Bakgof
Graphic by Emily Lantzy
Since My Chemical Romance broke up, Frank Iero has been busy with his countless solo projects. Having already released two full-lengths, Iero wasn’t quite sure what direction to take with his new project. Truly speaking, he didn’t even know if he’d be able to record another album after surviving a car accident with his bandmates in 2016. Fortunately, Iero released his third album Barriers under the name of Frank Iero and the Future Violents in May, and his music and performances have never been so transparent and personal. I was lucky enough to attend one of the two headline shows in Russia, which was hands down one of the most amazing nights of my life.
Three in the morning. Sixteen hours to go. I am anxiously awaiting the show with my friends near Finnish Gulf. White nights are still there; the sun never left the sky, and “New Day’s Coming” is playing in my head. Some say that being early in the line is absolutely nuts, and I might have to agree with them. It is indeed crazy. Getting close with people you have never met before, trying to organize the line while being nervous yourself, sharing food and laughing out loud with strangers — isn’t it the craziest experience you can possibly have? Isn’t it amazing how we all come together only because we have one single thing in common — our love for music?
After the doors had opened, it felt like all the nervousness abandoned everyone inside the venue. The concert started with powerful “Moto Pop” and “Veins! Veins!! Veins!!!.” Frank Iero had yet again changed the band, only invariably leaving his brother-in-law and a talented guitarist Evan Nestor by his side. This time, he brought along Tucker Rule (previously known as a drummer for Thursday), Kayleigh Goldsworthy on the keyboard, and Matt Armstrong on the bass. The sound has definitely shifted since his last project, Frank Iero and the Patience — they’ve added new instruments such as violin and keyboard, which adds up to the amazing atmosphere of their live shows.
Iero always interacted with the crowd in-between songs, making inside jokes, dragging fans for throwing weird things at him, and talking about his dreams and music. It was an intimate, small concert, and him talking to us created a very cozy, home-like environment. There were no choreographers, no stage set-ups, and no visual effects, but the vigorous reckless energy the band brought to a room full of kids made up for it all. With a performance like this, everyone gets charged with movement but ends up leaving in tears — it sure was an emotional rollercoaster for many.
The crowd went crazy when the first chords of “Young and Doomed” played, which is a debut single that was released this April. The title speaks for itself; it’s a song that everyone can relate to, to some extent, and that’s why the audience loves it. It’s about how we all drown in our fears and pretend everything is fine. Hearing this live, it was a moment of youthful desperation captured in a 4-minute song with explosive instrumentation, conveying hopelessness and doubtfulness. It’s also impossible to not mention the playful line Iero added to the song, ‘And I promise that I’m not okay,’ as all the fans lost it there. It’s an obvious but very smart reference to “I’m Not Okay” by My Chemical Romance.
Songs like “Fever Dream” and “Medicine Square Garden” took us somewhere else. They are done in Frank Iero’s fashion — aggressive punk melody, simple yet hard-hitting lyrics, and a voice full of passion. These tracks definitely stand out live, and both blew our minds and fulfilled our expectations of what Iero’s new album should sound like on stage. Bringing keyboard — an instrument Iero’s project were definitely lacking — in-between verses, the band managed to create exciting live songs with quite mysterious atmosphere.
Last but not least, hearing “New Day’s Coming” and “24K Lush” in real life was quite a revelation to all of the fans. They are heartwarming tracks with a faint note of nostalgia. In contrast to many aggressive and punk-driven songs like “No Fun Club” or “Dear Percocet,” these two gave everyone a moment to slow down and reflect. ‘Let that new day barrel over us,’ sings Iero. People simultaneously holding flashlights and each other’s arms in hope for a better day to come. The message here was clear: whatever obstacles are ahead of us, we will overcome them — so leave the past in the past. Combining quite inspiring lyrics with light instrumentation, the band moved everyone to tears.
Although I had seen Iero play with different bands three times, this show was an eye-opener for me and many of his other fans. It was the manifestation of sincerity and vulnerability. His songs portray fear and hopelessness as they are, not belittling or glorifying them. Iero has this artistic free spirit you can feel through his music — he allows himself to completely lose it and live and breathe art, poetry and music.
Barriers are set to protect us from danger, but they also hold us and limit us, and that night Frank Iero proved that anyone is capable of pushing through them. It felt as if this year, Iero finally overcame his musical and mental boundaries, letting himself go wild on stage; and that is something everyone should witness. You can check Frank Iero’s website for upcoming tour dates.
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Frank Iero – The Broad Street Playlist
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2021-12-16T09:00:09-05:00
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Posts about Frank Iero written by B-Mac
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The Broad Street Playlist
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https://soundsofbroadstreet.wordpress.com/tag/frank-iero/
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Frank Iero and The Future Violents – A New Day’s Coming
from the album, Barriers
Let’s get deep. Like existential deep. But at the same time, let’s not talk about My Chemical Romance. So how do we do that? Well for starters, let’s head across the Delaware to New Jersey. The weather is currently decent and it’s a pretty damn good place to find good music. Okay, now that that’s out of the way, let’s talk briefly about Frank Iero‘s third solo album, Barriers. For those that ever wished for an album that is pure chaos in it’s alignment, Frank Iero and The Future Violents‘ Barriers is for you. It’s deliberately disorganized and expertly crafted with total precision. This is an album that doesn’t just live up to it’s name. Nope. It goes completely against it and destroys everything that word comes symbolize. It’s equal parts haunting, high energy, and visceral.
Today’s song is the album opener of Barriers. It’s A New Day’s Coming. First off, Iero summoned himself a hell of an all-star band. You have: guitarist Evan Nestor, bassist Matt Armstrong (from the band, Murder by Death), drummer Tucker Rule (from the band, Thursday), and multi-instrumentalist Kayleigh Goldsworthy (from the band, Dave Hause and The Mermaid). That needed to be said because it’s this dream team/all star band backing him makes this song pretty cot damn amazing. A New Day’s Coming opens Barriers with a mid-tempo rocker that is more like a 1950’s ballad. A New Day’s Coming is quite literally the perfect opener both album-wise and if it were a pitcher on the Tampa Bay Rays, as it makes the punk that follows all the more interesting. It also throws the listener a curveball, as you aren’t expecting a song in that kind of style right off the bat. Usually a song or track like that is saved for the second half of the album, were it’s fine to experiment. It definitely gives the listener (and me for that matter) a false sense of security in that you’re expecting the rest of the album to be rather placid, lighthearted, and warm. Nope. Iero and Goldsworthy team up and harmonize perfectly together, creating a kind of warm and hopeful soundscape. Rule’s steady drumming, Armstrong’s thumping bass, and Nestor’s guitar riffs help power the song and helping to create contrast with the rest of the album… especially once Young & Doomed starts. A perfect opener.
A new day’s coming… and it’s already arrived.
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Frank Iero – Young and Doomed
from the album, Barriers
Let’s get deep. Like existential deep. But at the same time, let’s not talk about My Chemical Romance. So how do we do that? Well, for starters, let’s stay in New Jersey. The weather is currently decent and it’s a pretty damn good place to find good music. Okay, now that that’s out of the way, let’s talk about today’s song from the former (I guess, it’s back to being current) rhythm guitarist for My Chemical Romance, Frank Iero and his band, The Future Violents. “But Brian, you said, ‘let’s not talk about MCR!’” and we’re not. We’re talking about Frank Iero and The Future Violents. A very brief introduction, you already know who Iero is, but let’s meet his band. He assembled a veritable dream team/all star band of musicians backing him: guitarist Evan Nestor, bassist Matt Armstrong (from the band, Murder by Death), drummer Tucker Rule (from the band, Thursday), and multi-instrumentalist Kayleigh Goldsworthy (from the band, Dave Hause and The Mermaid). This all star band backing Iero, puts him in the Bryce Harper tier of singer-songwriters.
I’ve mentioned many, many, times before that I am a fan of musical contrasts. Open an album with something light and gentle with hope and promise. Then heighten the contrast with something harder and crunchier… like today’s song, Young and Doomed from the album, Barriers.
I promise that I’m not okay, oh wait, that’s the other guy
With that lyric of Young and Doomed, Iero triggered millions of MCR fans worldwide. Young and Doomed is about as raucous punk as can be. The music video for the song utilizes the collective use of silhouettes, projected imagery, as well as vibrant colors to channel the song’s acute rage. It definitely feels like an experimental punk anthem that was designed for those who are feeling the frustrations or the burdens of life in our current time. But let’s go back to the song’s music video for second. The existential crisis playing during the video for the song appears in the form of cameos of members of the band with their childhood portraits superimposed to distort their features. Let’s be honest, I think Iero just wanted to scare the shit out of the viewer for some shits and giggles.
HEY WAIT A MINUTE… I THINK HE FORESAW MY CHEMICAL ROMANCE REUNITING!
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Year 8, Day 17: Frank Iero and The Future Violents – Barriers
Track List
A New Day’s Coming
Young and Doomed
Fever Dream
The Host
Basement Eyes
Ode to Destruction
The Unfortunate
Moto Pop
Medicine Square Garden
No Love
Police Police
Great Party
Six Feet Under
24k Lush
About the Album
Barriers is the third solo studio album from former My Chemical Romance rhythm guitarist and backing vocalist, Frank Iero and his band, The Future Violents. The album was released on May 31, 2019 through UNFD.
Thoughts on the Album
Let’s get deep. Like existential deep. But at the same time, let’s not talk about My Chemical Romance. So how do we do that? Well, for starters, let’s stay in New Jersey. The weather is currently decent and it’s a pretty damn good place to find good music. Okay, now that that’s out of the way, let’s talk about today’s album from the former (I guess, it’s back to being current) rhythm guitarist for My Chemical Romance, Frank Iero and his band, The Future Violents. “But Brian, you said, ‘let’s not talk about MCR!'” and we’re not. We’re talking about Frank Iero and The Future Violents. A very brief introduction, you already know who Iero is, but let’s meet his band. He assembled a veritable dream team/all star band of musicians backing him: guitarist Evan Nestor, bassist Matt Armstrong (from the band, Murder by Death), drummer Tucker Rule (from the band, Thursday), and multi-instrumentalist Kayleigh Goldsworthy (from the band, Dave Hause and The Mermaid). This all star band backing Iero, helped him to create and craft his greatest solo work to date.
I gotta say, this sounds nothing like previous offerings from Iero. However, it is just as good, if not better than his previous releases. What makes it interesting is the opening sequence of songs. Barriers opens with A New Day’s Coming, a mid-tempo rocker that is more like a 1950’s ballad. But it’s A New Day’s Coming that makes the punk that follows all the more interesting. A New Day’s Coming is definitely a good track. It sets up the following tracks perfectly. It also throws the listener a curveball, as you aren’t expecting a song in that kind of style right off the bat. Usually a song or track like that is saved for the second half of the album, were it’s fine to experiment. It definitely gives the listener (and me for that matter) a false sense of security in that you’re expecting this album to be lighthearted and warm. Nope. Iero and Goldsworthy harmonize perfectly together, creating this kind of hopeful and warm soundscape. A steady drumbeat, thumping bass, and bluesy rhythm guitar riff help power this song. Once again, it’s that contrast I love. Opening with such hopeful and gentle promises only heightens that contrast with the rest of the album, especially once Young and Doomed begins.
I promise that I’m not okay, oh wait, that’s the other guy
With that lyric of Young and Doomed, Iero triggered millions of MCR fans worldwide. Young and Doomed is about as raucous punk as can be. The music video for the song utilizes the collective use of silhouettes, projected imagery, as well as vibrant colors to channel the song’s acute rage. It definitely feels like an experimental punk anthem that was designed for those who are feeling the frustrations or the burdens of life in our current time. But let’s go back to the song’s music video for second. The existential crisis playing during the video for the song appears in the form of cameos of members of the band with their childhood portraits superimposed to distort their features. Let’s be honest, I think Iero just wanted to scare the shit out of the viewer for some shits and giggles.
Young and Doomed crashes right into Fever Dream. It’s like someone having a fever during a nightmare. A screaming and wailing guitar riff completely overrides Iero’s guttural and gritty scream before it slides into a low whine. It’s very Nirvana-esque in that, it is something unexpected that works incredibly well within the context of the album. Both Young and Doomed and Fever Dream have subdued charms about them, but manage bursts of frenzied energy which keep the listener on their toes. There’s Moto-Pop which channels some of the punk forefathers of the 1970s. Moto-Pop has this effortless swagger about it. Definitely an album highlight.
One of things that Barriers does excellently is that there is such a wide and diverse variety of styles and sounds found throughout the tracks. None of them can be pigeonholed exactly into one genre. It’s definitely an album that is a rollercoaster and the ride is through Iero’s brain. Iero hasn’t forgotten his roots from his work in earlier bands. Nope. His vocals on this album are like butter: smooth and textured. This is no more evident than on The Unfortunate and the cleverly titled Medicine Square Garden, which sit in the geographic center of the album.
Conclusion
For those that ever wished for an album that is pure chaos in it’s alignment, Frank Iero and The Future Violents‘ Barriers is for you. It’s deliberately disorganized and expertly crafted with total precision. This is an album that doesn’t just live up to it’s name. Nope. It goes completely against it and destroys everything that word comes symbolize. It’s equal parts haunting, high energy, and visceral. It’s a lyrically dense and sonically expansive album that highlight’s Iero’s evolution and growth as a musician and songwriter. Backed by an all-star cast of musicians, Frank Iero delivers his best to date.
HEY WAIT A MINUTE… I THINK HE FORESAW MY CHEMICAL ROMANCE REUNITING!
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15 Things You Probably Didn't Know About Frank Iero
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] |
[] |
[] |
[
""
] | null |
[
"Mischa Pearlman"
] |
2019-04-26T15:00:00+01:00
|
Think you know everything about Frank Iero? Well, we've got 15 facts that say otherwise...
|
en
|
/_ico/apple-touch-icon.png
|
Kerrang!
|
https://www.kerrang.com/15-things-you-probably-didnt-know-about-frank-iero
|
In October 2016, a bus crashed into the tour van that was taking Frank and his band to Sydney, Australia. Thankfully, no-one was seriously injured, but that didn't stop Frank wondering if he had in fact died and was experiencing some kind of warped afterlife.
"I got the get the sense of, 'What if I didn’t make it and what’s going on right now is just my brain waves continuing?'" Frank said. "That maybe this is what the afterlife is, it’s us just setting up another world for us to go through. And then you look for evidence to prove yourself correct or not insane - like ever since this happened, the world went to shit. It’s getting warmer and we have an antichrist for a president and all these things start to happen and it’s like I’m on the wrong side of things. And then there’s the other thing that creeps in, that if I truly am not in the world of the living, then why am I not seeing these people that have passed before me that I really want to see? So maybe I’m not in heaven, I’m in hell - or maybe I’m in purgatory."
Initially around between 1994 and 1997, Mineral were an incredibly influential band despite the fact they weren't together very long at first. Although he didn't get into them until he was already in My Chemical Romance, Frank says their sound has heavily influenced the way he plays guitar. And he was incredibly excited when they reformed and he finally got to see them live.
"I didn't think I was ever going to get to see them," he said, "so to finally get to witness that and hear those songs was unreal. It felt like they were playing just for me! And I got to watch it with my brother-in-law, who's a little bit younger than me and wasn't as familiar with their stuff, so I was just like, 'Oh my God, you don't understand what this meant to me and what it means to me and how much it affected my playing. You have to listen to this song, and this song! And this part!' So to see it, not only for myself but through his eyes and to see how excited he got about it, that was really special."
These days, Frank has a hell of a lot of tattoos, but he had to start somewhere. And he did – on his back with a big, scary-looking Jack O'Lantern.
"I was born on Halloween," he said, "so it's to basically symbolise that. I got it on my 18th birthday, so there was no lying to people in tattoo parlours."
|
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279
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dbpedia
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3
| 76
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https://www.theaquarian.com/2018/01/03/frank-iero-i-aint-gonna-change/
|
en
|
Frank Iero: I Ain’t Gonna Change
|
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[] |
2018-01-03T00:00:00
|
New Jersey's Original Alt-Weekly
|
en
|
The Aquarian
|
https://www.theaquarian.com/2018/01/03/frank-iero-i-aint-gonna-change/
|
Art; Frank Iero creates art. From The Black Parade with My Chemical Romance to Keep The Coffins Coming with Patience, Frank Iero creates art. Whether it be his lyrics, his guitar riffs, or just his album covers, Frank Iero creates art. Music is an art and art is expression, of which he does so swiftly, so honestly, and so purely. With a new EP out, a relatively new band name, and his signature talent on clear display, Iero is ready to rock. New places, different cultures, and life changes all play a part in the down-to-earth, now 36-year-old New Jersey native’s music…or shall I say, his art.
Tell us about your new EP. What is the meaning behind the name it? Keep The Coffins Coming is pretty dark for an album that contains a song (one of my favorites) titled “BFF.” Although, it is a truly raw and intense album, overall.
Keep the Coffins Coming was the title of a “Pulp” novel by Julius Long about a guy who went around killing Nazis. The EP is not connected to the book really, but I loved the title so much because it conjured up so many images for me, and I loved the alliteration. I think about songs and the creations we make. We bring them to life, raise them, and then knock them off one by one. sending them off to slaughter so to speak. The title for me refers to keeping the art coming, constantly burning down the past and making something new.
How do you think you have changed as an artist? How do you think your music has grown over the years of being in different bands, as well as a solo artist?
I think I’ve learned how to better express my true self through my art…in a more clear and concise way. I’ve been playing in bands and writing songs for a long time, most of my life in fact, so I’ve had the opportunity to get some things right and also make a lot of mistakes. I enjoy working in a band setting and collaborating with other artists, but I also really enjoy the solo environment of everything relying on you. It can be stressful but also really rewarding.
New Jersey has been a home to many bands and music artists over the years. Do you think New Jersey has been a big effect on you? Do you find that there a true New Jersey music culture/scene?
Well yeah, I think it’s had an effect on me. It’s home and I love it. As far as a scene I think there’s a lot of talent here. A lot of musicians and artists playing together and being inspired by one another. It’s a bit incestuous where everyone has played in bands together or played shows with one another. That type of environment creates a bit of competitiveness sometimes, but I think it can be healthy. It forces you to get better and break down creative walls and make connections that help each other out.
What are some of your favorite things about touring? Your hometown stop at Starland on this tour, as well as on prior tours, must be exciting.
I love Starland, it’s a great venue and the staff is super rad. I’ve always had great shows there. it’s definitely a stop you look forward to on tour. As far as tour in general, I enjoy playing in different cities and countries. I wish there was more time in the day to experience the surroundings though. But I think the older I get I really enjoy the difference in cultures. The travel itself is never really fun though…that gets a bit harder the older I get.
This is the third album released from Frank Iero and the Patience. Although, the band used to be Frnkiero AndThe Cellabration. Why the name change? Any special meaning behind the new one?
The first time around I knew I wanted to name the band even though it was a solo project. So I thought maybe I should call it something that I wanted or felt I needed to have with me. And so the “cellabration” came to mind as a way to kind of detract from my feelings of inadequacy of being a new frontman. This time around I didn’t feel I needed that distraction anymore. But what I did want was the ability to take my time and appreciate the now. So I named the band the Patience.
As someone who has been inside the music industry and working hard in it for many years, how do you feel it has changed? From Pencey Prep to My Chemical Romance to Frank Iero and the Patience.
It’s completely different and changes on a daily basis. If I said I comprehended the complexities of it I’d be lying. The truth is I don’t know if I really ever understood it as a young man either. My dad once told me, “There’s music and then there’s the music business, and one very often has nothing to do with the other.” So I just create things that I love like I always have, and try my best not to get too caught up in the industry bullshit. I’ve never felt fulfilled by the business end, it’s always been the art of it that makes me smile. The rest often leaves you feeling empty or dissatisfied and I have no time for bad times.
Can you tell us what it was like to work with the talented and iconic people that are Ross Robinson, Steve Evetts, and Steve Albini? They must have brought a lot to the table when creating this EP.
Ross and Steve Evetts are so amazing. They worked on Parachutes and it was such an amazing experience. I love the way that record came out. Keep the Coffins Coming was our session with Steve Albini, and he’s amazing as well. It was a total dream come true for me to be able to work with all three of those guys.
As far as Albini goes though I’ve been a fan of his work before I even knew it was all his work. I would listen to records and fall for them and wonder why they made me feel the way they did. Why did it sound as though I was in the room with the band? I started to realize there was a common thread through these records, and it was Steve’s name in the liner notes. I think the openness of the drums and how raw those guitars sound is what really rings true for me in the EP. I love that he just really knows how to capture a band’s sound.
It has been just over a year since Parachutes was released. It is a highly regarded and acclaimed album. Did you expect that response from your sophomore album?
Thanks. No definitely not. I just knew that I had always wanted to work with Ross and Steve and when we were done and I listened back to it I knew we got it right. That was enough for me. Because really that’s all you ever want — to work with people you respect and who inspire you and to get it right. To be able to hear what’s been slamming around in your head be born into the real world. The rest is a bonus.
The album artwork for Parachutes, as well as Keep The Coffins Coming, is so cool. I have to ask, where does the idea for it, and the art itself, come from?
Thanks. I have been lucky enough to work with some incredible artists on all of our releases. Heather Gabel on Stomachaches, Angela Deane on Parachutes, and Daniel P. Carter on Keep the Coffins Coming. The ideas have all started in different ways. usually it’s that I know what feeling I want to convey with the cover and when I find something that inspires me or speaks to me on that level, I chase it down with the artist that really gets it. Heather had taken the photo for the cover of Stomachaches, and I just knew immediately that was it. Angela does amazing work with painting atop found photography and so I asked her to use an old family photo of mine, and it was perfect. Dan had done a cover for the split 7” we did with Lonely The Brave a few years ago and have been trying to do another project for a while now. And this aging vampire painting was exactly the direction I wanted to go in.
You seem to be making music and touring nonstop lately. What are you looking forward to in 2018? What can your fans anticipate in 2018?
Ha, yeah. I think the plan is to now just stop for a little while. Stop and take some time to live. To write and record. To make some new things. I like having a pretty open calendar, I’ve never really had that before. At first it was terrifying, to make that decision to just exist for a minute.
But now I’m getting excited by it. That tends to be my way. Find the thing that scares you the most and then do it to the fullest. I’m interested to see where this takes me.
|
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279
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2
| 82
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https://stitchedsound.com/interview-with-frank-iero/
|
en
|
Interview with Frank Iero
|
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[] |
[] |
[
""
] | null |
[
"Jordan Hefler",
"Stitched Sound",
"Emily May"
] |
2017-08-03T17:20:07+00:00
|
Frank Iero has been playing in bands since the age of 11. You could say he was born with it in his blood as both his father and grandfather were drummers. Even though the elder Iero’s wished for an…
|
en
|
https://stitchedsound.com/interview-with-frank-iero/
|
Frank Iero has been playing in bands since the age of 11. You could say he was born with it in his blood as both his father and grandfather were drummers. Even though the elder Iero’s wished for anything but Frank to follow in their footsteps, the path had been laid. Iero would occasionally go out with his father as he went on tours growing up and you could say he fatally caught the bug. “Yeah, but you know that’s just the thing, how are you not going to do that when you’re watching this as you’re growing up? It’s the coolest. It’s like you’re a part of this secret society that stays out all night and has breakfast at 3 in the morning.”
Even with music always first and foremost in his mind, there was a backup plan. “I was going to make monster movies, but I had no idea how to do that,” laughs Iero. “I would still like to do that. I think that would be really fun, but I get to do that in videos.” With a Halloween birthday, you could say it might be a predestined interest, but in the end blood won out.
Frank “Cheech” Iero, Sr. is not without his own musical success. Considered one of the best drummers on the East Coast, he has worked with the likes of John Lennon, Johnny Cash, The Blues Brothers and Iggy Pop. He taught Julian Lennon how to play drums and was one of the last people to see John Lennon alive as they were in the same recording studio minutes before Lennon was killed outside his home. Some would say Cheech’s big break could have been when he was offered to tour with Kiss in the early 80s, but life had other plans for him as Frank Iero, Jr. had just made his appearance. Making the tough decision, Cheech decided to dedicate his time at home with his new family instead of chasing the rockstar life. Although not in the spotlight, music stayed in the senior Iero’s career and he passed the love on to his junior. Teaching Frank drums from an early age, he didn’t quite take to it as Cheech and his grandfather had and instead ended up switching to the guitar. While playing in bands while growing up, Frank dropped out of Rutgers University in his senior year on an academic scholarship to tour with his band, My Chemical Romance. We all know how that went. Father and son got the opportunity to play together as Cheech played some beats on MCR’s album titled hit song “The Black Parade” and on “Teenagers” citing this as a highlight to his career, to work with his son.
Four years outside of MCR, Frank continues to find open doors. “For me, I have a hard time saying no to something that just sounds fun or inspires me somehow. Whether I have the time to do it or not, I’ll always say yes and I’ll have to figure it out… I feel like not taking that risk or not saying yes is creative death. There is a reason why the universe opens itself up to you for this, you know. And sometimes… what’s so powerful is, if you’re in one project and you’re doing something and you hit a wall, if you’re an open conduit, you’ll hear this knock and turn your head and all of a sudden there is another opportunity and that opens up the door that was locked before. I really rarely hit a creative block. I just keep kind of deviating…”
Parachutes was released late October 2016, although it was a solo project it became more of a collaboration due to circumstances. While touring as frnkiero andthe cellabration supporting the Stomachaches album, drummer Matt Olsson and guitarist Evan Nestor, also Iero’s brother-in-law, were already on tour. “When I had songs for Parachutes, I could just come in and say ‘OK, this is the song lets play it’ and then I could hear it back immediately. I didn’t have to put it in a drum machine and put down a bass line and then put down the guitars and then figure out if it worked.”
October 13, 2016. Frank and fellow bandmates Matt Olsson, Evan Nestor and manager Paul Clegg were unloading a van in front of The Metro in Sydney, Australia when a city bus rear-ended the van trapping the members between the bus and van. Iero went under the bus bumper and was dragged 10 feet between the bus and curb and miraculously survived due to a huge rucksack getting wedged between him and the bumper. Nestor and Clegg suffered serious injuries and from eyewitness accounts, none should have survived. Speaking of the day Iero said, “It is unfathomable the way that you can think you have things figured out and then be kind of smacked upside the head and everything is turned 180 on you. It’s… yeah… unbelievable.”
On the heels of the accident, Iero released Parachutes. “ I think I put this album out a little bit sooner than I should have because I thought that it would help with the healing process of things. And also, you know, it would feel like a triumph to be able to get out and play the songs that we thought we’d never get to play again. Also, too, this record is one of those things where after that day, after the 13th, it felt like I had written this record for myself to listen to after that accident happened. It’s kinda strange. Things meant so much more and in different ways when listening back to that record.”
Although saying that he didn’t think he’d be ready to put this current album to bed until maybe the one year anniversary of the accident, he is working on new material. “There is something there. I don’t know what it is yet.”
The New Jersey native has a handful of dates scheduled until the end of the year, but look for additional shows to pop up. You’ll want to see this group of talent live. Stomachaches and Parachutes are now available for your listening pleasure.
|
||||||
279
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dbpedia
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0
| 58
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https://www.famousbirthdays.com/people/frank-iero.html
|
en
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Frank Iero - Age, Family, Bio
|
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Frank Iero: his birthday, what he did before fame, his family life, fun trivia facts, popularity rankings, and more.
|
en
|
/favicon.ico
|
Famous Birthdays
|
https://www.famousbirthdays.com/people/frank-iero.html
|
About
Best known as a rhythm guitarist and backup singer for the band My Chemical Romance. He also became a member of Leathermouth, a post-hardcore group, and Death Spells.
Before Fame
He dropped out of Rutgers University to pursue a music career.
Trivia
He has been a part of two top ten albums released by My Chemical Romance with The Black Parade in 2006 and Danger Days: The True Lives of Fabulous Killjoys.
Family Life
He married Jamia Nestor in 2007 and together they have three children: Miles, Cherry and Lily.
Associated With
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279
|
dbpedia
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1
| 1
|
https://www.allmusic.com/artist/frank-iero-mn0000551123
|
en
|
Music Search, Recommendations, Videos and Reviews
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AllMusic provides comprehensive music info including reviews and biographies. Get recommendations for new music to listen to, stream or own.
|
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AllMusic
|
https://www.allmusic.com/updated
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279
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dbpedia
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0
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https://www.altpress.com/it-looks-like-frank-iero-has-even-more-musical-projects-in-the-works/
|
en
|
It looks like Frank Iero has even more musical projects in the works
|
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2021-01-28T17:45:48-05:00
|
Over the years, music fans have been treated to a plethora of musical projects from Frank Iero. From Pencey Prep to My Chemical Romance, Death Spells and, more recently, the Future Violents, Iero is known for experimenting with different sounds through various musical outlets. Now, it looks like fans can expect even more musical projects […]
|
en
|
Alternative Press Magazine
|
https://www.altpress.com/it-looks-like-frank-iero-has-even-more-musical-projects-in-the-works/
|
Over the years, music fans have been treated to a plethora of musical projects from Frank Iero. From Pencey Prep to My Chemical Romance, Death Spells and, more recently, the Future Violents, Iero is known for experimenting with different sounds through various musical outlets.
Now, it looks like fans can expect even more musical projects from Iero in the near future.
Read more: Did Hayley Williams just confirm those new solo album theories?
Earlier this month, Frank Iero and the Future Violents dropped their new EP Heaven Is A Place, This Is A Place. The collection of songs were recorded during their Barriers sessions, but never made it onto the album. Just before its release, Iero revealed to Alternative Press that these new songs are the last recordings from the Future Violents.
“Yes,” he said. “These would be the final recordings of the Violents.”
Despite the fact Iero may be closing the Future Violents chapter in his career, at least for now, he still has plenty of exciting plans in the works. During a recent interview with Louder, Iero shared that he is currently working on multiple new projects. However, he remained tight-lipped about specific details.
Read more: All Time Low just joined in on that viral “Dear Maria” TikTok trend—watch
“There’s nothing I can break for you right now,” he says. “I will say this though, at the moment I’m working on between four and five different projects which is awesome but it’s all spec.”
For now, Iero is taking all of these projects one step at a time and seeing how they each develop.
“We’re gonna do this thing, have fun with it and see where it goes,” he continues. “Will it ever see the light of day – who knows? Maybe not, but then maybe also everything will happen at the same fucking time and that’ll be really stressful. I just don’t know, I’m afraid. I do know I’m keeping fairly busy, much to my wife’s chagrin.”
Read more: BMTH’s next EP is on the way, but it may be a while before we hear it
Over the past few months, Frank Iero has touched on quite a few of his past and current projects. In October 2020, a rare video of Pencey Prep surfaced online. As it turns out, the footage was so rare that not even Iero himself had seen it. As well, an old LeATHERMØUTH demo CD from years ago was rediscovered last year. The discovery led to many fans asking Iero to bring the hardcore punk project back.
More recently, back in December, Iero celebrated the one-year anniversary of My Chemical Romance’s unforgettable reunion by showing off some new ink honoring the special show. Shortly after, he also shared a rare photo taken just before the reunion that many fans had never seen before.
While we wait to see exactly what projects Iero is working on, the Future Violents’ new EP is available to stream below.
What projects do you want to see from Frank Iero next? Let us know in the comments below.
|
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279
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2
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https://chemicalquotes.livejournal.com/
|
en
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"This is a band that will save your life."
|
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[
"ЖЖ",
"LiveJournal",
"живой журнал",
"\"This is a band that will save your life.\" - Frank Iero"
] | null |
[] | null |
My Chemical Romance
|
https://chemicalquotes.livejournal.com
|
wertica_
i remember reading this interview a while ago but i cant seem to remember where i found it. can someone help me out?
Interviewer: "In 'You Know What They Do to Guys Like us in Prison' the main character is made to do pushups in drag. If you were forced to do something in drag, what would you choose to do? "
Gerard: "Karate." (Everyone breaks out in laughter]
Frank: "I liked the 'if you were forced, what would you choose to do.'"
Gerard: "It's like the drag fairy comes by and says 'What would you like to do?' Um, yeah, karate"
Frank: "Really?"
Gerard: "No. Really, I would do what I did when I dressed in drag this one time before. I went to school in drag, in art school and my day was completely different because everybody thought I was a chick."
Frank: "He looked like Christina Ricci."
Gerard: "You should see me as a chick. So I went as a girl, as like an experiment and it worked really well and everyone was really nice to me but I couldn't talk obviously... You know train conductors were really cool to me on my commute..."
Frank: "I would date Gerard."
Gerard: "HA! I looked hot as a chick."
oh an where the hell are these from?
"Gerard.. Well, he's just himself. We talk.. We cry.. And he's still Gerard Way." - frank
"Gerard, in my view, is the second coolest motherfucker on this planet. Second because I'm first, and therefore cooler" - frank
sambouvieer
Hey guys! I was so happy to see that somebody had the idea to create a community like that. In this case, it's really helpful for me.
I read this quote a long time ago, like the beginning of the year, and it's stuck to my head ever since. I think it was Mikey that said it, and it was basically about high school being the worst time of your life or something like that. So, I would really appreciate if someone could find it for me so I can live in peace without this half quote I remember haunting me, lol.
|
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https://www.tiktok.com/%40awstenmadeatiktokalright/video/7377498272258215211
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en
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Make Your Day
|
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[] |
[
""
] | null |
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| null | ||||||||
279
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dbpedia
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0
| 78
|
https://reviewsoftheartssa.wordpress.com/2019/08/04/frank-iero-and-the-future-violents-a-cant-miss-experience/
|
en
|
Frank Iero and the Future Violents: A Can’t Miss Experience
|
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[] |
2019-08-04T00:00:00
|
Allow me to begin by stating, quite plainly, that last night was an electrifying experience. As a long time fan of Frank Iero, the former guitarist of My Chemical Romance, I jumped at the opportunity to attend his performance on August 3rd at the Paper Tiger. I expected nothing but greatness from Iero and his…
|
en
|
Reviews of the Arts SA
|
https://reviewsoftheartssa.wordpress.com/2019/08/04/frank-iero-and-the-future-violents-a-cant-miss-experience/
|
Allow me to begin by stating, quite plainly, that last night was an electrifying experience.
As a long time fan of Frank Iero, the former guitarist of My Chemical Romance, I jumped at the opportunity to attend his performance on August 3rd at the Paper Tiger. I expected nothing but greatness from Iero and his new cast of talented musicians, The Future Violents, who all come from various walks of life, most notably Tucker Rule, his drummer and the drummer of the legendary post-hardcore outfit, Thursday, along with Matt Armstrong on bass, Evan Nestor on guitar and backing vocals, and Kayleigh Goldsworthy on the keys and violin. My expectations were spot on.
After a beautiful opening performance from Geoff Rickly (the lead vocalist of Thursday) complete with performances of classic Thursday tunes, Geoff’s own brooding ballads, and stories reminiscing on a tortured past that led to a few funny encounters and, later, a long road to recovery, I realized that the greatness I had expected was most certainly going to be exceeded throughout the night
After, Rickly’s set, I chatted with the girls around me as we anticipated the Future Violents’ arrival on stage. As the lights dimmed, I could actually feel the excitement in the room building, and once the band was on stage, the rest was a whirlwind. Heads were bobbing, hands were clapping, girls were screaming, and the band’s energy was nothing short of intense.
The band performed old hits and new, including “.weighted.,” “BFF,” “Young and Doomed,” and the song from their newest music video, “Great Party,” and the crowd did not stop moving until the band was off stage for good. If you have ever been a fan of Frank Iero, punk-rock, or just an all-around good show, I suggest catching this band on one of their remaining tour dates listed here: https://frank-iero.com and if you can’t make it to one of their upcoming dates, I suggest listening to both Frank Iero and the Future Violents and Geoff Rickly on Spotify/Bandcamp and keeping up with the members on their Instagrams, listed below.
