Dead Horse Music Genre: Difference between revisions

Note that the list doesn't include very old nearly-forgotten genres like motet.

There ain't no respect for 1970s bands who made songs specifically for arena spectacles, like [[Foreigner (band)|Foreigner]] and [[REO Speedwagon]]. Critics regard them as pompous, fake, and not real music because their songs aren't really played -- they're performed. Especially to fans of [[Three Chords and the Truth]], this is unacceptable. And since arena rockers usually wrote straightforward lyrics, those who feel that [[True Art Is Angsty]] have nothing.

* [[Rush]], mainly due to their massive success, as well as the presence of hits like "Tom Sawyer" and "Limelight". They also are usually categorized as progressive rock, are heavier than most of their peers, and the members are heavily acclaimed for their instrumental skills.

A sub-type of heavy metal from the 1980s, bands like Poison, [[Bon Jovi]], and [[Motley Crue]] inspire a lot of hate, even from people who love other kinds of heavy metal. Amateur critics dismiss it as nothing but make-up, big hair, fancy costumes, and videos, with no room for actual music in there. (Wilson & Alroy, the first big amateur music reviewers on the web, refuse to review hair metal albums for any reason.) Among professional critics, hair metal had the misfortune of being too tied to the 1980s rock "establishment," especially MTV. 1990s [[Grunge|Grunge music]] was a rebellion against hair metal, like [[Punk]] was a rebellion against [[Progressive Rock|Prog Rock]], so when grunge became the critical darling of MTV, there was soon no place for hair metal among the pros.

* In the 80's, several major Japanese rock bands spearheaded a movement known as [[Visual Kei]], which took the theatrics of glam, took it [[Up to Eleven]], and made such theatrics as important as the music itself. Unlike hair metal, visual kei actually managed to pass the test of time as a significant aversion, especially when it began to adapt itself into the harder sounds of the 90's.

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 [[Marvin Gaye]], the master of suave Motown love ballads with soul, originally wanted to sing showtunes.

Incidentally, musical theater fans have their own Dead Horse Genres: [[Jukebox Musical|Jukebox Musicals]], European pop operas such as the output of [[Andrew Lloyd Webber]], Disney musicals, etc. The hate for those is similar to the hate others have for Manufactured Bands (see below).

Albums by the likes of [[Fleetwood Mac]] or [[Eagles]] -- which seem to consist of the same song repeated for seven tracks or more -- send a shiver down the spine of every amateur critic. After all, it's produced by [[The Man Is Sticking It to the Man|The Man]], who is the root of all evil (but not [[Root of All Evil|that one]]); and it probably got played due to payola anyway. The fact that lots of people love it is only proof that it's bad -- what do the proles know, anyway? Also currently applies to bands such as [[Nickelback]] which have the "sold 10 million albums but I don't know anyone who owns one" type of fanbase.

* [[Adele]] is also a more recent exception to this rule, mostly because she does write some if not most of her own songs, she is a fairly talented singer, and her image, while controversial in its own ways, provides its own appeal as "mainstream but not mainstream."

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 [[The Monkees]] to N'Sync and [[Britney Spears]], 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 criticising Nat King Cole or [[Frank Sinatra]] 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 Asia, there appears to be somewhat less resistance in accepting Boy Bands/Girl Bands; groups like Big Bang and the [[Hello! Project]] 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 ([[Yoko Kanno]] partnering with [[Maaya Sakamoto]] 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).

Nu-Metal is an umbrella term coined in the mid-1990s to refer to music that blends heavy metal elements with other styles, typically [[Industrial]] and [[Alternative Metal]]. Nu-metal is hated by many metalheads, who stereotype it as commercial and musically simple. In fact, there are many that argue nu-metal isn't even a subgenre of metal, although some music critics argue that it is an experimental and diverse genre.

