History Main / DeadHorseGenre

Viewpoints about the Music/SexPistols vary: they started as a band manufactured by Malcolm [=McLaren=], but with the addition of John Lydon his influence over them was heavily diminished. Subsequently they initiated the first wave of British punk, with bands like Music/TheClash and Music/{{Buzzcocks}} citing them as the direct reason they formed. After Lydon left, [=McLaren=] tried to keep the band going, resulting in disasters such as ''The Great Rock and Roll Swindle''.

Viewpoints about the Music/SexPistols vary: they started as a band manufactured by Malcolm [=McLaren=], but with the addition of John Lydon his influence over them was heavily diminished. Subsequently they initiated the first wave of British punk, with bands like the Clash and the Buzzcocks citing them as the direct reason they formed. After Lydon left, [=McLaren=] tried to keep the band going, resulting in disasters such as ''The Great Rock and Roll Swindle''.

Another reason for this is that entire genres have been created by taking a style the creators hate, and then doing the exact opposite. Critics who like these rebel genres have to pan the ones they rebelled against. Maybe both genres have something to offer? Don't be silly! [[SeriousBusiness This is art]], and [[WithUsOrAgainstUs there's only one way to do things]].

Rock critics don't usually like (or know much about) music that isn't rock, but they're wary of attacking genres that they know they don't understand. So they leave Classical, Blues, Jazz, and "World" alone. But Broadway show tunes don't have the mystique that makes those other genres so scary. If it was sung in a theater, rock critics dismiss it as sappy, soulless stuff for lame fifty-something white people in 1955. One of the stock funny anecdotes among music critics is that Music/MarvinGaye, the master of suave Motown love ballads with soul, originally wanted to sing showtunes.

In Britain, much of the ire for manufactured bands is specifically directed at contestants from ''Series/TheXFactor'' or ''Series/BritainsGotTalent'' who actually started music careers. While some manage to acquire mainstream acceptance, many are derided for appealing to the LowestCommonDenominator and existing solely to "steal" the Christmas Number One single spot with a cover version to validate the existence of the programme (with the back cover of several ''Pop Stars: The Rivals'' VHS tapes actually implying the the Christmas number one was the prize for winning the programme). The backlash against this seems to have culminated with the successful 2009 Facebook campaign to put "[[Music/RageAgainstTheMachine Killing In the Name]]" at the top of the Christmas singles chart. Generally, the ire isn't ''really'' directed at the singers themselves -- evidenced by the success of Leona Lewis and the praise for [=JLS=] attempting to be original with their material -- but at the system which got them into the position (and [[MeanBrit Simon Cowell]]).

Also, starting in TheNewTens there is a small boy band resurgence in Britain (like Music/OneDirection, Music/FiveSecondsOfSummer, Music/TheWanted and The Vamps; although the former two would eventually blow up internationally) but girl groups are still out of the question as groups like Girlicious and Music/PussycatDolls fell by the wayside.

NuMetal is an umbrella term coined in the mid-1990s to refer to music that blends heavy metal elements with other styles, typically {{Industrial}} and AlternativeMetal. NuMetal is hated by many metalheads, who stereotype it as commercial and musically simple. It's also hated by many non-metalheads, who view it as crass, misogynistic and pointlessly obnoxious -- a bunch of {{Jerk Jock}}s "stealing" the clothes of the weird kids (a sentiment ironically felt within nu metal itself later on). In fact, there are many that argue NuMetal isn't even a subgenre of metal, but rather a fusion genre that happens to have noticeable elements of metal in it. Some music critics argue that it is an experimental and diverse genre, which it very well could have been if the more commercially viable elements hadn't been milked to death. The original concept lives on as AvantGardeMetal to some degree, but outside of a few acts that either abandoned the more disliked aspects of the genre or simply got too big to die, the genre of nu metal itself is still largely viewed as a punchline for jokes about late-Nineties suburban excess. Despite this, the genre has had a noticeable increase in prominence with revival bands such as Vein, Music/{{Issues}} and various other artists, although the genre is still largely disliked by critics as a rule.