-RCT, photographer
My portfolio (which will soon include more images from the show): https://rinichristinaphoto.wixsite.com/rinichristinaphoto
The amazing Geoff Rickly:
Music: https://geoffrickly.bandcamp.com/album/mixtape-1
Thursday (Rickly & Rule): https://open.spotify.com/artist/61awhbNK16ku1uQyXRsQj5?si=KkXzchoLSfuCwXiBBqsoaQ
Instagram: https://www.instagram.com/geoffrickly/
The dazzling Frank Iero and the Future Violents:
Music: https://open.spotify.com/artist/75CziSb5bEWIj1m8TdMwYy?si=jt5HuPaGQoeYenP_IUJ8zw
Members:
Evan Nestor (Guitar): https://www.instagram.com/tipgiblets/
Matt Armstrong (Bass): https://www.instagram.com/thesituationist/
Tucker Rule (Drummer): https://www.instagram.com/tuckerrule/
Kayleigh Goldsworthy (Keys/Violin): https://www.instagram.com/kayleighgolds/
|
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https://www.imdb.com/name/nm2432373/
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Frank Iero
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Frank Iero. Soundtrack: Premium Rush. Frank Iero was born on 31 October 1981 in Belleville, New Jersey, USA. He is an actor and composer, known for Premium Rush (2012), The Fighters (2008) and The Man with the Iron Fists (2012). He has been married to Jamia Nestor since 9 March 2008. They have three children.
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IMDb
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https://www.imdb.com/name/nm2432373/
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Frank Iero was born on 31 October 1981 in Belleville, New Jersey, USA. He is an actor and composer, known for Premium Rush (2012), The Fighters (2008) and The Man with the Iron Fists (2012). He has been married to Jamia Nestor since 9 March 2008. They have three children.
6.5
Soundtrack("Na Na Na (Na Na Na Na Na Na Na Na Na)")
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https://www.bartleby.com/essay/Frank-Iero-Biography-FCBYC3KE6V
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Frank Iero Biography - 598 Words
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Free Essay: Frank Iero was faced with the obstacles of bronchitis and ear infections which meant he spent a lot of his childhood in the hospital. He did not...
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https://www.bartleby.com/essay/Frank-Iero-Biography-FCBYC3KE6V
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Holiday’s career is cited to include significant complexity in regards to the standard social and cultural perspectives. The complexity of her life provides vital lessons on talent proliferation. Through Holiday, it is deducible that success in music depends on a variety of personal characteristics including self-determination, attitude, and one’s commitment to the career. Holiday made it in music owing to the love for music despite the limitations of her background ( Greene 18) . However, the misery of career affirms that social engagements posit potential impacts that can easily destruct the continuity of a singer’s determination in music ( Greene 19) . For instance, poor choice of social engagements facilitated the emergence of crucial miseries such as drug addiction and sexual abuse that fuelled her death. The unusual characteristics of her options are therefore cited as feasible lessons to the musicians in the present
I grew up in Washington D.C with my dad’s recording studio in the basement. Day and night, I would hear the beats of R&B and jazz surfing up through the floorboards. My parent’s were always listening to everything from Motown to John Lennon, Broadway musicals to Otis Redding. I loved it all - Etta James, Frank Sinatra, Nina Simone, The Supremes, Elvis, Billie Holiday, musicals. To this day, those musicians inspire me. The second I knew that I had to be a singer was the day I fell madly in
Surprisingly, despite his mentality of seeing himself as the next great singer, Frank had some trouble singing at first. In his article, “Taking Sinatra Seriously”, Terry Teachout stated that Sinatra’s voice tended to sound a bit awkward, unaware, and uncomfortable in faster-paced songs; it would take around a decade for him to reach full vocal development (55). As a result, his friend Hank Sanicola prompted Frank to take singing lessons. One of Sinatra’s instructors was former Metropolitan Opera singer, John Quinlan. Quinlan had him do vocal exercises as well as pronunciation work: attempting to eliminate his Hoboken accent from songs. Fortunately, these lessons did work to Frank’s overall advantage; he felt much more confident with his singing, despite his old friends mocking him for sounding so proper (Kaplan 53).
This women Mandy Harvey has gave me the inspiration to make better music because of how she went on with a passion with roadblocks in her way, but that did not stop her. I see myself as entrepreneur so when I see the courage of Mandy harvey it inspires me to never be afraid, but to be creative. So overall what Mandy showed me is Deaf people are just as talented and creative as hearing people and all you need is
Throughout my life, I have been taken by music. However, it was not until my 8th grade year in middle school that I realized that I could be a musician for the rest of my life. Before that, music just seemed like something to keep me out of trouble. I wasn’t the best player at that time, and I still knew very little about it all. How could something like that ever support someone? Still, it was the only talent that I could find any success in, and it was still very enjoyable, so I wanted to still give it a shot.
Once i got to highschool i started to take my music a little more serious. I feel like i can express myself in music, just speak my mind. I’ve been writing since i was 10 years old, and started realizing recently that i feel something different when it comes to music. I just write about anything, whether its a dream, what i’m feeling or even things going on in the world. When we look at people we dont look deep enough, This is who i
The Chairman of the Board, as Sinatra was commonly known, decided to start his solo career in 1942, after a brief period singing with Harry James and the Tommy Dorsey Band. Many well-known singers preceded him, such as Billy Holiday and Bing Crosby. None of these performers, however great, led completely self-sufficient careers of their own. Gardner attests that “Sinatra’s success cemented the notion of the interpretive singer as an autonomous musician – in service to the song but also owning it, at least for the duration of the performance”. Given the type of personality he possessed, this was not surprising. Frank had the “street-smarts”, the intelligence, drive, and talent to sustain a solo career.
“I was determined to play my horn against all odds, and I had to sacrifice a whole lot of pleasure to do so.” Louis Armstrong said this and it shows the amount of dedication he had towards music. In a time of segregation he was born a kid in poverty, but over time he grew up to become the best jazz musician in the world. Louis Armstrong set goals for himself and developed into a major musical force as an innovator, trumpeter, singer, and entertainer. Armstrong had a neglectful mother and father. His father abandoned Armstrong leaving him with a irresponsible mother. To raise money Armstrong would sing in the street for pennies, and did odd jobs for a jewish family who in return took him in with their family.Growing up in New Orleans he loved listening to the many brass bands. These bands motivated him to buy his own cornet. In 1912 he shot a pistol into the sky, and immediately got him arrested.The court decided his mother was not capable of raising Armstrong, so they put him in “Waif’s Home for Orphans.” Life looked gloomy for the youngster but he was given hope as he eventually developed his love for music. Day after day he would continuously practice his instrument, soon making him the leader of Waif’s Band. Soon he developed the skills to work with legendary performers such as Joseph Oliver, and Kid Ory which made his reputation skyrocket in the music community. Heros stay devoted to their goals no matter how low the odds are in their life. This describes Louis Armstrong as he found motivation to improve his skills.
From the day we’re in our mother's stomachs, to the day we die, we have always been listening to music. For me, listening to music all my life helped me develop a passion for it. When I was around the age of 6 my dad introduced me into the world of Rock. The very first band I remember listening to was System of a Down and ever since then, I fell in love with rock music and all its possible variations; for a long time this was all I listened to. It wasn’t until high school that I started listening to all sorts of genres and realized that I wanted to have a career in the music industry. That's when I learned about producing music.
In the past decade I have managed to produce several albums, and every such production has been a real learning moment for me. I learned the stages of production from the beginning, and most of all I knew the language I did not need to learn to understand and be moved by it- the language of music, a language full of emotion. To be truthful, the secrets of the profession were not known to me at first, but strong will and motivation can overcome any challenge.
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https://destroyanews.wordpress.com/2014/01/13/frank-iero-diy-is-where-the-revolution-begins/
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Frank Iero: ‘DIY is where the revolution begins’
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2014-01-13T00:00:00
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Frank Iero has done a little bit of everything in the music industry. Perhaps best known as the rhythm guitarist for My Chemical Romance, he’s also fronted bands like LeATHERMOUTH and Death Spells, and worked on original material for soundtracks. Before all of that, he was a member of Pencey Prep, perhaps one of the…
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en
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https://secure.gravatar.com/blavatar/773239fb22eaebc95ca1244675f0117f86bf2ee23c5af71f91a8df074a56274f?s=32
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Destroya News
|
https://destroyanews.wordpress.com/2014/01/13/frank-iero-diy-is-where-the-revolution-begins/
|
Frank Iero has done a little bit of everything in the music industry. Perhaps best known as the rhythm guitarist for My Chemical Romance, he’s also fronted bands like LeATHERMOUTH and Death Spells, and worked on original material for soundtracks. Before all of that, he was a member of Pencey Prep, perhaps one of the paradigm examples of contemporary garage punk.
In December, Iero set up shop with B.CALM PRESS, releasing an EP of covers called for jamia… Earlier this month, Iero took some time via e-mail to share the B.CALM origin story and his thoughts on DIY with Velociriot.
Velociriot: I know you’ve talked about this before, but what is B.CALM? Where did the inspiration for it come from? Where did the name come from?
Frank Iero: B.CALM is an entity under which I can release the different things that I make. Instead of finding a label and a publisher and a merch company and a fine art distributor, etc, etc, for all of my different outlets, I just decided to start my own thing, from which I can independently release certain projects under one umbrella. So far we have done music and merchandise and I would like to expand that into the other mediums I feel creative in, but it’s an extremely small operation and a lot of work.
The name B.CALM stems from the nature of the company I wanted to make. It’s intimate and pure, very hands on and personal to me. A place where I can release the things that I hold dear, a sanctuary for my art. It’s an acronym of sorts…possibly more of a letter jumble. I wanted the name to really mean something so used my children’s initials, LB CB MA, and formed a statement I needed to hear.
V: B.CALM seems like it has been a pretty personal project for you – do you see it continuing to be a place for personal pieces, like for jamia…?
FI: Yes absolutely. I’m not saying I will never release things that I make anywhere else, but I wanted a place to have absolute control to do the things I’ve always wanted to do, the way I wanted to do them. I think of B.CALM as a home base of sorts. There are no ulterior motives or big schemes, just a love of the craft and a place to be as crazy as I want to be.
V: How are your experiences working with B.CALM different than your experiences working with major or independent labels? Is it different from just releasing your stuff on SoundCloud?
FI: Well every label is different, but it’s a very different thing doing it all yourself. It’s fun, terrifying, difficult and exciting all at the same time. It provides a great satisfaction when things work out the way you wanted them to… but on the flip side there is also a horrible feeling of loneliness and fear when you need help and you turn around and realize you’re the only one there. But I am lucky to have an amazing wife and friends that help out wherever and whenever they can and ultimately I just have to realize it’s all for fun and the love of creating, otherwise what’s the point?
V: Your career has always highlighted your work ethic, and you’ve done a lot of do-it-yourself projects. What’s the draw in DIY for you?
FI: I don’t know, I’m a masochist probably. Haha. I guess I like getting my hands dirty. I have always been a fan of the do it yourself thing, ever since I was young. You start a band, you raid the copy shop, and you make do with the materials at your disposal. It’s inspiring, it teaches you problem solving skills and a good work ethic and ultimately, it means more. For me I enjoy the process…every step is important. The things I create are a part of me, and I like to be there every step of the way…falling all over myself. Fucking things up as I go along. My favorite parts end up being the mistakes.
V: Do you think DIY is important to the punk scene? Have you seen it grow in the community?
FI: I do, I think if it weren’t for the DIY ethics nothing would ever change. What you have to understand is, as disheartening as the thought may be, our world is run by business and all businesses have to make money. that means labels, distributors, publishers, hospitals, schools, government; you name it, it’s all about the bottom line. Yes, making ‘great art’ is wonderful and when ‘great art’ makes a profit everyone benefits and the world can change…(yes I believe great art can change the world). But if that ‘great art’ doesn’t sell, someone at the company is going to tell you and everyone else that your ‘art’ isn’t that ‘great’ and 99% of the time they will move on. It’s the nature of the beast, it’s not fair…but art and life seldom are.
Our creative world these days, especially the music industry, is set up to fail. We have a business that is losing money rapidly and the bossman is scared. ‘Don’t take any risks, play it safe, because we cannot afford to lose any more than we already are in this economy.’ So the same things are green lit over and over, more polished, more sexually explicit, dumb it down even more than last year, different packages of the same shit. Big money won’t take a chance on something new until it proves itself, because no one wants to be the guy or girl who lost their ass on some out of left field artist. But you see there is the problem..the only thing that can truly change the industry, or the world for that matter, is something truly new and inspiring. A hail Mary. Something so undeniably risky it ignites the world’s imagination. So, here we lie, dying in a vicious cycle. And this happens every 15-20 years or so.
DIY is where the revolution begins. Because greatness starts with being so goddamned crazy no one else in their right mind will help you, so you have to do it all by yourself. It’s how punk rock began, tattooing, street art, the fucking internet, you name it. Anything the mainstream has adopted, monetized, and bled dry over the years at one point in time started in someone’s basement. And that last statement sounds bleak as fuhk, I know, but it’s not all bad. Some amazing things have happened because of that. DIY has changed the psyche of the mainstream, of course it also means you have a billion or so dickbags wearing bedazzled tattoo flash on their jeans…but well you can’t win ‘em all I suppose.
V: DIY can mean a lot of things to different people – with B.CALM, you’ve released vinyls, whereas a lot of bands have taken to recording their music on their own and releasing it on sites like Bandcamp. What does DIY mean for you, as an artist?
FI: DIY to me just means doing it yourself on your own terms. I love the recording process. I enjoy it as much as I enjoy writing the songs and performing them… maybe even a bit more. And in today’s technological world it is a lot easier to have a home studio or a laptop and a microphone and be able to record a whole record in your bedroom. I for one feel blessed to be creating in a time where that is attainable. But that doesn’t mean you can’t record in an actual studio and still do it yourself, it’s all about the mindset and having your hands in the project at all times. The procedure of recording everything yourself allows you to make mistakes and learn from them. This will change you as an artist and as a player, and I wholeheartedly recommend it to all musicians at one point or another. I independently funded ‘for jamia…’ I created the art, I performed everything on it, recorded it and mixed it. I only turned the songs over to have them mastered and pressed. And when the records were returned to me I hand packaged, numbered and mailed all 400 to those who purchased them.
As far as releasing your material I believe that is up to the artist. No one should be able to tell you what to do with your art. If you want to put it up for free on a site like SoundCloud, as I’ve done in the past, or if you wanna put it on 8track and sell it through mail-order for a thousand bucks a song, that is your prerogative as the creator, and whatever you deem appropriate for you art is correct in my mind. DIY doesn’t have to mean give it away for cheap or free, that doesn’t change the do it yourself operation in my opinion, nor does the location of recording or sale.
I chose to press vinyl for my recent release because I have always wanted to release my own 45 and also because of the statement I feel vinyl has. For me I am a fan of the ritual. It takes more effort to put the vinyl on, and therefore demands more of you attention. I didn’t want ‘for jamia…’ to just be in the background, I wanted it to be an intimate conversation. I wanted the listener to be a part of it. You take the record out, lay it down, drop the needle and listen. Converse. Switch sides, hear a response, it should be an experience. Vinyl has more gravity than digital for me. However I am not oblivious to the world in which we live. I knew in order to have it reach more ears digital had to be widely available. But for me it was always about giving my wife the vinyl.
V: What effect does DIY have on the scene, given the recent trends of releasing music digitally?
FI: I think consumption of music digitally has really opened the doors and the reach for DIY artists. Before it was all about limited hand made releases, but now you have websites facilitating the worldwide distribution of independent artists, and I think that’s a great thing. Even though I have always been and will always be a fan of the artwork and packaging, I’m glad more independent artists will be able to see their work reach a wider audience. It’s much easier to fund your own batshit crazy projects these days, especially without the overhead of a physical release, and I think we’re going to see more and more artists doing what they want on their own.
V: It seems like DIY has become increasingly trendy – do you feel that it’s been commodified in any way? Do you think it will continue to grow as it has?
FI: I think DIY may be the new buzz word, but the trend of going back to basics in my opinion, is because of value. Doing it yourself brings the intimacy and care back to your art. Plus no one can tell you what to do, you’re your own boss, and that’s a special place to be as an artist. I’d like to think it’s also starting to make people realize there is a person and a soul behind the art and not just a product. But commodified? I don’t know. That seems to have a negative connotation, but I don’t think there is anything wrong with selling the things you create. Inventors and artists deserve to make a living and be paid well for what they do, I don’t see anything wrong with that.
People for some reason feel like if you’re able to download music easily or steal an artists whole discography in seconds that somehow you should, that it’s justified. That’s bullshit. The time taken to create and invent should be valued, respected, and revered…especially from independent artists.
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[] |
[] |
[
"Frank Iero"
] | null |
[
"IMDb"
] | null |
Frank Iero. Soundtrack: Premium Rush. Frank Iero was born on 31 October 1981 in Belleville, New Jersey, USA. He is an actor and composer, known for Premium Rush (2012), The Fighters (2008) and The Man with the Iron Fists (2012). He has been married to Jamia Nestor since 9 March 2008. They have three children.
|
en
|
IMDb
|
https://www.imdb.com/name/nm2432373/
|
Frank Iero was born on 31 October 1981 in Belleville, New Jersey, USA. He is an actor and composer, known for Premium Rush (2012), The Fighters (2008) and The Man with the Iron Fists (2012). He has been married to Jamia Nestor since 9 March 2008. They have three children.
6.5
Soundtrack("Na Na Na (Na Na Na Na Na Na Na Na Na)")
|
|||||
279
|
dbpedia
|
2
| 50
|
https://www.bookey.app/quote-author/frank-iero
|
en
|
30 Best Frank Iero Quotes With Image
|
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[] |
[] |
[
"Frank IeroQuotes",
"Frank IeroQuotes With Image"
] | null |
[] |
2023-09-05T10:29:01+08:00
|
1.Sometimes before it gets better, the darkness gets bigger, the person that you'd take a bullet for is behind the trigger.2.Hope is the last thing you lose. It's what keeps you going when everything seems impossible.
|
en
|
/favicon.ico
|
https://www.bookey.app/quote-author/frank-iero
|
Frank Iero | Introduction
Frank Iero is a highly talented and versatile musician, singer, songwriter, and multi-instrumentalist hailing from Belleville, New Jersey. He was born on October 31, 1981, and has been actively involved in the music industry for several decades. Known for his distinctive punk-rock sound, intense live performances, and deeply emotional lyrics, Iero has gained a significant following and has left an indelible mark on the alternative music scene. Iero's journey into music began at a young age when he started playing the drums and guitar. His passion for music only grew stronger as he entered high school, where he formed his first band, Pencey Prep. Although the band disbanded in 2002, it laid the foundation for Iero's musical career and provided him with invaluable experiences and opportunities. However, it was joining the renowned alternative rock band My Chemical Romance (MCR) in 2002 that catapulted Iero to international fame. As the rhythm guitarist of the band, he contributed heavily to MCR's success during their heyday. With their breakthrough album "Three Cheers for Sweet Revenge" released in 2004, followed by the critically acclaimed "The Black Parade" in 2006, My Chemical Romance became an iconic figure in the emo/punk rock genre. In addition to his work with My Chemical Romance, Iero has also explored various side projects and collaborations. He formed the post-hardcore band Leathermouth in 2007 and released an album, "XO", showcasing his aggressive and raw style. Following a hiatus of My Chemical Romance in 2013, he formed another project named FrnkIero andthe Cellabration, releasing their debut album, "Stomachaches," in 2014. The band later evolved into FrnkIero andthe Patience, releasing the album "Parachutes" in 2016. Besides being a gifted guitarist and vocalist, Iero has proven his versatility as a songwriter as well. His lyrics often touch on deeply personal and emotional themes, exploring topics such as mental health, heartbreak, and personal growth. The raw honesty and vulnerability in his songs have resonated with countless fans worldwide, making him a beacon of hope and inspiration for many. In his solo career, Frank Iero has continued to push boundaries with his music, experimenting with different genres and sounds. His solo albums, including "Parachutes" (2016) and "Barriers" (2019), showcase his growth as an artist, incorporating elements of alternative rock, punk, and even folk. Beyond his musical endeavors, Iero is known for his kind-hearted and down-to-earth personality. He has always maintained a strong connection with his fanbase, treating them as an extended family and regularly engaging with them through various social media platforms. This intimate connection has fostered a dedicated and loyal fanbase who deeply appreciate Iero's genuine and humble approach. Frank Iero's contribution to the alternative music scene cannot be overstated. With his unique blend of raw energy, introspective songwriting, and captivating stage presence, he has left an indelible mark on the punk-rock genre. As he continues to evolve as an artist, it is evident that his passion for music and his dedication to connecting with fans will only continue to grow, making Frank Iero a force to be reckoned with in the music industry.
5 Facts About Frank Iero
1. Frank Iero is a skilled multi-instrumentalist, known primarily as the rhythm guitarist and backup vocalist for the band My Chemical Romance. However, he is also proficient in playing the drums, bass guitar, keyboard, and accoridon.
2. Before joining My Chemical Romance, Frank Iero was a member of several local bands in the New Jersey punk rock scene. He played with groups such as Pencey Prep and Sector 12.
3. Frank Iero is a massive horror fan and his love for the genre is evident in his music. He often incorporates themes of horror, darkness, and the macabre in his lyrics and stage performances.
4. In addition to his music career, Frank Iero is also a talented visual artist. He has created album artwork, gig posters, and even his own merchandise designs.
5. Frank Iero is a dedicated animal lover and has been involved in various animal rights and rescue initiatives. He is a strong advocate for adopting shelter animals and has spoken out against animal cruelty.
|
|||||
279
|
dbpedia
|
2
| 85
|
https://fnewsmagazine.com/2023/03/queer-comfort-in-my-chemical-romance/
|
en
|
Queer Comfort in My Chemical Romance
|
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""
] | null |
[
"Kit Montgomery"
] |
2023-03-11T06:42:02-06:00
|
You know what they do to bands like us on Tumblr.
|
en
|
/images/favicon.png
|
F Newsmagazine - Arts, Culture and Politics
|
https://fnewsmagazine.com/2023/03/queer-comfort-in-my-chemical-romance/
|
For the past eight years of my life (an extremely long amount of time for someone who isn’t even 20 yet) I have let one thing take a huge amount of my time and energy, that thing being American rock band My Chemical Romance (MCR). One might ask, why? What is it about MCR that was so important to me that it allowed me to become one of many in their obsessive army of fans? Personally, I’ve always believed there is an ‘it’ quality to MCR that kept me completely infatuated, but I think the more real reason is that I have been a very weird person for most of my life, and MCR is a band that actively makes room for anybody who feels different.
In their 22 years of being a band (including the breakup years), My Chemical continuously made it clear that it was okay to be different — to be the one woman in a male-centered space or the queer kid who wouldn’t hide their queerness. And as a weird kid who spent most of my life hiding, MCR’s safe spaces felt like a breath of fresh air, and it felt really nice to actually breathe.
Recently, there’s been a growing association between fans of MCR and open queerness. This occurrence isn’t actually new, but it is becoming more present in the online spaces surrounding MCR, and those online spaces have also become much more active because of the band’s reunion tour. Again, a certain amount of queerness was always there, but now it’s become so much more open and talked about that it is more common to find queer or female fans of the band in online spaces than cishet men.This is unusual considering the demographics of the emo and punk scene My Chemical comes from.
The history of queerness within MCR’s fanbase was not by chance. In their second album “Three Cheers for Sweet Revenge” (2004), there are multiple references to queerness, including overtly gay songs (see: “To The End” and “You Know What They Do to Guys Like Us in Prison”). This is likely a reason why MCR started gaining a queer audience during this time, along with the acceptance for outcasts, in general, the band has always had. The members of MCR were quick to notice and embrace both their queer and female audience.
There are several moments in their earlier tours where frontman Gerard Way would actively tease about his own sexuality in order to poke fun at the many homophobic people in the alternative scene during the early 2000s. This, along with the many interviews in which Way and Guitarist Frank Iero openly spoke out against homophobia and voiced their allyship, made it very clear exactly how MCR felt about queerness, which was far more than most bands would do at the time. Frank Iero could also be seen wearing a “homophobia is gay” shirt that he made himself.
This pro-queer sentiment still did not fade when fans began to question the sexualities of the members of the band. When fans made constant suggestions that the members of the band were in intimate relationships, the band members responded by laughing it off and making jokes about it themselves rather than denying the fan theories. By calmly making jokes and making the fan-proposed ‘ships’ seem silly, the band managed to shut down (for the most part) the rumors without sending out any sort of homophobic or anti-queer sentiment. It was a simple but very kind way of putting those ideas to rest.
In recent years, this allyship has not faded and has become an even stronger part of the core of My Chemical Romance. In 2021, Way had a cameo in the HBO documentary show “We’re Here” where they cheered on a first-time drag artist who was an MCR superfan who was about to do a performance to MCR’s song “Welcome to the Black Parade.” Last year, Frank Iero announced he would start making and selling binders (chest compressors used by transmasculine people) through his merch website for his solo work. Going past allyship Gerard Way revealed that his sexuality was unlabeled in a 2015 “The BoyZine” article, and in a tweet in 2015, they announced that they use both he/him and they/them pronouns. The band has loudly embraced the queerness within their fans.
The most recent and largest development in the world of MCR is their reunion and more specifically their reunion tour. During this tour, Way was very quick to use their platform to play with gender expression by dressing in overtly feminine clothing for his performance outfits. Though some of these outfits were clearly nothing but slightly more feminine Halloween costumes, many were regular women’s clothes. A great example would be the outfit Way presented 2022’ss Riot Fest: a women’s skirt and jacket suit with a headscarf and round black sunglasses. Way may have looked like a character plucked out of “Gray Gardens,” but that didn’t stop anybody from celebrating the band’s first festival in America since 2012. During these tour dates, Way even mentioned on stage that he felt more comfortable presenting however he wanted during their return because there was no longer a fear of rejection from the crowd.
MCR’s continued support of the queer community has made a place both online and in-person where people can feel like they are allowed to exist. For many of MCR’s fans, this wasn’t available to them before, and it’s amazing that after a six year long breakup (and two year long tour postponement) nothing has changed, and the band still loves and embraces their often-alienated audience.
|
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279
|
dbpedia
|
3
| 71
|
https://www.theshowlastnight.com/interview-giveaway-frank-iero/
|
en
|
Interview & Giveaway: Frank Iero
|
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2014-10-16T00:00:00
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The Show Last Night - some occasional music bits.
|
https://www.theshowlastnight.com/interview-giveaway-frank-iero/
|
Frank Iero was out on tour with Taking Back Sunday & The Used for the first time as a solo artist, bringing along The Cellabration to fill out the live performances. We got the opportunity to chat with Frank during the hectic evening of their St Paul show last month to talk about family, music, and friendship.
Tell me about Zuke Smith and what it’s like working with a vocal coach!
Frank: Oh wow, yeah! I met her through a mutual friend who runs a music store, and they would trade off giving each other guitar lessons or vocal lessons. I told him that I had been thinking about taking some lessons and he told me that I had to talk to Zuke. I finally met up with her and she was just so rad and so down to Earth. She was way more concerned with the instrument and the outcome, then charging for over time or anything like that.
The voice is like being handed an instrument you’ve never played before, and then playing it blindfolded. That’s how it was for me at least, because you’re playing by ‘feel.’ There’s nothing worse than going up on stage and faking it, so I wanted to make sure I knew how to play my instrument properly. Does that make sense?
Of course. How did your family feel about Daddy going on tour again?
Frank: Well my wife and I have been together for 13 years so she knows the drill, but with my kids this is actually the first time that they have understood that Daddy is going to be gone. They tell me that they miss me and that’s hard, they are also starting to understand what I do for work as well. Sometimes they think it’s cool, other times they couldn’t give a shit, and sometimes they’re upset about it. I think if I had a 9 to 5 though or some kind of desk job, I’d be at work all of the time. So yeah I go on tour and I’m away, but when I am home I am there 24/7 for my family, which I think is way better for everyone!
Speaking of family, do you think you are living your life in a way that would make your Grandfather proud? Staying involved with your family while playing music you love?
Frank: Man I hope so! For me growing up seeing the kind of man he was and putting his family first, he’s my hero man. I don’t know if you can ever live up to the same standards as you put your hero, but it’s definitely something I strive for. I feel really fortunate to have had that kind of role model in my life though for sure.
Who are The Cellabration and where did they come from?
Frank: To me ‘The Cellabration’ is the instrumentation and the musicians behind it. I wanted to put that together because I wanted people to know it wasn’t just me and an acoustic guitar ya know? I didn’t want to hide behind a name anymore since we had done that so many times.
I wanted to be something like ‘Tom Petty and the Heart Breakers’ or ‘Joan Jet and the Black Hearts,’ I wanted that comradery that gang. When it came down to filling out that sound for the live shows there was a really, REALLY short list of people I wanted to play with.
One of them was my brother in-law Evan, who plays guitar, one was Rob Hughs who plays bass also played guitar in a band that I was in (Leather Mouth), and then Matt Olson I actually met just this year. Jersey is a very incestuous music scene, everybody has played with everybody at some point, but oddly enough Matt and I had never played together before! We hit it off after meeting through a mutual friend. We jammed together and it was like we had been playing together for years.
How many bands/ projects have you been in?
Frank: Well, I was with a band called Fancy Prep and we released a record on Eyeball, then that band morphed into I Am A Graveyard, once that band broke up I joined My Chemical Romance, and from there I played in Regie and the Full Effect, Leather Mouth, The Architect, then Death Spells and there were a couple of random bands here and there that I recorded with.
Now being that you have played/ recorded with so many different bands and projects, do you see this particular project going a bit farther? Will we see a 2nd album?
Frank: Oh definitely there will be a 2nd album, and I will never stop writing. It’s been extremely fun to make an album, to record something on my own, and to work with The Cellabration. I don’t think it will always be this acoustic process, I think what we have going right now will be the band version and what I want the next album to sound like. I had no idea that it would all be this much fun! I’ve already got things rattling around in my head, but only time will tell what transpires.
What MCR question are you just tired, of being asked?
Frank: Haha, I don’t know! Probably the thing that bothers me most is not a question, but the constant comparison between whatever project I am involved with and what MCR was doing at the time. There have been people who want to compare and contrast projects, and that’s not really fair to do. I understand why it happens I guess, but to me each project should be viewed as something different, almost like different species. I’ve had people basically ask though “Why doesn’t this sound like My Chemical Romance?” And I have to tell them “Well, because it’s not!”
How was Riot Fest this year?
Frank: It was amazing! I always love playing that festival, but I will say that it was a little tougher to move around this year. I got lost, a lot haha. I don’t know if it was smaller last year or what, but it was definitely easier to find your way around.
I don’t remember what advertising was like last year, but I know it was hyped to Hell and back this year.
Frank: Well yeah and that’s the other thing is this festival is STACKED. So maybe that’s why there were way more barriers within the grounds to separate things and make it a little more difficult . All in all it was amazing, but I did end up missing The Afghan Whigs because I was so fucking lost haha.
Now this tour with TBS & The Used, the old beef between Gerard and Bert…
Frank: See now haha, I know a little bit more than most about that and I don’t know if I would call it “beef,” so much as some management bullshit that got blown out of proportion. Then it got fueled by people who had no fucking clue as to what was going on.
So there were no “So, how’s Gerard doing?” Type questions from Bert?
Frank: Haha no man, not at all. No this tour was so amazing and everyone was been so supportive of one another. We’d all hang out after the show, it was just amazing.
I’ve been on tours where bands will be all competitive, almost like a sports team. “Well our fans don’t like your band, and your fans don’t like our band, so fuck you guys!” I’ve seen that so much over the years and it honestly makes no goddamn sense. You know like a bands cabinet would go down and another band would be like “Yes! They can’t play tonight!” That kind of middle school bullshit just didn’t happen on the tour with TBS & The Used. We helped each other out, loaned each other equipment if something went wrong, we just looked out for one another.
It’s unfortunately rare, but fortunately amazing for us to see these old friends tour together again and look out for each other.
Perfect. Thank you so much Frank and we are so damn excited to see more from you!
Frank: Thank you man, it’s been a pleasure and thanks for sticking around!
Be sure to get Frank’s new album here and be sure to enter below for your chance to win an autographed photo!
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https://www.talkhouse.com/frank-iero-my-chemical-romance-frnkiero-and-the-cellebration-talks-the-murder-city-devils-the-white-ghost-has-blood-on-its-hands-again/
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Frank Iero (My Chemical Romance, Frnkiero and the Cellebration) Talks the Murder City Devils’ The White Ghost Has Blood on Its Hands Again
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2014-08-12T06:00:31+00:00
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In my younger and more vulnerable years, my “friends” and I would go to the Chiller Theater, an annual weekend-long horror convention that was usually held in Secaucus, New Jersey. Hunting for bootleg movies and toys filled our days, as did meeting B-movie stars and getting pictures taken with Jerry Only from the Misfits. But […]
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https://www.talkhouse.com/frank-iero-my-chemical-romance-frnkiero-and-the-cellebration-talks-the-murder-city-devils-the-white-ghost-has-blood-on-its-hands-again/
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In my younger and more vulnerable years, my “friends” and I would go to the Chiller Theater, an annual weekend-long horror convention that was usually held in Secaucus, New Jersey. Hunting for bootleg movies and toys filled our days, as did meeting B-movie stars and getting pictures taken with Jerry Only from the Misfits.
But our nights, oh our nights, were spent getting blotto at the hotel bar and fucking with the guy who, every year, came dressed up as an SS officer. We knew he was a closet Nazi, biding his time, shining his fake medals, counting the days, waiting all year to show his true colors. And every year when we caught a glimpse of those true hideous colors, we were ready and willing to pounce.
October 2000 was no different… or was it?
Their third album, In Name and Blood, had just come out, and the Murder City Devils were the band you couldn’t believe more people weren’t in love with. So when I saw an older kid at the bar wearing a MCD shirt, I got pretty excited. At 19, about the only requirement for friendship was “a good taste in music,” so my friends and I began to talk with him and his crew of about six or seven other guys. We joked about what we had seen at the convention and how Jerry Only was bound to show up at some time or another… and then someone brought up the guy in the SS costume.
Now this is where things got really strange. All of the air in the room seemed to get heavy, and as my friend awkwardly began to explain to them that being a Nazi was totally fucked, the new crew of guys with good taste in music and t-shirts suddenly changed their posture.
Long story short: turns out the new kids thought being a Nazi wasn’t totally uncool and so we disagreed with them with our fists and knees and hotel bar furniture until the cops showed up. Moral of that story, kids: don’t ever judge someone based solely on their band attire or musical taste, and always be prepared to be shocked as shit by the things you thought you knew, but don’t actually know at all.
If you were to tell me the brand new Murder City Devils album The White Ghost Has Blood on Its Hands Again, the Seattle band’s first collection of new music in 13 years, would begin like Ink & Dagger covering the MC5, I would tell you that was incorrect. Because I know MCD, I have them pegged. And that description doesn’t fit the formula… the formula that I was sure as shit I knew to be true. You don’t stop making albums and then 13 years later get together and make a blistering album that shows depth and growth! You set the dial way down, maybe halfway to five, and write a few clunkers that remind fans of the old days, but just not as good, and then maybe you get your shit together for the next one. That’s the way it’s done, I’ve seen it… it’s not pretty, but that’s what people do.
Well, nope, not the MCD. The Murder City Devils are not only set to eleven and a half on this album, but they are poised to surprise and impress without seemingly giving two fucks about what you might have expected. Well, within reason. Like singer Spencer Moody growls on the opening track, “I don’t wanna work for scum anymore/but I have needs.” I may never have heard something more raw and true.
The White Ghost Has Blood on Its Hands Again comes on like a shotgun blast to the temple, and “I Don’t Wanna Work for Scum Anymore” may be the best opening track since 2010’s “White Crosses” by Against Me! (from the album of the same name). Now, don’t get me wrong, the MCD have a history of great first songs, but those come on more like an infection than a “Surprise! Fuck, I’m Dead”-style attack. Usually the fever creeps in and sets the tone for what you are about to experience: Some drums, some organ, you get the sweats. But The White Ghost… just rears up on two legs and before you can grab a hold of your balance to figure out what’s just happened, it’s already too late for you. “Fuck you pig/Can’t catch what you can’t see.”
