History DeaderThanDisco / Music

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[[folder:Trope Namer - Disco]]
For a time in the late '70s, the music genre of {{disco}} was the biggest thing ever. While it had its roots in the ethnic and gay club scenes of UsefulNotes/NewYorkCity and UsefulNotes/{{Philadelphia}} in the late '60s and early '70s, it burst into the popular consciousness with the blockbuster success of ''Film/SaturdayNightFever'' and its soundtrack in 1977. Clubs like New York's Studio 54 became ''the'' places to be and be seen. Then, even before TheEighties officially started, a backlash emerged from both white ''and'' black music listeners. Whites gravitated towards various forms of rock, specifically {{punk|Rock}}, {{new wave|Music}}, [[ProgressiveRock prog rock]] (though that too was on its way out at the time), and assorted types of hard rock and [[HeavyMetal metal]] (including HairMetal, which itself became the Disco of the '80s), and rejected the genre's hip, urban image. Meanwhile, the black leaders of {{funk}} (e.g. Music/GeorgeClinton) actively led a campaign to "rescue dance music from the blahs," rejecting disco's fusion of "their" music style with mainstream pop. Additionally, working-class music listeners rapidly grew resentful of what they perceived to be a culture of elitism in the disco scene, given the large amount of money needed to afford the flashy outfits and dance lessons that were necessary to survive on the dance floor. Not helping matters was a number of factors that added bigotry into the mix: disco's popularity (and continued CultClassic status) in gay clubs, the popularity of black musicians and large presence of nonwhite disco fans, and the European origins of some successful musicians and record labels all became fodder for homophobia, xenophobia, racism, and nationalism to be thrown into the mix, leading disco to be perceived among these crowds as "pretentious, gay, and un-American". Many radio stations promised "[[Music/TheBeeGees Bee Gee]]-free weekends", and a novelty country song called [[https://www.youtube.com/watch?v=xqSBQFJRKq8 "Disco Sucks"]] became a crossover hit on the pop charts. Meanwhile, hard rock and punk rockers mocked it publicly, even if several of them admitted in Creator/VH1's ''[[ILoveTheExties I Love the '70s]]'' that they thought the soundtrack to ''Film/SaturdayNightFever'' was brilliant.\\
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It got to the point where, on July 12, 1979, the UsefulNotes/{{Chicago}} [[UsefulNotes/MLBTeams White Sox]] (whose South Side base meant that their fans were black and white in about equal measure) hosted a "[[ExactlyWhatItSaysOnTheTin Disco Demolition Night]]" promotion (see picture on main page, see Wiki/TheOtherWiki for [[http://en.wikipedia.org/wiki/Disco_Demolition_Night more information]]), the brainchild of a White Sox executive and a spurned album-oriented rock (code for progressive) DJ. Fans could bring in their disco records in exchange for less than a dollar admission; since the game was a doubleheader[[note]]Incidentally, against the UsefulNotes/{{Detroit}} Tigers, probably the closest thing the White Sox have to a rival within the American League. The Sox, of course, have a FandomRivalry with the Cubs, but until interleague play was instituted in 1997, they had only played each other in six official games--all part of the 1906 World Series.[[/note]] the plan was the records would get blown up in the middle of the field between the games, and the stands at Comiskey would be extra-full because everyone and their uncle would pay to see those stupid disco records get what they deserved. Instead, the White Sox were forced to forfeit the second game (the last time a game was forfeited in the [[UsefulNotes/{{Baseball}} American League]]) after the explosion led to a riot--fueled by another ill-considered moneymaking venture that afternoon: Comiskey Park had a discount on beer that day ([[AlcoholInducedStupidity whoops]]). It got so bad that even rock artists who were ''influenced'' by disco like Music/RodStewart and African-American Creator/{{Motown}} musicians like Music/MarvinGaye were attacked and [[https://www.youtube.com/watch?v=AyvxD1v-NXg parodied.]]\\