{{Deathcore}} is a genre that was developed in the 2000s which combines the extreme technicality of DeathMetal with the mosh pit-inducing energy of HardcorePunk / {{Metalcore}}. The genre rose to popularity in 2006/2007 with bands such as Music/BringMeTheHorizon and Music/SuicideSilence. The genre at the time was considered a commercially viable form of DeathMetal and was popular from 2006 to 2012. In spite of its commercial success, deathcore is often frowned upon by critics and metalheads alike. Many critics call the style "ugly", "disgusting" and other related names. Critics will often pan albums in this genre due to the practicing bands' inability to evolve the genre in any way, as many of the artists in the deathcore genre will [[ItsTheSameNowItSucks copy a style from one of their peers, rinse-repeat]]. In fact, many people consider deathcore to be a "dirty word" in the heavy metal community and is often labelled as the SpiritualSuccessor to NuMetal in terms of genres being TheScrappy of the heavy metal world. Funnily enough, deathcore artists will often cite EnsembleDarkhorse nu metal bands such as Music/{{Korn}} or Music/{{Deftones}} as stylistic influences even though the former genre is hardly influenced by the latter in any way.

Most rappers who get on their soap box are considered preachy, pretentious and irrelevant now. In general there's a backlash towards rap music like this (including the aforementioned Gangsta Rap, and alt rap) from the mainstream rap fans. Likely because of the resentment from the fans of those particular genres that's usually aimed at pure mainstream rap fans. So in essence its a backlash against the CriticalBacklash....If that makes any sense. So a lot of mainstream rap fans, and mainstream rap outlets (including BET, and apparently MTV) dismiss them as irrelevant. Basically any hip-hop that isn't club-oriented, trendy, safe, and radio-friendly is considered "played out" or not cool to like. Or it could all just be a defense mechanism for mainstream fans to justify their taste in current pure mainstream hip-hop. Conscious hip-hop has also gotten a few criticisms as well given rise to derogatory terms like "Niggas with Ankhs", and "Sistas with Headwraps".

After floating around in the outer reaches of the record industry for decades, the success of African-American musical genres like jazz, blues, soul and funk in the 1960s finally brought it to the forefront by the beginning of the 1970s. However, many objected to the glitzy, [[FlamboyantGay camped-out]] commercialism, claiming it "sucked all of the soul" out of the music. Disco came under a backlash from two sides -- white rock fans despised the genre due to its [[WolverinePublicity ubiquity]] and perceived threat to RockAndRoll's dominance, while black {{Funk}} fans trashed the genre as soulless, vapid and stupid, angry over how it pushed their heroes (Music/JamesBrown, Music/GeorgeClinton et al.) and hard-edged funk out of the charts. When the hammer fell on the genre, it fell ''hard'', and [[CondemnedByHistory practically no one will now admit]] to having come within a billion miles of it at its height. "X was into disco in the 70s" jokes are practically a staple of the SitCom genre. It tried to resurrect itself in disguise as 80s High-Energy, but could not reclaim its once-lofty position. Notably, although it can't retake the position it once held, time has helped to soften the once incredibly harsh attitudes towards the genre; especially with a growing set of generations that have since come up without all the vitriol aimed at it. This has allowed certain elements of Disco music to come back with a modern flair in a better fashion than its prior 80s resurrection attempt.

Nevertheless, so-called "Beautiful Music" radio stations enjoyed large listening audiences during the 1960s, '70s and '80s, sometimes even ranking as the ''most'' listened-to stations in their respective markets. Typical artists heard on such stations included instrumentalists such as Percy Faith, Mantovani and the 101 Strings as well as "middle of the road" pop acts like Music/BarbraStreisand, Music/TheCarpenters, and Music/FrankSinatra. The death of Easy Listening as a radio format in the late 1980s had more to do with the age of the stations' listeners (as many advertisers do not target listeners over the age of 50) than with poor ratings. Many such radio stations moved into "soft rock" or adult contemporary formats playing the likes of Music/CelineDion, Music/WhitneyHouston and Music/LionelRichie, which generated just as much revulsion from rock fans and hipsters. Nevertheless, the genre still has its devotees and even a channel on Sirius/XM satellite radio called "Escape" dedicated to keeping the Beautiful Music sound alive.

An interesting subsect of this would be {{vaporwave}} -- no relation to VaporWare -- a music which sounds like stereotypical "Easy Listening" music. It became subject to MemeticMutation for a few months in 2014, but fell out as the meme became [[DiscreditedMeme discredited]]. It still has some fans, but for the most part, died as fast as it came.

Some say Neo-Soul is dead. Considering in the early 2000s it was getting A LOT of mainstream buzz (mostly because of Music/AliciaKeys). With singers like Maxwell, D'Angelo, Erykah Badu, Music/JillScott, Angie Stone, Lina, India.Arie, Music Soulchild Et Cetera. But by the mid 2000s interest faded away.