Let me be clear: there are moments on The White Ghost… when you know you are still listening to a Murder City Devils album, albeit a fantastic one, but this band has grown, whether they did it in front of us or not, and you will easily be able to distinguish where in their discography this one lies. The elements are there, the familiar feelings are present, but there is something new and different about the air surrounding them; they have evolved. “Pale Disguise” begins with the familiarity of a bass and drums intro, and the eventual addition of an organ, but as many times as I listen to it, it’s still a surprise how it all comes together. The instrumentation is deliberate and supportive, and yet it has a spirit about it that makes you think it could fall off the rails at any second. I began listening to this song with uneasiness, rooting for the band to keep it together, and although I know it will all somehow end in the pocket, I can’t help but squirm in my seat like I’m watching a car chase down the dangerous curves of Mulholland Drive. Yes, things are familiar but they keep you guessing. That is not an easy task for a band that has been together (off and on) for 18 years.
The trip the Devils take us on this time around is full of twists and full-on experiences. One of my favorite stops along this journey might be “Hey Playboy,” which at times reminds me of my uncle by marriage getting whiskey-drunk at a party and singing his very own version of “96 Tears” to a Walkman with waning batteries. I cite this experience in an extremely positive way.
If you told me Spencer Moody went into the studio with a few lines and ideas jotted down on a piece of paper and recorded the full album in sequence, in one take, I would probably believe you — the band sounds deliberate yet free, brash yet in complete control. Everyone in the band picks their moment, and when the time comes they hold nothing back. Moody sings from the gut, and there is no question of his commitment to his words. It’s as if they hit ‘record,’ started the first song and Moody wailed his way right through the whole album in one take. The whole time you’re wondering, how can he possibly go on? Does he have one more in him? “Don’t Worry,” the three-and-a-half-minute closer, definitively answers that question, as well as this one: “What if the Velvet Underground had been the Stax Records house band instead of Booker T. & the MG’s?”
I recommend you spend some time with this album — it really has a hold on me.
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2024-07-29T22:27:06+00:00
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Frank Anthony Iero, Jr. (born October 31, 1981) is a guitarist and backup vocalist of My Chemical Romance. He has also held various roles in other bands including Pencey Prep, LeATHERMOUTH, Death Spells, and " Frank Iero and the Future Violents" (formerly "frnkiero andthe cellabration" and...
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My Chemical Romance Wiki
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https://mychemicalromance.fandom.com/wiki/Frank_Iero
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This page uses Creative Commons Licensed content from Wikipedia (view authors).
Frank Anthony Iero, Jr. (born October 31, 1981) is a guitarist and backup vocalist of My Chemical Romance. He has also held various roles in other bands including Pencey Prep, LeATHERMOUTH, Death Spells, and " Frank Iero and the Future Violents" (formerly "frnkiero andthe cellabration" and "Frank Iero and the Patience").
Early life[]
Iero was born in Belleville, New Jersey and grew up in Kearny, New Jersey.[1] As a child he suffered numerous bouts of bronchitis and ear infections which meant he spent a lot of his childhood in the hospital.[2] Frank is also lactose intolerant and has other various food allergies. [3][4] He went to a Catholic school growing up, and later went to Rutgers University on a scholarship, but dropped out to go on tour with My Chemical Romance. He is also 3/4 Italian and 1/4 Polish.
Iero's parents separated when he was young and he grew up living with his mother, Linda, who lent out her basement to her son's many band practices; his father and grandfather were musicians and both were big influences on Iero when he was young. His father urged him to play drums, but Iero later began playing the guitar.
Music career[]
Frank started playing in local bands on the New Jersey punk scene at age 11. Before joining My Chemical Romance he served as vocalist for the punk band Pencey Prep. The band released an album, Heartbreak in Stereo, on the independent Eyeball Records before disbanding. Whilst playing with Pencey Prep, he became friends with Gerard Way and the other My Chemical Romance members, became a fan of their original demo and helped them get their first shows. After his band broke up, Frank played in several bands, including I Am A Graveyard, Hybrid, Sector 12, and American Nightmare before being offered the slot of rhythm guitar in My Chemical Romance. Iero also acted as the vocalist of the post-hardcore/hardcore punk band LeATHERMOUTH, who released their debut album XO in January 2009, on Epitaph Records. He was involved in a tribute band to The Cure named The Love Cats, after the song of the same name, and played bass with Reggie And The Full Effect on their farewell tour.
He was a judge for the 7th annual Independent Music Awards to support independent artists.[5]
On 7 December 2010, Iero parted ways with the record company Skeleton Crew he and his wife co-founded years earlier in order to concentrate on his family and his music with My Chemical Romance stating that, although he would have loved to carry on, he could not juggle his career with the band, the new additions to his family (newborn daughters) and co-running a business at the same time.[6]
After My Chemical Romance's breakup, Iero started to make music on his own as a form of therapy, to distract from his at the time severe stomach pain. This solo project, originally not intended for release, became Stomachaches, his solo debut. It was released 2014 under the name "frnkiero andthe cellabration." Also in 2014, he contributed a cover of Green Day's song "Extraordinary Girl" as part of Kerrang's 10-year tribute to "American Idiot". Following Stomachaches, he released the album Parachutes in October 2016 under the name "Frank Iero and the Patience." During the Australian leg of the tour promoting this album he, his bandmate and brother in law Evan Nestor and his manager were part of a near-fatal car accident. In May 2019 he released the album Barriers with the band "Frank Iero and the Future Violents."
On March 22nd, 2013, the band officially broke up, but 6 years later on October 31st, 2019, it was officially announced by the band via Instagram, Facebook, Twitter etc. that they were officially reuniting (minus former drummer Bob Bryar, who will be replaced on drums by former MCR touring drummer Jarrod Alexander) for their first show together on December 20th, 2019 in Los Angeles, California at the Shrine Expo Hall.
Equipment[]
In the earlier days of My Chemical Romance, Iero mainly used Gibson SGs & Epiphone Les Paul guitars (most notable was his white Les Paul nicknamed 'Pansy' which proved popular among his fans but has since been broken while onstage) and Marshall amps. He has since switched to using Gibson Les Pauls (with the Neck Pick-up removed) and occasionally uses a Gibson SG. He also used a Fender Stratocaster in the Desolation Row video. He has recently collaborated with Epiphone to design the Wilshire Phant-O-Matic guitar which he used onstage for the My Chemical Romance 'World Contamination' Tour, the Honda Civic Tour and for the Reading and Leeds festivals. [7]k
Personal life[]
On March 9, 2008, Iero married his long term girlfriend Jamia Nestor after proposing during the recording of The Black Parade.[8] On September 7, 2010, Iero announced on the My Chemical Romance official website that he and his wife had become parents of twin girls named Cherry and Lily. [9]On April 6, 2012, Iero announced on his personal Twitter account that his wife had given birth to their son, Miles. He has also been claimed the Best Dad Ever. He also as a dog name Lois.
Frank has many tattoos, including the word "HALLOWEEN" tattooed on his fingers, a Jack O Lantern on his back, "Keep the Faith" on his upper back, the letters "N.J." inside his lip standing for New Jersey, "I wish I were a ghost" around his right wrist, a dove on his left lower chest, an anchor on the lower part of his right bicep with an "N" and "J" on either side, a large chest piece, a scorpion on the right side of his neck, portraits of his grandparents on both arms, logos for the bands Black Flag and The Misfits, a matching 'revenge' tattoo with James Dewees, and a Frankenstein monster. Frank revealed in Life On The Murder Scene that he got the scorpion tattoo as high up on his body as he could once he decided that he didn’t want a real job. Most of the tattoos were done by L.A.Ink's Kat Von D, and Frank even appeared on her reality show. In her book High Voltage, in which some of his tattoos are featured, Von D states that she was present at Iero's wedding indicating that the two have remained friends.
Iero has expressed his pro-gay rights stance on numerous occasions, including wearing a pro-gay marriage t-shirt on tour and his home-custom red "Homophobia is gay" t-shirt which has become a fan favorite. During the earlier years of MCR, he and Gerard had kissed several times on stage and briefly in their music video I'm Not Okay (I Promise) arguably as a pro-gay statement. He also revealed to Rock Sound magazine that he voted for Barack Obama in the 2008 presidential election.
He has been a vegetarian since childhood after discovering the mistreatment animals endure in slaughterhouses and rearing farms and in 2008 PETA dubbed Iero one of the World's Sexiest Vegetarians, alongside Alyssa Milano.[10]
In the making of 'Helena' video,he stated that he could not carry the coffin because he was too small. Jokingly he said he is 4"9. He is actually 5'6.
Quotes[]
"This is a band that will save your life."
"I can't imagine any other bands having better kids than ours, and if they do at least I know our kids can beat up their kids."
"I'm totally f-in' bummed about the 'Ghost of You' leak. If you see a site with a link to the video, please don't watch it. Don't send it out. Don't look at screencaps. It's NOT FINISHED YET!"
"If I revealed my secret identity, the world would go to shit."
"Oh, one time we got held hostage!”
"We've mutilated, killed and disemboweled rock 'n' roll clichés!”
"My biggest addictions have been chocolate cake, mashed potatoes, and butter sandwiches.”
"I burn everything and call it Cajun.”
"Really I don't know anything other than Jersey. I like the dirtiness of it. Now I'm getting to see the world, and it's great, but it's not better than Jersey"
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https://facts.net/celebrity/14-astonishing-facts-about-frank-iero/
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en
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14 Astonishing Facts About Frank Iero
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"Biddy Riojas"
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2023-11-05T22:01:13+08:00
|
Discover 14 mind-blowing facts about Frank Iero, the talented musician known for his captivating performances and unique style. Prepare to be astonished!
|
en
|
https://facts.net/wp-content/uploads/2019/09/fac-icon.ico
|
Facts.net
|
https://facts.net/celebrity/14-astonishing-facts-about-frank-iero/
|
Frank Iero was born on October 31, 1981.
Frank Iero, the talented musician and songwriter, entered this world on October 31, 1981.
Frank Iero was a member of the band My Chemical Romance.
Frank Iero rose to fame as the rhythm guitarist for the iconic rock band My Chemical Romance.
Frank Iero released his debut solo album, “Stomachaches,” in 2014.
In 2014, Frank Iero embarked on a solo career and released his first album, “Stomachaches,” showcasing his unique musical style.
Frank Iero has collaborated with various artists throughout his career.
Throughout his musical journey, Frank Iero has collaborated with artists such as Gerard Way, Reggie and the Full Effect, and Thursday.
Frank Iero is also an accomplished visual artist.
Aside from his musical talents, Frank Iero is known for his artistic abilities and has showcased his artwork in various exhibitions.
Frank Iero is an advocate for mental health awareness.
Frank Iero has been vocal about his struggles with mental health and actively supports organizations dedicated to mental health awareness.
Frank Iero has a strong following on social media.
With his charismatic presence and engaging content, Frank Iero has amassed a dedicated fan base on platforms like Instagram and Twitter.
Frank Iero is married and has three children.
Despite his busy career, Frank Iero prioritizes his family life and cherishes his role as a husband and father.
Frank Iero’s second solo album, “Parachutes,” was released in 2016.
In 2016, Frank Iero unveiled his second solo album, “Parachutes,” which further showcased his musical growth and versatility.
Frank Iero has toured extensively around the world.
From sold-out arenas to intimate venues, Frank Iero has taken his energetic live performances to fans across the globe.
Frank Iero has a passion for motorcycles.
In addition to music and art, Frank Iero has a deep love for motorcycles and enjoys riding them in his spare time.
Frank Iero has released music under various aliases.
Throughout his career, Frank Iero has explored different musical styles and released music under aliases such as Death Spells and Leathermouth.
Frank Iero’s third solo album, “Barriers,” was released in 2019.
In 2019, Frank Iero unveiled his critically acclaimed third solo album, “Barriers,” which received widespread praise from fans and critics alike.
Frank Iero is known for his energetic and passionate stage presence.
When performing live, Frank Iero captivates audiences with his raw energy, creating an unforgettable experience for his fans.
Conclusion
In conclusion, Frank Iero is undoubtedly a fascinating celebrity with an array of astonishing facts. From his musical journey with popular bands to his solo ventures, Frank has carved a unique niche for himself in the music industry. His remarkable talents as a guitarist, singer, and songwriter have earned him a dedicated fan following worldwide.Beyond his musical prowess, Frank Iero’s philanthropic efforts and dedication to mental health advocacy also deserve recognition. Through his openness about his own struggles, he has become a source of inspiration and support for countless individuals.With his audacious style, raw energy on stage, and genuine connection with his fans, Frank Iero continues to captivate audiences globally. His impact on the music industry is undeniable, and his legacy is sure to endure for years to come.
FAQs
1. What are Frank Iero’s most notable musical projects?
Frank Iero is best known for his involvement in the bands My Chemical Romance and Frank Iero and the Patience. He played guitar in My Chemical Romance and was an integral part of the band’s success. After their disbandment, he embarked on a solo career with his band, Frank Iero and the Patience.
2. Has Frank Iero released any solo albums?
Yes, Frank Iero has released several solo albums, including “Stomachaches” (2014), “Parachutes” (2016), and “Barriers” (2019). Each album showcases his unique musical style and explores different themes and emotions.
3. Is Frank Iero involved in any other creative pursuits besides music?
Apart from his music career, Frank Iero is also a skilled visual artist. He has created artwork for album covers, merchandising, and exhibitions. His artwork often reflects his punk-rock sensibilities and adds another dimension to his creative expression.
4. Has Frank Iero faced any challenges in his career?
Like many artists, Frank Iero has faced his share of challenges throughout his career. He has dealt with personal struggles, including mental health issues, but has shown resilience and used his experiences to connect with others and inspire change.
5. How has Frank Iero contributed to philanthropy and mental health advocacy?
Frank Iero has been open about his struggles with mental health and has used his platform to raise awareness and offer support. He has been involved in various charitable causes and has collaborated with organizations focused on mental health, spreading a message of hope and understanding.
6. What makes Frank Iero stand out as a performer?
|
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279
|
dbpedia
|
3
| 10
|
https://riotfest.org/2019/07/08/pop-punk-education/
|
en
|
On Frank Iero, Hot Topic, and Feeling Like a Poser: An Education in Pop Punk
|
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[
"Annabel Paulsen",
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2019-07-08T00:00:00
|
Our newest RiotFest.org contributor takes a look back at Frank Iero, Hot Topic, and the ups and downs of being a suburban pop-punk fan.
|
en
|
Riot Fest
|
https://riotfest.org/2019/07/08/pop-punk-education/
|
It’s November of 2015 during my senior year of high school. I’m standing outside the Metro between two of my best friends, waiting for Frank Iero to exit the stage door. Despite the cold, we’re wearing fingerless gloves, because that was the scene. I was also probably wearing black skinny jeans with holes in the knees (which I sliced myself), because that was my uniform for much of 2015.
For my friend Viveka and I, it was our turn to accompany our good friend Julia to a Frank Iero show, which they faithfully attended every time the ex-member of My Chemical Romance toured.
I had never much listened to Frank Iero in any of his iterations. Instead, 5 Seconds of Summer had ushered me into quasi-pop punk—really, just pop melodies with some electric guitar. We watched from the balcony as a circle pit opened up during “5th Period Massacre” and let the sound pull us under. Everything was loud because it could be. Afterwards we piled into Julia’s Subaru and ate McNuggets and listened to Danger Days along Lake Shore Drive.
Pop punk was always an outing: driving to the mall thirty minutes away because it had a Hot Topic, where we would rifle through the band tees and tattoo chokers and never really buy anything (except maybe some Manic Panic). A trip to the local Olive Garden under the guise of irony would usually follow, where we’d eat unlimited breadsticks and talk about the physics test on Friday. For my friends and I in the suburbs of Chicago, the pop punk scene was effervescent. We never fully committed to it—none of us were really all that hardcore, with the exception of Julia—but we dallied into it, flirted, and were always together.
I remember, once: Julia, allergy incarnate, ordered a Jimmy John’s sandwich to Viveka’s house while the rest of us baked a frozen Amy’s pizza. In the special requests on the Jimmy John’s order form, we wrote “write your favorite emo band on the bag.” When it arrived, Julia ran down the stairs to the basement where we sat among animal-shaped pillows and a projector, slapping the sandwich bag in the middle of our circle. Written down by the delivery guy were Screaming Females, Weezer, and Fall Out Boy— and, along the side, a hand-scrawled link to a Bandcamp page: “It’s my band…music is free.”
We typed, we clicked, we listened. We Facebooked, and we saw “show this Friday at seven.” We went. We took the L to Wicker Park and got our hands stamped at the door. The venue was small, in the backroom of a bar; we walked straight to the merch table. “Does one of you guys work at Jimmy Johns?” we asked.
The guy sitting behind the shirts nodded and called to his friend, who joined us in our small circle. We held up the bag. He looked a little shocked for a minute, and then he laughed, and then he hugged all of us, all six of us 17-year-old girls from Evanston. On stage later that night, he pointed at us where we stood in a clump in the room of probably 20 people, and talked about the community. We took a video of it that I still have on my phone. Pop punk is about showing up—even if you’re not a part of the scene, it’s about going, and being there, and listening.
I don’t think I’ll ever forget feeling the ground vibrate under my feet at Metro in November of 2015. I remember the night so viscerally, so vividly, purely by memory and not through phone photos. When I was younger, I was always afraid of seeming like a poser; I was constantly nervous of being found out, as if I needed to earn my keep (or in this case, my ticket). It’s difficult—especially for young girls, who are often pushed to the margins—to feel like you’re enough to be a part of something. But I’ve found that it’s less about being a card-carrying member of the scene and more about being present. It doesn’t really matter if you don’t know all the words to every song.
Frank Iero sounds like walking into a room of people and wanting to feel anchored to the ground. There’s enough melody in the guitar to moor the listener to the song, and to facilitate any punk-adjacents out there into his album. His music, both solo and with My Chemical Romance (and pop punk in general), is loud, and that’s the point. Music is one of the only things that makes me feel like a human being, and sometimes being a human feels fucking loud.
|
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279
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dbpedia
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0
| 53
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https://www.radiometal.com/article/frank-iero-music-from-the-guts,183045
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en
|
Frank Iero: music from the guts
|
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[
"Nicolas Gricourt"
] |
2015-08-08T11:18:15+00:00
|
Although My Chemical Romance split in 2013, there was no way Frank Iero, the band’s rhythm guitarist, was going to slow down. He was already involved in other projects when MCR’s schedule allowed, and he’s since tinkered with industrial experiments with Death Spells, started exploring other artistic forms on his website, and embarked almost reluctantly […]
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fr
|
https://www.radiometal.com/wp-content/themes/RadioMetalDesign/favicon.ico
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RADIO METAL
|
https://www.radiometal.com/article/frank-iero-music-from-the-guts,183045
|
Although My Chemical Romance split in 2013, there was no way Frank Iero, the band’s rhythm guitarist, was going to slow down. He was already involved in other projects when MCR’s schedule allowed, and he’s since tinkered with industrial experiments with Death Spells, started exploring other artistic forms on his website, and embarked almost reluctantly on a solo career with Frnkiero And The Cellabration. The first album he put out under this name, Stomachaches, was composed on his own, mixing the pop/rock undertones his fans are used to and an almost folk songwriting to deliver a record that is at once straightforward and full of paradoxes.
We met a jovial and loquacious Frank before his concert at the Longlive Festival in Lyon to talk about this new project. Pleasantly surprised by the turn of events since the release of Stomachaches, the man doesn’t hide his enthusiasms or his doubts, and comes across as a tireless and humble artist who tries to fight against his own limits and do what he likes. We talked about all this in the following interview.
« Who wants to be a solo artist? That sucks, right? «
How is the tour going so far?
Frank Iero (vocals & guitars): It’s fantastic! I don’t know if I had expectations, but if I had any, it definitely exceeded them. It’s strange: I wrote and recorded a record in my basement, didn’t plan on doing anything else with it and now I find myself on tour halfway all across the world, we’re playing big festivals with lots of different bands and we had sold out shows… It’s amazing! It’s very flattering. It’s overwhelming a bit. I’m really happy just to give it a play and have people appreciate it.
Yeah, the reactions so far have been pretty positive from what I saw…
Yeah, I can’t complain! I could try, but it would be hard-pressed!
You’re known mostly for being part of My Chemical Romance, but you’ve been in other bands too. What is new here though is that it is a solo project with you writing about every part of the record by yourself. So you’re a frontman now…
How weird! It’s weird, right? [Laughs]
So what does it feel like? How different is it working in that frame of mind, what did it change for you? Did you feel like it was the right time for you to, I don’t know, start writing in your own name?
Fuck no! [Laughs] No, I never thought that for a second! In fact, yeah, I never wanted that job, never! God no! I never thought I would enjoy doing that. I was looking at people who were in bands and went solo like: “What is this fuckin’ asshole?!” [Laughs] All he has to do is put his name in lights, and yeah right, then they go back, they do shows with the band, then they go off and do their solo… Stop! I don’t know. That was just always my impression of it. And now, I ended up writing all these songs by myself, I recorded all the music for the most part – I had my friend Jarrod [Alexander] come and play drums on a few tracks but I did everything else -, my friend Eddy helped me record it but I did all the stuff in my basement… I had these songs. I showed them to a friend of mine and he wanted to put it out. Then it came time for him to ask me: “What is this called?” And I was like: [sigh]. I thought: “You know what? I can make up a band! Pretend this is like a new project. But that would be a lie! So I guess I’ll have to use my name!” And I was okay with it because that was the first time I did everything, you know, so it felt true. But then there’s that thing: who wants to be a solo artist? That sucks, right? So I guess it probably plays into why I misspell everything and make it as hard as possible for myself. That’s what it is. So yeah, I guess I’m a solo artist. But I have my friends with me, they play music with me and I love that, so I wanted a name for the band and I called that “The Cellabration”. And what is it like? Well, for the first couple of months I thought it really sucked. I was like: “I don’t know if I like this…” But the more we do it the more fun I have doing it. I don’t know if I’m getting better at it, I feel like I’m getting more used to it, but I’ve realized that I’m able to do it on my terms. What those terms are I’m not really sure yet, but I can do it within my comfort zone, which is a very small zone. So I’m figuring it out as we go along. But I do know this: as soon as I stop having fun is when it’s over.
I’ve talked about that with Gerard a few months ago and he told me that it was very refreshing for him after being in My Chemical Romance that had become really big and was getting a bit out of control, to do things on his own terms and so on now. Did it feel a bit like that for you too?
I feel like your view of things changes as things evolve but I feel like he was always in control. But I can understand that. I think it’s nice to have a notion, an idea, a little spark of creativity… And sometimes when you’re in a group, you’ve got that little spark of creativity, you know that’s gonna be something special, but it doesn’t get to grow to that level because maybe it’s gonna get vetoed, or someone else has another idea that’s fully formed… It’s nice to see every idea either succeed or fail, that’s really cool. And then, I don’t know! The control thing… I think you have to have more of a plan, then… I don’t know if I have a plan, because when I started this, I didn’t plan on doing it [laughs], so… Yeah. But he’s really good at that, so I think he’s a completely different thing. He’s a fantastic frontman, very determined on what he wants and where he wants to go with it. I’m more like: “I feel like doing this today so I’m gonna do it” [laughs], and that’s how far as I see! I only see maybe the next couple of days. And I gotta stop doing that! [Laughs] I gotta look forward in the future probably. Maybe it comes with age and wisdom.
So far so good!
So far so good, yeah! But then, you can only be lucky for so long, right? [Laughs]
« I reserve the right to resurrect, but finality is also a beautiful thing. […] I like the idea of starting a project and then shutting it and not having to think about it ever again. »
So how did you form the Cellabration? You knew the musicians before, I think?
Yeah, I did! I knew that if and when I was to start another band the first person I wanted was my brother-in-law Evan [Nestor]. It’s a fantastic musician, fantastic guitar player, wonderful voice, and just a beautiful person. He’s amazing. I don’t know many people like him and I wanted him to do this with. That was the first thing. Once I convinced him to do it [laughs], from there I had to flesh out the band. The other person I really wanted was Rob Hughes who plays bass in the Cellabration. He played guitar in a band called Leathermouth with me. We did a couple of tours with Leathermouth but I ended up having to do My Chem stuff so the band didn’t have the chance to do anything else. I just love being with him. I love playing with him, and you know, some people are just good to be around… He’s like that. So I convinced him to play bass again, because originally when he began playing he started playing bass and then changed to guitar to play in other bands, so I asked him to go back to play with this band. And then we needed a drummer, which is in my opinion the hardest or second hardest job in a band, and through mutual friends I was introduced to Matt Olsson. He and I hang out a couple of times; I just wanted to see what it would be like, what he was like. Once we connected I brought Evan in, we had a couple of practices for some songs and it just felt right. I’m playing with them by since, I don’t need anybody else. He was the final piece of that puzzle and so far it’s working pretty well. I think eventually we might wanna bring in another guitar player but I don’t know. It’s working so well with the four of us, it would be weird to bring somebody else along. The person would have to be really special.
In your website, since the end of MCR, you’ve been posting articles, stories, a lot of pictures too. Did you feel the need to explore other creative fields and do you plan to carry on with these things?
Actually, thank you very much for bringing that up, I enjoy that so much! I would say if I don’t enjoy it more than music either way it’s a close second. I love writing, I love just making things, and I felt like a website would be a great place to just post like a stream of consciousness. Since the Cellabration kicked off I’ve been on the road a lot and I’ve totally dropped the ball on everything else, which hurts me so bad. I wish I could keep on doing that but somehow it’s hard for me to wrap my head around doing multiple things… But yeah! I would love to! I would love to get off the roads sooner or later and progress in that side, maybe take it out of the virtual and do something, a more physical copy of a collection of things I made. It’s definitely a project of passion, but it’s also… I almost feel like it’s a fraction of my creativity and a fraction of my brain that’s so personal that I’m almost… I’m scared to put out, you know what I mean? It took me a very long time to just be able to post things. I think it would be an enormous step for me to do something physical. If I can get over that fear and get the time I would love to do it, I’ve set a schedule to do it and canceled it more times that I could tell you [laughs], so. We’ll see what happens!
Before starting this project, you’ve been in other bands like Leathermouth and Death Spells…
I love the way you guys say Leathermouth! I love it! No, seriously, it’s one of my favorite things in the entire world! The French and German accents, it sounds like “Lessermouse”, I love it, I think it’s great! I love the way it sounds, I really do! I think it’s even a better name! I’m sorry, go ahead…
First, are these over or do you plan to do something with these bands eventually?
I don’t know! Sometimes I wonder if anything is ever over. I guess I reserve the right to resurrect, but finality is also a beautiful thing. I like being complete with things. I like the idea of starting a project and then shutting it and not having to think about it ever again. Recently on tour we’ve been doing headline spots. The Stomachaches record is about 35 minutes long, and we found ourselves in places where we had to play for an hour… So we’ve played Leathermouth songs a few times, and it’s been really, really fun. Do I ever see myself do that project full time again? Probably not, but it’s nice to revisit it from time to time.
Leathermouth and Death Spells are both kind of extreme in their own way, so were they a way for you to explore other musical landscapes, like on the side maybe?
Absolutely. Well, I try not to do things “on the side”, I try to dedicate as much as I can to them. Sometimes life gets in the way, but I just have a love for creating things, and it tends to be sometimes very much on different sides of the spectrum. That makes me happy, because I get to live in those worlds. But there’s actually a couple of songs that I did on my own for the Cellabration project, I didn’t know if they were gonna be… I was like: “Maybe they feel more like Leathermouth songs?” “Smoke Rings” is one of them that could have gone that way, but I was like: “I don’t have that band anymore so I’m just gonna do it the way I would do it”. I like that with the Cellabration stuff. I think, at least I feel that when you listen to the record, it has that feeling of kinda jumping all over the place and I like having that opportunity to… I don’t know. If I wanna release a thrash EP I’m gonna do it, whether I have a band or call it under my name it’s the same thing, you know what I mean? Maybe it’s all under the moniker “Frank Iero”. Which sucks because I love naming bands! I have really good band names sometimes! But we’ll see. Maybe I just need to call it all my name.
« I tell a lot of stories on the record, so for me it’s kind of a folk record in that respect. »
Another thing these two bands had in common is James Dewees, who played live with My Chemical Romance too. Can you tell me about your collaboration?
I have been a long time admirer and now long time friend of James. I love working with him. I think he’s an absolute genius. I’ve never seen anybody… His genius, it’s like all over the place too: it’s music, it’s coffee [laughs], it’s baking, it’s comedy… He’s unbelievable. I’ve never known anybody like him. He doesn’t sleep very much but when he does he tends to eats in his sleep, it’s weird. He’s an amazing person. I love playing with him, I love creating with him. I’ve done a few projects now. I was lucky enough to be asked to play with Reggie And The Full Effect, he played in My Chem of course, he played drums on the Leathermouth tours, and then we did Death Spells together. He’s been telling people he’s waiting on me to finish the Death Spells stuff, I’ve been telling people I’ve been waiting on him so apparently we had some miscommunication, I think we’ll try to put that to bed soon, and I look forward to it. Doing anything with him is always a pleasure and an honor, so I’m sure we’ll do something again soon.
Now, back to Stomachaches: the first time I heard it, from your entire career, it got me thinking about Pencey Prep, the band with which you released your first record. It may be due to the fact that you’re singing on both, also that they’re both kinda pop punk. Do you think it’s relevant to see Frnkiero and the Cellabration as a way to go back to your roots enriched with all this experience you gained as a man and a musician through the years? Like some kind of more mature take on pop punk?
God, I hope it’s more mature than Pencey! That’s the thing: I think back to that band and it’s a strange feeling, right, because some of the songs I wrote I was sixteen, you know what I mean? It’s forever! The record is out there and you think like wow, if people listen to something you made when you were sixteen [laughs] and then judge you on that like: “Oh, he’s that kind of person!” Jesus! What if?!
But it was nice!
I know! It was a time and a place! But you know, I was sixteen! So yeah. I think there’s definitely a tie there, it was a band where I was playing guitar and singing at the same time, it had been a long time since I did that and I had to relearn to do it for this. But I hope it’s more mature!
Can you tell me about the “Weighted” music video? Because it’s really something…
Sometimes people give you money and they’re like: “Now make a video!” And you can either do something that’s completely representative of a song, or you can be like: “I said all I wanted to say in the song so I’m gonna make something that’s completely different, another piece of art.” I ended up having a story in my head that I wanted to do and we did it at like 4 in the morning with my friends in my backyard and it was really awesome [laughs].
The record is entitled “Stomachaches”. Apparently, it’s been inspired by literal stomachaches, like real body pain, and song titles like “Blood infections” and “Stitched” are along the same line. But then the lyrics are filled with doubt, anxiety, self-hatred… After all, stomachaches can be caused by anxiety, worry and so on! So is it a way to make a kind of summary of things you’ve been through?
I think the songs came from health issues, and I wanted to make positives out of negatives, so stomachaches became a synonymous with creativity and songs. That’s where it came from. As far as the lyrics on the record, I think it’s very based on experiences that I went through as a young person and things I saw other people go through. I feel like I tell a lot of stories on the record, so for me it’s kind of a folk record in that respect. It’s funny this is the first record under my name because I think a lot of things are recalling either experiences or influences from my youth, so it feels like it’s a good place to start. Where it goes from there? I’m very curious to see!
Interview conducted 8th, may 2015 by Chloé Perrin.
Retranscription: Chloé Perrin.
Pics: Jeff Crespi.
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Artist: Frank Iero, MusicBrainzID: 358db9a2-3c78-4afb-93b5-d18b34b86eab, data, artwork, logo, fanart, clearart, charts, best songs, musicvideos
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Members
1
Origin
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Genre
Rock
Style
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Mood
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Born
1981
Active
1981 to Present...
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Most Loved Tracks
3 users Frank Iero - Joyriding
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Artist Biography
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Frank Iero (pronounced "eye-ear-oh" ) (born October 31, 1981) is a singer-songwriter most well known as the rhythm guitarist and back up vocalist for the alternative rock band My Chemical Romance. Iero is the vocalist of DEATH SPELLS and Leathermouth and is currently focusing on his current project frnkiero andthe cellabration. He also owns a music label/publishing company called B.CALM Press. Iero grew up in Belleville, New Jersey. He grew up with his mom, Linda, who divorced his dad (a great influence to him over the years). He went to Rutgers University on a scholarship, but dropped out to join My Chemical Romance. He has played in various bands since he was eleven years old. In addition to his band Pencey Prep, Frank also played with the bands Hybrid, Sector 12, I Am A Graveyard, and briefly with Give Up The Ghost. Iero uses an Epiphone Elitist Les Paul Custom guitar with an Antique White finish. One of his many guitars sports the name Pansy which appeared in the 2006 My Chemical Romance calendar and is also a nickname of his, although recently, Pansy was broken by an MTV guitar tech. Iero has named many of his guitars; some of these names include "Bella", "Texas", "Sinatra", "Pansy", "Angel", "New" and "Jersey". He has been seen playing Angel on several TV appearances and the guitar makes a cameo on Life on the Murder Scene. He admires Billie Joe Armstrong of Green Day, and learned to play the guitar by imitating him. Besides his work with various bands, Iero has already released several solo tracks, including "This Song is a Curse" on the Frankenweenie soundtrack, and a number of digital singles: "xmas sux" (2012), "Be My Baby" (2013), "Walk The Line" (2013), and "B.F.F." (2014). "Be My Baby" and "Walk The Line" were also released together on the vinyl-only single, "For Jamia" which was first printed in a limited run of only 400 copies, 100 of them signed, and a second printing for Record Store Day in April 2014 which was limited to an additional 500 copies. The song "B.F.F." features guest vocals by Iero's twin daughters, Cherry and Lily. Iero has stated the song was co-written with 3-year-old Lily Iero.
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Frank Iero's gear and equipment including the Dunlop Tortex Standard 0.73mm and Fender Stratocaster Electric Guitar. Get the gear to sound like Frank Iero and get their tone.
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/favicon.ico
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https://equipboard.com/pros/frank-iero
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At 8:40, Frank says "currently for my main tone...it is a Orange Thunderverb 200 watt, which I overdrive with a Blues Driver."
more
Epiphone Elitist Series Les Paul Custom - This is arguably Frank's most iconic guitar. Played through most of the Three Cheers For Sweet Revenge era shows until it was destroyed at a show for MTV. Pansy can be seen in the background on the wall of an Instagram post from November 27th 2019 with Fr...
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At 1:57 Frank claims this pedal is his "secret weapon" and goes on to say that pedal just slays, it's crazy what that pedal can do".
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The guitar in this picture is actually a Les Paul Custom, rather than a Les Paul Standard as originally posted. Les Paul Customs are characterized by block inlays rather than trapezoids and the diamond inlay on the headstock. The pick up switch is removed as he usually has the neck pick removed....
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He designed this guitar with Epiphone to make a lighter guitar than the Les Paul Elitest series guitars with the same sound, plus some modifications.
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Frank uses a Rockerverb 100 through two 4x12 orange cabinets as part of his live rig, as shown in this video by Orange.
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In this interview https://www.youtube.com/watch?v=Xo8uYUnHqwY with musicians friend, at around 0:49, Frank states that he used to use the Les Paul elitist series. Some of his most notable guitars during the R...
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"damn, i'm really loving this @jmascis signature @fender squire jazzmaster i picked up....so many songs left in her just waiting to be discovered. p.s. Thank you Atlanta for a wonderful night, positive and inspiring. i am incredibly grateful. xofrnk"
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At 8:54 Frank states "for my clean tones, I use a Vox AC30,". He also claimed "I don't know if you can really beat that.".
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Ernie Ball's 2220 Power Slinky 11-48
Frank Iero from Frank Iero and The Future Violents uses Ernie Ball's 2220 Power Slinky 11-48 for his string instruments. The picture was uploaded to Ernie Ball's Instagram Story. It was shot at Vans Warped Tour 25th year anniversary. Frank Iero was...