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Attacked on two sides and with a powerful image against it, disco was fading fast and completely dead in early 1981, and with it the fashions and styles related to or heavily associated with it (such as flared trousers). For the rest of TheEighties, admitting that you liked disco may as well have been admitting to cannibalism. While dance artists like Music/{{Madonna}} and Music/JanetJackson continued to take influence from it (not to mention the influence it had on early hip-hop), whatever remaining fandom the genre itself still had was restricted to gay clubs, which marginalized it even further. Disco would start to reemerge (or at least, come to the surface for fresh air) during TheNineties' [[PopularityPolynomial wave of nostalgia for the '70s and its backlash against all things '80s]], mainly in the form of {{sampling}} for [[https://www.youtube.com/watch?v=qiKOif0UKRM rap and]] [[https://www.youtube.com/watch?v=fSV0D_Id8Ho&feature dance songs]] (it didn't hurt that most popular dance music, particularly {{house|Music}} and its offshoots, can trace its lineage straight back to disco). Still, during this same time, ''WesternAnimation/TheSimpsons'' had a character named [[DiscoDan Disco Stu]] who was used almost purely for comic relief, showing that the genre was still far away from returning to public acceptance.\\
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Today, it seems as though the TropeNamer itself is becoming [[PopularityPolynomial a subversion of its own trope]]. Younger generations have grown up with no memory of disco or their parents' hatred of it; to them, it's simply a style of music that they will like or dislike on its own merits. The Sirius XM disco station probably introduced more than a few new fans, as seen by the surprisingly large reaction to its removal, which forced it to be {{Uncanceled}}. Similarly, the advent of the internet allowed some people to discover disco for the first time after terrestrial radio stations stopped playing it. Many of the negative connotations associated with it have died out, and many of its enemies have toned down the vitriol and forgotten about it. This can be seen on the pop charts; in 2013 alone, a number of "disco revival" songs by artists as diverse as Music/BrunoMars, Robin Thicke, and Music/DaftPunk have been Top 40 hits. [[{{Irony}} So the anti-disco backlash is itself Deader Than Disco]].\\
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Finally, the anti-disco backlash is seen by many as having had a very ugly undercurrent. Music historians who have investigated why disco became so fiercely hated agree that overexposure and elitism weren't the sole factors behind the death of disco, but that [[ValuesDissonance homophobia, sexism, and racism]] also played into it (disco having succeeded, if only for a brief time, in uniting Americans across color and sexual lines). Robert Christgau [[http://www.robertchristgau.com/xg/pnj/pj78.php called out]] the latent homophobia and racism in the "Disco Sucks" movement as early as 1979, and witnesses to Disco Demolition Night noted a startling amount of destroyed records that belonged to black artists who never actually touched disco. What's more, [[https://www.rollingstone.com/music/music-news/twisted-sisters-dee-snider-on-destroying-disco-why-lemmy-was-an-angel-181187/ the racism was more than open]] in some parts of the country, as Music/TwistedSister found out.[[note]]They had Music/BarryWhite hung in effigy during their concerts, and at a show in [[UsefulNotes/NewYorkState upstate New York]], the mostly white male patrons started cheering and yelling "Hang the n[=----=]r!" in approval. As a multiracial band that simply thought disco was overexposed and saw Barry White as a symbol of it, they were shocked by this reaction and quickly removed the effigy from future stage shows.[[/note]] As WebVideo/ToddInTheShadows [[https://youtu.be/pvzgn9XSjgI?t=4m47s pointed out]], hatred of disco often spilled into a more general backlash by white listeners against ''all'' African-American music (seemingly forgetting that rock is originally black music), effectively raising a wall between the "white" and "black" music worlds that wouldn't be crossed until the mid-'80s, when black artists like Music/MichaelJackson and Music/{{Prince}} and white artists like Music/TalkingHeads and Music/PeterGabriel became superstars with artistically strong music that was easily accessible to both white and black audiences; top tens in the early '80s were topped by strictly white-oriented talent such as Eddie Rabbitt and Sheena Easton. While overexposure (which WebVideo/ToddInTheShadows [[https://youtu.be/OxvaIo-6bhk?t=279 also mentioned]]) and concerns of elitism are generally seen as having been more valid reasons for the backlash, the bigotry that intertwined with much of it cause many retrospective analysts to call the nature and extent of the "Disco Sucks" movement into considerable question, with most nowadays feeling that the bigoted aspects ultimately co-opted and overshadowed the whole affair, turning it into a display of far-right strongarming that coincided with the Conservative Revolution of the late '70s, culminating in the election of UsefulNotes/RonaldReagan in 1980. The culturally conservative climate combined with the AIDS crisis made the practice of cruising clubs for casual sex seem dangerous. \\