Ironically the fusion genre that pushed Contemporary R&B off the charts is also deader than a door nail. Its heavy hip-hop influence was its undoing: the harder hip-hop acts, primarily the early, socially-conscious gangsta rap movement, criticized it as a watered-down version of their own music, incorporating their production techniques but commercialized for a wider audience and missing the core message. Rapper Music/IceCube, in his song "Wrong Nigga To Fuck Wit," uttered the immortal line, "It ain't no pop 'cause that sucks/And you can new jack swing on my nuts." By the end of the early 90s, it had faded away. Others place the blame on its over saturation on urban radio. It didn't help that 90% of it was produced by the same producer (Teddy Riley), giving different artists the same redundant production style.

Back in the 70s most animes had their own catchy theme songs. However during the 80s it was slowly phased out for J-pop or J-Rock tracks which are easy to license and seem more normal for listening. Good luck finding a theme song for anything past kids shows nowadays. Even Franchise/KamenRider is a bit more unconventional with its newer openings and end theme songs than, say, Franchise/SuperSentai. This was heavily lampshaded in ''LightNovel/{{Kampfer}}'' as Kaede speaks of anime openings being normal compared to say cartoon openings. Helps that thanks to increasing deals and connections between studios, networks, and production groups -- the songs are now commonly used as a way to help sell that particular artist just as much as the show itself.

For about two years between the start of 1996 and the end of 1997, third wave ska was pretty big in America, propelled into the charts by multi-platinum albums like ''[[Music/NoDoubt Tragic Kingdom]]'' and ''Music/{{Sublime}}''. However, after its brief time in the limelight third wave ska basically disappeared, and many bands (including No Doubt and Music/TheAquabats) changed their sound.

A form of Japanese rock/folk music hybrid popular in the early to late 60s pioneered by bands such as The Tigers, The Spiders and The Tempters, it died a rather quick death immediately upon the introduction of guitar feedback into music, due to the rather large orchestral arrangements popular with Group Sounds bands being largely found impractical and laughably overwrought upon the introduction of heavier guitar playing into Japanese music, thus leading to the New Rock genre replacing GS largely as the biggest form of J-Rock in the 70s.

Music performed by hippies as a primary component of the counterculture movement (think the gentle guitar and ukelele songs of UsefulNotes/CharlesManson) is largely considered tepid, boring and hypocritical. Largely, the type of folk music done by hippies has long been seen as dated and "lame" even for the time, even by people who enjoy 60s music.

!!NeoSoul

!!Neo-Soul

!!Contemporary R&B

!!Ska Punk

!!Country music

!!Arena Rock

The older bands suffer the same fate as hair metal -- manufactured bands prospered most between Music/{{Elvis|Presley}} getting drafted and Music/TheBeatles arriving, so they are seen as the horror which the Beatles saved music from. Speaking of "older", note that in recent years manufactured bands and their intended demographic are getting ''younger'' -- Miley Cyrus, Music/TheJonasBrothers and ''Series/TheNakedBrothersBand'' are presumably marketed to kids whose parents think they're [[NewMediaAreEvil too young to go on the Internet]]. Interestingly, manufactured bands targeted toward girls get far, far, ''far'' more criticism than those targeted toward boys even if their music is of the ''exact same quality''. Manufactured bands targeted at girls almost always acquire the PeripheryHatedom of their generation.

Probably more of a target for amateur critics than professionals, this genre is also the one that most non-critics who start getting interested in music will hate the most. From Fabian and Music/TheMonkees to Music/{{NSYNC}} and Music/BritneySpears, performers who serve as faces for a faceless team of composers are viewed as outright traitors to music. They are the monster, the roots of the evil corporate machine that suppresses true music. They perform catchy but empty pop designed to hypnotize teenagers into becoming shopping-obsessed zombies. They... well, you know the drill. The average critic cares a lot about sincerity, so singers who only sing (instead of writing their own material) are unacceptable (depending on how long ago the artist came to prominence -- no one's criticizing Music/NatKingCole or Music/FrankSinatra for not writing their own tunes...). Professional critics have to (publicly) give 'equal time' to modern manufactured bands for obvious reasons, but are free to trash selected out-of-date whipping boys (like the Monkees) with gusto. And don't even mention the words "Music/Milli Vanilli" around them.