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Frank has a strymon Iridium pedal shown at 50:24. Frank likes the way it adds to his existing tone and he states that it is a pedal that records super well.
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For his main gain tone for My Chem, Frank has a Marshall super lead. The amp was modded to have the famed dookie mod in it. The Dookie Mod is a gain mod that was made famous by Billie Joe of Green Day.
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At 8:40, Frank says "currently for my main tone...it is a Orange Thunderverb 200 watt, which I overdrive with a Blues Driver."
more
In this video you can see Frank using a black/gray Gibson Les Paul. It can be spotted at 0:16 in.
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between the swollen pickle and the blues driver to see the pro co rat, all though this picture is small, you might find a larger version some where else
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If you look at the number/layout of the knobs, you'll see it's absolutely a 900, rather than an 800 or a 2000. As for whether it's a 900 4100 vs a 4500... that's just me guessing by the sound of a 100w over a 50w. But it's definitely a JCM 900 he's playing.
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Frank Iero bought this guitar in early 2000 and broke it during the tour, but he kept the broken guitar ever since. Until recently, he decided to sell it in his instagram account.
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At 0:24, you can see that the pick that frank is using is sharp model of the tortex 0.73 with custom my chemical romance print.
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Frank Iero
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"Contributors to My Chemical Romance Wiki"
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2024-07-29T22:27:06+00:00
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Frank Anthony Iero, Jr. (born October 31, 1981) is a guitarist and backup vocalist of My Chemical Romance. He has also held various roles in other bands including Pencey Prep, LeATHERMOUTH, Death Spells, and " Frank Iero and the Future Violents" (formerly "frnkiero andthe cellabration" and...
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https://static.wikia.nocookie.net/mychemicalromance/images/4/4a/Site-favicon.ico/revision/latest?cb=20220519073112
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My Chemical Romance Wiki
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https://mychemicalromance.fandom.com/wiki/Frank_Iero
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This page uses Creative Commons Licensed content from Wikipedia (view authors).
Frank Anthony Iero, Jr. (born October 31, 1981) is a guitarist and backup vocalist of My Chemical Romance. He has also held various roles in other bands including Pencey Prep, LeATHERMOUTH, Death Spells, and " Frank Iero and the Future Violents" (formerly "frnkiero andthe cellabration" and "Frank Iero and the Patience").
Early life[]
Iero was born in Belleville, New Jersey and grew up in Kearny, New Jersey.[1] As a child he suffered numerous bouts of bronchitis and ear infections which meant he spent a lot of his childhood in the hospital.[2] Frank is also lactose intolerant and has other various food allergies. [3][4] He went to a Catholic school growing up, and later went to Rutgers University on a scholarship, but dropped out to go on tour with My Chemical Romance. He is also 3/4 Italian and 1/4 Polish.
Iero's parents separated when he was young and he grew up living with his mother, Linda, who lent out her basement to her son's many band practices; his father and grandfather were musicians and both were big influences on Iero when he was young. His father urged him to play drums, but Iero later began playing the guitar.
Music career[]
Frank started playing in local bands on the New Jersey punk scene at age 11. Before joining My Chemical Romance he served as vocalist for the punk band Pencey Prep. The band released an album, Heartbreak in Stereo, on the independent Eyeball Records before disbanding. Whilst playing with Pencey Prep, he became friends with Gerard Way and the other My Chemical Romance members, became a fan of their original demo and helped them get their first shows. After his band broke up, Frank played in several bands, including I Am A Graveyard, Hybrid, Sector 12, and American Nightmare before being offered the slot of rhythm guitar in My Chemical Romance. Iero also acted as the vocalist of the post-hardcore/hardcore punk band LeATHERMOUTH, who released their debut album XO in January 2009, on Epitaph Records. He was involved in a tribute band to The Cure named The Love Cats, after the song of the same name, and played bass with Reggie And The Full Effect on their farewell tour.
He was a judge for the 7th annual Independent Music Awards to support independent artists.[5]
On 7 December 2010, Iero parted ways with the record company Skeleton Crew he and his wife co-founded years earlier in order to concentrate on his family and his music with My Chemical Romance stating that, although he would have loved to carry on, he could not juggle his career with the band, the new additions to his family (newborn daughters) and co-running a business at the same time.[6]
After My Chemical Romance's breakup, Iero started to make music on his own as a form of therapy, to distract from his at the time severe stomach pain. This solo project, originally not intended for release, became Stomachaches, his solo debut. It was released 2014 under the name "frnkiero andthe cellabration." Also in 2014, he contributed a cover of Green Day's song "Extraordinary Girl" as part of Kerrang's 10-year tribute to "American Idiot". Following Stomachaches, he released the album Parachutes in October 2016 under the name "Frank Iero and the Patience." During the Australian leg of the tour promoting this album he, his bandmate and brother in law Evan Nestor and his manager were part of a near-fatal car accident. In May 2019 he released the album Barriers with the band "Frank Iero and the Future Violents."
On March 22nd, 2013, the band officially broke up, but 6 years later on October 31st, 2019, it was officially announced by the band via Instagram, Facebook, Twitter etc. that they were officially reuniting (minus former drummer Bob Bryar, who will be replaced on drums by former MCR touring drummer Jarrod Alexander) for their first show together on December 20th, 2019 in Los Angeles, California at the Shrine Expo Hall.
Equipment[]
In the earlier days of My Chemical Romance, Iero mainly used Gibson SGs & Epiphone Les Paul guitars (most notable was his white Les Paul nicknamed 'Pansy' which proved popular among his fans but has since been broken while onstage) and Marshall amps. He has since switched to using Gibson Les Pauls (with the Neck Pick-up removed) and occasionally uses a Gibson SG. He also used a Fender Stratocaster in the Desolation Row video. He has recently collaborated with Epiphone to design the Wilshire Phant-O-Matic guitar which he used onstage for the My Chemical Romance 'World Contamination' Tour, the Honda Civic Tour and for the Reading and Leeds festivals. [7]k
Personal life[]
On March 9, 2008, Iero married his long term girlfriend Jamia Nestor after proposing during the recording of The Black Parade.[8] On September 7, 2010, Iero announced on the My Chemical Romance official website that he and his wife had become parents of twin girls named Cherry and Lily. [9]On April 6, 2012, Iero announced on his personal Twitter account that his wife had given birth to their son, Miles. He has also been claimed the Best Dad Ever. He also as a dog name Lois.
Frank has many tattoos, including the word "HALLOWEEN" tattooed on his fingers, a Jack O Lantern on his back, "Keep the Faith" on his upper back, the letters "N.J." inside his lip standing for New Jersey, "I wish I were a ghost" around his right wrist, a dove on his left lower chest, an anchor on the lower part of his right bicep with an "N" and "J" on either side, a large chest piece, a scorpion on the right side of his neck, portraits of his grandparents on both arms, logos for the bands Black Flag and The Misfits, a matching 'revenge' tattoo with James Dewees, and a Frankenstein monster. Frank revealed in Life On The Murder Scene that he got the scorpion tattoo as high up on his body as he could once he decided that he didn’t want a real job. Most of the tattoos were done by L.A.Ink's Kat Von D, and Frank even appeared on her reality show. In her book High Voltage, in which some of his tattoos are featured, Von D states that she was present at Iero's wedding indicating that the two have remained friends.
Iero has expressed his pro-gay rights stance on numerous occasions, including wearing a pro-gay marriage t-shirt on tour and his home-custom red "Homophobia is gay" t-shirt which has become a fan favorite. During the earlier years of MCR, he and Gerard had kissed several times on stage and briefly in their music video I'm Not Okay (I Promise) arguably as a pro-gay statement. He also revealed to Rock Sound magazine that he voted for Barack Obama in the 2008 presidential election.
He has been a vegetarian since childhood after discovering the mistreatment animals endure in slaughterhouses and rearing farms and in 2008 PETA dubbed Iero one of the World's Sexiest Vegetarians, alongside Alyssa Milano.[10]
In the making of 'Helena' video,he stated that he could not carry the coffin because he was too small. Jokingly he said he is 4"9. He is actually 5'6.
Quotes[]
"This is a band that will save your life."
"I can't imagine any other bands having better kids than ours, and if they do at least I know our kids can beat up their kids."
"I'm totally f-in' bummed about the 'Ghost of You' leak. If you see a site with a link to the video, please don't watch it. Don't send it out. Don't look at screencaps. It's NOT FINISHED YET!"
"If I revealed my secret identity, the world would go to shit."
"Oh, one time we got held hostage!”
"We've mutilated, killed and disemboweled rock 'n' roll clichés!”
"My biggest addictions have been chocolate cake, mashed potatoes, and butter sandwiches.”
"I burn everything and call it Cajun.”
"Really I don't know anything other than Jersey. I like the dirtiness of it. Now I'm getting to see the world, and it's great, but it's not better than Jersey"
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Frank Iero and the Probably Stalling to Come Up With a Band Name
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My original project was supposed to be a poetry and/or creative writing blog, so I chose Frank Iero's website as my mentor blog, because I absolutely have to include him in every single blog I create. I have, in a way, always been his 'mentee', from songwriting, stage appearance, general attitude and style. While an…
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Escape Route
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https://escaperoute.home.blog/2018/11/28/frank-iero-and-the-probably-stalling-to-come-up-with-a-band-name/
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My original project was supposed to be a poetry and/or creative writing blog, so I chose Frank Iero’s website as my mentor blog, because I absolutely have to include him in every single blog I create.
I have, in a way, always been his ‘mentee’, from songwriting, stage appearance, general attitude and style.
While an adventure to see perform or to speak to in person, Frank is fascinating online. While many artists choose to have public relations directors to craft and post on social media for them, Frank runs his Instagram page, Twitter account, and Tumblr-powered news blog simultaneously, enlightening the words with sentiments such as …
Often Frank will mix personal and professional life on his social media, posting pictures of his dogs one minute and a banner for his upcoming concert the next.
He loves to interact with fans, for good or for bad.
His blog contains excerpts about important upcoming events, written in a very casual tone. Almost friend-to-friend.
He is working on a number of projects, from his mystifying new band, name yet to be revealed to the public (or yet to actually be named) to his podcast mentioned above.
Frank gets a huge kick out of this situation he found himself in in 2009.
“I was on tour [overseas] with My Chem at the time, and every time I turned around, there were Anti-American rallies. I wrote a song from the standpoint of the rest of the world. It wasn’t from my personal point of view–it was just from someone who sees warmongering going on. I wrote the song, and the title is as blatant as humanly possible, because I wanted it to be that way.”
With his band LEATHERMOUTH, Frank had written a song called “I Am Going to Kill the President of the United States of America” on their debut, and final, album XO. This was during the presidency of George W. Bush.
“Iero says he’s not sure who it was, but opines that it was a British writer who contacted the Office of Homeland Security looking for a comment. […] ‘I had a long talk with the gentlemen of the Secret Service.’ [says Iero].”
Frank is sincerely and honestly not a fan of the current president…
but at the time, the song was simply about perspective.
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Frank Iero
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Name: Frank Anthony Iero Jr Also Known As: Frankie Occupation: Musician (rhythm guitarist of My Chemical Romance, lead singer of Leathermouth) Medium: Music Works: My Chemical Romance Discography
Leathermouth Discography Official Website(s): Official Site
Twitter page
My Chemical Romance Official Site
Leathermouth Official Site Fan Website(s): On Fanlore: Related pages
Frank Iero is best known as the rhythm guitarist of American alternative rock band My Chemical Romance, one of the bands that constitute the Bandom canon. He fronted post-hardcore punk band Leathermouth (often written as LeATHERMØUTH), providing lyrics and lead vocals, as a side project. His first post-MCR project was frnkiero and the cellabration (Stomachaches album released August 25, 2014); he renamed his band Frank Iero and the Patience for the second album (Parachutes, 2016). He has also released an album with James Dewees as Death Spells.
Bio
Born on October 31, 1981 in New Jersey, Frank is well known for his love of his home state, and even has a tattoo of the initials "NJ" on the inside of his lower lip. He frequently suffered from bronchitis as a child, and his generally poor immune system has often prevented him from playing shows. He is also lactose intolerant and allergic to many foods.
His parents divorced when he was a child, and he was brought up by his mother, although he still had contact with his father. Both Frank's father and grandfather were musicians, and were big influences on him. His father encouraged him to play drums, but Frank instead chose to take up the guitar.
He was involved in many different punk bands from the age of 11 onwards. His first major band was Pencey Prep, who were signed to Eyeball Records and released one album, Heartbreak In Stereo, before disbanding. Frank attended Rutgers University on a scholarship, majoring in Psychology, but dropped out to join My Chemical Romance. He has said in interviews that MCR were one of his favourite bands, and being asked to join them was a huge honour for him.
He married his long-time girlfriend Jamia Nestor in 2007, with whom he co-founded the independent record label Skeleton Crew. Architects, sometimes considered another member of Bandom, were first signed to this label.
Frank and Jamia have three children.
See Wikipedia page for more detail.
Tattoos and other trademarks
Frank Iero has many tattoos [1] including logos for the bands Black Flag and The Misfits, symbols of his love for his home state, New Jersey, a pumpkin relating to his Halloween birthday, a matching 'revenge' tattoo with James Dewees and others by acclaimed tattoo artist Kat Von D: a Frankenstein's monster and portraits of his grandmothers and grandfather, all of which were featured in Von D's book High Voltage Tattoo and the latter of which was done on an episode of her reality show LA Ink in which Iero featured. In the aforementioned book, Von D states that she was present at Iero's wedding indicating that the two have remained close friends.
During the Three Cheers for Sweet Revenge era, he was known for wearing fingerless gloves decorated with skeleton hands and makeup with black crosses over his eyes. He often played a white Gibson Les Paul guitar named Pansy. He's also collaborated with Epiphone to produce the Wilshire Phant-O-Matic, his own custom guitar.
In fanart
Flick of the Switch by Durfindel on deviantart. Traditional/digital color art showing Frank with black crosses over his eyes, a white guitar, and his Our Lady of Sorrows arm tattoo. (September 11, 2005)
Scream by ihni on deviantart. Frank with a white guitar; acrylic paint, ink and pens on canvas. (August 12, 2007)
Sunsets are for Muggers by delilah88 on deviantart. Digital painting of RevengeEra!Frank. (March 2, 2009)
Frank and Pansy by MCRpixieStixx on Deviantar. Also on tumblr.[2] Photorealistic pencil drawing that shows the skeleton fingerless gloves, the scorpion tattoo, and the white guitar. (August 20, 2012)
Ships
As of Sept 12, 2014, there are 4891 works tagged 'Frank Iero' on AO3.[3]
Popular Ships
The most popular AO3 ship tags involving Frank are (non-exclusive numbers as of Sept 12, 2014):
Frank/Gerard with MCR frontman Gerard Way, by far the most common Frank ship with 3689 occurrences.[4]
Frank/Mikey with MCR bassist Mikey Way: 354 occurrences.[5]
Minor Ships
Other AO3 ship tags involving Gerard (non-exclusive numbers as of Sept 12, 2014):
Canon het pairing with wife Jamia Nestor (Frank/Jamia): 208 occurrences.[6]
Frank/Bob with former MCR drummer Bob Bryar: 127 occurrences.[7]
Frank/Grant(/Gerard) with comic writer and Danger Days verse villain Grant Morrisson: 40+ occurrences.[8]
Various other OT3 and OT4 ships such as Frank/Gerard+wives, Frank/Gerard/Mikey as well as MCR GSF.
Depiction in Fanon
Hurt!Frank
Frank is often involved in hurt/comfort stories due to his under-performing immune system and numerous canon injuries. Presumably the most common Frank trope, either as the focus of the story, or as a plot detail. For example:
yobrothatssick, a 2011 Livejournal-based challenge dedicated entirely to sick!Frank stories.
Unholyverse by Bexless features Frank getting hurt in many, many ways, to the point where getting health insurance is a major high of the end of the series:
"Dude," Frank said reverently. "Health insurance?"
"I know!" Brian said gleefully, and Frank grabbed him and hugged the shit out of him, ignoring it when Brian said something unimportant about not being able to breathe.
"I love you," Frank said fervently. "I love you so fucking much."
Brian laughed and patted Frank's shoulders, before pushing him back and saying sternly, "Don't take this as an invitation to get sick, though, okay?"
Hyperactive!Frank
Frank is often characterized as excitable, hyperactive and overly friendly, with little regard to personal space.
Asshole!Frank
Related to the previous, Frank is sometimes depicted as a (more or less lovable) asshole. For example:
'Assholes in love' Frank/Jamia verse by brooklinegirl: Turn It Up and follow-up ficlets.
The Good Life by sinsense: asshole!Frank/Brian Schechter.
ASSHOLE EYES: THE STORY OF FRANK IERO'S STONEY GAZE picspam by desfinado, with captions such as:
Frank takes advantage of any opportunity to dress in a costume that shows how little he cares about you
Even being interviewed, Frank has no problem looking unimpressed
Other times, Frank uses cancer sticks and asshole!eyes to show he's not only bored with you, but GRUMPY ABOUT IT
IS IT TIME TO GO HOME YET
ProRev!Frank
There were so many occurrences of sweaty Frank rubbing himself all over his bandmates during the 2007 Projekt Revolution tour that it gave birth to a slew of sex pollen and heat fics.[9] For example:
Pinch Hitter, written by bexless, podfic by greedy_dancer: a crossover with Adam Lambert.
ain't nothing but mammals, a Frank/Gerard pwp by mwestbelle.
Irresistible Force/Immovable Object by 7iris:
Everyone on the tour jokes about it: oh, Frank's in heat. He laughs along, and then drags Jamia into the back after shows. Then Jamia has to go back to Jersey for a family emergency, and it's not quite so funny anymore. Playing makes it worse. On stage the third night, Frank bites Gerard, licks Mikey, rubs up against Ray, and climbs on Bob's kit twice, despite the riser.
See also Run by mrsronweasley, a werewolf au.
Clean!Frank
He is occasionally described as being very neat and hygiene-conscious, especially in contrast to the Way brothers. In 2009 someone asked bandrandom_ref if this trope was pure fanon; it appears to be extrapolation based on a few suggestive comments during interviews and Life on the Murder Scene.[10]
Dog-lover!Frank
He is often depicted as an animal lover, who wants or owns many dogs. (Either started or encouraged by Bob Bryar's October 2008 myspace update: "frank has 19 dogs now.")[11] For example:
Frank has 19 dogs[12] fanart by theopteryx on livejournal (2 November 2008)
The Jamia, get the checkbook! meme, which originally involved Frank begging his wife for more dogs before becoming a catchphrase for cute dogs in general.[13][14][15]
black and white drawing of Frank with his dog by MiaGB on deviantart (February 3, 2015)
Puppies! by Lizlemay (August 26, 2015)
untitled art by happy_humbug76 on Instagram (May 29, 2018)
Frank Lero
Due to the resemblance of upper case "i" and lowercase "l", Frank's surname is often misspelled "Lero".[16] This became an in-joke within the band (Frank is credited as Lero at the end of the official "I'm Not Okay" video, Frank's twitter handle - set up by Gerard - was misspelled for a long time)[citation needed]. The fandom ran with it, with Frank Lero popping up in meta and fanworks as Frank's (evil) twin or doppelganger.
The One Where Frank Has an Evil Twin (and is a Secret Virgin Who Probably Should Have Taken Up Knitting) by theopteryx (23 February 2011), podfic by xojemmaxo. Author's notes excerpt:
This started because of two things - brooklinegirl and mrsronweasley had a bit of a rough day, and T linked to an article where another reporter named Frank as Frank Lero and I said BOY I’D REALLY LIKE A STORY ABOUT THIS.
Example Fanworks
Picspam
picspam[17] by shrift (Apr. 17th, 2007)
Picspam: Frank's guitars by sassbandit on dreamwidth (2011)
picspam[18] of Frank playing guitar by erraticonstilts on livejournal (2009)
Frank Iero's Tattoos: A Catalog, part 1 and part 2[19] by spritesam (2008)
F.T. WillZ: a Masterpost by totheend (2020)
Fannish Resources
frnkart tumblr (created 2015)
Frank Iero tag at Archive of Our Own
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Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.
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https://www.vice.com/en/article/rygmp7/frank-iero-record-shopping-interview-2014
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A Black Friday Spent Record Shopping With My Chemical Romance’s Frank Iero
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[
"Hannah Ewens",
"Sammi Caramela",
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"Hannah Rose Ewens",
"Ashley Couto",
"Natalli Amato"
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We talked about his new projects and how much he hates "American Pie"
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https://www.vice.com/en/article/frank-iero-record-shopping-interview-2014/
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Remember My Chemical Romance? For most people my age, My Chem’s emotional hardcore (like any true fan, I’ll never call it emo) provided the despairing soundtrack for the inevitable break down of our first poorly matched six-month relationships, their stone-cold images glared back from bedroom murals via Kerrang! posters. If you’re anything like me, you spent three years carefully recreating their glue-sniffer style pink eyes with a Collection 2000 colour palette and bawling “I’m Not Okay” into a pillow until you got a headache and a snotty face.
While Gerard Way was the scene poster boy of the band, Frank Iero, the guitarist, was the punk guy in the background: the nervous, smiley one everyone fancied, who played on the wings, feeling a bit uncomfortable.
My Chem’s split last year could have spelt the end for the non-Gerard members, but Frank is something of a creative genius. He’s frontman of hardcore punk band, LeATHERMOUTH and in electro-hardcore band, Death Spells. He also dabbles in writing, art and photography (he’s always suffered from anxiety, as well as chronic stomach pains, and uses art as a release). Now he’s a full time frontman. His new solo project, under the name frnkiero and the cellabration, has put out Stomachaches, the result of a tummy pain so painful it inspired the whole album. It’s also one of the best punk rock releases of the year.
It met up with Frank on Black Friday, so I asked if he wanted to go pick up some records on the cheap. We met at a little store that’d just opened, Flashback Records, just off Brick Lane, to avoid laceration by remorseless Rough Trade mobs.
We were both wearing the punk rock uniform. I’m just grateful I decided not to wear my Vans that day.
Noisey: When we spoke before you said you were nervous about being a frontman and preferred being in the background. How’s that going?
Frank: I always wanted to be in bands. But now there’s nothing to hide behind, I can’t just hang with my eyes fixed in the corner, even if I’m having a bad night. It’s very nerve-wracking, but I am enjoying it more than I thought I would.
So, how did you get into collecting records?
My father gave me one of those small box-sized travel players when I was a kid and just a handful of records that he had. Zeppelin IV was one. The Beatles at the Hollywood Bowl, which is just about the worst record ever – you can’t hear anything, just screaming in the background. I think there was maybe like an Animals record. And I just listened to them over and over again.
Lots of people love vinyl since the revival. It’s more unusual to hear of younger people that have always been into them.
I hear ya. It definitely ruins things for the collector because now a lot of stuff is a lot harder to find. I do feel like people have started to not value the music but value the packaging and art and how they consume the music. It’s a hard thing because you wish that they’d value the music as much as the rest. Though it’s nice that in a suffering industry, something still holds value.
Are you going to pass records down to your kids?
Yeah, I hope so. I don’t know how into it they’re going to be. Or how relevant they’ll be anymore. Maybe it’ll go back to 8-tracks or whatever. Man, I got really lucky with their taste. They like great stuff. They’re really into The Smiths. My one daughter’s goth as fuck. It’s incredible. [Picks up Neutral Milk Hotel – In the Aeroplane over the Sea] Oh, I love this record.
Me too. Why do you love it?
I guess the makeshift quality about it. I think my least favourite thing to listen to is perfect songs, perfect performances. They don’t feel human to me and in that respect they lose any kind of sincerity. I don’t know why, it’s just my ears. So I like it when things are a little off, you know. And this record’s a little off!
What else is your goth daughter listening to?
The 5.6.7.8’s. My daughters will dance to that all day long. And actually that’s what I hope for them, is that if they ever do god forbid follow their dream and play music for a living, they’re a Japanese garage girl band.
That’d be sick. Speaking of sick, how have your tummy aches been?
I have good days and bad. I actually have a sack full of medication here [he opens bag and shows me a washbag of meds] so this is my regiment for days. Dairy’s real bad. Even if you’re not celiac you can be gluten sensitive or whatever. No red meat. I started to incorporate poultry and fish in for protein. I don’t eat too much soy either. It’s a delicate balance.
What have you been eating over here this week?
Let’s see. I have a stock pile of gluten free bars. It’s hard. A lot of PB and J on gluten free bread.
Someone sent this great song to me recently: Paws – “Sore Tummy“. In my mind, it’s about anxiety and having chronic tummy aches. You should check it out.
I will! That’s what some of my medication is for. You know, I feel like I’d probably be alright if it wasn’t for the music. It makes you live in your head. With anxiety, it’s so hard to pull it back.
Everyone’s anxious.
Yeah. I feel like, sometimes, I picked the wrong career for this. Everything I love about what I do I hate at the same time. When you get up there and do the thing that I do, you have to be purely yourself. That put-on-an-act-shit makes me very upset and I never want to do that, you know. But at the same time, getting up there and doing this takes its toll sometimes. That make sense?
It makes sense. Hey, you’ve got a serious pile going on down there.
This is the most dangerous interview I’ve ever done. The good thing is I can tell my wife it’s my job. I had to go record shopping today.
Have you had an interview yet where someone hasn’t talked about My Chem? Seriously.
This could have been the one!
This doesn’t count!
Alright, you can be the one interview. I think people are starting to become a little reluctant to bring it up now. Or find it awkward. You got to understand, I grew up with those guys. That was my schooling, you know. That was 12 years of my life and I’m extremely proud of everything so I have no problem with people bringing it up.
Cool. Well What have your top records of the year been?
The latest Against Me! record. I think that’s fantastic. I will go with Homeless Gospel Choir. That Twilight record with Thurston Moore on it, III: Beneath Trident’s Tomb. That’s phenomenal. The La Dispute record. The latest Godspeed record. The Joyce Manor record – which is brilliant.
Do you have any special vinyl in your collection?
I have “Purple Rain” on purple vinyl. Oh Grinderman 2. I think you should get this.
I will because you said so. You need to get a Shoreditch beigel while you’re here by the way. It’s a London rite of passage.
A London beigel, eh? Okay, I will. Oh my god! American Pie! THIS IS MY LEAST FAVOURITE RECORD IN THE WORLD. I hate it. This has one of my two least favourite songs on it. I very rarely like to talk shit. Very rarely. But. My two least favourite songs are “American Pie” and “Hotel California” by Eagles. It’s something I can’t explain.
Do they grate on you or is it something else?
You know that feeling when you chew cotton? Like when you put your shirt in your mouth and chew it…
Wait I’m going to do it right now. [Sucks shirt]
Even just watching you do it is making me… It’s a shock right?
It’s making me feel a bit sick.
Right! Right. That’s how I feel every time I hear those songs. God, this interview has put me in a hole.
A hole?
A financial one. [Flicks through emo section].
What do you think about the “emo revival”?
All the reunions and stuff right? I think we’re hitting that point now where a lot of newer bands are starting to sound similar. So I think people are looking back and searching for something that they can’t find anymore. I think just trying to grasp something fresh but also go back to where everything started. Like, where did this new genre that I’m sick of start?
What’s the last thing you’ve heard where you’ve gone, fuck, this is genuinely different. Mine was probably Babymetal.
Babymetal? I haven’t actually listened to a record, I’ve seen the YouTube clips. They were actually on our plane over here.
No way.
I really don’t know much about the band, but I’ve heard so many rumours that I don’t know what to believe. [Looks serious] I heard from someone that if one of the girls gets too tall, she gets kicked out and replaced. Does that happen?
I hope so. Fuck tall people. Shall we go buy these now?
Please stop me. In America, Black Friday is like second Record Store Day, so we could have been stuck in a queue for hours. I thought it’d be packed.
I’m looking forward to Grinderman.
I hope you like it. If you don’t, it’s going to be awkward. Send it to me.
I’ll wait til you come back over and play and confront you.
Or throw it at my head while I’m playing.
I’ll Frisbee it to the neck.
“Your taste sucks!”
What Frank bought:
Yuck – Glow & Behold
Muddy Waters – Live at Newport 1960
The London Muddy Waters Session
The Flaming Lips – Yoshimi Battles The Pink Robots
Albert Collins – Ice Cold Blues
What I bought:
The White Stripes – Self Titled
Grinderman – Grinderman 2
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The Dynamic, Evolving Sounds of Frank Iero and the …
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2019-06-24T13:53:01+00:00
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Frank Iero has no qualms about being completely authentic and transparent with his audience. That’s the one thing that carries through all of these records.
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Stars and Scars
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http://starsandscars.com/the-dynamic-evolving-sounds-of-frank-iero-and-the/
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Frank Iero seems to really dig an era. The three albums he’s released under the moniker Frank Iero and the … each have a different sound, lineup, and band name. It’s hard to classify them as a unified discography because, for all intents and purposes, they aren’t.
It’s evident that Iero subscribes to the sentiment in his opening “Moto Pop” lyric: “We need a new sound to kill the old sound.” These records are unique pieces of work, each exploring a different avenue of musicality and the human psyche.
So now that we have three full albums to dissect, let’s do so. How do these records differ, and what journey do they take us on?
Stomachaches – Frank Iero and the Celebration
Band Members: Frank Iero, Jarrod Alexander (studio recording), Evan Nestor (touring), Rob Hughes (touring), and Matt Olsson (touring)
Stomachaches has a pretty distinct tone. It’s darker, with a heavy focus on the rhythm section, fuzzed out guitars, and a significant filter on the vocals. Iero’s guitar is more concerned with playing a series of individual notes rather than chords. Or at least, that’s what stands out.
This record is, to borrow a phrase from the more recent “Young and Doomed,” classically sad. Even with the songs that are more upbeat in melody or energy, the lyrics are a complete downer. Love songs like “She’s the Prettiest Girl at the Party, and She Can Prove It With a Solid Right Hook” are more somber than anything else.
Basically, this album has imposter syndrome; it questions its own worth at every turn. It’s defeatist, filled with self-loathing (“I hate the sound of my voice when it shakes,” “I hate my weaknesses, they made me who I am,” etc.) and is overtly depressed. Stomachaches sounds like curling up in bed and weeping softly into your pillow. Or ugly sobbing, depending on the song. When you sing along, the lyrics get caught in your throat.
But even with this raw emotion, Iero only lets us in a little bit. Though it’s vulnerable, it is the least intimate of the three records.
Parachutes – Frank Iero and the Patience
Band Members: Frank Iero, Evan Nestor, Matt Olsson, Alex Grippo
While Stomachaches felt like mourning, Parachutes is straight grief. It’s the end of that “Young and Doomed” lyric – it’s inclined to get mad. The feelings are shaper and more active. This is not a dull pain that you’ve grown accustomed to. It’s here, it’s present, and it hurts like hell.
Parachutes is the kind of record that will grab you by your throat, pull you in close, wind up for a punch, then tell you about its feelings. These are sometimes feelings about its family, as evidenced by the album art and the mere existence of the song “9-6-15.”
The record is also much more confident. (“Finally proud to live inside my own skin.”) While the last album said, “Oh no. Am I fucked up? Shit, I think I may be fucked up,” this one plants its feet and yes, “Yep. I’m fucked up, and I’m good with it. Anyone else?” Instead of blaming itself like Stomachaches does, it points the finger at literally everything else in the room.
This confidence exists musically as well as lyrically and tonally. Iero isn’t filtering his voice anymore. He’s coming into his vocal style, screaming more than he did on Stomachaches, and singing with more authority.
The sound of Parachutes is more full and powerful than the last album. You need to move when listening to this record. Instead of crying into your pillow, you’re throwing it at your wall. You’re moshing and jumping alone in your room, and it feels good to get it out.
Barriers – Frank Iero and the Future Violents
Band Members: Frank Iero, Evan Nestor, Kayleigh Goldsworthy, Matt Armstrong, Tucker Rule
Barriers is a moment of crisis. It’s mental and emotional turmoil incarnate. The world has spun off its axis, and this is an attempt to stabilize, while also feeling completely disoriented. But because it starts with hope (and some organ sounds that take me right back to church), it also feels like a resurrection. But then the reanimated corpse has no idea what the hell to do with itself.
That is not to say that Barriers has an identity crisis. The music is exploratory and a sound experiment, but it knows what it is. It’s just about an identity crisis.
To me, Barriers is about moving on from trauma, both hesitantly and defiantly. There’s a kind of sass and wit that comes out in this album – a sense of resentment. Like, “Yes, I’m alive (I think), and fuck you for it all.”
There is something in the pit of my stomach when I listen to this record. I feel physical pain in some moments. I relate to the sentiments on the other albums, but that’s a different feeling. This one straight-up tells you that you do not know how it feels to go through what it’s expressing.
And even though it pushes you away, letting you know your empathy is almost invalid, this is the most intimate Iero gets with us. The first two records told you they had feelings, while Barriers shows you exactly what those feelings are. Here, Iero rips his heart out and shows it to you. And we’re all shocked to see just how many scars and tears are in it. The devastation of isolation has never been so potent. Barriers is emotional with reckless abandon.
It’s also the first time Iero does a lot of things. He’s overtly political in “Police Police.” He tells us, “I don’t wanna die,” instead of the opposite. Instead of mourning some outside force, or a past band, or a relationship of any kind, he hesitantly mourns himself. He embodies all our fears of oblivion and tells us we know nothing of them.
As I alluded, the Future Violents experiment with sound here. It’s upbeat, full, and dynamic most of the time. The addition of Goldsworthy’s backing vocals, in particular, add depth to Barriers. But the only thing that carries through every song in a sense of dread. It’s ominous as hell. And even so, the music sounds almost ironically celebratory at times.
The Connecting Thread
Through it all, Iero has no qualms about being completely authentic and transparent with his audience. That’s the one thing that carries through all of these records. They’re raw, and they’ll make you feel a lot. Several times while I was reviewing the records to write this piece, I stopped and cried.
There is a lot to relate to here. Even if you don’t know how it feels, you’ll respect the honesty and vulnerability Iero brings to every single one of his projects. And maybe, just maybe, you’ll start to understand and cope with your own stomachaches, ghosts, and barriers.
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FRANK IERO PODCAST
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Playlist · FRANK IERO PODCAST · 27 songs · 49 likes
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Sing-alongs, stretching and… scrubbing?! Life on the road…
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] |
[] |
[] |
[
""
] | null |
[
"David McLaughlin",
"Chris Casey",
"Luke Dickey"
] |
2024-07-15T14:00:00+01:00
|
Frank looks back over some of his wildest memories on tour – from the time his tooth “exploded in my head”, to having to pee in the grim loos at CBGBs, to…
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en
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/_ico/apple-touch-icon.png
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Kerrang!
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https://www.kerrang.com/frank-iero-life-on-the-road-interview-my-chemical-romance-l-s-dunes
|
New Jersey punk hero Frank Iero started performing with bands in his local scene when he was just 11 years old. Over three decades later he’s still going strong with L.S. Dunes and My Chemical Romance, and so, of course, he’s got some brilliantly funny (and occasionally weird) dos and don’ts from his many years on the road.
Here, the guitarist gives us a brutally honest look back at a lifetime of playing shows.
“A back scrubber. On a handle. You need something to wash that tour crud off your body, man. When I finally do get to shower on tour, I want to make sure I’m scrubbing off all of the dead skin, spit and sweat that you pick up along the way. It’s not like a loofah, it’s more like a fucking brush on a handle. I bought it on Amazon and if you want a link I can probably share it, but please don’t buy them all because I need them.”
“When I had gotten my wisdom teeth taken out and I was assured that I would be able to go back on tour in the timeframe I had. We were flying to Japan, and halfway through the flight my tooth was so impacted that it broke the barrier between the sinus and the mouth, so it got infected and exploded in my head. I don’t want to get gross with you, but it smelled like turkey, dude. I thought I was going to die. When we got to Japan, I started to bleed from my nose and from my mouth, so I had to go to hospital, and I couldn’t really communicate what was happening. They put me on a plane and sent me right back to America where I got grounded for a month until my face healed.”