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Of course, the above only describes the United States. If you ask a Brit or a European about any anti-disco backlash, you will likely get a series of puzzled looks. Across UsefulNotes/ThePond, [[PostSomethingism post-disco]] [[GermansLoveDavidHasselhoff stayed popular well into the '80s]], heavily influencing [[NewWaveMusic New Wave]] (which eventually leaked back over to the US), SynthPop, ItaloDisco, and other styles of popular music. In Eastern Europe and in Russia, it lingered well into the early 1990s, and disco is still very much alive in Poland (as ''disco polo'', which became something of an AscendedMeme when used in a presidential election). For much of TheEighties, the global pop charts were dominated by derivatives of disco, post-disco, and {{punk|Rock}}. Artists like Amanda Wilson and Music/LauraWhite now carry its torch proudly into the present day.\\
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And this isn't even taking into account disco's influence on underground music, especially PostPunk bands like Music/PublicImageLtd and ex-No Wavers like Material, Contortions, and Liquid Liquid. All operated under the basic premise of [[NeoclassicalPunkZydecoRockabilly "take a disco beat and pile weird stuff on top of it"]], often to great and innovative effect. [=PiL=] even had a hit with [[ExactlyWhatItSaysOnTheTin a song called "Death Disco"]]... although [[Music/TheSexPistols who was]] [[Music/JohnLydon singing]] probably had some effect. In the U.S., Music/TalkingHeads were heavily influenced by disco while racking up hits and critical acclaim. There was also the {{Industrial}} fascination with Eurodisco, [[YouDontWantToKnow but that's another matter entirely]]. This marriage of punk and disco later evolved into the AlternativeDance and Madchester genres of the late 1980s and early 1990s, which saw the success of groups like Music/NewOrder, Music/TheStoneRoses, Music/HappyMondays, and Music/DepecheMode. Then, the overtly disco-influenced dance-punk genre of the early 2000s led to the rise of acclaimed indie band Music/LCDSoundsystem. The disco revival scene hit a peak in 2013, when Music/DaftPunk's single, "Get Lucky" (sung by Music/PharrellWilliams, who himself released the hit dance song "Happy"), became one of the biggest hits of 2013, proving that the influence of disco was ''not'' dead.
[[/folder]]

[[folder:Classical]]
[[AC: Subgenres & Trends]]
* The castrati were mainstays in 18th-century opera in areas where women were prohibited from singing, until [[Music/WolfgangAmadeusMozart Mozart]], who himself had several roles for them, came along. They very rapidly fell into disuse in the 19th century as composers wrote more male roles with high voices for women and tenors. Since most of them came from poor families in Italy, where [[CripplingCastration the process of making one a castrato]] became illegal in 1861, the "elephant songbirds," as described during the premiere of ''Adelaide di Borgogna'', an opera by Music/GioachinoRossini that had a more common ''travesti'' role, became "dodos" when the last castrato, Alessandro Moreschi, died in 1922. [[note]]Incidentally, Moreschi is the only castrato to have his singing recorded. The quality of those recordings is the subject of much debate: some think he was a mediocre singer, others think he was a great singer but past his prime (he was in his mid-40s when he recorded), still others think he was still great and that changing musical tastes since his time has colored the critical opinion on his talents.[[/note]]
[[/folder]]

[[folder:Country]]
[[AC: Subgenres & Trends]]
* The "Class of '89" ushered in a new generation of country music, when acts such as Music/AlanJackson, Music/GarthBrooks, and Music/ClintBlack brought a new sound that blended traditional sounds with a slicker, more commercial approach that freshened up the genre without fully abandoning country values and sounds. While the "Class of '89" acts are not themselves examples of ending up Deader Than Disco, they did create two examples of this trope by association.