Probably more of a target for amateur critics than professionals, this genre is also the one that most non-critics who start getting interested in music will hate the most. From Fabian and Music/TheMonkees to Music/{{NSYNC}} and Music/BritneySpears, performers who serve as faces for a faceless team of composers are viewed as outright traitors to music. They are the monster, the roots of the evil corporate machine that suppresses true music. They perform catchy but empty pop designed to hypnotize teenagers into becoming shopping-obsessed zombies. They... well, you know the drill. The average critic cares a lot about sincerity, so singers who only sing (instead of writing their own material) are unacceptable (depending on how long ago the artist came to prominence -- no one's criticizing Music/NatKingCole or Music/FrankSinatra for not writing their own tunes...). Professional critics have to (publicly) give 'equal time' to modern manufactured bands for obvious reasons, but are free to trash selected out-of-date whipping boys (like the Monkees) with gusto. And don't even mention the words "Milli Vanilli" around them.

A subgenre of JapanesePopMusic from the eighties. CityPop embraced an optimistic worldview influenced by the country's rising economy. When Japan experienced a sudden and massive economic crisis in the early 90s, the genre fell out of popularity and was derided by the younger generations. Interestingly, [[PopularityPolynomial the genre saw a revival]] on the internet in the 2010s.

Many think the genre died in the late 90's (Music/DrDre himself thinks so as well). But this is somewhat contested because some (mostly horribly out-of-touch MoralGuardians) think it's still the popular hip hop genre. The problem with this is that a lot of hip hop that didn't fall into the indie, pop, or alternative banner was automatically placed under the gangsta rap umbrella term...unfairly or not. Usually by cynical alt/indie rap fans. Also the grittier type 1 variants are dead, while a glossier LighterAndSofter version exists in its place.

After floating around in the outer reaches of the record industry for decades, the success of African-American musical genres like jazz, blues, soul and funk in the 1960s finally brought it to the forefront by the beginning of the 1970s. However, many objected to the glitzy, [[FlamboyantGay camped-out]] commercialism, claiming it "sucked all of the soul" out of the music. Disco came under a backlash from two sides -- white rock fans despised the genre due to its [[WolverinePublicity ubiquity]] and perceived threat to RockAndRoll's dominance, while black {{Funk}} fans trashed the genre as soulless, vapid and stupid, angry over how it pushed their heroes (Music/JamesBrown, Music/GeorgeClinton et al.) and hard-edged funk out of the charts. When the hammer fell on the genre, it fell ''hard'', and [[CondemnedByHistory practically no one will now admit]] to having come within a billion miles of it at its height. "X was into disco in the 70s" jokes are practically a staple of the SitCom genre. It tried to resurrect itself in disguise as 80s High-Energy, but could not reclaim its once-lofty position. Notably, although it can't retake the position it once held, time has helped to soften the once incredibly harsh attitudes towards the genre; especially with a growing set of generations that have since come up without all the vitriol aimed at it. This has allowed certain elements of Disco music to come back with a modern flair in a better fashion than its prior 80's resurrection attempt.

Ironically the fusion genre that pushed Contemporary R&B off the charts is also deader than a door nail. Its heavy hip-hop influence was its undoing: the harder hip-hop acts, primarily the early, socially-conscious gangsta rap movement, criticized it as a watered-down version of their own music, incorporating their production techniques but commercialized for a wider audience and missing the core message. Rapper Music/IceCube, in his song "Wrong Nigga To Fuck Wit," uttered the immortal line, "It ain't no pop 'cause that sucks/And you can new jack swing on my nuts." By the end of the early 90's, it had faded away. Others place the blame on its over saturation on urban radio. It didn't help that 90% of it was produced by the same producer (Teddy Riley), giving different artists the same redundant production style.