“In my early days I played outside of a hot dog stand, and one time I played on the back of a flatbed truck as it was moving down the street. But the winner is probably when I played in Russia with The Patience and we had a gig in this place that was split over three levels. [The] ground level was a sandwich shop, second level was a strip club, where we played, and the third level was a daycare where the people that worked at the strip club would bring their kids. Oh, and there was no PA. The guy who owned the PA just never showed up. Luckily, our amazing sound guy figured out a way to make the monitor system a PA at the same time, so we were able to play.”
“Stretching is key. Especially at my ripe old age of 42. Honestly, I’m just at the point now where I need to stay slightly unhealthier than my wife. I don’t ever want to outlast her, you know what I mean? If she goes before me, I’m fucked.”
“CBGBs, hands down. That shit was urgh. Even having to pee there, you were scared that you were going to catch something. At the end of that long, piss-filled hallway there was that toilet on a pedestal and fuck, dude, that was rough. God forbid ever having to do anything more than piss in there. It was always the smart choice to go to the gallery across the street instead. None of the DIY clubs are The Ritz-Carlton, but CBGBs was something else.”
“I’m biased, because I’m a Jersey guy, but in New Jersey we have a Jon Bon Jovi service station. It’s literally just named after him and there’s an image on the wall that’s like this hologram that winks at you, but it’s pretty awesome. In the UK, the best service station is that one in a hundred where you get a Nando’s.”
“Here’s the thing: when you’re playing these big, iconic venues, it’s usually just pipe and drape. It’s awesome and somebody puts a lot of work in to make it beautiful [for you], but they all end up looking the same. It’s essentially just a locker room. I’ve also done the thing where I’ve played [Glasgow] King Tut’s and a biker gang is cooking you soup. That just feels more homely and nice to me, like you’ve made it to this great little Hobbit hole, and you’re welcomed in like family.”
“A crowd singing along, by far. I remember the first time a crowd ever moshed, that was amazing, but to really move people to sing the words, that’s the best feeling in the world. When My Chemical Romance played the Roundhouse in London [in 2011] it felt like one of the greatest shows of my life, and I feel blessed that it was taped. All three of the Milton Keynes shows we did two years ago had those moments, too. When we play Famous Last Words – my unpopular opinion is that is not my favourite song to play – it’s always one of my favourite moments in the set, when the kids sing along.”
“In My Chem, we had done this crazy flight, there was this press conference and we were joking around when I said something like, ‘Well, at least I’m not a communist!’ That would be easy to brush off, but this was in Hong Kong. It was flippant and ridiculous, but I said it in the worst possible place.”
|
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2
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https://www.celebritynetworth.com/richest-celebrities/rock-stars/frank-iero-net-worth/
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en
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Frank Iero Net Worth
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[
""
] | null |
[
"Alex Chan"
] |
2014-10-16T22:12:57+00:00
|
Frank Iero Net Worth: Frank Iero is an American musician who has a net worth of $16 million. Iero was born during October of 1981
|
en
|
Celebrity Net Worth
|
https://www.celebritynetworth.com/richest-celebrities/rock-stars/frank-iero-net-worth/
|
What is Frank Iero's Net Worth?
Frank Iero is an American musician who has a net worth of $16 million. Iero was born during October of 1981 in Belleville New Jersey. As a child he suffered from numerous bouts of bronchitis and ear infections. After completing high school, Iero was on scholarship at Rutgers University, but dropped out to go on tour with the band My Chemical Romance. The band practiced frequently in Iero's mother's basement. Growing up, the young musician lent his talents to a number of punk bands around New Jersey.
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279
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0
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https://how-could-youcry-for-me.weebly.com/frank-iero.html
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en
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Frank Iero.
|
[
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[] |
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Frank Anthony Iero Jr (born October 31, 1981) is the rhythm guitarist, co-lead guitarist and backup vocalist of the alternative rock band My Chemical Romance as well as the vocalist of the...
|
Just Sleep.
|
http://how-could-youcry-for-me.weebly.com/frank-iero.html
| |||||||
279
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dbpedia
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0
| 2
|
https://simple.wikipedia.org/wiki/Frank_Iero
|
en
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Simple English Wikipedia, the free encyclopedia
|
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[] |
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[
""
] | null |
[
"Contributors to Wikimedia projects"
] |
2007-12-25T07:37:06+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://simple.wikipedia.org/wiki/Frank_Iero
|
Frank Anthony Thomas "Frank" Iero, Jr. (born October 31, 1981) is the youngest member of the band My Chemical Romance. He was born in Belleville, New Jersey and attended Queen of Peace High School in North Arlington. He attended Rutgers University on scholarship but then dropped out for the band after he felt they were beginning to get somewhere. Iero is a rhythm guitarist and is one of the two backup vocalists for the alternative rock band My Chemical Romance. He was also in other bands such as Leathermouth, Pencey Prep, Death Spells, Frank Iero and the Celebration, Frank Iero and the Patience, and Frank Iero and the Future Violents.
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279
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dbpedia
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2
| 88
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https://www.change.org/t/frank-iero-en-us
|
en
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Frank Iero - Take Action on Change.org
|
[
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[] |
[] |
[
""
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[] | null |
de
|
Change.org
|
https://www.change.org/t/frank-iero-en-us
|
Thema
Frank Iero
Frank Iero is a prominent musician known for his work in bands like My Chemical Romance and Frank Iero and the Future Violents. His music has resonated with fans worldwide, and he continues to be a beloved figure in the alternative music scene. Petitions related to Frank Iero cover a range of topics, from advocating for mental health awareness to supporting LGBTQ+ rights. One petition with thousands of signatures calls for increased resources and support for mental health services, emphasizing the importance of destigmatizing mental illness. Another petition aims to promote inclusivity and acceptance for LGBTQ+ individuals, highlighting the need for equality and representation in society. By engaging with these petitions, you can stand in solidarity with the causes Frank Iero supports and help create a more compassionate and inclusive world. Join the movement to make a difference today!
|
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279
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dbpedia
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0
| 52
|
http://www.imnotokay.net/my-chemical-romance/frank-iero/
|
en
|
ImNotOkay.net
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en
| null |
Frank Iero
Frank Anthony Iero was born on October 31st, 1981 (making him a Scorpio), in Belleville, New Jersey. Not many people know how to say his last name, which is correctly pronounced "eye-year-oh". Frank is 5'4'' and has hazel eyes with a dark drown natural hair color (now dyed black). He grew up with his mom, Linda, who divorced his dad (a great influence to him over the years). Just like fellow band mate Gerard Way, he has been playing in bands since he was eleven. Frank went to a catholic school growing up, he was bullied in high school, he went to Rutgers University on a scholarship, but dropped out to join My Chemical Romance. Frank married his childhood sweetheard Jamia Nestor in March 2008 and he became the proud father of twin baby girls in September 2010.
My Chemical Romance
He currently is the rhythm guitarist for My Chemical Romance, and is the youngest member of the band. He was recruited after the band decided they needed another guitarist (in addition to Ray Toro) to fill out the sound. He also dropped out of college (and another band, Pencey Prep, scroll down for more) to pursue the band full time. Before he started playing with My Chemical Romance. Prior to joining My Chemical Romance Frank fronted Pencey Prep, he previouslly has also played with the bands Hybrid, Sector 12, and Give Up the Ghost. At the time when he joined My Chemical Romance, he had dreadlocks. Frank plays an Epiphone Elitist Les Paul Custom guitar with an Alpine White finish, among others. Frank has a penchant for naming his guitars such as "Texas", "Bela", "Sinatra", "Angel" and the one best known by fan was "Pansy". The demise of "Pansy" was long attributed to an unfortunate MTV Tech but it was later revealed that Frank had broken the guitar himself. Frank still has what is left of "Pansy".
Body Art
Frank has a lot of tattoos, he has the word "HALLOWEEN" tattooed on his fingers, a Jack O Lantern on his back, "Keep the Faith" on his upper back, the letters "N.J." inside his lip standing for New Jersey, "I wish I were a ghost" around his right wrist, a dove on his left lower chest, an anchor on the lower part of his right bicep with an "N" and "J" on either side, a large chest piece, a scorpion on the right side of his neck and portraits of his grandparents on both arms to name but a few. Frank revealed in Life On The Murder Scene that he got the scorpion tattoo as high up on his body as he could once he decided that he didn’t want a real job.
Prone to Injuries
He unfortunately has suffered from Bronchitis and ear infections, as well as two broken toes, four chipped teeth, lacerations to hands, knees, and his head, numerous contusions and bruises, and endured a nasty case of mono. Alas, he still smokes.
Interests
Some of his favorite bands are Black Flag, American Nightmare, The Bouncing Souls, and The Beastie Boys. Frank loves reading books, especially the Harry Potter series. He admires Billie Joe Armstrong (front man of the punk band Green Day) so much he learned to play guitar by imitating him. He also plans on buying a guitar that looks like Billie Joe's. Frank’s favorite movies are Tim Burton’s Nightmare Before Christmas, Rushmore, and The Texas Chainsaw Massacre. He also once expressed a desire to meet Tim Burton. He loves dogs and has many to show it (at last count he had 12), he prefers sunsets to sunrise and claims he used to go for strolls in cemeteries claiming, "It’s very peaceful."
Side Projects
Frank has his own clothing line, record label, and publishing company called Skeleton Crew. He is also the frontman of the band LeATHERMOUTH, and is involved in a tribute band to The Cure called The Love Cats.
Quotes
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279
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https://newenglandsounds.com/2017/07/10/interview-frank-iero-talks-parachutes-and-his-wild-ride-in-music/
|
en
|
Interview: Frank Iero talks “Parachutes” and his wild ride in music!
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2017-07-10T00:00:00
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I can’t imagine that there is any worse feeling then knowing after spending your life on the road playing music, it could be the thing that takes your life from you. Frank Iero and the ...
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en
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https://newenglandsounds.com/wp-content/themes/wp-albatros/img/favicon.ico
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New England Music Reviews
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https://newenglandsounds.com/2017/07/10/interview-frank-iero-talks-parachutes-and-his-wild-ride-in-music/
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I can’t imagine that there is any worse feeling then knowing after spending your life on the road playing music, it could be the thing that takes your life from you. Frank Iero and the Patience were in a horrible accident in Australia just a few weeks before the release of their latest record “Parachutes”. The band didn’t let it keep them down and after just a few weeks away from the road, the band rebounded so strong in 2017 and have spent the last six or seven months on the road playing the record Iero says he is most proud of from his career!
Recently I sat down with Iero to talk everything from the accident to the writing of the new record to his journey to who the man he is today. It was an enlightening conversation and I really think shed some light on the journey we don’t always hear about from him. While the band just finished their time on the road with Rise Against, Deftones and Thrice, they will be playing a show locally at The Sinclair in Cambridge Friday night with The Homeless Gospel Choir opening! Be there!
You’re doing a mix of headlining shows as well as well as these Thrice/Rise Against/Deftones shows. How do you differ from playing these opening sets versus the headlining ones?
I mean, it’s different man. It depends on the tour as well. Especially, with the Rise Against/Deftones shows, it’s a specific type of venue, it’s like a shell shape venue. So from experience, you know that with the opening slot, you’re going to have people filing in. There are going to be less up front and more patches in the seating around you. So you want to kind of dew them in kind of fast and quick and play some of the heavier stuff.
But when it’s your own headlining shows, your audience is there and you can take them on more of a journey and play everything that you want to play as opposed to what gets peoples’ attention from far away. So, for me, it’s definitely a plan of attack almost kind of thing. It’s still fun but basically you get thirty minutes to make an impression and then you’re gone. And sometimes it’s hard to do that. Outside, with the sun up, it’s a rough one. But I like challenges so it’s cool.
And then being out on this tour, obviously with bands that have been around just as long as you have been playing music and I’m sure people are coming out who have loved you for so long. Is there a pressure from fans of previous work when playing these live shows?
Honestly I haven’t thought of it like that. That’s the thing. I feel like if maybe I was a singer of every band I’ve been in, then it would be difficult but since I’ve done varied things in different projects, I think it’s a little bit easier. It all sounds so different, it’s hard to compare and contrast. The thing I’m really looking forward to is that I’m getting to tour again with bands like Thrice and Rise Against that I’ve toured with years and years ago. So it’s like a reunion type thing and that’s really fun.
Then you obviously, unfortunately, had a really terrifying accident right around the release of “Parachutes”, about two weeks before. So touring wasn’t really a thing that could happen. I’m sure it’s a rough thing to talk about but you recently did a full US run, you just played Slam Dunk. What songs are standing out to you as fan favorites from this new record?
It’s been crazy. When writing it, you have these expectations. Like this one will really work well in a live setting and people will kind of latch on to that line or this line. Hopefully they will pay attention and like it as much as I like it or hold as much gravitas to them as it does for me. Those expectations have been d which is amazing. You always have this thing in the back of your head where you’re like oh man are people only going to want to hear old stuff? And that hasn’t happened. The reaction has been maybe even better for the newer material which is crazy. When the accident happened, we had to cancel touring on this record. It was so disheartening and so debilitating to think I don’t know if we’ll ever do this again. So it was really important for us to now get back on the road and to be able to play these songs. Songs that I didn’t think we were ever going to get to play. I think it brings a fire to the band that we probably didn’t have before.
Yeah because this could be the end, to know you may not have the opportunity to tour again.
So that’s the thing. I’ve been i bands since I was eleven years old. I’ve been touring since I was like seventeen and to have an incident like that happen and to think that this part of your life, that you’ve done for more years than you haven’t, the thing that defines you that it could be taken from you, that was a little bit too much for me to handle. I think that was the reason that we got back up on stage because the recovery is still slow. I think that was imperative for us.
Then maybe because of that, maybe jump to it, I was going to ask.. you’ve been touring our whole life pretty much, this has been your life. Was there ever a defining moment for you where you knew that music was going to be your career?
Well, here’s the thing. As a kid, my dad played, my grandfather played. I just always wanted to be in a band. So there was ever this backup plan. I wanted to make monster movies but being in a band was my first love. That’s just what I did and I never thought I would do anything else. Even though my parents were like, please don’t do this. Some people are just born the way they are. I’m a redhead, like that’s just what you are. I was born to be in a band. So I didn’t think at any point how this was a career, I was just like this is what I do. So I would have to I guess get a job at McDonalds or something in order to support this but this is just what I do. I never thought that I didn’t do this. So I had never come to a realization okay this is going to happen. When I realized that I didn’t have to get another job, that was kind of awesome. Because I didn’t have any other plans.
Then thinking of that, is there any advice that you would have given yourself at the beginning or maybe advice to bands just getting started?
Alright, so basically I think the advice is don’t expect anything out of this. It’s a very loveless profession. If you’’re looking for a career where you second guess yourself constantly and hate the things that you make more then the times that you love them, it brings you down a lot but the highs you get, you love it. Only do this if you have to do it. That’s the only way that this works. Don’t be like, “I want to be in a band so I can blah, blah, blah”. That right there is wrong. You’re wrong, stop what you’re doing.
Perfect, now going back to the record. It’s been out for about eight months, I’m sure it was a long time in the process. When it came to the writing/recording of this record, how did it differ from the first solo Frank Iero record? I know there was a new moniker for the band this time around but maybe within the writing/recording process itself?
Well, first time around it was kind of like a happy accident. I just was writing songs because that’s just what I do. I didn’t have like a project I was working on. I was doing Death Spells stuff but James had a Reggie record going on so he was out and I was just at home. So I was just writing and recording. Just kind of keeping track of the things I was writing. And while I was was doing that, I was finishing it up, my friend and booking agent for many, many years asked me what I had been up to. I played him some of the tracks ad he was like, “Well, what are you doing with this” and I was like, I really don’t know. My plan was to write these songs, record them, put them in a drawer and that was it. But he played them for somebody else and before I knew it, I kind of had this record deal in place. I was like I guess this is it. I guess this a new thing. I did’t feel like I had sat down and written a record, it just happened
.
This time around, I did. I knew that I had a solo project and an audience in place. A record deal in place. I wrote a record. It was going to come out and people were going to hear it. So that was a neat mindset for me. Which definitely added pressure because the first time around, I didn’t really try to do that. So I did’t know if I knew how. But the great thing about it was, because I knew people were going to hear it, I thought long and hard about how an outsider was going to hear what I was making. How they were going to interpret it so I took a lot of time kind of crafting. What I was saying, how I was saying it and so on and so forth. So that was a big deal for me. I put a lot of time and energy into it.
It’s kind of funny. It’s the record that I’m most proud of out of any record that I’ve made with any project I’ve been a part of. As an artist, you get this one thing every ten years where you’re like I did it, I got it right! Every ten years, you’re like I get this one right. Man, that was it. Nothing else is ever done but this one, this one is done.
That’s excellent, and maybe considering the feelings you have about “Parachutes”, do you think it will still be a while before you’re writing a new record or is it something that you’re already working on? Considering how proud you are of this record.
That’s a good question. When you have one of these every ten years, you think to yourself, alright well if you got it right, do you just fucking go out on that? It’s almost like a comedy show. Shit can only go down from here. You’re supposed to make everybody laugh, not walk out. So yeah, I have been writing. And that’s the thing, as any artist, you don’t know when to stop. It has to be taken from you at some point. Like you have the next great thing and then you die. So that’s where I’m at.
And then, you balance this with being a father of three children so I’m sure you have to balance it out. As an artist, what’s coming up in these next few months? You’ve announced shows in July but besides that, nothings really been announced so far. What is the focus for you in these next few months?
We are booked up to the fall right now. So we’re probably going to be doing more touring to the end of the year. But at that point, I think I want to take a little bit of a break. these last six to seven months have been really insane. I know it was probably premature to get back on the road as quick s we did but it was very important to us to be able to do that. But now that we’ve done that, I feel like now it’s time to take it back a step and enjoy the life again. I’m glad that we got back on the road. I feel like it was good for our psyche to do that but physically and emotionally, I think we’re going to take a little breather to spend some times with our families. I think that will be good for us for sure.
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https://stitchedsound.com/frank-iero-discusses-his-new-album-his-growth-as-an-artist-and-whats-next/
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Frank Iero discusses his new album, his growth as an artist and what’s next
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2019-06-17T00:38:35+00:00
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Frank Iero, well-known as the rhythm guitarist and back-up vocalist for My Chemical Romance, has had a successful solo career over the past several years. He started playing in local bands on the …
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https://stitchedsound.com/frank-iero-discusses-his-new-album-his-growth-as-an-artist-and-whats-next/
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Frank Iero, well-known as the rhythm guitarist and back-up vocalist for My Chemical Romance, has had a successful solo career over the past several years. He started playing in local bands on the New Jersey punk scene when he was just 11 years old and served as the frontman for the punk band Pencey Prep before joining My Chemical Romance. He later fronted the hardcore punk band Leathermouth, as well as the digital hardcore act Death Spells with James Dewees. He released his first solo track, “This Song Is A Curse”, as a bonus track to Tim Burton’s film Frankenweenie Unleashed and has since released three solo albums with three different band line-ups. Stomachaches was released in 2014 under Frank Iero and the Cellabration, Parachutes in 2016 under Frank Iero and the Patience and Barriers in 2019 under Frank Iero and the Future Violents. Having survived a near-fatal bus crash in 2016 while he was touring in support of Parachutes in Australia, Barriers, which Iero calls the best album of his career, deals with the aftermath of the accident. Referring to The Future Violents, which is comprised of Murder By Death’s Matt Armstrong on bass, Thursday’s Tucker Rule on drums, Evan Nestor on guitar and The Mermaid’s Kaley Goldsworthy on piano, organ and violin, as his dream line-up, he wrote the songs on Barriers with them in mind. With more tour dates and festivals ahead, including two appearances at the upcoming Warped Tour anniversary dates and a UK tour, Frank Iero and The Future Violents have a busy year ahead of them. You can follow Frank Iero and stay up-to-date with all upcoming music and tour dates, as well as stream and purchase his music via the following links. Check out the video for “Young and Doomed” below.
Photo credit: Mitchell Wojcik
Website | Facebook | Instagram | Twitter | Spotify | YouTube | iTunes/Apple Music | Deezer | Google Play |
You recently released your third solo album Barriers and have taken a more sonically diverse approach with that album. You said that you had wanted to experiment with your sound for a while, so what made you decide that this was the album to do that with?
Well, I think with the first album, I didn’t know I was making a record. I was just fumbling along and making songs in my basement on my own, figuring out how to record and do all of those things as I went. Those songs were very much like an experiment. I didn’t think anyone was ever going to hear them. It was me just kind-of making things. With the second record, I was like “Oh, ok. I’m making a record that people are actually going to hear” and I didn’t have a lot of time to do it (laughs). I loved those songs and I feel like the process was really introspective in the creativity of it, or the lyrical side, like what I was writing about and how I was saying it. This time around, I took all of the lessons I learned from the first two records and applied them to this record.
This album deals with the aftermath of your accident. How do you feel that making the album has helped you to work through that? Do you feel that you are in a better place now that you have made the album than you were before? I know a lot of artists talk about music and songwriting as a form of therapy almost. Did you find that to be true for you?
I think that anytime you can make something positive out of a negative it’s good for your soul. As far as trying to work through the issues that maybe presented themselves because of the accident, I don’t know how far along I am with all of that. It’s weird. I feel like recovery from stuff like that is never linear. But it’s definitely been a confidence booster. And also too, I think that when going into writing this record and going through this…maybe mental anguish is a bad description of it…but sometimes it was. I didn’t know if I knew how to do this anymore. I almost felt this was something I’d done in a past life kind-of thing, like that skill set wasn’t something I had anymore…a lot like trying on a dead man’s clothes. The fact that I was able to do a record and something that I’m really proud of was really nice, to know that I can still be creative and still express myself in that way.
You’ve said that you want to write songs that your kids can look up to and finds hope in. How do you feel they have changed the way you approach songwriting?
When you have kids your life is just completely different. I think an easier question to answer would be how do they not change your life because they change everything. As far as wanting to write songs that they can look up to and find hope in, I always thought I was writing really hopeful and positive songs. People always told me my songs were depressing and that made me sad (laughs). I thought I was doing something different. I think what I was specifically referring to in that statement was that I was writing the song “A New Day’s Coming” and that was a sentiment that I really wanted to put across for them and for other people out there that needed that. I wanted to convey the idea that whatever you’ve done and whatever’s happened can be wiped clean and that tomorrow’s a new day and the first day of the rest of your life. We all need that reassurance sometimes.
You’ve mentioned changing your band with each solo album to put you out of your comfort zone and grow as an artist. How do you feel you have grown with each album?
Umm, I mean, I feel that I have. I know personally that every time I’ve experienced exponential growth, either as a musician, songwriter or just a creative being, it’s been when I’ve been in a position where I was working with or in a room with people that I thought were way better than me or who inspired or challenged me. It’s nice to search out those people along the way and it’s fun to change it up. You play differently when someone else is behind the kit or when someone else is locking in with the drummer. One different human being thrown into the mix can change the whole thing.
It keeps things fresh and exciting.
Absolutely! That’s the thing. There’s reasons why certain bands sound a certain way or certain records sound a certain way. It’s about the people who were in the room, whether or not you know all of their names. That’s an important factor. Like if you put a little too much baking soda in something and are like “Wow. This tastes like shit” (laughs). You have to get the right recipe together for it to work.
You recently had the opportunity to tour the Musical Instrument Museum. As an avid music fan, what was that experience like for you and what was the highlight of the day for for you?
Oh man! Yes! I got to see Tommy Tedesco’s telecaster. He worked in a band called The Wrecking Crew. They were great musicians that basically played on every song you’ve heard a trillion times and love. I believe The Wrecking Crew and Tommy, they did Beach Boys recordings and Phil Spector recordings and stuff like that. To see documentaries about that guitar and him as a player and that band and then to see it in real life was like “Oh my god!”. It was amazing. It was also cool to see different instruments that I can’t remember the names of and never even knew existed-that’s amazing! I guess percussion is the element that kind-of starts it all, just finding different things to bang on that create tone and what you can do with that is amazing. The thing is, we may be separated by miles and miles and miles, but we all found a way to make musician our own way and that’s amazing!
You’ve spent the last five years learning how to be a band leader. Do you feel you’ve grown more comfortable in that role? Do you see yourself that way or do you feel it’s a more collaborative effort where everyone is on equal footing?
I like it like that. I think that, just because maybe your name’s on the project or you’re standing in the middle of the stage, it doesn’t mean that you’re more important than anyone else . Everyone’s working really hard up there. I do find though that there are certain jobs or roles in a band that are super stressful. I didn’t know how stressful being a singer or frontman was until I took on that role and had zero respect for singers until I had to do it (laughs)! I was like “Oh my god, this is horrible” (laughs). Drummers too…Oh my god, what a fucked up position to be in…to carry an entire band like that. Everyone’s been working really hard, though, and everyone on that stage is so talented. I like going into a room and going “Listen, here’s an idea I have for a song” and we’ll all throw our hat in the ring and see where it goes. I think you play better when you have an investment in the songs and when it’s something you’ve helped to come up with and enjoy playing. Everyone on that stage is a very amazing and accomplished musician and are really great human beings. I feel very connected to them.
Your hope for the band is that it encourages people to go out and actively live and get involved in helping others. Was that your goal going into the album/project or was that a goal that later developed?
I think that an album doesn’t really present itself to you right away. As I started to kind-of go through this, I realized that for me, I was attacking things that seemed unattainable or mountains that I didn’t think I had any business climbing. The more I chipped away at those elephants in the room, the bigger problems that I thought “Oh I could never talk about this or write a song about this”, the less scary they seemed. I’m a firm believer in going out and attempting the things that you are sure you’re not going to succeed at. I think we should all fail a little bit and learn how to get hurt and get a scar. I think those learning processes are so much more important then actually succeeding.
Or doing something you don’t think you can do but then you do it and you’re like “Alright!”!
Yeah, you beat yourself up and dust yourself off and try again. That lesson there is so important. That’s what I hope the record does, is shows people that they can go out and do the things they don’t think they can do. I think that’s where you find out a lot about yourself.
What inspired you and your bandmates to auction off used and signed Future Violents drum heads with original artwork? It looks as though Tucker does the majority off the artwork. Has there been a good response?
Yeah! He started doing that in his other band Thursday and I thought that was so cool. It’s such a great idea. If I was someone going to a show and I really liked the band and there was something that was used on stage that had one-of-a-kind original artwork, it would be so cool to have that, rather then just throwing it out and having it end up in a landfill somewhere. I thought it was a really interesting idea and was like “If you want, we can so this”. It’s awesome! What we do is we put them up and it’s a silent auction and we pool all of that money together and go out and do something together as a family. It’s really nice.
On your tour with Taking Back Sunday, the band did a special fan experience where 10 VIP ticket holders were invited onto your tour bus. You are also doing a VIP experience this time around, as well, minus the tour bus. What has it been like for you to cultivate that kind of relationship with your fans and have those special kinds of experiences for them?
That was never really something where I was like “Oh, we should do this”, but people have been asking me for so long to do something like that. I thought if I had something to offer that was special then maybe we would do it. I couldn’t think of anything and didn’t want to…I don’t get that whole “you have to pay to shake my hand or take a picture with me” thing. That’s really weird. I thought it could be cool if we had something to offer. It just so happened like…when you make a record, basically you’re in the studio and you record it and then there’s this weird purgatory where you have this record you know about but no one else can hear it until it comes out. I was like “Well, we have this record and can only play it for our family, but the people that really want to hear it are out there”. I thought that maybe we could do something where we sit around and we play them some of the record and hang out and if they have questions, we could talk about them. That was the first initial experience of that kind that we tried to do and it went off so well and everybody loved it so much. We have three records and the third record is out so we can’t have a listening party. That’s silly. What we do have is a plethora of material and not all of it will fit into a set. We’re already playing the longest set we’ve ever played on this tour-a 21 song set, which is long (laughs)! We still wanted to play other songs. There are certain songs off of our records that are not on the setlist that we still would like to play for people. We decided to do this thing where people can come in early and we’ll play a couple of songs not on the set list that night, so they get to hear even more if they want, and maybe do something with a t-shirt and they’ll get the set list before everyone else and do a Q & A. It’s been really awesome! People have been really receptive to it and have enjoyed it. Some people have even done multiple nights in different cities so they get to hear a lot of different songs. That’s really cool! It keeps us on our toes too and we get to be creative about what we’re doing. Sometimes we’ll get excited and decide to play a song that we are playing that night but play it in a different way. Sometimes it works and sometimes it doesn’t and we’re like “Let’s not do this again!”
You recently released the video for “Young and Doomed”. What was the making of that video like?
That was fun. We knew we had a very limited amount of time to do the video and I had this idea in my head of what I wanted it to be. We rented this practice studio where we could actually practice in the morning and then do the video at night. In my head, I had this idea of working with projection, using it as a background and as a foreground. I had no idea if was actually going to work or not. I thought if it didn’t work, at least we would be able to have a practice.
It’s a cool video! I love the lighting throughout. What made you decide to put childhood photos in the video?
That was an idea I had and I didn’t think it was going to work but it did. It worked creepily well! Thank you so much to Steve Pedulla who directed the video. He also plays guitar in Thursday and is very, very talented. As a director, too…Oh my god! He took all of the ideas and was like “I think we can make this work”. That was a really fun process. That was the first time we were all in a room doing something like that together. It’s a really nice bonding process when you are starting a band, to do a video together.
The band will be performing at the west coast and Atlantic City dates of this year’s Warped Tour anniversary dates. What are you looking forward to the most with those performances?
With those, I mean, I’ve done the tour in the past. The tours are hard! As a young man they were fun, but as an older person they’re more exhausting. Showering out of bags and things like that are rough. I like that they are stand alone dates and getting to do that tour again. It will be nice to see friends that I haven’t seen in a long time. It’s going to be really fun and I’m looking forward to it.
What else is coming up for the band after tour?
After this tour we do Asbury Park and Warped Tour on the East Coast, then we fly to Europe and have European festivals. We’re doing a UK festival there, too, and have shows in Russia. Then we come back to the US and do our west coast dates.
You’ve said with each solo record that it’s the last one. Do you think you’ll do another record after this?
It’s weird. I love writing songs so much and recording. I love touring too, but that’s probably third on the totem pole. Every time I finish a record, it’s so depleting but also enriching. But it takes so much out of you that you can’t even fathom being able to another one. You’re like “How could I possible ever write another 15 songs?”.
The subject matter for this album is so heavy and I’m sure having to go through all of that to write the album was exhausting.
Yeah, it’s like wringing your own towel. At that point you can’t ever see yourself doing it again. I think it’s just something you go through and then all of a sudden you have a song. Could I never write another record? I’m not going to say that. We’ll see!
Thank you for taking the time to answer some questions!
Thank you. It’s been a pleasure.
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https://www.billboard.com/music/rock/frank-iero-future-violents-interview-8513648/
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Frank Iero Talks Surviving Near-Fatal Accident to Make the Best Album of His Post-MCR Career
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2019-05-30T17:15:38+00:00
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In 2016, ten years after My Chemical Romance's theatrical opus The Black Parade became a musical landmark for morbidity in the 21st century, Frank Iero met death.
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en
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Billboard
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https://www.billboard.com/music/rock/frank-iero-future-violents-interview-8513648/
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In 2016, ten years after My Chemical Romance’s theatrical opus The Black Parade became a musical landmark for morbidity in the 21st century, Frank Iero met death. Literally, not creatively.
The prolific guitarist was touring on his second solo album since MCR disbanded in 2013 when he was victim to a near-fatal bus accident in Sydney, Australia. In a wincing interview with MTV News a few months after it happened, he described how he was dragged under the bottom of a bus and miraculously saved by a large rucksack he was wearing, which hitched onto the bumper. Once he became aware of what had happened, he rushed over to tend to one of his bandmates who was crying out, “I can’t feel my legs,” and he soon realized his other bandmate was bleeding profusely. “It’s incredible to me that we’re all still alive,” he said in the piece. “No one that witnessed the accident thought that we would be.”
Barriers (out Friday via UNFD) is Iero’s first new record since that harrowing day, which he calls a “monumental, life-changing event” while speaking with Billboard. On it, Iero delves deep into his experience and the myriad ways it’s affected his day-to-day since then. From fatherhood to reckoning with life-long regrets to existentially questioning whether he really did make it, Barriers is a breaking down of the walls he built to protect himself from the most trying tribulations he’s ever dealt with. It’s also his most sonically diverse and musically risky record yet. The band he enlisted, dubbed The Future Violents, features members of Thursday and Murder By Death, and their musical proficiency helped Iero lean into the blues and jazz influences that informed his taste as a child.
Trending on Billboard
Iero spoke to us at length about mortality, parenthood, being “scared shitless” and making what he believes is the best record of his entire career.
You’ve rearranged your band’s lineup for each of your solo albums. Why is that? Why not go with the same group?
I think it’s one of those where life happens, but also, I like the fact that it kind of puts you out of your comfort zone. And it makes you think about music in different ways. I [joined] my first band when I was 11, I played my first show at 13. First tour at 17. And for me, the exponential growth as a musician has always come from playing with people who were better than me, or maybe think in different ways. And as scary as that is, and as much as that disrupts a path, as a musician it’s always been beneficial in the long-run…. I feel like that’s when I make the best music and when I make the best musical decisions — when I’m terrified.
So were you terrified about the lineup you chose for The Future Violents? Did they intimidate you?
Oh god yes [laughs]. I’ve known Tucker [Rule, drummer] since probably 1999/2000. And when I first saw him play [with Thursday] they had signed to Eyeball and they were the tightest, most ferocious band I had ever seen. And I remember thinking to myself like, oh my god, this band is fucking phenomenal and this drummer: not only is he powerful and tight and plays with such feeling, but he’s writing hooks on drums. And that was just so mind blowing to me.
Same thing goes with Matt Armstrong [bassist]. I met him through Tucker because Thursday ended up playing a show with Murder By Death… And that was the thing: Thursday was fantastic, but this band [was] doing something even more cinematic. And I feel like both those bands really influenced what everybody else was doing.
Evan [Nestor], who’s my brother-in-law, I met him when he was like 15. And got to watch him be a young man and start local bands and stuff like that. And I got to see his first couple shows and I knew that he had something special. And when he was of age I took him on tour and it never stopped, basically. And then the last person that we filled the band out with was Kayleigh Goldsworthy, who is a multi-instrumentalist that I met about two years ago. Unreal, man. Another one where it was like, whoa, this person is on a different wavelength than everybody else. It’s hard to put into words, it’s hard to teach. It’s just something that you have. And when you see it you know it’s special.
So yeah, was I scared? Fuck yes. But basically I got this dream team together and I was like if I could place together all the people that I wanted to start a band with, it was this band. And if that didn’t work, then geez I’d be such a fool, right?
I’ve read in a few places that you never thought you’d make a solo album, and every time you do you’re like, “alright this is the last one.” You’ve been a very active musician for two decades now, so I’m wondering why the advent of another solo record surprises you?
I think it’s because it is so depleting. As fulfilling as it is, it takes everything out of me. And I think to myself, oh well there’s no way I could ever do that again. And then I find myself in the position like I did, where I had this band that I’d always wanted to do. It is that silly moment of, just when you thought you were out, they pull you back in. And it’s fuckin’ true man, it’s crazy.
Even after doing this record I was like, “oh man that was a rough one.” I didn’t think I’d be able to accomplish what I did…. So the idea of putting it all on the line again and opening up those wounds and having to do all of this again, that idea is like, oh man, I don’t know if you can? But at the same time, I don’t know if I can’t. Music to me is a lot like breathing and I would have a hard time never writing another song and making another record.
You said this was “a rough one” and you were really surprised you made it out of it. Why was this one so challenging?
Well this is the first record that I made since I had an accident in Sydney. And that was a near-death experience and it changed me. I think when you have an experience like that it seeps into your DNA and you evolve. And you become a different person than you were. Your brain doesn’t think the same way, you don’t react the same way. Food doesn’t taste the same. These are all just physical changes.