* Two lesser-known (but still somewhat popular) bands, [[Ill Nino]] and [[Nonpoint]], are also labeled (or were labeled) by many as nu-metal bands. The latter especially, due to their vocalist's rap-like harsh vocal delivery and youthful clean vocals. Nonpoint is still going strong, however, having been a band since the mid-90s, and are ready to release their 7th studio album later this year. Critics love them, though they still consier them nu-metal, with some stating they are 'one of nu-metal's most talented acts', implying the genre still is around in some ways. [[Ill Nino]] is a bit more of a controversial example. [[New Sound Album|All of their albums have a new sound]], so it's debatable that they have moved away from the genre, but even fans agree that their first two releases qualify. Their diversity as writers, as well as their Latin influences have somehow allowed them to get away with the nu-metal label, as the band is very well-received critically and has a rather passionate fanbase in the metal community. Also, while [[Sevendust]] is more of an [[Alternative Metal]] band, they are still classed as nu-metal by some, and nobody dares to insult them.

Many think the genre died in the late 90's (Dr. Dre himself thinks so as well). But this is somewhat contested because some 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. A more accurate explanation is that the grittier type 1 variants are dead, while a glossier [[Lighter and Softer]] version exists in it's place.

* One could make the case for [[Gangsta Rap]] being an [[Undead Horse Trope|Undead Horse Genre]].

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 [[Critical Backlash]]....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.

* Depending on who you ask, Rage Against the Machine (more alternative metal than rap, but still extreme in their political statements) might get a pass because of their technically skilled musicians.

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, [[Flamboyant Gay|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 [[Wolverine Publicity|ubiquity]] and perceived threat to [[Rock and Roll]]'s dominance, while black [[Funk]] fans trashed the genre as soulless, vapid and stupid, angry over how it pushed their heroes ([[James Brown]], [[George Clinton]] et al.) and hard-edged funk out of the charts. When the hammer fell on the genre, it fell ''hard'', and [[Deader Than Disco|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 80's High-Energy, but could not reclaim its once-lofty position.

* [[Laura White]] and [[Katy Perry]] keep disco in fashion, as does [[Eric Prydz]].

Lounge Music has always earned the loathing of critics even in heyday of the mid-1960s and early 1970s, being typified as the musical equivalent of Valium. 'Easy Listening' derivatives of Jazz especially earn the enmity of rock critics -- even those unfamiliar with jazz in general -- because it is seen as a neutered form of a real genre. Popular acts such as Barry Manilow in the 1970s and Kenny G. in the 1990s are especially reviled for being both banal and successful -- Manilow especially for admitting to doing the most soulless of music before turning to pop: commercial [[Jingle|jingles]]. New Age/Worldbeat music, like Yanni or Enigma's output, is usually lumped into this category.

* There's also Martin Denny's cult following among a certain breed of hipster that is surprisingly unironic, with ''[[Industrial]]'' fans and musicians being especially fond of his work (Boyd Rice and Genesis P-Orridge in particular). Of course, one must take into account the sheer dearth of quirky musicality and [[Nightmare Fuel]] in Denny's music to really get ''why''...

In Europe, everything and everyone that has anything to do with the [[Eurovision Song Contest]] is reviled by critics. This includes such acts as [[ABBA]].

* The German Eurovision group ''[[Dschinghis Khan]]'', however, managed to get some [[Memetic Mutation]] thanks to its song "Moskau", and especially after a Japanese guy made a [[Gratuitous English|Doitsu]] [[Mondegreen]] video of the song.

* Indie types are far less critical of Eurovision after indie dance hero Sébastien Tellier was the performer for France in 2008.

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

'''Exception''': [[Alicia Keys]] is still around but she tweaked her style though.

In the words of P!nk (whose first album was R&B) ''"Nobody wants to hear a love song that you don't mean"''. Not just the genre itself but arguably the love and romance of Contemporary R&B is dead. Replaced by songs dealing with trashy soap opera, Jerry Springer topics. With more vocal gymnastics and some vague, treacly high-pitched sound in the background. The fusion of modern R&B to hip-hop tends to dilute both these Genres. Interestingly enough Contemporary R&B pushed soul music off the charts.

Ironically the genre that pushed Contemporary R&B off the charts is also deader than a door nail.