!!GroupSounds

!! {{Eurobeat}}
It's been produced for more than 25 years, with its popularity in Europe and North America peaking in the mid-1990s with acts like Real [=McCoy=] and La Bouche (largely made up of transplanted Americans recording in Europe) achieving mainstream success and going gold and platinum. But in 2020 it looks like its number is almost up, it's fallen out of popularity even in its main market, Japan. Para Para dancing, its raison d'etre, has also mostly gone out of style and is largely considered a passing fad. Dave Rodgers (Giancarlo Pasquini), one of the founding fathers of the genre, is himself abandoning Eurobeat and moving to other styles, along with the ''Manga/InitialD'' anime adaptation ending in 2014 (probably one of the reasons why one would know about the genre) and phasing it out in favor of J-rock in the newer Legend movies (big-screen remakes of First Stage), there's no sense in [[{{Pun}} Eurobeating a dead horse]].\\

In Asia, there appears to be somewhat less resistance in accepting Boy Bands/Girl Bands; groups like Big Bang and the Music/HelloProject still sell in Korea and Japan. It likely helps that they're generally willing to mock themselves relentlessly. Furthermore, J-Pop singers often have other people write and/or compose their songs (Music/YokoKanno partnering with Creator/MaayaSakamoto on numerous albums, for example). It's not really a negative, nor is it decried as "manufactured" (at least not over and above what American critics think of the dancy, peppy J-pop genre as it is).

Also, starting in TheNewTens there is a small boy band resurgence in the Britain (like Music/OneDirection, Music/FiveSecondsOfSummer, Music/TheWanted and The Vamps; although the former two would eventually blow up internationally) but girl groups are still out of the question as groups like Girlicious and Music/PussycatDolls fell by the wayside.

In Britain, much of the ire for manufactured bands is specifically directed at contestants from ''Series/TheXFactor'' or ''Series/BritainsGotTalent'' who actually started musical careers. While some manage to acquire mainstream acceptance, many are derided for appealing to the LowestCommonDenominator and existing solely to "steal" the Christmas Number One single spot with a cover version to validate the existence of the programme (with the back cover of several ''Pop Stars: The Rivals'' VHS tapes actually implying the the Christmas number one was the prize for winning the programme). The backlash against this seems to have culminated with the successful 2009 Facebook campaign to put "[[Music/RageAgainstTheMachine Killing In the Name]]" at the top of the Christmas singles chart. Generally, the ire isn't ''really'' directed at the singers themselves -- evidenced by the success of Leona Lewis and the praise for [=JLS=] attempting to be original with their material -- but at the system which got them into the position (and [[MeanBrit Simon Cowell]]).

Also, starting in TheNewTens there is a small boy band resurgence in the Britain (Like Music/OneDirection, Music/FiveSecondsOfSummer, Music/TheWanted and The Vamps; although the former two would eventually blow up internationally) but girl groups are still out of the question as groups like Girlicous and Music/PussycatDolls fell by the wayside.

In Britain, much of the ire for manufactured bands is specifically directed at contestants from ''Series/TheXFactor'' or ''Series/BritainsGotTalent'' who actually started musical careers. While some manage to acquire mainstream acceptance, many are derided for appealing to the LowestCommonDenominator and existing solely to "steal" the Christmas Number One single spot with a cover version to validate the existence of the programme (with the back cover of several ''Pop Stars: The Rivals'' VHS tapes actually implying the the Christmas number one was the prize for winning the programme). The backlash against this seems to have culminated with the successful 2009 Facebook campaign to put "[[Music/RageAgainstTheMachine Killing In the Name]]" at the top of the Christmas singles chart. Generally, the ire isn't ''really'' directed at the singer themselves -- evidenced by the success of Leona Lewis and the praise for [=JLS=] attempting to be original with their material -- but at the system which got them into the position (and [[MeanBrit Simon Cowell]]).

Also, starting in TheNewTens there is a small boy band resurgence in the Britain (Like Music/OneDirection, Music/FiveSecondsOfSummer, TheWanted and The Vamps; although the former two would eventually blow up internationally) but girl groups are still out of the question as groups like Girlicous and Music/PussycatDolls fell by the wayside.

In Britain, much of the ire for manufactured bands is specifically directed at contestants from ''Series/TheXFactor'' or ''Series/BritainsGotTalent'' who actually started musical careers. While some manage to acquire mainstream acceptance, many are derided for appealing to the LowestCommonDenominator and existing solely to "steal" the Christmas Number One single spot with a cover version to validate the existence of the programme (with the back cover of several ''Pop Stars: The Rivals'' VHS tapes actually implying the the Christmas number one was the prize for winning the programme). The backlash against this seems to have culminated with the successful 2009 Facebook campaign to put "[[Music/RageAgainstTheMachine Killing In the Name]]" at the top of the Christmas singles chart. Generally, the ire isn't ''really'' directed at the singer themselves - evidenced by the success of Leona Lewis and the praise for [=JLS=] attempting to be original with their material - but at the system which got them into the position (and [[MeanBrit Simon Cowell]]).