And so going into it, it was hard for me to write this record. I knew I had this giant elephant in the room that I needed to address, but everything that I was saying just didn’t seem important enough or encompass all of the feelings and emotions that I had about it. So for the longest time I pushed it off and I thought to myself, “well hey, maybe that’s just what I did in a past life and I don’t really know how to do that anymore?” And that was sad, but I decided that I would have to kind of move on.
And like I said, this amazing aligning of stars came about, and these people that I had wanted to start a band with for 20 years were all free. And I thought to myself, “how shitty to miss out on this once-in-a-lifetime opportunity because you can’t deal with this thing that happened to you?”
After the accident, did you find it easier to speak about what had happened once you started writing songs about it?
I don’t know. Here’s the thing, when an experience like this happens it turns into this three-prong approach and feeling. One is, you’re happy because you know it could be worse and you’re still conscious and you’re still here.
The second one is that you realize that now you’ve met death. And most people just get to do that once and that’s it. But you really get to see how abrupt and brutal it can be, and how everything can kind of be taken from you in an instant. Like first-hand. So you shake his hand and then he turns his hand away from you and you know that eventually, you’re going to have to meet it again. And that realization is a bit hard to swallow. That’s a rough one.
And then the third is probably the hardest one. You start to question, well, did I really make it? Or did I not and is my reality just a weird manifestation of my subconscious? And am I just kind of imagining everything? That’s a rough one because no one can tell you what’s real. And I think the writing of the record and really addressing that head-on.
I wrote a song on this record called “Six Feet Down Under” and it’s directly just a conversation that I had with my insurance-appointed therapist. And it’s basically, thank you so much for all your kind words and the things you learned in school that you should tell me, but none of this matters because you don’t know what I’m feeling [laughs]. Because I don’t know that you’re real and that’s a fucked up — that’s really crazy.
So writing that and just putting that out into the world and kind of saying these things that I know sound a bit insane, that was very freeing. And that helped me get to a point where I can just accept that no matter if it’s real or if it’s imagined, it is my reality and I have to make the best of it because this is the hand that I’m dealt… Because you do get an ache to just say fuck it and throw it all away, and just really taste destruction because at least that feels real. So there’s an acceptance there that I really needed and that I’m happy for.
So how did you find yourself translating all of this musically? How did these experiences sound to you and how did you want to put them into song?
A lot of these songs needed to sound a specific way. And early on while we were discussing where we were gonna do it, who we were gonna do the record with, Steve Albini’s name came up, and going out to Chicago to record at Electrical Audio… and when he signed on and we knew that that’s where it was going to be done, that was huge for me because then I started to write a record that I knew I was going to make with Steve.
And so I started to write and I started to attempt things that I had always wanted to attempt. Different genres and different styles of musicality, and also to chase tones that I heard in my head. And that was huge. When you have somebody at the board that is a genius, that you can speak to in abstract terms and give references to. And they say, “okay give me two seconds.” And they mic it and you’re hearing the tone that you had in your head, that’s huge.
Where does the title Barriers come from? What are these barriers you’re breaking down?
Well I think the main barrier for me was the accident. This event that I didn’t feel like maybe I was worthy enough, or the things I was saying weren’t worthy enough to talk about. I felt like no matter what came out of my mouth, no matter what came out of my hands when I was picking up a guitar, it just didn’t feel like I was able to get everything out.
And it became apparent to me that I needed to be as open and honest as humanly possible, and I think that’s when doors started to open. When I took a song like “Six Feet Down Under” and really just went for the jugular and talked like I was talking to a therapist and let it all out. And that was a huge breakdown of that barrier for me. And me realizing that, I think that gave me the strength to go off and tackle other things.
What were some of those other things that you were shy to talk about?
I think it’s things that I went through in my childhood. Problems with addiction and different elements of abandonment issues, the divorce of my parents. Things of that nature. There’s a lot of stuff that I always maybe touched on but then shied away from. And so this was a time for me to kind of shed a lot of that stuff.
I know the intro, “A New Day’s Coming,” was originally a lullaby you sang to your kids. How does being a father influenced your creative process, and how it influenced some of your thoughts on this record in particular?
Yeah, it’s funny, man. Like the accident, [fatherhood] is a life changing event. It changes everything. Your life is no longer about you. You realize how selfish you are after you have kids. You’re like oh my god, this was just about me and now it’s not about me at all.
So you want to be a better person. So for me, this is the way it started. At bedtime we would do this thing where we would pick either a story or a song. And usually [my daughters] would pick a song and I was lucky enough to be able to write a song with my daughters… It was called “Best Friends Forever.” And it started as basically my daughter Lilly taunting my other daughter, just screaming in her face like, “best friends forever but not now” kind of thing. Whenever she would get mad at her.
So I thought alright let’s take this and turn it into a positive. So I got a guitar one day and we all sat down and figured out what the melody would be and we wrote this song and I ended up actually recording it when I did the EP with Steve Albini. And so at night, when they would pick a song to sing, they would inevitably pick the song that they wrote because they know the words to it.
But then they would want to do one more and I’d think to myself like, “oh man all my songs are a little bit on the darker side, I don’t want to sing a song about drugs or shit like that. I need some new material.” And I wanted to have that, I wanted to have this positive outlook for them. A song that you could sing for them at night that’s representative of, listen, no matter what happens today, you can wipe that slate clean and tomorrow is a new day.
And I thought to myself, wow, what a better way to start this record than wiping that slate clean and saying to the listener as well, it’s not about what you’ve done in the past. It’s not about the records that I’ve made in the past. It’s not about any of that. That’s all gone now, this is a new chapter, this is a new day.
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http://musicandriots.com/uplifting-inspiring-a-chat-with-frank-iero-frank-iero-and-the-patience/
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Uplifting & Inspiring: A Chat With Frank Iero (Frank Iero and the Patience)
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2016-10-28T09:28:00+01:00
|
We caught up with Frank Iero to know all about the new album, Parachutes, and so much more.
|
en
|
/wp-content/uploads/fbrfg/apple-touch-icon.png?v=RyoXqkobJ4
|
MUSIC&RIOTS Magazine
|
http://musicandriots.com/uplifting-inspiring-a-chat-with-frank-iero-frank-iero-and-the-patience/
|
Frank Iero is one of those artists that will always surprise you with his way of creating such outstanding art out of his own personal experiences. After releasing his first solo album Stomachaches under the name of frnkiero andthe cellabration, now he returns as Frank Iero and the Patience and with another remarkable album, Parachutes. We caught up with Frank to know all about it and so much more.
Last time we talked was back in 2014 when you released your first solo album, Stomachaches. What have you been up to since then?
Good question! [laughs] I’ve been up to a lot, to be honest. Since I released Stomachaches, I’ve been touring on that almost non-stop until January of this year and then when January came around I started to work on a project that I’ve been working on for three and half years, a band called Death Spells with my friend James Dewees (The Get Up Kids, Reggie and the Full Effect). We finished that record and we released it on July, I did some touring with that and now it brings us to the present where I’m now releasing the follow-up to Stomachaches, the record by the name Parachutes.
Like you mentioned, you and James released Death Spells’ debut album Nothing Above, Nothing Below this summer. How has been the feedback so far and how did go the touring?
It’s been amazing! To be honest, it’s kind of crazy. When we first started the project, we released a demo and it was the total opposite of the reaction to when we released the debut album. I think people sort of took it as a back fight and didn’t understand it and it made them really angry, which was crazy. It was such a fun reaction to have, it was combative, but at least people had a reaction, you know? There was an intensity there and that’s how the shows worked too. And now years later, we release this record and it’s crazy the amount of people that connected to it and love the band and love those songs. Now when we play shows, there’s such a connection. It used to be very far and remote, we were kind of separated from the crowd because I felt like I wanted the band to kind of be happening and I wanted the crowd to be just a witness to it, and now it’s all over it. It feels more like a show, more like a connection and that’s an amazing experience to have.
When did you start to dwell on your new album, Parachutes?
There’s a part of me that’s been working on it my entire life, but as far as sitting down to consciously collect my thoughts and reflect all the different melodies are the things that I had in my head. I guess the beginning of this year was really the inception of it. There are songs that made the record like a song like “Remedy” that has been around for many months before that. There are ideas like “The Resurrectionist, or An Existential Crisis in C#” and that song started maybe four years ago, but I feel like when you make art for living, you make songs for living. Everything around you inspires you and every experience that you have finds its way into the artist that you become. For me, I feel these songs sometimes they happen early on your life but you’re not just ready to formulate them. Sometimes your path has to kind of separate and cross again at some point.
Naming the album as Parachutes has a special meaning for you. Can you elaborate more on that?
I started to think about how life is a lot like kind of being pushed out of a plane and we’re all kind of hurtling through space. We don’t necessarily have to be born, but we find ourselves in this free fall. Some people just go through life at high velocity and hit the ground and then it’s over. Some of us if we’re lucky, we find love along the way and find things that bring us joy, and although those things won’t save us from eventually touching down, they do kind of allow us to hover a bit and appreciate the fall. These things could be anything. It could be relationships, passionate projects, just things that you do for a purpose and those things end up being our parachutes. For me, my parachutes have been my family and the art that I create. The last record stand from feeling sick and I had basically 12 songs on that record that I could trace back to a stomachache. Now these 12 songs from Parachutes I can trace back to a live change events that save my life a little bit.
You released Stomachaches under the name frnkiero andthe cellabration and now you’re back with your second album under the name Frank Iero and the Patience. Why the change?
I’ve always felt like when a band goes into a studio to write a record and to record, they have to reinvent themselves and change the sound of the band. You have to kind of rethink the way that you approach music and what music is. The pitfall is when you come out of the studio, you’re an entirely different band and it sounds different. People usually say “They don’t sound the same anymore.” For me, I was like “It’s gonna sound different, we’re gonna be different people coming out of this process, then the band’s name needs to change.” The first time around I named the band after something that I felt like I really needed to bring with me. I was concerned that my comings as a frontman or my misgivings as being a focal point in the band would detract from the audience and I thought “If I bring along a celebration or a party, people probably wouldn’t notice that I feel uncomfortable being here.” [laughs] This time around I don’t feel that way anymore. I feel more confident and more comfortable in my own skin, so I didn’t need a celebration anymore, what I needed this time around was some patience. I needed the ability to take a step back and appreciate the moment. It felt just the perfect name for the band. The name will change with every record, so be prepared to have this conversation again. [laughs]
“I feel more confident and more comfortable in my own skin, so I didn’t need a celebration anymore, what I needed this time around was some patience. I needed the ability to take a step back and appreciate the moment.”
On Stomachaches, you played every instrument except for the drums, which were handled by Jarrod Alexander (former My Chemical Romance drummer). How was it like this time around?
This time around I didn’t need to do that. I felt like that’s the way Stomachaches had to sound. It was a conscious decision for me to make a record that you felt like you were listening in all as opposed to listening to, you know? I feel like every time I write, I write a piece. It tells me what it needs to sound like and I think that helps if I really pay attention to what the songs need and listen to that. This time around, I needed a lot more. The songs that I was writing needed more of everything and I needed partners in that. It was a very lonely process the first time around. I was in my basement writing songs, playing them into a computer, listening back, replaying things… This time around I was in a room with my friends playing these songs and flashing them out and just writing. I would record that and listen back and it had a life to it. I wanted that for the record. Matt Olsson played drums, my brother Evan Nestor played guitar and sang, and Steve Evettsactually played bass on the record.
Which song off the album was more elaborated and harder to work on?
Definitely the hardest song for me to perform on that record was the last song of the record, “9-6-15”. That song is about my grandfather and I knew it was a very important song of the record. It had to be on there, but it was one of those songs where I tried many nights to write the lyrics for that song and it was harsh for me to come to a finality with it and to not be a total mess and breakdown while performing it or writing it. It’s a miracle I got through it. [laughs] I’m very happy that I did, but I guess now the challenge is if I will ever be able to do it again.
I just love how you name your songs. How do you usually come up with them?
[laughs] I think a lot in titles sometimes and like I said I draw inspiration from everything and anything. I like to pride myself on seeing beauty in the mundane. I always have like a notebook or a cell phone where I can type in some notes or things for myself. Some of the song titles have come immediately and I didn’t know exactly what they were until I ended up writing the song. Sometimes the song title came first and I have a list of different things and ideas here and there. Sometimes they link up perfectly, sometimes they need to be worked on a little bit. I tend to think of the song title as book titles or movie titles or something that kind of draws your attention and tells you just a little bit about what that song is going to be. My feeling on it is that you get one shot on the first impression and, if I can, I drop it on the first impression. I found out early on in being on bands that when you write a song and if you name it with something just dumb, that song will never make it. [laughs] It’s true, I don’t know why that is, but it means a lot to do that.
The album’s bluish painting artwork has these two painted ghosts holding a little baby, which is a cropped photo. What’s the meaning behind this image?
When writing the record, between deciding what it was about and naming it, I named the record first and then I had to think about like “What would I put there visually?” I started to think about life in general. I came across this artist, her name is Angela Dean and she works in Florida. She does a lot of painting on photography. I started to think about parachutes and about our lives and for the first time we have an encounter with safety and love. At least for me – and for a lot of us – the first time we feel that first parachute is when we meet our parents. I knew I needed my parents included on the cover and then I saw Angela’s work. I thought about the sheets and the core idea of life and death, the idea of the ghosts and how the sheets are not sheets but parachutes and maybe our parents don’t save us once. Maybe at the end of it they kind of save us again when inevitably they pass on and release us into the world. I started to think about art as well and how it’s never truly done until we kind of relinquish control and release it into the world. All those things are why I chose to send a picture of me and my parents to Angela and asked her to paint it as you see now on the record.
You worked with Ross Robinson and Steve Evetts and it must have been a unique experience. What can you tell me about that?
It was a dream come true! I heard so many stories that go along with those guys and the records that they make. For a long time I’ve been a fan from afar, but always too scared to inquire about making a record with them because I wasn’t sure if I could handle that. And then I started to write this record and I started to listen to the demos and I needed to take this next step. I needed to push myself to the brink and push myself over the edge. I knew that if I was going to be scared than the songs would never come out the way I needed. Immediately earlier this year I got to work with one of my heroes, Steve Albini, and it was such an amazing experience. It was definitely a bucket list experience and I said to myself “This is the other person on my list that I’ve always wanted to work with but I was too scared to inquire about” and I said “Fuck it! I’m gonna call him up.” [laughs] It was one of the most incredible experiences in my entire life. I feel forever changed by it and I’m so happy that I took that plunge. It was a very hard journey, but I feel better because of it. No story that I’ve ever heard did any justice. [laughs] It was very unique and very fulfilling, yet amazingly depleting at the same time. [laughs] I’m just glad we survived. [laughs]
You will do a UK/European tour with Taking Back Sunday on February 2017, which is just awesome.
Yeah! I love Taking Back Sunday so much and they’re new record is fantastic, it’s so good! Every time we’ve played with them it’s been just a fun time. They’re just great guys and it’s nice to share the road with a band that you love and respect. I’m really looking forward for those dates next year.
Words: Andreia Alves // Photos: Justin Borucki – Parachutes is out now via Vagrant.
You can also read the interview here:
|
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279
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dbpedia
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1
| 86
|
https://riotfest.org/2019/07/08/pop-punk-education/
|
en
|
On Frank Iero, Hot Topic, and Feeling Like a Poser: An Education in Pop Punk
|
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[
"Annabel Paulsen",
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2019-07-08T00:00:00
|
Our newest RiotFest.org contributor takes a look back at Frank Iero, Hot Topic, and the ups and downs of being a suburban pop-punk fan.
|
en
|
Riot Fest
|
https://riotfest.org/2019/07/08/pop-punk-education/
|
It’s November of 2015 during my senior year of high school. I’m standing outside the Metro between two of my best friends, waiting for Frank Iero to exit the stage door. Despite the cold, we’re wearing fingerless gloves, because that was the scene. I was also probably wearing black skinny jeans with holes in the knees (which I sliced myself), because that was my uniform for much of 2015.
For my friend Viveka and I, it was our turn to accompany our good friend Julia to a Frank Iero show, which they faithfully attended every time the ex-member of My Chemical Romance toured.
I had never much listened to Frank Iero in any of his iterations. Instead, 5 Seconds of Summer had ushered me into quasi-pop punk—really, just pop melodies with some electric guitar. We watched from the balcony as a circle pit opened up during “5th Period Massacre” and let the sound pull us under. Everything was loud because it could be. Afterwards we piled into Julia’s Subaru and ate McNuggets and listened to Danger Days along Lake Shore Drive.
Pop punk was always an outing: driving to the mall thirty minutes away because it had a Hot Topic, where we would rifle through the band tees and tattoo chokers and never really buy anything (except maybe some Manic Panic). A trip to the local Olive Garden under the guise of irony would usually follow, where we’d eat unlimited breadsticks and talk about the physics test on Friday. For my friends and I in the suburbs of Chicago, the pop punk scene was effervescent. We never fully committed to it—none of us were really all that hardcore, with the exception of Julia—but we dallied into it, flirted, and were always together.
I remember, once: Julia, allergy incarnate, ordered a Jimmy John’s sandwich to Viveka’s house while the rest of us baked a frozen Amy’s pizza. In the special requests on the Jimmy John’s order form, we wrote “write your favorite emo band on the bag.” When it arrived, Julia ran down the stairs to the basement where we sat among animal-shaped pillows and a projector, slapping the sandwich bag in the middle of our circle. Written down by the delivery guy were Screaming Females, Weezer, and Fall Out Boy— and, along the side, a hand-scrawled link to a Bandcamp page: “It’s my band…music is free.”
We typed, we clicked, we listened. We Facebooked, and we saw “show this Friday at seven.” We went. We took the L to Wicker Park and got our hands stamped at the door. The venue was small, in the backroom of a bar; we walked straight to the merch table. “Does one of you guys work at Jimmy Johns?” we asked.
The guy sitting behind the shirts nodded and called to his friend, who joined us in our small circle. We held up the bag. He looked a little shocked for a minute, and then he laughed, and then he hugged all of us, all six of us 17-year-old girls from Evanston. On stage later that night, he pointed at us where we stood in a clump in the room of probably 20 people, and talked about the community. We took a video of it that I still have on my phone. Pop punk is about showing up—even if you’re not a part of the scene, it’s about going, and being there, and listening.
I don’t think I’ll ever forget feeling the ground vibrate under my feet at Metro in November of 2015. I remember the night so viscerally, so vividly, purely by memory and not through phone photos. When I was younger, I was always afraid of seeming like a poser; I was constantly nervous of being found out, as if I needed to earn my keep (or in this case, my ticket). It’s difficult—especially for young girls, who are often pushed to the margins—to feel like you’re enough to be a part of something. But I’ve found that it’s less about being a card-carrying member of the scene and more about being present. It doesn’t really matter if you don’t know all the words to every song.
Frank Iero sounds like walking into a room of people and wanting to feel anchored to the ground. There’s enough melody in the guitar to moor the listener to the song, and to facilitate any punk-adjacents out there into his album. His music, both solo and with My Chemical Romance (and pop punk in general), is loud, and that’s the point. Music is one of the only things that makes me feel like a human being, and sometimes being a human feels fucking loud.
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279
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3
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https://itsalldead.com/2019/05/30/review-frank-iero-and-the-violent-futures-barriers/
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en
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Review: Frank Iero and The Violent Futures – Barriers
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2019-05-30T00:00:00
|
Frank Iero’s passion for rock music shines through his solo work more than the heavy mood would have you believe. Barriers, Iero's third solo album, celebrates rock music. The album is moody and constantly blitzing with wild energy. He sounds raw—similar to some of the best emo releases of the mid-2000s. Barriers sounds like a lost masterpiece from…
|
en
|
it's all dead
|
https://itsalldead.com/2019/05/30/review-frank-iero-and-the-violent-futures-barriers/
|
Frank Iero’s passion for rock music shines through his solo work more than the heavy mood would have you believe. Barriers, Iero’s third solo album, celebrates rock music. The album is moody and constantly blitzing with wild energy. He sounds raw—similar to some of the best emo releases of the mid-2000s. Barriers sounds like a lost masterpiece from a decade earlier, but isn’t dated in the least. Iero doesn’t have to work too hard to craft his own identity from past work with My Chemical Romance and Leathermouth. Barriers is an album that overcomes every obstacle to stand tall on its own, possibly as Iero’s best solo release.
Each new interpretation of his solo career has refined his sound and not shied away from the gloom that helped define him as a musician. The guitars are fuzzed, but still release a hard melody. Iero’s writing channels the best aspects of rock and focuses it down to a grungy tip. It allows the album to be a cohesive collection while adding a massive variety to the sound.
Opener, “A New Day’s Coming” mixes blues and a gospel-heavy keyboard with heavy, raw guitars. The chorus of “Fever Dream” rages with simple power chords, reminiscent of classic-era Green Day. Meanwhile, “Moto-Pop” rages with metal inspiration from Black Sabbath. Iero and fellow guitarist Evan Nestor are clearly relishing their ability to play whatever they want.
Bassist Matt Armstrong (Murder By Death) provides a hard, dark mood throughout the album (“Medicine Square Garden”). Keyboardist and backing vocalist Kayleigh Goldsworthy adds just enough to crank the effect of Iero’s demons throughout the album. She hides like an angel or a demon haunting Iero’s highs and lows (“Six Feet Down Under”). Former Thursday drummer Tucker Rue adds an energy to the album that keeps the music charged even in more somber moments (“No Love”).
Where Iero impresses the most is in his vocals. The wild change in singing styles throughout the album keep each line engaging. The preference to get the emotion out, even if it means falling flat, lends a haunting urgency to each line. Clean, lazy singing on “A New Day’s Coming” is inspiring. Slurred, charged shouting during “Young and Doomed” channels a blend of AFI’s Davy Havok’s eccentricity and Thursday’s Geoff Rickly’s angst. Meanwhile, singing through gritted teeth, grunge whispers and hedonistic shouting, “Fever Dream” is wave after wave of unfiltered energy thrown at the microphone.
Barriers is a thick album. There’s certainly an argument that it could have benefitted from being a couple tracks shorter. However, Iero’s passion for music shines through each track. Although it’s hard not to compare him to a few legendary bands he was a key part of, Iero has forged a solo career defined by the freedom to lay waste to expectation. Barriers is Iero at his best—doubling down on a genre he helped forge and paying homage to rock music from every region of the genre.
4/5
Photo credit: Mitchell Wojcik
by Kyle Schultz
Kyle Schultz is the Senior Editor at It’s All Dead and has worked as a gaming journalist at Structure Gaming. He lives in Chicago and stepped in a puddle this morning. Now he is known as “Dumb ol’ Wet Foot.”
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279
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dbpedia
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https://www.themoviedb.org/person/587869-frank-iero%3Flanguage%3Den-US
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Frank Iero
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Frank Anthony Iero, Jr. is an American musician who is the rhythm guitarist and backup vocalist of the rock band My Chemical Romance and post-hardcore band Leathermouth. He has a solo project titled Frank Iero and the Future Violents. He released his debut solo album titled Stomachaches on August 26, 2014.
From Wikipedia, the free encyclopedia.
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The Movie Database
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https://www.themoviedb.org/person/587869-frank-iero
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Looks like we're missing the following data in de-DE or en-US...
Frank Anthony Iero, Jr. is an American musician who is the rhythm guitarist and backup vocalist of the rock band My Chemical Romance and post-hardcore band Leathermouth. He has a solo project titled Frank Iero and the Future Violents. He released his debut solo album titled Stomachaches on August 26, 2014.
From Wikipedia, the free encyclopedia.
Frank Anthony Iero, Jr. is an American musician who is the rhythm guitarist and backup vocalist of the rock band My Chemical Romance and post-hardcore band Leathermouth. He has a solo project titled Frank Iero and the Future Violents. He released his debut solo album titled Stomachaches on August 26, 2014.
From Wikipedia, the free encyclopedia.
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https://nationaltoday.com/birthday/frank-iero/
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Frank Iero Birthday
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Are you a fan of Frank Iero? Want to learn more about this talented musician? We have all the information!
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en
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/apple-touch-icon-57x57.png
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National Today
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https://nationaltoday.com/birthday/frank-iero/
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Background
Frank Anthony Iero, Jr. is a celebrated band member, guitarist, and vocalist with several songs in his arsenal. He was born on October 31, 1981, and his birthplace is Belleview, New Jersey. Iero is of Italian and Polish descent. He’s also a Scorpio by design. Iero’s parents separated during his childhood, and he grew up living with his mother. Iero’s father and grandfather were musicians who influenced his career. His father taught him to play the drums, and he attended Queen of Peace High School. Iero enrolled in Rutgers University but didn’t complete his tertiary education due to touring with the band.
Iero picked an interest in the guitar even though he could play the drums. At 11, he began playing in local New Jersey punk bands. Iero was the frontman for Pencey Prep, the punk band, and in 2001, they released their debut studio album, “Heartbreak in Stereo.” Pencey Prep disbanded shortly after this album, and Iero performed for multiple bands after. These bands include American Nightmare, Sector 12, I Am A Graveyard, and Hybrid. This was all before he joined My Chemical Romance in 2002 as a rhythm guitarist. Iero contributed to tracks two and eight on their debut studio album, “I Brought You My Bullets, You Brought Me Your Love.” The band released three more albums before disbanding in 2013. Iero had multiple side projects as an M.C.R. band member. He was the lead vocalist on Leathermouth and released their debut album, “XO” (2009). He also fronted the digital hardcore band Death Spells with James Dewees in 2013 before beginning his solo career that year. Iero released his debut solo album, “Stomachaches,” in August 2014 under the moniker “frnkiero andthe cellabration.” He released a second album, “Parachutes,” in 2016 before changing his alias to “Frank Iero and the Future Violents.” With this new moniker, Iero released his third studio album, “Barriers,” in 2019, before his 2022 reunion with My Chemical Romance.
Iero has a celebratory career as a vocalist and guitarist. With such a successful yet public career, Iero’s personal life is seldom in the media. He married Jamia Nestor in February 2007. The couple has three kids, whom they adore.
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https://fanlore.org/wiki/Frank_Iero
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Frank Iero
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Name: Frank Anthony Iero Jr Also Known As: Frankie Occupation: Musician (rhythm guitarist of My Chemical Romance, lead singer of Leathermouth) Medium: Music Works: My Chemical Romance Discography
Leathermouth Discography Official Website(s): Official Site
Twitter page
My Chemical Romance Official Site
Leathermouth Official Site Fan Website(s): On Fanlore: Related pages
Frank Iero is best known as the rhythm guitarist of American alternative rock band My Chemical Romance, one of the bands that constitute the Bandom canon. He fronted post-hardcore punk band Leathermouth (often written as LeATHERMØUTH), providing lyrics and lead vocals, as a side project. His first post-MCR project was frnkiero and the cellabration (Stomachaches album released August 25, 2014); he renamed his band Frank Iero and the Patience for the second album (Parachutes, 2016). He has also released an album with James Dewees as Death Spells.
Bio
Born on October 31, 1981 in New Jersey, Frank is well known for his love of his home state, and even has a tattoo of the initials "NJ" on the inside of his lower lip. He frequently suffered from bronchitis as a child, and his generally poor immune system has often prevented him from playing shows. He is also lactose intolerant and allergic to many foods.
His parents divorced when he was a child, and he was brought up by his mother, although he still had contact with his father. Both Frank's father and grandfather were musicians, and were big influences on him. His father encouraged him to play drums, but Frank instead chose to take up the guitar.
He was involved in many different punk bands from the age of 11 onwards. His first major band was Pencey Prep, who were signed to Eyeball Records and released one album, Heartbreak In Stereo, before disbanding. Frank attended Rutgers University on a scholarship, majoring in Psychology, but dropped out to join My Chemical Romance. He has said in interviews that MCR were one of his favourite bands, and being asked to join them was a huge honour for him.
He married his long-time girlfriend Jamia Nestor in 2007, with whom he co-founded the independent record label Skeleton Crew. Architects, sometimes considered another member of Bandom, were first signed to this label.
Frank and Jamia have three children.
See Wikipedia page for more detail.
Tattoos and other trademarks
Frank Iero has many tattoos [1] including logos for the bands Black Flag and The Misfits, symbols of his love for his home state, New Jersey, a pumpkin relating to his Halloween birthday, a matching 'revenge' tattoo with James Dewees and others by acclaimed tattoo artist Kat Von D: a Frankenstein's monster and portraits of his grandmothers and grandfather, all of which were featured in Von D's book High Voltage Tattoo and the latter of which was done on an episode of her reality show LA Ink in which Iero featured. In the aforementioned book, Von D states that she was present at Iero's wedding indicating that the two have remained close friends.
During the Three Cheers for Sweet Revenge era, he was known for wearing fingerless gloves decorated with skeleton hands and makeup with black crosses over his eyes. He often played a white Gibson Les Paul guitar named Pansy. He's also collaborated with Epiphone to produce the Wilshire Phant-O-Matic, his own custom guitar.
In fanart
Flick of the Switch by Durfindel on deviantart. Traditional/digital color art showing Frank with black crosses over his eyes, a white guitar, and his Our Lady of Sorrows arm tattoo. (September 11, 2005)
Scream by ihni on deviantart. Frank with a white guitar; acrylic paint, ink and pens on canvas. (August 12, 2007)
Sunsets are for Muggers by delilah88 on deviantart. Digital painting of RevengeEra!Frank. (March 2, 2009)
Frank and Pansy by MCRpixieStixx on Deviantar. Also on tumblr.[2] Photorealistic pencil drawing that shows the skeleton fingerless gloves, the scorpion tattoo, and the white guitar. (August 20, 2012)
Ships
As of Sept 12, 2014, there are 4891 works tagged 'Frank Iero' on AO3.[3]
Popular Ships
The most popular AO3 ship tags involving Frank are (non-exclusive numbers as of Sept 12, 2014):
Frank/Gerard with MCR frontman Gerard Way, by far the most common Frank ship with 3689 occurrences.[4]
Frank/Mikey with MCR bassist Mikey Way: 354 occurrences.[5]
Minor Ships
Other AO3 ship tags involving Gerard (non-exclusive numbers as of Sept 12, 2014):
Canon het pairing with wife Jamia Nestor (Frank/Jamia): 208 occurrences.[6]
Frank/Bob with former MCR drummer Bob Bryar: 127 occurrences.[7]
Frank/Grant(/Gerard) with comic writer and Danger Days verse villain Grant Morrisson: 40+ occurrences.[8]
Various other OT3 and OT4 ships such as Frank/Gerard+wives, Frank/Gerard/Mikey as well as MCR GSF.
Depiction in Fanon
Hurt!Frank
Frank is often involved in hurt/comfort stories due to his under-performing immune system and numerous canon injuries. Presumably the most common Frank trope, either as the focus of the story, or as a plot detail. For example:
yobrothatssick, a 2011 Livejournal-based challenge dedicated entirely to sick!Frank stories.
Unholyverse by Bexless features Frank getting hurt in many, many ways, to the point where getting health insurance is a major high of the end of the series:
"Dude," Frank said reverently. "Health insurance?"
"I know!" Brian said gleefully, and Frank grabbed him and hugged the shit out of him, ignoring it when Brian said something unimportant about not being able to breathe.
"I love you," Frank said fervently. "I love you so fucking much."
Brian laughed and patted Frank's shoulders, before pushing him back and saying sternly, "Don't take this as an invitation to get sick, though, okay?"
Hyperactive!Frank
Frank is often characterized as excitable, hyperactive and overly friendly, with little regard to personal space.
Asshole!Frank
Related to the previous, Frank is sometimes depicted as a (more or less lovable) asshole. For example:
'Assholes in love' Frank/Jamia verse by brooklinegirl: Turn It Up and follow-up ficlets.
The Good Life by sinsense: asshole!Frank/Brian Schechter.
ASSHOLE EYES: THE STORY OF FRANK IERO'S STONEY GAZE picspam by desfinado, with captions such as:
Frank takes advantage of any opportunity to dress in a costume that shows how little he cares about you
Even being interviewed, Frank has no problem looking unimpressed
Other times, Frank uses cancer sticks and asshole!eyes to show he's not only bored with you, but GRUMPY ABOUT IT
IS IT TIME TO GO HOME YET
ProRev!Frank
There were so many occurrences of sweaty Frank rubbing himself all over his bandmates during the 2007 Projekt Revolution tour that it gave birth to a slew of sex pollen and heat fics.[9] For example:
Pinch Hitter, written by bexless, podfic by greedy_dancer: a crossover with Adam Lambert.
ain't nothing but mammals, a Frank/Gerard pwp by mwestbelle.
Irresistible Force/Immovable Object by 7iris:
Everyone on the tour jokes about it: oh, Frank's in heat. He laughs along, and then drags Jamia into the back after shows. Then Jamia has to go back to Jersey for a family emergency, and it's not quite so funny anymore. Playing makes it worse. On stage the third night, Frank bites Gerard, licks Mikey, rubs up against Ray, and climbs on Bob's kit twice, despite the riser.
See also Run by mrsronweasley, a werewolf au.
Clean!Frank
He is occasionally described as being very neat and hygiene-conscious, especially in contrast to the Way brothers. In 2009 someone asked bandrandom_ref if this trope was pure fanon; it appears to be extrapolation based on a few suggestive comments during interviews and Life on the Murder Scene.[10]
Dog-lover!Frank
He is often depicted as an animal lover, who wants or owns many dogs. (Either started or encouraged by Bob Bryar's October 2008 myspace update: "frank has 19 dogs now.")[11] For example:
Frank has 19 dogs[12] fanart by theopteryx on livejournal (2 November 2008)
The Jamia, get the checkbook! meme, which originally involved Frank begging his wife for more dogs before becoming a catchphrase for cute dogs in general.[13][14][15]
black and white drawing of Frank with his dog by MiaGB on deviantart (February 3, 2015)
Puppies! by Lizlemay (August 26, 2015)
untitled art by happy_humbug76 on Instagram (May 29, 2018)
Frank Lero
Due to the resemblance of upper case "i" and lowercase "l", Frank's surname is often misspelled "Lero".[16] This became an in-joke within the band (Frank is credited as Lero at the end of the official "I'm Not Okay" video, Frank's twitter handle - set up by Gerard - was misspelled for a long time)[citation needed]. The fandom ran with it, with Frank Lero popping up in meta and fanworks as Frank's (evil) twin or doppelganger.
The One Where Frank Has an Evil Twin (and is a Secret Virgin Who Probably Should Have Taken Up Knitting) by theopteryx (23 February 2011), podfic by xojemmaxo. Author's notes excerpt:
This started because of two things - brooklinegirl and mrsronweasley had a bit of a rough day, and T linked to an article where another reporter named Frank as Frank Lero and I said BOY I’D REALLY LIKE A STORY ABOUT THIS.
Example Fanworks
Picspam
picspam[17] by shrift (Apr. 17th, 2007)
Picspam: Frank's guitars by sassbandit on dreamwidth (2011)
picspam[18] of Frank playing guitar by erraticonstilts on livejournal (2009)
Frank Iero's Tattoos: A Catalog, part 1 and part 2[19] by spritesam (2008)
F.T. WillZ: a Masterpost by totheend (2020)
Fannish Resources
frnkart tumblr (created 2015)
Frank Iero tag at Archive of Our Own
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My Chemical Romance’s Frank Iero Says a Reunion Isn’t Happening, Despite What Joe Jonas Says
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2019-07-25T08:41:36+00:00
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"Sorry, it’s not gonna happen.â€
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Billboard
|
https://www.billboard.com/music/music-news/my-chemical-romance-frank-iero-no-reunion-jonas-brothers-8523825/
|
My Chemical Romance hasn’t been an active band for six years, though the rumor mill got cranked last month by a most unusual source in Joe Jonas.
MCR guitarist Frank Iero has now poured cold water on that reunion gossip, and he questions why on earth a JoBro was the cause of it.