Back in the 70's most animes had their own catchy theme songs. However during the 80's 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 [[Kamen Rider]] is a bit more unconventional with its newer openings and end theme songs than say [[Super Sentai]]. This was heavily lampshaded in ''[[Kämpfer]]'' as Kaede speaks of anime openings being normal compared to say cartoon opening

* An exception (or possibly a subversion) can be found in Kyoto Animation's works, mostly ''[[Suzumiya Haruhi]]'' and ''[[Lucky Star]]''. The songs for ''Haruhi'' are sung by [[Aya Hirano]], and although they are [[J Pop]], they still relate to the show and could easily be considered them songs in their own right. Both ''Haruhi'' and ''[[Lucky Star]]'' have dance sequences that merge perfectly with their respective songs.

A fusion of [[Metalcore]] and [[Death Metal]], deathcore has become the [[Spiritual Successor]] to [[Nu-metal]] for similar reasons. It has become hated largely due to the "scene" kids associated with the fanbase, bands' usage of [[Myspace]] to gain popularity, overall lack of technicality and excessive usage of breakdowns, and [[Bring Me the Horizon|Oli Sykes]]. Also like [[Nu-metal]], many metal fans argue that it is not a subgenre of metal and is instead more closely related to [[Hardcore Punk]]. While the genre still has fans and some popularity, it has seen a decline recently, as evidenced by many of the most popular bands changing their sound or abandoning the genre altogether.

'''Exceptions:''' The Red Chord is often given a pass, due to being the first band to play the style and for having far fewer hardcore influences and breakdowns than many of the bands that followed them. A few bands like The Faceless and Through the Eyes of the Dead are also generally well received by metal fans and critics due to their technicality and more metal approach to the genre. In addition, some bands have gained some level of approval by critics by abandoning the genre in favor of straight up [[Metalcore]] ([[Bring Me the Horizon]]) or [[Death Metal]] (Job For A Cowboy). [[Internet Backdraft|Of course, still be careful when mentioning the last two around a metalhead]].

Kenny G and all that. It's often the only jazz you'll hear on the radio unless you listen to NPR at 1:00 AM Saturday morning, or as non-offensive background music for the local forecast on The Weather Channel (which has actually issued compilations of smooth jazz in the past). It's also the one form of jazz critics feel free to trash. It probably doesn't help that most porn now uses smooth Jazz for the "action" scenes.

'''Exceptions:''' [http://www.youtube.com/watch?v=AaEmCFiNqP0 Smooth Jazz Nyan Cat]

It's been produced for more than 20 years, but 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. There's no sense in [[Incredibly Lame Pun|{Euro}beating a dead horse]].

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 [[Critic Proof|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.

'''Exceptions''': [[Foo Fighters]] get a pass from most critics, probably because of their association with [[Nirvana]] (and because they're actually pretty good). Post-grunge bands that hew closer to [[Alternative Metal]], such as Stone Sour, Breaking Benjamin and Flyleaf, also seem to be better received, since the additional metal edge means they don't look bland or middle of the road like the other post-grunge bands. [[Alter Bridge]], while not as well known, have also been much-beloved by critics since their second album.

Similar to the criticisms of [[Arena Rock]]: these bands offend critical sensibilities, which tend sharply toward [[Three Chords and the Truth]]. Not only do they do [[Epic Rocking|extremely long songs]], they tend to write [[Word Salad Lyrics|incomprehensible lyrics]] to go with them.

'''Exceptions''': [[Pink Floyd]] was massively [[Vindicated by History]], after being regularly trashed in [[The Seventies]].

For about a year 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 ''[[No Doubt|Tragic Kingdom]]'' and ''[[Sublime]]''. However, after it's brief time in the limgelight third wave ska basically disappeared, and many bands (including [[No Doubt]] and [[The Aquabats]]) changed their sound.

As far as the fandom went, ska punk occupied an uncomfortable position; it was simultaneously seen as geekish (many ska groups were former band geeks, and there's a curious tendency towards ska musicians being [[One of Us]]) and [[Jerk Jock|fratboyish]] (due to the party anthems many groups became known for and the inclusion of ska songs in late nineties comedy movie soundtracks). Further, third wave ska was often criticised for straying too far from the original Jamaican style (and even the British revivalists who'd been popular in the eighties), hence the derogatory "punk with horns" nickname.

'''Exceptions''':