NuMetal is an umbrella term coined in the mid-1990s to refer to music that blends heavy metal elements with other styles, typically {{Industrial}} and AlternativeMetal. NuMetal is hated by many metalheads, who stereotype it as commercial and musically simple. It's also hated by many non-metalheads, who view it as crass, misogynistic and pointlessly obnoxious - a bunch of {{Jerk Jock}}s "stealing" the clothes of the weird kids (a sentiment ironically felt within nu metal itself later on). In fact, there are many that argue NuMetal isn't even a subgenre of metal, but rather a fusion genre that happens to have noticeable elements of metal in it. Some music critics argue that it is an experimental and diverse genre, which it very well could have been if the more commercially viable elements hadn't been milked to death. The original concept lives on as AvantGardeMetal to some degree, but outside of a few acts that either abandoned the more disliked aspects of the genre or simply got too big to die, the genre of nu metal itself is still largely viewed as a punchline for jokes about late-Nineties suburban excess. Despite this, the genre has had a noticeable increase in prominence with revival bands such as Vein, Music/{{Issues}} and various other artists, although the genre is still largely disliked by critics as a rule.

After floating around in the outer reaches of the record industry for decades, the success of African-American musical genres like jazz, blues, soul and funk in the 1960s finally brought it to the forefront by the beginning of the 1970s. However, many objected to the glitzy, [[FlamboyantGay camped-out]] commercialism, claiming it "sucked all of the soul" out of the music. Disco came under a backlash from two sides - white rock fans despised the genre due to its [[WolverinePublicity ubiquity]] and perceived threat to RockAndRoll's dominance, while black {{Funk}} fans trashed the genre as soulless, vapid and stupid, angry over how it pushed their heroes (Music/JamesBrown, Music/GeorgeClinton et al.) and hard-edged funk out of the charts. When the hammer fell on the genre, it fell ''hard'', and [[CondemnedByHistory practically no one will now admit]] to having come within a billion miles of it at its height. "X was into disco in the 70s" jokes are practically a staple of the SitCom genre. It tried to resurrect itself in disguise as 80s High-Energy, but could not reclaim its once-lofty position. Notably, although it can't retake the position it once held, time has helped to soften the once incredibly harsh attitudes towards the genre; especially with a growing set of generations that have since come up without all the vitriol aimed at it. This has allowed certain elements of Disco music to come back with a modern flair in a better fashion than its prior 80's resurrection attempt.

Some critics may admit to liking a few disco acts - Music/TheBeeGees, Music/DonnaSummer, Music/{{ABBA}}, Music/{{Blondie}}, and Music/{{Chic}} still maintain good critical reputations. Of course, some of these acts long predated disco and others didn't perform the style exclusively. It was also a fairly major influence on early hip-hop and was also one of the more prominent genres in the musical potpourri that was post-punk and New Wave.

An interesting subsect of this would be {{vaporwave}} - no relation to VaporWare - a music which sounds like stereotypical "Easy Listening" music. It became subject to MemeticMutation for a few months in 2014, but fell out as the meme became [[DiscreditedMeme discredited]]. It still has some fans, but for the most part, died as fast as it came.

Back in the 70s most animes had their own catchy theme songs. However during the 80s it was slowly phased out for J-pop or J-Rock tracks which are easy to license and seem more normal for listening. Good luck finding a theme song for anything past kids shows nowadays. Even Franchise/KamenRider is a bit more unconventional with its newer openings and end theme songs than, say, Franchise/SuperSentai. This was heavily lampshaded in ''LightNovel/{{Kampfer}}'' as Kaede speaks of anime openings being normal compared to say cartoon openings. Helps that thanks to increasing deals and connections between studios, networks, and production groups - the songs are now commonly used as a way to help sell that particular artist just as much as the show itself.

This is mostly a case of an album being released that was so good - namely Music/MyBloodyValentine's ''Loveless'' - that no other shoegaze act could possibly hope to live up to it, so critics took to panning the overwhelming number of shoegaze records that were released after that point just on principle. It doesn't help that My Bloody Valentine themselves took ''twenty-two years'' to release the record's follow-up. In TheNoughties the genre did undergo something of a revival, but most of the acts are still negatively compared to MBV.