Joe Jonas set things off when he told the U.K.’s KISS FM Breakfast show, “I’ve got some dirt.” MCR was “apparently rehearsing” next to the pop band in New York recently, “which I thought they broke up, so I don’t know,” he said.
Maybe he heard wrong. In an interview with the Asbury Park Press, MCR guitarist Frank Iero went on the record by saying it ain’t so, and he’s doubled-down in an interview for the Zach Sang Show.
“I don’t understand why you would do an interview about your band and talk about someone else’s band,” Iero said in the interview, which aired Wednesday. “I think they’re trying to rebrand their band as a real rock band and they’re trying to mention as many rock bands and trying to get, like, synonymous with other things. And people aren’t gonna forget that you’re a Disney band, bro. Sorry, it’s not gonna happen.”
So that’s that.
Trending on Billboard
The Jonas Brothers, Kevin, Joe and Nick, have been flying high since reforming. Their comeback song “Sucker” breezed to No. 1 on the Billboard Hot 100, marking their first leader on the list. And the album it’s lifted from, Happiness Begins, bowed at No. 1 on the Billboard 200 last month.
MCR disbanded in March 2013, announcing at the time it was simply “time for it to end” after 12 years and four albums as a unit.
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https://www.rottentomatoes.com/celebrity/frank_iero
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Frank Iero
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Explore the filmography of Frank Iero on Rotten Tomatoes! Discover ratings, reviews, and more. Click for details!
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https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico
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Rotten Tomatoes
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https://www.rottentomatoes.com/celebrity/frank_iero
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American musician Frank Iero, best known for his work as rhythm guitarist and backup vocalist of the rock band My Chemical Romance, was born in Belleville, New Jersey. He first learned how to play the drums from his father, who had also been a musician, but later transitioned to playing the guitar. By age 11, he was already playing in local bands on the New Jersey punk scene. He played in several bands before My Chemical Romance, even fronting Pencey Prep, with which he released an album, before joining Gerard Way's group. Iero eventually dropped out of college to go on tour with My Chemical Romance, and worked with the group on the release of their debut album, "I Brought You My Bullets, You Brought Me Your Love" (2002), and all their subsequent albums over the years until their breakup in 2013. During this time, he also fronted the hardcore punk group Leathermouth and The Love Cats, a tribute band to The Cure. His first solo song was featured in the film "Frankenweenie" (2012). After the end of My Chemical Romance, Iero focused on his solo work, releasing his debut solo album, "Stomachaches" (2014). His third solo album, "Barriers" (2019) was elected by Loudwire as one of the 50 best rock albums of that year. He has since reunited with his My Chemical Romance bandmates for a new tour in 2023.
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deer friends, i’m beyond excited to announce we will be playing three shows with the legendary Descendents!
11/17/17 @ the House of Blues in Cleveland, OH
11/18/17 @ 20 Monroe Live in Grand Rapids, MI
12/1/17 @ Rams Head Live in Baltimore, MD
Tickets are On Sale!
see you at the show! xofrnk
• 7 July 2017 • 188 notes
Happy to announce the Patience and I will be playing Slam Dunk Festival this year. tix available at http://bit.ly/SlamDunk17
• 23 February 2017 • 194 notes
Phrends……
Check out www.slamdunkmusic.com for some exciting news!
• 22 February 2017 • 105 notes
June 24 - July 9 w/ Rise Against, Deftones and Thrice
• 6 February 2017 • 212 notes
U.S. TOUR 2017 w/ Dave Hause and the Mermaid
Dear Frendz,
We are happy to announce we will be hitting the road this April/May with our good friend Dave Hause and the Mermaid. Mark your calendars, more details to come! xofrnk
• 5 February 2017 • 393 notes
Frank Iero & The Patience - Tickets - Monty Hall - Jersey City, NJ, February 04, 2017 | Ticketfly
dear frends, FIATP will be playing a small show in jersey city on feb 4th to warm up our bruised bones before europe
• 19 December 2016 • 152 notes
happy almost release day!
hi, you might not know me but my name is frank iero, and i have recently come to the realization that you can not kill me. many have tried, and at times have bled me well. but here i am…limping yet still standing. new jersey’s rock and roll cockroach.
i have learned a great deal in my 34 years and 361days of living… and i am proud to say i am still learning. i made a record that comes out tomorrow with some people i truly look up to and admire. it was a journey that at times i both loved and hated, but am forever most grateful for. i wrote songs forged in the depths of my soul and i would love to be able to say i will begin playing them live for you all very soon. however life, as it sometimes does, has decided to send me down another path. so instead i must present my work, Parachutes; a record i truly believe defines me as an artist, from afar. i made this record for the ones i love, some of which i am lucky enough to hold tightly (with my good arm) on tomorrow’s release day while we listen to the songs i toiled so hard over. my only request is that you do the same, wherever you are. crank your stereo to thirteen with someone you care for, listen, and allow yourself to feel. (we tend to not give ourselves that luxury often enough.)
as i said, you may not know me, but my name is frank iero and i made these songs for you… and i believe that after these twelve tracks have echoed against your heart you will finally really know me. and deep down i suppose thats all we can ever really hope for.
forever true, xofrnk
• 27 October 2016 • 2,819 notes
to whom it may concern…
dearest frendz,
i know by now most, if not all of you, have heard the news of our unfortunate accident in sydney last thursday… and also the fact that with heavy hearts we must cancel all upcoming tour dates for this year due to the severity of the injuries we sustained in that crash. we can’t thank you all enough for the overwhelming flood of love and support throughout this horrific ordeal. it’s truly been amazing, and has helped us to feel not so alone even though we are stranded so far from home. there is nothing we want more than to all heal and be able to get back to our families as quick as possible. it’s strange how an in an instant everything can change and we become fully aware of what is truly important. we have been through a lot this week …and i know none of us will ever be the same again.
as a thank you for your love and understanding i’ve decided to release one of my favorite songs from our new record, Parachutes, a little bit early. Oceans is a song about accepting love even though you are unsure if you actually deserve it …and eventually letting it surround you and drowning in a sea of it. it feels fitting to our situation, and i hope it brings a smile to your beautiful faces.
i am unsure of what the future holds, but at least i know that my friends and i have a future… and for now that is certainly good enough for me. so here’s to those that wish us well, and those who don’t …well they can certainly catch a sydney bus to hell.
so until we meet again friends, hold the ones you love close and keep the faith.
forever true xofrnk
https://youtu.be/jD-cApWvDSI
• 21 October 2016 • 1,639 notes
Psyched to hit both sides of the road with our friends Taking Back Sunday in February… You can find these dates along with FIATP Russian Tour 2017 dates at www.frank-Iero.com/dates
• 13 September 2016 • 206 notes
NEW ALBUM ‘PARACHUTES’ 10/28
Parachutes are life saving devices. We rely on them to bring us back from the brink of death. Whether we fall or jump they are the only things keeping us alive. Such as with life, we are all just falling or plunging to an eventual end, but the love of my family and my ability to create art and music has always been my parachute.The act of living can be random and strange, beautiful and ugly at the same time and the only thing that is undeniably certain is eventually we are all gonna hit the ground. Some of us plummet at an incredible rate and it’s over in a flash, but some of us get saved and are able to enjoy the view for a little while….
This album is one of my parachutes. xo frnk.
Stream “I’m A Mess” on YouTube
Pre-Order on iTunes: http://smarturl.it/ParachutesIT
Store/Vinyl: http://smarturl.it/ParachutesDC
Amazon: http://smarturl.it/ParachutesAZ
NEW TOUR DATES ADDED / CLICK HERE
• 7 September 2016 • 1,622 notes
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RIP Dunes official website. Matthew Iwanusa out of Brooklyn, NY. Spread the word.
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Frank Iero
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For Frank Iero, making music has always been a coping mechanism. But it’s also much more than just a way of dealing with the hardships of life – it’s a means of stepping back to take in the hurricane that is life, both in all its glory and devastation and acknowledging the things you could, and maybe should, have done differently.
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Exclusive Booking Agency for Frank Iero
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Frank Iero is represented by Geoff Meall at Wasserman Music.
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Following the recent announcement that Frank Iero has signed to UNFD and formed his latest band FRANK IERO AND THE FUTURE VIOLENTS, the first track from his upcoming album BARRIERS (out May 31, 2019) “Young and Doomed” is now available today via DSPs and streaming services.
Premiered yesterday on BBC Radio1 with Annie Mac, the insistent, dark rock n’ roll anthem flails with a wild and uncontrollable angst and energy. Its accompanying video is a visceral performance piece that captures the frenetic and frantic energy that bursts from the track with guitar, bass and drums with Frank’s plaintive vocals anchoring the hopeless emotion. Directed by Steve Pedulla from Thursday, the video features childhood photos of Frank Iero and The Future Violents.
In addition to the track’s release, Frank Iero and the Future Violents have announced today that they’ll will be hitting the road this Summer for a headline tour kicking off on May 29 in Philadelphia and circling around the Eastern Seaboard and wrapping up in NYC on June 22. But before that, they will be supporting Taking Back Sunday for a round of Southwest and West Coast dates that kick off next week in Houston (March 25) and conclude at SF’s The Warfield on April 14. (tour dates below).
His third album Barriers is a rumination of sorts on life and living and the obstacles (a.k.a. “barriers”) that get in the way. Recorded and mixed by Steve Albini, Barriers is 14 songs that not only tackle the existential journey of his heart and mind, but help him redirect his musical path.
“I never expected to do one solo record in my lifetime,” he chuckles, “let alone three. Every time I start a new record, I say to myself ‘This is it. This is the end. This is the last one.’ It got me thinking about how we set up these obstacles around ourselves. Sometimes they’re for protection and sometimes they’re to keep people out, and sometimes we even set them up so that we fail and we find solace in that failure. But whenever I find something that scares the shit out of me, that’s when I know I have to do it! And so these songs are about experiences that were either walls I wanted to break down or walls that I’d built up around myself in order to protect myself. But these songs were also things that I’d never attempted before but had always wanted to try.”
From the opening track “A New Day’s Coming” which sounds almost like a gospel-inspired, stirring hymnal (he explains, “I originally based it on old soul songs that I really loved, asking myself how, say, Otis Redding or different Stax recording artists would do a song like this”) to “Six Feet Down Under” – a bluesy stomp through the underworld of existence, to the epic and soaring (and sorrowful) “24k Lush," Barriers confronts listeners with 14 tracks that explore Iero’s tumultuous internal battles from which he emerges at his most confident musically.
“Barriers is a record that I still can’t believe I made and I’m so incredibly proud of it,” Iero reflects. “I can’t wait for other people to be shocked and appalled and inspired by it. Hopefully it scares the shit out of them.”
Frank Iero and the Future Violents is Frank Iero, Evan Nestor, Matt Armstrong, Tucker Rule and Kayleigh Goldsworthy. Barriers was recorded and mixed by Steve Albini and will be released via UNFD on May 31, 2019.
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Interview: Frank Iero talks “Parachutes” and his wild ride in music!
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2017-07-10T00:00:00
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I can’t imagine that there is any worse feeling then knowing after spending your life on the road playing music, it could be the thing that takes your life from you. Frank Iero and the ...
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I can’t imagine that there is any worse feeling then knowing after spending your life on the road playing music, it could be the thing that takes your life from you. Frank Iero and the Patience were in a horrible accident in Australia just a few weeks before the release of their latest record “Parachutes”. The band didn’t let it keep them down and after just a few weeks away from the road, the band rebounded so strong in 2017 and have spent the last six or seven months on the road playing the record Iero says he is most proud of from his career!
Recently I sat down with Iero to talk everything from the accident to the writing of the new record to his journey to who the man he is today. It was an enlightening conversation and I really think shed some light on the journey we don’t always hear about from him. While the band just finished their time on the road with Rise Against, Deftones and Thrice, they will be playing a show locally at The Sinclair in Cambridge Friday night with The Homeless Gospel Choir opening! Be there!
You’re doing a mix of headlining shows as well as well as these Thrice/Rise Against/Deftones shows. How do you differ from playing these opening sets versus the headlining ones?
I mean, it’s different man. It depends on the tour as well. Especially, with the Rise Against/Deftones shows, it’s a specific type of venue, it’s like a shell shape venue. So from experience, you know that with the opening slot, you’re going to have people filing in. There are going to be less up front and more patches in the seating around you. So you want to kind of dew them in kind of fast and quick and play some of the heavier stuff.
But when it’s your own headlining shows, your audience is there and you can take them on more of a journey and play everything that you want to play as opposed to what gets peoples’ attention from far away. So, for me, it’s definitely a plan of attack almost kind of thing. It’s still fun but basically you get thirty minutes to make an impression and then you’re gone. And sometimes it’s hard to do that. Outside, with the sun up, it’s a rough one. But I like challenges so it’s cool.
And then being out on this tour, obviously with bands that have been around just as long as you have been playing music and I’m sure people are coming out who have loved you for so long. Is there a pressure from fans of previous work when playing these live shows?
Honestly I haven’t thought of it like that. That’s the thing. I feel like if maybe I was a singer of every band I’ve been in, then it would be difficult but since I’ve done varied things in different projects, I think it’s a little bit easier. It all sounds so different, it’s hard to compare and contrast. The thing I’m really looking forward to is that I’m getting to tour again with bands like Thrice and Rise Against that I’ve toured with years and years ago. So it’s like a reunion type thing and that’s really fun.
Then you obviously, unfortunately, had a really terrifying accident right around the release of “Parachutes”, about two weeks before. So touring wasn’t really a thing that could happen. I’m sure it’s a rough thing to talk about but you recently did a full US run, you just played Slam Dunk. What songs are standing out to you as fan favorites from this new record?
It’s been crazy. When writing it, you have these expectations. Like this one will really work well in a live setting and people will kind of latch on to that line or this line. Hopefully they will pay attention and like it as much as I like it or hold as much gravitas to them as it does for me. Those expectations have been d which is amazing. You always have this thing in the back of your head where you’re like oh man are people only going to want to hear old stuff? And that hasn’t happened. The reaction has been maybe even better for the newer material which is crazy. When the accident happened, we had to cancel touring on this record. It was so disheartening and so debilitating to think I don’t know if we’ll ever do this again. So it was really important for us to now get back on the road and to be able to play these songs. Songs that I didn’t think we were ever going to get to play. I think it brings a fire to the band that we probably didn’t have before.
Yeah because this could be the end, to know you may not have the opportunity to tour again.
So that’s the thing. I’ve been i bands since I was eleven years old. I’ve been touring since I was like seventeen and to have an incident like that happen and to think that this part of your life, that you’ve done for more years than you haven’t, the thing that defines you that it could be taken from you, that was a little bit too much for me to handle. I think that was the reason that we got back up on stage because the recovery is still slow. I think that was imperative for us.
Then maybe because of that, maybe jump to it, I was going to ask.. you’ve been touring our whole life pretty much, this has been your life. Was there ever a defining moment for you where you knew that music was going to be your career?
Well, here’s the thing. As a kid, my dad played, my grandfather played. I just always wanted to be in a band. So there was ever this backup plan. I wanted to make monster movies but being in a band was my first love. That’s just what I did and I never thought I would do anything else. Even though my parents were like, please don’t do this. Some people are just born the way they are. I’m a redhead, like that’s just what you are. I was born to be in a band. So I didn’t think at any point how this was a career, I was just like this is what I do. So I would have to I guess get a job at McDonalds or something in order to support this but this is just what I do. I never thought that I didn’t do this. So I had never come to a realization okay this is going to happen. When I realized that I didn’t have to get another job, that was kind of awesome. Because I didn’t have any other plans.
Then thinking of that, is there any advice that you would have given yourself at the beginning or maybe advice to bands just getting started?
Alright, so basically I think the advice is don’t expect anything out of this. It’s a very loveless profession. If you’’re looking for a career where you second guess yourself constantly and hate the things that you make more then the times that you love them, it brings you down a lot but the highs you get, you love it. Only do this if you have to do it. That’s the only way that this works. Don’t be like, “I want to be in a band so I can blah, blah, blah”. That right there is wrong. You’re wrong, stop what you’re doing.
Perfect, now going back to the record. It’s been out for about eight months, I’m sure it was a long time in the process. When it came to the writing/recording of this record, how did it differ from the first solo Frank Iero record? I know there was a new moniker for the band this time around but maybe within the writing/recording process itself?
Well, first time around it was kind of like a happy accident. I just was writing songs because that’s just what I do. I didn’t have like a project I was working on. I was doing Death Spells stuff but James had a Reggie record going on so he was out and I was just at home. So I was just writing and recording. Just kind of keeping track of the things I was writing. And while I was was doing that, I was finishing it up, my friend and booking agent for many, many years asked me what I had been up to. I played him some of the tracks ad he was like, “Well, what are you doing with this” and I was like, I really don’t know. My plan was to write these songs, record them, put them in a drawer and that was it. But he played them for somebody else and before I knew it, I kind of had this record deal in place. I was like I guess this is it. I guess this a new thing. I did’t feel like I had sat down and written a record, it just happened
.
This time around, I did. I knew that I had a solo project and an audience in place. A record deal in place. I wrote a record. It was going to come out and people were going to hear it. So that was a neat mindset for me. Which definitely added pressure because the first time around, I didn’t really try to do that. So I did’t know if I knew how. But the great thing about it was, because I knew people were going to hear it, I thought long and hard about how an outsider was going to hear what I was making. How they were going to interpret it so I took a lot of time kind of crafting. What I was saying, how I was saying it and so on and so forth. So that was a big deal for me. I put a lot of time and energy into it.
It’s kind of funny. It’s the record that I’m most proud of out of any record that I’ve made with any project I’ve been a part of. As an artist, you get this one thing every ten years where you’re like I did it, I got it right! Every ten years, you’re like I get this one right. Man, that was it. Nothing else is ever done but this one, this one is done.
That’s excellent, and maybe considering the feelings you have about “Parachutes”, do you think it will still be a while before you’re writing a new record or is it something that you’re already working on? Considering how proud you are of this record.
That’s a good question. When you have one of these every ten years, you think to yourself, alright well if you got it right, do you just fucking go out on that? It’s almost like a comedy show. Shit can only go down from here. You’re supposed to make everybody laugh, not walk out. So yeah, I have been writing. And that’s the thing, as any artist, you don’t know when to stop. It has to be taken from you at some point. Like you have the next great thing and then you die. So that’s where I’m at.
And then, you balance this with being a father of three children so I’m sure you have to balance it out. As an artist, what’s coming up in these next few months? You’ve announced shows in July but besides that, nothings really been announced so far. What is the focus for you in these next few months?
We are booked up to the fall right now. So we’re probably going to be doing more touring to the end of the year. But at that point, I think I want to take a little bit of a break. these last six to seven months have been really insane. I know it was probably premature to get back on the road as quick s we did but it was very important to us to be able to do that. But now that we’ve done that, I feel like now it’s time to take it back a step and enjoy the life again. I’m glad that we got back on the road. I feel like it was good for our psyche to do that but physically and emotionally, I think we’re going to take a little breather to spend some times with our families. I think that will be good for us for sure.
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10 records and artists you need to listen to according to Frank Iero
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2021-04-07T16:55:19-04:00
|
2020 held monumental plans for Frank Iero alongside My Chemical Romance on their return tour, but he spent the year much like the rest of us—discovering new music and reconnecting with some former loves. After more than a year spent at home, there’s only so much Netflix or Hulu to binge on, recipes to mimic […]
|
en
|
Alternative Press Magazine
|
https://www.altpress.com/frank-iero-essential-albums-and-artists/
|
2020 held monumental plans for Frank Iero alongside My Chemical Romance on their return tour, but he spent the year much like the rest of us—discovering new music and reconnecting with some former loves.
After more than a year spent at home, there’s only so much Netflix or Hulu to binge on, recipes to mimic from Pinterest or redecorating you can do around the house. But despite the setbacks we’ve all faced this year—and there have been plenty—there’s no shortage of record releases or new music to discover. Even if we can’t enjoy a new album live in a small New Jersey club pinned between sweaty strangers, finding new artists to obsess over has never been easier or more accessible.
Iero shared exclusively with Alternative Press for Issue 389, the Oral History of Frank Iero, his top 10 essential records and artists you should be listening to. From the Homeless Gospel Choir to Youth Code, prepare your playlists for a major facelift.
Read more:
IDLES – Ultra Mono
I was trying to think of bands that most people didn’t know. Or newer bands that were up-and-coming. I made the list basically on that, and this is in no particular order. But IDLES are a band that I think are doing incredible things, and people should be paying attention to and listening to the newest record. Ultra Mono is really great. But I think they are a fantastic band that don’t get enough love.
Surfbort – Friendship Music
Let’s see, No. 2, I would say Surfbort. Again, another band that I think are doing incredible things. I think their new record should be coming out soon, but Friendship Music came out [in 2018]. Dani [Miller] and the rest of the guys in the band are incredible musicians and just a great band. I’ve seen them live a couple of times, and they’ve always put on a fantastic show. I think it’s a band that people shouldn’t sleep on.
Nothing – The Great Dismal
The new [Nothing] record is great. This is their fourth record that they’ve done. I think it’s a band that are continuously putting out quality records, and they’re fucking great live visually. They care about what they’re doing. They’re pushing the envelope. They’re just a phenomenal band. There’s a very heavy My Bloody Valentine-type element that’s happening, especially on the newest record. There is a washed-out reverb to it, a calming effect, a slower pace on things, which I love. That is reminiscent of other bands, but I think the power behind the band is new in that vein. There’s a heaviness to it, and you find these Radiohead-esque hooks to their music that keep drawing you in. They’re not afraid to experiment, too, which is great. I feel like the band are still evolving and changing but still somehow retaining this quality that is uniquely them.
Touché Amoré – Lament
Touché Amoré are a band that I always had respect for and felt were a really great band. But I think this year, with the release of Lament, has solidified the band for me and the progression that they’ve taken. Lament might be my favorite record of [2020]. The sky’s the limit with Touché Amoré. I think they have incredible songwriting there. It speaks on so many levels. You’d be doing yourself a disservice if you haven’t listened to that new record. That one’s a big one. It hits home. I don’t think I’ve heard anything like that record lately. I think it’s blending so many different influences and so many different styles that there really is something for everyone. It’s the first record that I put on.
I feel like there was that movement happening where even a band like Title Fight were moving and changing. And bands like Turnstile, too, were heading this open-mindedness in music and not keeping things pigeonholed. And that, to me, was a great movement. I think it’s hard to just call it all hardcore now. I think right now it’s definitely progressive to just say rock ’n’ roll. And I think that’s fucking phenomenal.
I’m not a big fan of the subgenre. I don’t like these mini labels and boxes for boxes on boxes. I think rock ’n’ roll, when you describe it as that, can be anything. And rock ’n’ roll bleeds into just so many different forms, and that’s a great thing. So I love bands with wings that they can spread [and ones who aren’t] held back by that title of just hardcore, punk rock or metal.
The Homeless Gospel Choir – This Land Is Your Landfill
All right, so No. 5 is Homeless Gospel Choir. I think Derek [Zanetti] is one of my favorite songwriters of all time and just so happens to be one of my best friends. I fucking love Derek. I think that his voice is so fitting to what he’s saying. It’s so personal, and it’s so well thought out, and it’s so smart. The shit that he does is so fucking smart, and I love his records. Hopefully, I’m preaching to the choir that people should be listening to the Homeless Gospel Choir. [Laughs.] But if not, if this is something that you don’t know about, you should definitely check it out. His last record is This Land Is Your Landfill. Again, great record. I Used To Be So Young is a phenomenal record. He puts out fantastic work.
Youth Code
No. 6, again, I have got to go with a friend of mine who I love. I’ve known her for, oh God, since we were young teenage kids. But her name’s Sara Taylor, and she, along with Ryan George, do a band called Youth Code. Youth Code are breaking a lot of molds in that industrial scene. The new mixes are for a split that’s coming out soon, hopefully. I don’t want to drop too much info on it, and it’s not mine to drop. But the new songs that Youth Code will be putting out are so, so good, probably the best stuff they’ve done to date. I think they’re a fantastic band that people should be listening to.
There’s elements of old-school Ministry—not the first record Ministry, which is my favorite. It’s not that ’80s goth-pop, but it’s more like mid-Ministry industrial. There’s a Nine Inch Nails type vibe in there. I think there’s more melody to what Sara’s doing with her voice. There’s an element of that that I really, really dig. I think older Youth Code, it was almost like if you had a hardcore band playing industrial music like Skinny Puppy. If you could have a marriage between Judge and Skinny Puppy.
Sara is a fucking hurricane up onstage, and Ryan holds it down with the beats and everything like that. And it’s a really great fucking band. They’re doing some really interesting stuff. Last time I saw them live, they were opening for Refused and, in my opinion, really stole the show. It was a fantastic set, and they’re a great band. They’re really doing something different. I think if you’re looking for something on the heavier side and you like electronic music, but you also like heavier rock or aggressive rock, I think you would enjoy Youth Code.
Ian MacKaye, Dan Higgs and Dischord Records
No. 7 is the Coriky record by Ian MacKaye. His new project feels very Fugazi. Here’s the thing: I think No. 7 is going to be a little bit of a mix, right? Anything Ian MacKaye does, I think you should take a listen to, whether that be Teen Idles or Fugazi, of course. Coriky are great, the Evens are great, but this Coriky record is fantastic. And I think if you’re taking the wormhole on Dischord and things Ian MacKaye has done, then my other suggestion [is] you really need to listen to anything Dan Higgs does, especially with Lungfish. All of those records are fantastic and will open your mind in so many different ways. The wonderful thing about Dan Higgs is that he is an incredible artist. And if you’re looking for tattoo flash that will really reinvent the art form, Dan Higgs’ is up there. So No. 7 is a combination of Ian MacKaye, anything Dischord and Dan Higgs.
Spectral Voice – Eroded Corridors Of Unbeing
No. 8, I’m going to do another combo of bands. I’ve been listening to a couple of different bands from the Colorado region. Spectral Voice and their newest full-length, Eroded Corridors Of Unbeing, I’m loving this record right now. That along with the Blood Incantation Hidden History Of The Human Race record, I think are two really incredible records that I like to listen to late at night and zone out to. These are bands that I think have toured together a bunch than they did a split seven-inch earlier on. It’s out of print, but I’ve been trying to find it.
I’m just a fan of music. I like how it can be stretched and molded in so many different ways. Makes you feel different emotions, makes you feel different things, opens your mind to think about things in a different way. There are certain bands that I love for their lyrical content. There are certain ones I love for the guitar playing or the drumming. Some bands I like to listen to when I’m ready to go to sleep. And there are certain bands I like to listen to in the morning. Different tasks call for a different type of music. And I feel the same thing about instruments when you’re creating music. A certain guitar or a certain instrument will make you think a certain way. And if you hit a wall, it’s as easy as putting down one guitar and picking up another one. How awful our world would be with just one type of music or one type of artist. It would be like one flavor of ice cream or one type of T-shirt to wear.
Roger Harvey, Tim Barry and Kayleigh Goldsworthy
For No. 9, they’re more like singer-songwriter friends that I’ve toured with in the past couple of years. So No. 9 I think would go to Roger Harvey, Tim Barry and Kayleigh Goldsworthy are putting out fantastic EPs here and there.
Roger and his girlfriend, Anika [Pyle], are down. If you’ve gone to see any of the things that they’ve done online with performances. I think when the pandemic hit, they were out West and had to make their way back, and they were doing these live broadcasts on Instagram where they were doing duets and things like that on their way home. It was so fantastic. But both of those people are [amazing] songwriters and musicians.
Wesley Eisold
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https://www.1057thepoint.com/music-news/my-chemical-romances-frank-iero-selling-personal-instruments-gear-with-reverb-shop/
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My Chemical Romance’s Frank Iero selling personal instruments & gear with Reverb shop – 105.7 The Point
|
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2023-06-22T10:00:00+00:00
|
My Chemical Romance guitarist Frank Iero is the latest artist to launch their own shop with the online gear marketplace Reverb. Among the items Iero is parting
|
en
|
105.7 The Point
|
https://www.1057thepoint.com/music-news/my-chemical-romances-frank-iero-selling-personal-instruments-gear-with-reverb-shop/
|
My Chemical Romance guitarist Frank Iero is the latest artist to launch their own shop with the online gear marketplace Reverb.
Among the items Iero is parting ways with include various used instruments, amps and personal memorabilia, such as an early 2000s Fender Telecaster 72 Deluxe Reissue guitar.
“I loved using this guitar on MCR’s The Black Parade touring cycle, but the time has come to pass it on to another deserving player,” Iero says. “It even appeared on our performance of ‘Famous Last Words’ when we played The Tonight Show with Jay Leno.”
Iero’s Reverb shop will open June 28. For more info, visit Reverb.com.
Other rockers who’ve opened their own Reverb shop include Green Day‘s Billie Joe Armstrong, Blink-182‘s Mark Hoppus and The Smashing Pumpkins‘ Billy Corgan.
Copyright © 2023, ABC Audio. All rights reserved.
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Frank Anthony Iero Jr. is an American musician who is the rhythm guitarist and backup vocalist of the rock band My Chemical Romance and a guitarist in the supergroup L.S. Dunes. He was also the lead vocalist of the post-hardcore band Leathermouth. He has a solo project titled "Frank Iero and the Future Violents". He released his debut solo album titled Stomachaches on August 26, 2014.
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279
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https://warl-etcetera.livejournal.com/27062.html
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en
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Frank Iero (My Chemical Romance/Leathermouth)
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Name: Frank Anthony Iero Date of Birth: October 31st, 1981 (HALLOWEEN! :D) Height: 5'6 or 5'7 Livejournal: frankenmouth Famed for / How we might know him or her: Frank is the rhythm guitarist (sometimes backup vocals/scream) for My Chemical Romance. He is also the singer/lyricist for…
|
https://warl-etcetera.livejournal.com/27062.html
|
Name: Frank Anthony Iero
Date of Birth: October 31st, 1981 (HALLOWEEN! :D)
Height: 5'6" or 5'7"
Livejournal: frankenmouth
Famed for / How we might know him or her: Frank is the rhythm guitarist (sometimes backup vocals/scream) for My Chemical Romance. He is also the singer/lyricist for his side project Leathermouth (a post-hardcore punk band) and the founder and cerebellum (head honcho) of Skeleton Crew which is a clothing and publishing company as well as record label.
To what extent will he or she be 'AU'?: He will follow any and all tour schedules for both MCR and Leathermouth including studio time. However, I don't mind bending dates by a day or two from time to time if he's needed for another function.
Sexual Orientation/Preference: Heterosexual
Player's preference for romantic or erotic SL's: Heterosexual although Frank has been known to kiss/make out with other guys (especially Gerard on stage) and I wouldn't be surprised that he'd follow that pattern here as well.
Brief notes about your character's personality: Frank's well known for having incredibly strong family values. He loves his family more than anything and will do just about anything to protect them. He even has a tattoo of his grandfather on his left arm. He's friendly, appreciative, outgoing, and has a tendency towards mischief. Ever the prankster, no one is safe from him however everything is harmless fun. Frank will always speak his mind and always weigh his decisions as to what is right and wrong for him. He is opinionated but open-minded and all-around has a punk rock core.
Brief history/background information: Born and raised in Belleville, New Jersey into a Catholic/Italian family, Frank is the only child of Frank (Cheech) and Linda Iero. His parents divorced when he was a meer 2 years old so he has always been fairly adjusted to the situation almost considering that the "norm" until he was old enough to understand. While growing up and getting better on guitar Frank was in many different bands starting when he was 11 years old. Most notably were the bands Pencey Prep and I Am A Graveyard, the two bands that Frank was part of directly prior to joining My Chemical Romance. He, as well as bandmate Mikey Way, dropped out of college to pursue full-time touring in My Chemical Romance and hasn't looked back since.
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279
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| 71
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https://www.dallasobserver.com/music/frank-iero-talks-my-chemical-romance-reunion-rumors-and-brutal-accident-ahead-of-dallas-show-11699229
|
en
|
My Chemical Romance’s Frank Iero Almost Stopped Making Music After a Near-Death Experience
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[
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"Dallas concerts",
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"things to do in Dallas",
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] | null |
[
"Chelsey Norris"
] |
2019-07-26T11:54:00
|
We talked to My Chemical Romance guitarist Frank Iero about his penchant for starting new bands, reunion rumors, and a devastating car accident that "changed his personality."
|
en
|
/favicon.ico
|
Dallas Observer
|
https://www.dallasobserver.com/music/frank-iero-talks-my-chemical-romance-reunion-rumors-and-brutal-accident-ahead-of-dallas-show-11699229
|
We have a favor to ask
We're in the midst of our summer membership campaign, and we have until August 25 to raise $5,500. Your contributions are an investment in our election coverage – they help sustain our newsroom, help us plan, and could lead to an increase in freelance writers or photographers. If you value our work, please make a contribution today to help us reach our goal.
|
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279
|
dbpedia
|
2
| 72
|
https://itsalldead.com/2019/05/30/review-frank-iero-and-the-violent-futures-barriers/
|
en
|
Review: Frank Iero and The Violent Futures – Barriers
|
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[] |
2019-05-30T00:00:00
|
Frank Iero’s passion for rock music shines through his solo work more than the heavy mood would have you believe. Barriers, Iero's third solo album, celebrates rock music. The album is moody and constantly blitzing with wild energy. He sounds raw—similar to some of the best emo releases of the mid-2000s. Barriers sounds like a lost masterpiece from…
|
en
|
it's all dead
|
https://itsalldead.com/2019/05/30/review-frank-iero-and-the-violent-futures-barriers/
|
Frank Iero’s passion for rock music shines through his solo work more than the heavy mood would have you believe. Barriers, Iero’s third solo album, celebrates rock music. The album is moody and constantly blitzing with wild energy. He sounds raw—similar to some of the best emo releases of the mid-2000s. Barriers sounds like a lost masterpiece from a decade earlier, but isn’t dated in the least. Iero doesn’t have to work too hard to craft his own identity from past work with My Chemical Romance and Leathermouth. Barriers is an album that overcomes every obstacle to stand tall on its own, possibly as Iero’s best solo release.
Each new interpretation of his solo career has refined his sound and not shied away from the gloom that helped define him as a musician. The guitars are fuzzed, but still release a hard melody. Iero’s writing channels the best aspects of rock and focuses it down to a grungy tip. It allows the album to be a cohesive collection while adding a massive variety to the sound.
Opener, “A New Day’s Coming” mixes blues and a gospel-heavy keyboard with heavy, raw guitars. The chorus of “Fever Dream” rages with simple power chords, reminiscent of classic-era Green Day. Meanwhile, “Moto-Pop” rages with metal inspiration from Black Sabbath. Iero and fellow guitarist Evan Nestor are clearly relishing their ability to play whatever they want.
Bassist Matt Armstrong (Murder By Death) provides a hard, dark mood throughout the album (“Medicine Square Garden”). Keyboardist and backing vocalist Kayleigh Goldsworthy adds just enough to crank the effect of Iero’s demons throughout the album. She hides like an angel or a demon haunting Iero’s highs and lows (“Six Feet Down Under”). Former Thursday drummer Tucker Rue adds an energy to the album that keeps the music charged even in more somber moments (“No Love”).
Where Iero impresses the most is in his vocals. The wild change in singing styles throughout the album keep each line engaging. The preference to get the emotion out, even if it means falling flat, lends a haunting urgency to each line. Clean, lazy singing on “A New Day’s Coming” is inspiring. Slurred, charged shouting during “Young and Doomed” channels a blend of AFI’s Davy Havok’s eccentricity and Thursday’s Geoff Rickly’s angst. Meanwhile, singing through gritted teeth, grunge whispers and hedonistic shouting, “Fever Dream” is wave after wave of unfiltered energy thrown at the microphone.
Barriers is a thick album. There’s certainly an argument that it could have benefitted from being a couple tracks shorter. However, Iero’s passion for music shines through each track. Although it’s hard not to compare him to a few legendary bands he was a key part of, Iero has forged a solo career defined by the freedom to lay waste to expectation. Barriers is Iero at his best—doubling down on a genre he helped forge and paying homage to rock music from every region of the genre.
4/5
Photo credit: Mitchell Wojcik
by Kyle Schultz
Kyle Schultz is the Senior Editor at It’s All Dead and has worked as a gaming journalist at Structure Gaming. He lives in Chicago and stepped in a puddle this morning. Now he is known as “Dumb ol’ Wet Foot.”
|
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279
|
dbpedia
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0
| 84
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https://loudwire.com/frank-iero-best-concerts-live-shows/
|
en
|
The 10 Best Shows Frank Iero Has Ever Seen
|
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[
"Loudwire Staff"
] |
2023-02-02T16:26:50+00:00
|
We're jealous.
|
en
|
Loudwire
|
https://loudwire.com/frank-iero-best-concerts-live-shows/
|
What are the 10 best shows Frank Iero (L.S. Dunes, My Chemical Romance) has ever seen? Come find out!
As a super dynamic guitarist, Iero has showcased his wide range of influences across a multitude of bands, the latest being the don't-call-them-a-supergroup L.S. Dunes, which also features his good buds Anthony Green (Circa Survive), Tucker Rule and Tim Payne (Thursday) as well as Travis Stever (Coheed & Cambria).
That pool of inspiring artists is clearly reflected in Iero's list below, where he recounts in amusing detail what made each of these 10 concerts so special, having provided enduring memories and fortified friendships.
What's even cooler is when your idols begin to see you as an equal or simply acknowledge your existence in a flattering way, such as leaving a signed drum head behind after learning that Iero is a huge fan of one widely influential group that merged elements of rock with the burgeoning rap and hip-hop scenes of the '80s.
There also was a bit of a revelatory moment during a Foo Fighters gig that reminded Iero of songwriting advice his father had passed on. "That guy's always right," he says of his dad and those ever-useful words of wisdom.
Check out the full list below and, while you're at it, hit play on L.S. Dunes' "Permanent Rebellion" below while you check out Iero's picks for the 10 best shows he's ever seen.
Get your copy of L.S. Dunes' 'Past Lives' album (out now) here and follow the band on Instagram, Twitter, Facebook and Spotify.
L.S. Dunes, "Permanent Rebellion"
|
|||||
279
|
dbpedia
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2
| 25
|
https://dailycampus.com/2017/04/28/2017-4-28-frank-iero-opens-up-about-life-music-after-my-chemical-romance/
|
en
|
Frank Iero opens up about life, music after My Chemical Romance
|
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[
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] | null |
[
"The Daily Campus",
"www.facebook.com"
] |
2017-04-28T00:00:00
|
After the split of My Chemical Romance, Frank Iero, rhythm guitar and backing vocalist for the group, thought he was going to step away from pursuing music professionally.
|
en
|
The Daily Campus
|
https://dailycampus.com/2017/04/28/2017-4-28-frank-iero-opens-up-about-life-music-after-my-chemical-romance/
|
After the split of My Chemical Romance, Frank Iero, rhythm guitar and backing vocalist for the group, thought he was going to step away from pursuing music professionally.
“My intention was to do something completely different, like a total 180,” Iero said.
His plans were to get a “straight job,” or write a book, but to his surprise that didn’t happen.
Iero’s friend heard a few songs he was working on in his basement, and asked if he could play them for a friend, which ended up landing him a record deal.
“It was like, “Oh shit, I have to go on the road now,’” he laughs, comparing his return to “The Godfather.” He knew he would be pulled back in, despite his attempt to escape.
That was three years ago with “Stomachaches,” his debut album as a solo artist under the name “frnkiero andthe cellabration.”
This past fall, with a name change and a plan, he released his second album “Parachutes” on October 28, 2016.
Two weeks before the album’s release, Iero, his band, their publicist and their manager were in Sydney, Australia. The five were about to wrap up a tour when they were involved in a serious accident: a bus hit them while they were unloading their van. The group made the decision to cancel the rest of the tours they had planned for the year, and took that time to recover.
Now on the mend, Frank Iero and the Patience picked up where they left off and are currently on tour across the United States to promote their album. I had the opportunity to catch up with Iero at their show last Thursday at The Outer Space in Hamden, Conn., and ask him what has changed now that he is further along in his solo career.
“It’s a lot different in that the first time I did a solo record I didn’t know I was doing a solo record,” Iero said. “But this time around, I had been touring for two years as a solo artist and I knew that I had an outlet to put a record out.”
In an interview with MTV, Iero said, “The record is called ‘Parachutes’ because I started thinking about life, how we’re put here without asking to be. It’s like being pushed out of a plane; some of us are lucky enough to find people and things that bring us joy along the way that act as a parachute, slowing that ride down, and you’re able to enjoy the fall.”
He recalls having a lot of conversations with the producer who helped with the record, Ross Robinson (Korn, Slipknot, Glassjaw), about human nature.
“I feel like it’s human nature to sometimes think all of these things are ‘happened to me’ or they’re ‘happening to me,’ whereas maybe they’re kind of happening for you and the person you eventually become is [a] direct correlation to the things you have experienced,” Iero said. “Sometimes the worst thing that happens to you is the most positive because you have learned to get up and walk away from it.”
Transitioning from the guy in the back to the front man has had it’s challenges, but Iero said he’s coming to terms with it now.
“I always just wanted to be the guy to the side, I never wanted anybody to look at me,” he said. “Now I found myself being ok with it, it’s not my favorite thing in the world, but I can do it.”
He admits that for the first couple of months he was unsure if he enjoyed it, but having written the songs and lyrics felt like he would be “faking it if I got anyone else to sing it,” so he learned to deal with it while offsetting some of his lifestyle habits.
“Most people, if they stumbled upon a magic lamp and they found a genie, their first wish would be ‘I would wish for a million more wishes.’ My first wish would be ‘I wish I could smoke cigarettes and still be a singer,’” he joked.
Despite the success he has experienced with his solo work, Iero admitted that fans are going to compare it with his time in My Chemical Romance.
“It feels lazy to me so that’s why I think I have a problem with it, but I don’t feel like I need to escape it. I’m very proud of the stuff that I’ve done,” he said.
Iero compares his time with the rock band as going to school or college.
“After how many years you’re going to eventually want to graduate that college and use those skills that you learned to be something. You don’t want to be in college forever,” he said.
While he will be forever grateful and excited about everything My Chem accomplished, not everything can last forever.
Now in his mid-30s and having made music for over two decades, he’s learned many things along the way. One thing that is much more important to him now than when he first started as a teenager is writing.
He learned how to become a good editor, picking and choosing which ideas he believes should make their way into a song. By avoiding a cluttered writing process, he’s found that better lyrics come more easily to him, a skill that he said can only be acquired over time.
After being in the music industry for so long, Iero has many things he wishes he could go back and tell his younger self, but after thinking about it, doesn’t regret his past decisions.
“I think in order to be where I am today, I needed to have all of that,” he said.
Also being a father of three, he said, “I can tell them till I run out of air that they’re going to get hurt doing this or they shouldn’t do that, but they need to fail and find out for themselves. I did at least.”
Getting candid, Iero described to me his fantasy of getting a job as a postal worker.
“What appeals to me about it [is] you have this thing where you work from I don’t know seven to five or whatever, but you have this stack of mail and when the stack of mail is done you’re done and you don’t think about mail again until the next day,” he said.
Iero can barely fathom the idea of not constantly thinking about his job. He said he thinks about creating music 24/7.
“There are times when I can’t sleep because it’s running through my head,” he said.
Iero doesn’t know what the future holds for him, which he said both scares and excites him. He’ll always keep writing, but there is still a list of things he wants to do that he hasn’t done before.
“I think the older I get and the more I do this—the touring—I’ve realized I probably can’t do [it] forever and that’s ok…I think my family is looking forward to that as well,” Iero said.
All three children—twin girls who will turn seven this year, and a son that will be five—are into art and creating. Iero said his girls are currently learning how to play piano and his son wants to play the drums.
“It’s amazing to see that innate weirdness that they haven’t lost yet,” Iero said. “They’re still at this point where they’re not self conscious in any way, and I love that so much. We lose that weirdness [as we get older], it happens in a tidal wave and you don’t know it went.”
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COI005: When you examined the wreck, what did you see?
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"Scott Heisel"
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2019-05-31T11:20:46+00:00
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Glass everywhere and wheels still spinning free
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https://substackcdn.com/image/fetch/f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fbucketeer-e05bbc84-baa3-437e-9518-adb32be77984.s3.amazonaws.com%2Fpublic%2Fimages%2Ff286d190-56f6-491b-b1cc-681020483113%2Ffavicon.ico
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https://colorsofinsomnia.substack.com/p/coi005-when-you-examined-the-wreck
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A lot of new music comes out every Friday. Allow me to separate the wheat from the chaff for you.
Frank Iero And The Future Violents - Barriers (UNFD)
So here’s the thing about Frank Iero: He’d probably be the first to tell you that he’s not the best musician in the world. The former guitarist of My Chemical Romance wasn’t the flashy player (that was Ray Toro) or the visionary with the golden pipes (that would be Gerard Way). But he brought chaos to My Chem, and his mischievous presence was crucial to that band’s astonishing level of success for so many years.
Ever since MCR broke up in 2013, Iero has been on a long, winding path of artistic exploration, from strange anti-folk (frnkiero and the cellabration’s Stomachaches) to cathartic noise-rock (Frank Iero And The Patience’s Parachutes). The remaining members of the MCRmy (of which I am not, but do I consider myself a slightly-more-than-casual observer given the fact that Iero’s day job directly helped pay my mortgage for a decade) have continued to follow him as if he were a cult leader, primarily because he’s the only former member of MCR seemingly capable of releasing music and touring on a relatively consistent basis.
His music will likely never be judged on its own merits, neither by critics who remember him for his contributions to mall-punk, nor by fans who exclusively listen to My Chemical Romance and its members’ attendant side projects and have no frame of reference for any music not played or shared by a member of the band. (Like, seriously, who in their right mind enjoyed Electric Century?) The guy could write the White Album or the Black Album or the Blue Album and it wouldn’t make a dent with the mainstream.
That’s a shame, because his new album, Barriers, under the moniker Frank Iero And The Future Violents, is promising, both based on its lineup — the rhythm section consists of former Murder By Death bassist Matt Armstrong and Thursday drummer Tucker Rule, so you might as well just call this band “Eyeball Records ca. 2002” — as well as its lead single, “Young And Doomed,” which sounds kinda like, I dunno, Joyce Manor covering Murder City Devils (which actually exists already, but I digress). There’s even an actual LOL moment in the lyrics, when Iero sings, “I promise I’m not okay” before muttering, “Oh, wait, that’s the other guy.” Self-awareness, thy name is Frank.
Further proof of Iero’s cult impact: As I write this blurb at 10:46 p.m. on May 30, only one of Barriers’ 14 tracks has been released, and that was more than two months ago. When was the last time any record (that wasn’t getting a surprise release, at least) had a rollout as secretive as this? It might be good, it might be bad, but it’s bound to be interesting, which is enough to make me give it a spin come May 31.
J. Robbins - Un-Becoming (Dischord)
Despite having been making vital music for nearly 40 years(!), Un-becoming is the first album J. Robbins has released using his own name. If you’re somehow unfamiliar with the man, check your record collection — if you don’t own anything by Jawbox, Burning Airlines, Channels or Office Of Future Plans, it’s time to question what you’ve been doing with your life. For the diehards, some of Un-becoming’s songs have likely been in your MP3 library for a few years (“Anodyne,” “Abandoned Mansions” and “Our Own Devices” were all released digitally through Robbins’ Bandcamp page a few years back), but if you’re new to the man, this record is as good an overview as you’ll get. The songs bounce from poppy hooks to discordant guitarwork, feeling like the best moments of all of his previous bands. Robbins’ voice is still as biting as ever, alternating from a sweet tenor to an aggressive bark. Somehow, his vocal range continues to get even higher, as you can hear on the album’s title track. Bonus: Cellist Gordon Withers, a huge highlight of Robbins’ previous band Office Of Future Plans, is also on this record, giving new texture to Robbins’ patented musical angularity.
Kitty Kat Fan Club - Dreamy Little You (Asian Man)
Formed in 2016, San Jose, California, septet Kitty Kat Fan Club is probably best known for having Mike Park in the band. However, Park — a consistent presence in the punk underground for the better part of the past three decades who almost single-handedly has kept ska’s checkered flag flying, both through his own bands (Skankin’ Pickle and the Bruce Lee Band among them) as well as dozens of releases on his independent label Asian Man Records — is not a primary songwriter in KKFC, unlike his other current active band, Ogikubo Station (who themselves are releasing a new EP, Okinawan Love Songs, in a few weeks). Instead, KKFC is primarily driven by a pair of women, Brianda Goyos and Catherine Jones, who sweetly harmonize with one another as their bandmates crank out two-minute bursts of new wave-inflected indie-pop that keeps a few toes in punk’s waters. (Also, there’s a saxophone on a few tracks, because with Mike Park, there’s always a saxophone on a few tracks.)
Dreamy Little You is KKFC’s debut full-length following a pair of well-received 7-inches, and if you like the idea of Dance Hall Crashers without all those pesky upstrokes getting in the way, then this is right up your alley. (Just to clarify, I do not hate ska, despite what Twitter says.)
Today’s subject line is a lyric from the song “Motorist” by J. Robbins’ old band Jawbox, who just played their first show in more than 20 years earlier this week. I bought tickets for their Chicago reunion show on July 28, and holy hell am I excited for it. Listen to the song below, and if you dig it, you can buy the record it’s from on Amazon (and by clicking that link, there’s a chance I may make a few cents):
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Cause for Cellabration! Frank Iero on Fans and Going Solo
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2015-05-18T00:00:00
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“He’s gonna be here until he’s met every single one of these people.” As I stand behind Frank Iero’s merch table, awkwardly cradling my tripods and trying not to lose my balance amidst piles of tee-shirts and posters, his tour manager breaks the news to me with an apologetic grin: Though the frontman had kindly…
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golden audio
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https://goldenaudiomusic.com/2015/05/18/cause-for-cellabration-frank-iero-on-fans-and-going-solo/
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“He’s gonna be here until he’s met every single one of these people.” As I stand behind Frank Iero’s merch table, awkwardly cradling my tripods and trying not to lose my balance amidst piles of tee-shirts and posters, his tour manager breaks the news to me with an apologetic grin: Though the frontman had kindly offered to answer questions between autographs, he can’t grant a sit-down interview until he’s individually greeted each of his fans. I gladly agree to wait—he’s been signing since the venue doors opened, and in the days of expensive VIP meet-and-greets and entitled rock stars, his level of dedication to fans is remarkable.
Similarly remarkable is the speed at which Iero started releasing music again: Following the disintegration of My Chemical Romance in 2013, Frank went solo, writing and recording new material under the moniker “frnkiero andthe cellabration”. The project has been touring nonstop since the release of the full-length “Stomachaches” in August 2014, their brand of no-holds-barred punk rock sprinkled with softer melancholy moments appealing to audiences that may not have been familiar with MCR.
Once he had shaken the hand of his last admirer, Frank sat down with me at The Stone Pony (in his home state of New Jersey) to discuss his relationship with fans, his decision to become a solo artist, and his affinity for pizza bagels.
Can you give me the history of frnkiero andthe cellabration? How did the project come together?
It started as just a couple of songs that I wrote in my basement, and I just did it for myself. Then a friend of mine asked what I’d been up to, and I played him some of the songs, and he convinced me to play with some other people. And before I knew it, I got an offer from a label, from people that I felt like really got it and wanted to put it out, and then I was like, “I gotta put a band together to actually play the songs!” So that’s how it started.
Were you writing solo material whilst still in My Chemical Romance or did it all come after?
No, yeah, it was all after that. There might have been like a melody here or there, like little riff things, but they were never gonna be My Chem songs. They were just stuff that I messed around with. But I think the intro and first chord progression for “[She’s the] Prettiest Girl [at the Party and She Can Prove it with a Solid Right Hook]”—that’s been around for a little while, but I didn’t think it was a song, I just thought it was something that I liked the sound of… it just kind of had that “fifties” vibe that they were looking for. And “Stage Four [Fear of Trying]” existed in a way different state, and I didn’t like it at all. Then I ended up being asked by a friend of mine to do his podcast, and he was like “Oh it’d be really great if you’d play a song” and I was like “I don’t have any songs!” So I wrote it the night before, and it turned into that.
Did any of the guitar parts come from parts that you wrote for My Chemical Romance but were eventually discarded?
Well, I think my role in that band was very different. I liked very much to dance in between the guitar melodies and the vocal melody. I really like playing off of the vocal melody when I’m not singing, so if I wasn’t the singer, that’s how I would play. But since I have to sing in this, I think the guitars end up being a lot different, you know? And also, when I would write with My Chem, if I wrote like rhythmic parts to a song, I would never consider the vocals important—they’d come after. Whereas with this, I had to kind of think about, “Alright, I’m gonna need to put lyrics to this”, or “I’m gonna have to sing and play at the same time”.
Considering that as you write.
Yeah, it’s a lot different from that perspective.
How was the transition from your roots as a Jersey punk, to a theatrical rock star in My Chemical Romance, and now back to making straight-up punk music?
See, here’s the thing—even before My Chem decided to stop, I had done Leathermouth, and then I was doing Death Spells as the band broke up. I always like starting new bands. So it’s always been something that I’ve found fun to do. It didn’t feel like “Oh no, I’m starting this new thing”—it felt like, this is just what I do, you know? So I guess I felt at home in that respect.
Had you ever considered being a solo artist when you first started making music or is it something you’ve just come to later?
Nooo. No, never. God no. [laughs]
How did you come to that decision?
Reluctantly [laughs]. I came to that decision because I had written all the songs and I played everything myself, and I thought, “Well, I can manufacture a band and pretend that this is a group of people and it’s called… ‘whatever the hell’”, you know, but I felt like that’s kind of a lie, you know what I mean? I’m not a big fan of bands that are like, “Here, we’re this band, but that guy does everything”. It’s like, well, you’re not really a band, you know? You might be friends… [laughs] but I don’t know. I don’t wanna lie about where I came from. And honestly, I thought really long and hard about, “Maybe I could get someone to sing this stuff and then I could start a band”, but it didn’t work out that way.
And you also had that fame from MCR, so fans might have come to your new band’s shows just to see you.
But that’s weird. Sometimes that stuff’s almost like a car accident—people just wanna see the aftermath, and not because they necessarily enjoy your project. But I think now that the record’s been out and we’ve been doing this for a little while, we have actual fans of this project. I never thought about that though, it wasn’t ever like “Oh, this’ll be my solo project so that My Chem kids will come”. That was very… not on my mind [laughs].
Yeah, I feel like that would’ve been inauthentic.
It would’ve been really weird, yeah.
How have the fan interactions been?
Great! I mean, some are really great, some are… incredibly awkward [laughs]. But that’s with anybody. I like when people interact with you on just a human basis. I find a nice interaction, a nice conversation, more enjoyable than just a put-on, or a photo. I’d much rather just talk to you about your day than anything else. But you know, some people like doing that, some people just wanna get a photo and a signature and get the hell out [laughs].
With such an intense fanbase, do you feel like there’s a certain point where you need to draw the line between public and private information that you don’t want to share?
Well, that’s the thing too—you run into these things where… you played on a record that somebody really loves, or you’ve been on TV and they’ve seen you there, and they follow you on social media, so they get this impression that they know you intimately. And, in actuality, it’s really whatever they’ve interpreted you to be—this fantasy of what they think you are, and what you like, what you’re into. And I think when that fantasy becomes so far removed from the human quality, then it’s a bit strange. Like, for instance, I feel like when people try to say the most ridiculous thing to you, or fucked-up thing to you, in order to get a reaction, they don’t really consider you a person. That’s real strange. Then you have the ones, too, that are just way too cool for school, and they want to explain to you, “Hey, I’m sorry, I don’t know who you are!” And it’s like, well, I don’t know who you are either [laughs]. That’s the weird thing, is when people don’t understand that just as people, this is our first impression of each other, so like, right now you’ve blown it [laughs]. As far as just the first impression, as a person. Cause I didn’t know you at all until right now, and now I know that you’re kind of an asshole [laughs].
And now I don’t want to know you.
Yeah! I gotta say though, for the most part, people have been really, really amazing. It’s just like, how many people are on the Earth… six billion? Something like that? Out of six billion, at least 50% of those people suck, right? [laughs] Just like, on the law of averages. So hopefully, you meet more that suck less.
Do you ever feel pressure from those fans to be almost MCR-esque?
No, no. I can only be the person that I am… I have no desire, no energy to play a part for anybody. I’m way too old to do that. I feel like I’ve lived my life, I’ve lived 33 years, and I’ve learned certain things about myself and about the world, and I know that it’s not beneficial to anyone for me to pretend. So I’m not going to.
There’s an interesting dichotomy on “Stomachaches” between angry, fast songs and softer, slower songs—how do you navigate those two very different vibes during your live performances?
At least as a fan going to see bands, I like that shift between things. I think you kind of want to ride a set, almost like a wave—you wanna start real big and you wanna bring ‘em down and then come back up. For a show like this, we actually were gonna play “[She’s the] Prettiest [Girl at the Party and she Can Prove It with a Solid Right Hook]”, we play it almost every show. But it’s a hard song, especially if you don’t get a sound check, and you’re not familiar with the person doing the sound at a place. In order to do that song, there’s that thin line of “this could be a total disaster” if you can’t hear what’s going on. So we just thought, “Alright, we won’t do that tonight because it could go very wrong”.
Do you ever do acoustic performances?
I’ve done a couple of songs here and there. I’m not a huge fan of that—it feels very naked. My brother-in-law Evan [Nestor] and I did an acoustic session overseas at a magazine office, and it was really fun to have him be with me. We got to play off each other a bit, and I felt comfortable in that. But when it’s just me and a guitar, like… I think some songs can translate there, but with others it just doesn’t make sense. Like “Weighted” isn’t a song that I feel like could translate to an acoustic performance because it relies on that “quiet-loud”. They’re not my favorite things in the world, but they can be fun.
If you were a breed of dog, what would you be?
Um… I have no idea. [laughs]
I’m trying to think of my own and I can’t even. There are so many breeds of dogs in the world.
Maybe a pug.
I’d maybe be a labradoodle?
That’s weird!
Kind of fluffy and odd?
Yeah, I would not be a labradoodle. [laughs] Just cause of the name.
Yeah, it’s weird. No one would take you seriously.
I’d be fine with being a rescue dog. Those are the best kind.
They’re so mysterious. It’s like, where’d you come from?
Exactly, they’re exotic!
If you could eat one food for the rest of your life, what would it be?
Oh, pizza bagels.
Not even pizza, just the bagels?
Pizza bagels, yeah. When pizza’s on a bagel, you can eat pizza anytime.
That’s true, yeah, it’s very accessible.
You were born on Halloween. Does that put more pressure on you, costume-wise, cause you’re like the Halloween dude?
No, I just like to put a lot of thought into it, and sometimes I don’t have the time to do the things I want to, but… I don’t feel pressure, I just know that they’re gonna be the best [laughs].
What’s your favorite costume you’ve ever done?
Let’s see… This year was pretty good. I was a super-cool eighties Dracula. That was pretty cool, I liked that one. They’re niche.
Speaking of costumes, which was your favorite frnkiero andthe cellabration music video? Cause I know there was one where you were playing jumprope with a kid’s organs, and one where you were covered in blood… and one with your daughters.
That was probably my favorite. That was the hardest to do, as well. Yeah, they tell you, “Don’t ever work with children or animals in film”.
Sorry, we gotta go! Hurry, one more, quick!
If you were an interviewer and this was your last question, what would it be?
[laughs]
Okay, so for a while, MCR said they wanted to save people’s lives. What’s the goal for frnkiero andthe cellabration?
For this project? I guess to turn something detrimental into something beautiful. To be fulfilled as a human being. It’s for nobody else but me. I love when people find something in it that helps them, but… that’s not my intention. And with My Chem too, I think that got blown out of proportion. What we really meant to say was that it saved us, because it meant so much to us. There was a gravity to it, there was something that felt really important. But us as individuals… we weren’t saviors. [The fans] did that. They found inspiration in the band and did it themselves.
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https://www.broadwayworld.com/bwwmusic/article/FRANK-IERO-THE-FUTURE-VIOLENTS-Share-Great-Party-Music-Video-20190718
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FRANK IERO & THE FUTURE VIOLENTS Share 'Great Party' Music Video
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Hot off the heels of a whirlwind European festival run that saw the band headline major stages in the UK, Russia, Ukraine, and Czech Republic, and ahead of the West Coast leg of their headlining tour, FRANK IERO AND THE FUTURE VIOLENTS have just released a video for their song 'Great Party.' The song is a cut from their brand new record Barriers (released May 31, 2019 via UNFD). This is the second music video to be released from Barriers, following the video for lead single 'Young and Doomed' earlier this year.
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BroadwayWorld.com
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https://www.broadwayworld.com/bwwmusic/article/FRANK-IERO-THE-FUTURE-VIOLENTS-Share-Great-Party-Music-Video-20190718
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Hot off the heels of a whirlwind European festival run that saw the band headline major stages in the UK, Russia, Ukraine, and Czech Republic, and ahead of the West Coast leg of their headlining tour, FRANK IERO AND THE FUTURE VIOLENTS have just released a video for their song "Great Party." The song is a cut from their brand new record Barriers (released May 31, 2019 via UNFD). This is the second music video to be released from Barriers, following the video for lead single "Young and Doomed" earlier this year.
"Great Party" stars Cult Records (Founded by Julian Casablancas of The Strokes) signees/the faces of Gucci's pre-fall 2019 campaign Surfbort. The video itself features FIATFV performing at a lackluster VFW hall, where the fruit punch bowl doubles as an ash tray, the questionable looking cake is a half-eaten mess, and seedy onlookers are looking for any way to inject some excitement into the night. By the time that the band takes the stage, the weirdness is amped up even further thanks to an ACME style explosive box of confetti that's unleashed, as well as the guests becoming further unglued as the night goes on. "Sometimes when you write songs for an album you have a hard time placing where they should go in the tracklisting, or what would be a good visual representation for them. Other times it's like the universe opens up its playbook and tells you exactly how every piece fits into this giant puzzle," Frank says about the new video. "I knew immediately when we finished writing 'Great Party' that it needed to be a single off the record and that we needed to make a video for that song. when I wrote the treatment for it I could see the whole thing playing out in my head, and I knew that our friends needed to be cast in it! I saw this weird gathering that you couldn't tell if it was an AA meeting or the worlds bleakest birthday, and I knew our friend Dani from Surfbort had to be the one to light the fuse that would turn everything on it's head. I really love this video, it may have turned out even better than I first imagined it."
Barriers is a critically-acclaimed rumination of sorts on life and living and the obstacles that get in the way. Recorded and mixed by Steve Albini (Nirvana, Pixies, PJ Harvey), the album is 14 songs that not only tackle the existential journey of his heart and mind, but help him redirect his musical path. idobi Radio said of the record that, "Barriers is complex, messy, and, above all, therapeutic. What better way is there to face your demons than with someone who's been through dark times and is armed with a guitar and a mic?" Meanwhile INKED said, "For a band whose name is forever changing and evolving- yet growing together- their discography follows suit."
"I never expected to do one solo record in my lifetime," he chuckles, "let alone three. Every time I start a new record, I say to myself 'This is it. This is the end. This is the last one.' It got me thinking about how we set up these obstacles around ourselves. Sometimes they're for protection and sometimes they're to keep people out, and sometimes we even set them up so that we fail and we find solace in that failure. But whenever I find something that scares the s out of me, that's when I know I have to do it! And so these songs are about experiences that were either walls I wanted to break down or walls that I'd built up around myself in order to protect myself. But these songs were also things that I'd never attempted before but had always wanted to try."
TRACK LISTING
1. A New Day's Coming
2. Young and Doomed
3. Fever Dream
4. The Host
5. Basement Eyes
6. Ode to Destruction
7. The Unfortunate
8. Moto-Pop
9. Medicine Square Garden
10. No Love
11. Police Police
12. Great Party
13. Six Feet Down Under
14. 24k Lush
With support from Geoff Rickly, Frank Iero and the Future Violents are in the midst of a headline tour that takes the the band through Portland, Seattle, Denver, San Diego, Austin, and Los Angeles. The band will also be playing the Mountain View date of Warped Tour, as well as Great South Bay Music Festival and Riot Fest.
Frank Iero and the Future Violents is Frank Iero (vocals/guitar), Evan Nestor (guitar), Matt Armstrong (bass), Tucker Rule (drums), and Kayleigh Goldsworthy (pianos/violin/organs). Barriers was recorded and mixed by Steve Albini and is out now via UNFD.
Photo credit: Mitchell Wojcik
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279
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dbpedia
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https://music.apple.com/za/artist/frank-iero/335060934
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Listen to music by Frank Iero on Apple Music. Find top songs and albums by Frank Iero, including Fuck Whoever Started This (feat. Frank Iero), Trust the Process (feat. Frank Iero & Rosie Richeson) and more.
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Apple Music - Web Player
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https://music.apple.com/za/artist/frank-iero/335060934
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dbpedia
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https://facts.net/celebrity/14-astonishing-facts-about-frank-iero/
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en
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14 Astonishing Facts About Frank Iero
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2023-11-05T22:01:13+08:00
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Discover 14 mind-blowing facts about Frank Iero, the talented musician known for his captivating performances and unique style. Prepare to be astonished!
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en
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https://facts.net/wp-content/uploads/2019/09/fac-icon.ico
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Facts.net
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https://facts.net/celebrity/14-astonishing-facts-about-frank-iero/
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Frank Iero was born on October 31, 1981.
Frank Iero, the talented musician and songwriter, entered this world on October 31, 1981.
Frank Iero was a member of the band My Chemical Romance.
Frank Iero rose to fame as the rhythm guitarist for the iconic rock band My Chemical Romance.
Frank Iero released his debut solo album, “Stomachaches,” in 2014.
In 2014, Frank Iero embarked on a solo career and released his first album, “Stomachaches,” showcasing his unique musical style.
Frank Iero has collaborated with various artists throughout his career.
Throughout his musical journey, Frank Iero has collaborated with artists such as Gerard Way, Reggie and the Full Effect, and Thursday.
Frank Iero is also an accomplished visual artist.
Aside from his musical talents, Frank Iero is known for his artistic abilities and has showcased his artwork in various exhibitions.
Frank Iero is an advocate for mental health awareness.
Frank Iero has been vocal about his struggles with mental health and actively supports organizations dedicated to mental health awareness.
Frank Iero has a strong following on social media.
With his charismatic presence and engaging content, Frank Iero has amassed a dedicated fan base on platforms like Instagram and Twitter.
Frank Iero is married and has three children.
Despite his busy career, Frank Iero prioritizes his family life and cherishes his role as a husband and father.
Frank Iero’s second solo album, “Parachutes,” was released in 2016.
In 2016, Frank Iero unveiled his second solo album, “Parachutes,” which further showcased his musical growth and versatility.
Frank Iero has toured extensively around the world.
From sold-out arenas to intimate venues, Frank Iero has taken his energetic live performances to fans across the globe.
Frank Iero has a passion for motorcycles.
In addition to music and art, Frank Iero has a deep love for motorcycles and enjoys riding them in his spare time.
Frank Iero has released music under various aliases.
Throughout his career, Frank Iero has explored different musical styles and released music under aliases such as Death Spells and Leathermouth.
Frank Iero’s third solo album, “Barriers,” was released in 2019.
In 2019, Frank Iero unveiled his critically acclaimed third solo album, “Barriers,” which received widespread praise from fans and critics alike.
Frank Iero is known for his energetic and passionate stage presence.
When performing live, Frank Iero captivates audiences with his raw energy, creating an unforgettable experience for his fans.
Conclusion
In conclusion, Frank Iero is undoubtedly a fascinating celebrity with an array of astonishing facts. From his musical journey with popular bands to his solo ventures, Frank has carved a unique niche for himself in the music industry. His remarkable talents as a guitarist, singer, and songwriter have earned him a dedicated fan following worldwide.Beyond his musical prowess, Frank Iero’s philanthropic efforts and dedication to mental health advocacy also deserve recognition. Through his openness about his own struggles, he has become a source of inspiration and support for countless individuals.With his audacious style, raw energy on stage, and genuine connection with his fans, Frank Iero continues to captivate audiences globally. His impact on the music industry is undeniable, and his legacy is sure to endure for years to come.
FAQs
1. What are Frank Iero’s most notable musical projects?
Frank Iero is best known for his involvement in the bands My Chemical Romance and Frank Iero and the Patience. He played guitar in My Chemical Romance and was an integral part of the band’s success. After their disbandment, he embarked on a solo career with his band, Frank Iero and the Patience.
2. Has Frank Iero released any solo albums?
Yes, Frank Iero has released several solo albums, including “Stomachaches” (2014), “Parachutes” (2016), and “Barriers” (2019). Each album showcases his unique musical style and explores different themes and emotions.
3. Is Frank Iero involved in any other creative pursuits besides music?
Apart from his music career, Frank Iero is also a skilled visual artist. He has created artwork for album covers, merchandising, and exhibitions. His artwork often reflects his punk-rock sensibilities and adds another dimension to his creative expression.
4. Has Frank Iero faced any challenges in his career?
Like many artists, Frank Iero has faced his share of challenges throughout his career. He has dealt with personal struggles, including mental health issues, but has shown resilience and used his experiences to connect with others and inspire change.
5. How has Frank Iero contributed to philanthropy and mental health advocacy?
Frank Iero has been open about his struggles with mental health and has used his platform to raise awareness and offer support. He has been involved in various charitable causes and has collaborated with organizations focused on mental health, spreading a message of hope and understanding.
6. What makes Frank Iero stand out as a performer?
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https://www.kerrang.com/15-things-you-probably-didnt-know-about-frank-iero
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15 Things You Probably Didn't Know About Frank Iero
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[
""
] | null |
[
"Mischa Pearlman"
] |
2019-04-26T15:00:00+01:00
|
Think you know everything about Frank Iero? Well, we've got 15 facts that say otherwise...
|
en
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/_ico/apple-touch-icon.png
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Kerrang!
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https://www.kerrang.com/15-things-you-probably-didnt-know-about-frank-iero
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In October 2016, a bus crashed into the tour van that was taking Frank and his band to Sydney, Australia. Thankfully, no-one was seriously injured, but that didn't stop Frank wondering if he had in fact died and was experiencing some kind of warped afterlife.
"I got the get the sense of, 'What if I didn’t make it and what’s going on right now is just my brain waves continuing?'" Frank said. "That maybe this is what the afterlife is, it’s us just setting up another world for us to go through. And then you look for evidence to prove yourself correct or not insane - like ever since this happened, the world went to shit. It’s getting warmer and we have an antichrist for a president and all these things start to happen and it’s like I’m on the wrong side of things. And then there’s the other thing that creeps in, that if I truly am not in the world of the living, then why am I not seeing these people that have passed before me that I really want to see? So maybe I’m not in heaven, I’m in hell - or maybe I’m in purgatory."
Initially around between 1994 and 1997, Mineral were an incredibly influential band despite the fact they weren't together very long at first. Although he didn't get into them until he was already in My Chemical Romance, Frank says their sound has heavily influenced the way he plays guitar. And he was incredibly excited when they reformed and he finally got to see them live.
"I didn't think I was ever going to get to see them," he said, "so to finally get to witness that and hear those songs was unreal. It felt like they were playing just for me! And I got to watch it with my brother-in-law, who's a little bit younger than me and wasn't as familiar with their stuff, so I was just like, 'Oh my God, you don't understand what this meant to me and what it means to me and how much it affected my playing. You have to listen to this song, and this song! And this part!' So to see it, not only for myself but through his eyes and to see how excited he got about it, that was really special."
These days, Frank has a hell of a lot of tattoos, but he had to start somewhere. And he did – on his back with a big, scary-looking Jack O'Lantern.
"I was born on Halloween," he said, "so it's to basically symbolise that. I got it on my 18th birthday, so there was no lying to people in tattoo parlours."
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