The older bands suffer the same fate as hair metal -- manufactured bands prospered most between Music/{{Elvis|Presley}} getting drafted and Music/TheBeatles arriving, so they are seen as the horror which the Beatles saved music from. Speaking of "older", note that in recent years manufactured bands and their intended demographic are getting ''younger''- Miley Cyrus, Music/TheJonasBrothers and ''Series/TheNakedBrothersBand'' are presumably marketed to kids whose parents think they're [[NewMediaAreEvil too young to go on the Internet]]. Interestingly, manufactured bands targeted toward girls get far, far, ''far'' more criticism than those targeted toward boys even if their music is of the ''exact same quality''. Manufactured bands targeted at girls almost always acquire the PeripheryHatedom of their generation.

Probably more of a target for amateur critics than professionals, this genre is also the one that most non-critics who start getting interested in music will hate the most. From Fabian and Music/TheMonkees to Music/{{NSYNC}} and Music/BritneySpears, performers who serve as faces for a faceless team of composers are viewed as outright traitors to music. They are the monster, the roots of the evil corporate machine that suppresses true music. They perform catchy but empty pop designed to hypnotize teenagers into becoming shopping-obsessed zombies. They... well, you know the drill. The average critic cares a lot about sincerity, so singers who only sing (instead of writing their own material) are unacceptable (depending on how long ago the artist came to prominence -- no one's criticizing Music/NatKingCole or Music/FrankSinatra for not writing their own tunes...) Professional critics have to (publicly) give 'equal time' to modern manufactured bands for obvious reasons, but are free to trash selected out-of-date whipping boys (like the Monkees) with gusto. And don't even mention the words "Milli Vanilli" around them.

In Britain, much of the ire for manufactured bands is specifically directed at contestants from ''Series/TheXFactor'' or ''Series/BritainsGotTalent'' who actually started musical careers. While some manage to acquire mainstream acceptance, many are derided for appealing to the LowestCommonDenominator and existing solely to "steal" the Christmas Number One single spot with a cover version to validate the existence of the programme (with the back cover of several ''Pop Stars: The Rivals'' VHS tapes actually implying the the Christmas number one was the prize for winning the programme). The backlash against this seems to have culminated with the successful 2009 Facebook campaign to put "[[Music/RageAgainstTheMachine Killing In the Name]]" at the top of the Christmas singles chart. Generally, the ire isn't ''really'' directed at [[ScapegoatCreator the singer themselves]] - evidenced by the success of Leona Lewis and the praise for [=JLS=] attempting to be original with their material - but at the system which got them into the position (and [[MeanBrit Simon Cowell]]).

After floating around in the outer reaches of the record industry for decades, the success of African-American musical genres like jazz, blues, soul and funk in the 1960s finally brought it to the forefront by the beginning of the 1970s. However, many objected to the glitzy, [[FlamboyantGay camped-out]] commercialism, claiming it "sucked all of the soul" out of the music. Disco came under a backlash from two sides - white rock fans despised the genre due to its [[WolverinePublicity ubiquity]] and perceived threat to RockAndRoll's dominance, while black {{Funk}} fans trashed the genre as soulless, vapid and stupid, angry over how it pushed their heroes (Music/JamesBrown, Music/GeorgeClinton et al.) and hard-edged funk out of the charts. When the hammer fell on the genre, it fell ''hard'', and [[CondemnedByHistory practically no one will now admit]] to having come within a billion miles of it at its height. "X was into disco in the 70s" jokes are practically a staple of the SitCom genre. It tried to resurrect itself in disguise as 80s High-Energy, but could not reclaim its once-lofty position. Notably, although it can't retake the position it once held, time has helped to soften the once incredibly harsh attitudes towards the genre; especially with a growing set of generations that have since come up without all the vitriol aimed at it. This has allowed certain elements of Disco music to come back with a modern flair in a better fashion than its' prior 80's resurrection attempt.

After floating around in the outer reaches of the record industry for decades, the success of African-American musical genres like jazz, blues, soul and funk in the 1960s finally brought it to the forefront by the beginning of the 1970s. However, many objected to the glitzy, [[FlamboyantGay camped-out]] commercialism, claiming it "sucked all of the soul" out of the music. Disco came under a backlash from two sides - white rock fans despised the genre due to its [[WolverinePublicity ubiquity]] and perceived threat to RockAndRoll's dominance, while black {{Funk}} fans trashed the genre as soulless, vapid and stupid, angry over how it pushed their heroes (Music/JamesBrown, Music/GeorgeClinton et al.) and hard-edged funk out of the charts. When the hammer fell on the genre, it fell ''hard'', and [[DeaderThanDisco practically no one will now admit]] to having come within a billion miles of it at its height. "X was into disco in the 70s" jokes are practically a staple of the SitCom genre. It tried to resurrect itself in disguise as 80s High-Energy, but could not reclaim its once-lofty position. Notably, although it can't retake the position it once held, time has helped to soften the once incredibly harsh attitudes towards the genre; especially with a growing set of generations that have since come up without all the vitriol aimed at it. This has allowed certain elements of Disco music to come back with a modern flair in a better fashion than its' prior 80's resurrection attempt.

As in Mainstream Radio above, these bands are often accused of being repetitive and banal -- if not outright bashed, there's a good chance that they'll be described as "middle-of-the-road, comfort food rock". These bands tend to fall in the [[CriticProof sold millions of albums but nobody seems to actually like them]] trap. It's also unpopular among fans of the original grunge bands, who see it as a watered-down, mainstream-baiting response to an "authentic" rock movement. The genre died out in TheNewTens, with the few bands that didn't sing about SexDrugsAndRockAndRoll [[NewSoundAlbum adopting elements of other genres]] in order to keep their chart success alive. Most of the bands who refused to change their sound are invariably DeaderThanDisco.

NuMetal is an umbrella term coined in the mid-1990s to refer to music that blends heavy metal elements with other styles, typically {{Industrial}} and AlternativeMetal. NuMetal is hated by many metalheads, who stereotype it as commercial and musically simple. It's also hated by many non-metalheads, who view it as crass, misogynistic and pointlessly obnoxious - a bunch of {{Jerk Jock}}s "stealing" the clothes of the weird kids (a sentiment ironically felt within nu metal itself later on). In fact, there are many that argue NuMetal isn't even a subgenre of metal, but rather a fusion genre that happens to have noticeable elements of metal in it. Some music critics argue that it is an experimental and diverse genre, which it very well could have been if the more commercially viable elements hadn't been milked to death. The original concept lives on as AvantGardeMetal to some degree, but outside of a few acts that either abandoned the more disliked aspects of the genre or simply got too big to die, the genre of nu metal itself is still largely viewed as a punchline for jokes about late-Nineties suburban excess.

As noted above, many critics generally don't hate manufactured artists as much as one would think. Music/BritneySpears? ''Oops!... I Did It Again'', ''Britney'', ''In The Zone'', ''Circus'' and ''Blackout'' have all averaged around three stars or more in reviews. Music/TheMonkees have also been somewhat VindicatedByHistory lately. Music/JustinBieber and Music/TheJonasBrothers also don't receive, for the most part, overly negative reviews on their albums. Indifference moreso than dislike is probably the most common critical reaction. It also depends on what the "faces" themselves bring to the table. The Monkees fought for more creative control over their mmusic from the start, succeeding from the album ''Headquarters'' onward. They began writing their own songs and Michael Nesmith has been recognized in particular as a talented songwriter and music video auteur. Britney Spears, on the other hand, is largely a figurehead for writers and producers and is nicknamed "One-take Jake" for her minimal studio time recording vocals (which are heavily processed).

As noted above, many critics generally don't hate manufactured artists as much as one would think. Music/BritneySpears? ''Oops!... I Did It Again'', ''Britney'', ''In The Zone'', ''Circus'' and ''Blackout'' have all averaged around three stars or more in reviews. Music/TheMonkees have also been somewhat VindicatedByHistory lately. Music/JustinBieber and Music/TheJonasBrothers also don't receive, for the most part, overly negative reviews on their albums. Indifference moreso than dislike is probably the most common critical reaction. It also depends on what the "faces" themselves bring to the table. The Monkees eventually took more creative control over their music from the album ''Headquarters'' onward. They began writing their own songs and Michael Nesmith has been recognized in particular as a talented songwriter and music video auteur. Britney Spears, on the other hand, is largely a figurehead for writers and producers and is nicknamed "One-take Jake" for her minimal studio time recording vocals (which are heavily processed).

An interesting subsect of this would be vaporwave - no relation to VaporWare - a music which sounds like stereotypical "Easy Listening" music. It became subject to MemeticMutation for a few months in 2014, but fell out as the meme became [[DiscreditedMeme discredited]]. It still has some fans, but for the most part, died as fast as it came.