** Many of the "Class of '89" acts were younger men in cowboy hats and pressed suits, which caused many new artists in TheNineties to [[FollowTheLeader adopt a similar image]]. While some were reasonably well-received in their day, most were [[ItsTheSameNowItSucks derided as copycats of the A-listers]], and "hat act" came to be a derogatory term. The craze died off in the late '90s as country shifted back to a greater pop influence. Pretty much the only former "hat acts" who survived unscathed were Music/KennyChesney and Music/TimMcGraw, both of whom [[GrowingTheBeard grew the beard]] into more distinctive and substantial artists, thus keeping their careers alive well into TheNewTens. Rhett Akins also escaped the "hat act" era by reinventing himself as a popular songwriter in the 2010s, in addition to fostering the career of his far more successful son, Music/ThomasRhett.
** The entire city of [[http://en.wikipedia.org/wiki/Branson,_Missouri Branson, Missouri]], owes its existence to this trope when the aforementioned newer artists began taking over at the turn of TheNineties. Almost figuratively overnight, singers like Charley Pride and Barbara Mandrell went from having No. 1 hits to not even making the charts. Branson was the only place they could get anyone to pay to see their shows. So they all just moved there and opened up theaters. Even 1960s rock artists like Music/PaulRevereAndTheRaiders took to Branson when the hits dried up and, in many cases, the original members left the fold. As ''WesternAnimation/TheSimpsons'' put it...
--->'''Nelson''': What ''is'' this place?\\
'''Bart''': Branson, Missouri. My dad says it's like Vegas if it were run by Ned Flanders.
* The sub-genre known as "bro-country" has come to be this. In late 2012, duo Music/FloridaGeorgiaLine had a smash crossover with their debut single "Cruise", which would codify the subgenre with a mix of hip-hop beats, hair-metal guitar work, and AutoTune, combined with lyrics about hot women, trucks, beer, and partying. Many other artists -- including not only established acts like Music/LukeBryan, Music/JasonAldean, Music/BlakeShelton, and Music/JakeOwen, but also up-and-comers like Music/SamHunt, Music/ColeSwindell, Music/ThomasRhett, and "Cruise" co-writer Chase Rice -- followed suit. While most of the songs were hugely successful, bro-country was quickly subject to derision for being StrictlyFormula, as lampshaded in [[https://www.youtube.com/watch?v=FY8SwIvxj8o a viral video mashup which played six bro-country songs on top of each other]] to show that they all sounded pretty much the same. One of the first real blows from within country music itself came in late 2014 when female duo Music/MaddieAndTae had a dark-horse #1 hit with "Girl in a Country Song", a DeconstructiveParody sung by women that hated being objectified by bro-country. A few months later in 2015, radio consultant Keith Hill came under fire for saying that radio stations should play fewer female artists than male artists. This led to a massive outcry about sexism and misogyny in country music (although the change was not immediate; not long after this, for the first time in country music history, ''no women'' were in the Top 20 of the ''Billboard'' Country Airplay chart). Also not helping matters was the changing politics of country music and its fans —- the genre was rapidly gaining popularity with pockets of America generally less enthusiastic about country music, who were more likely to push back against bro-country and the themes that had once made it so popular. By the end of TheNewTens, most of the mainstream artists who codified bro-country had almost entirely distanced themselves from its tropes; many other male artists have displayed varying degrees of traditionalism and/or more romantic themes that resonate better with female listeners; and multiple new women have risen to prominence. In short, "bro-country" is very much dead, and an OldShame for the country music genre as a whole.

[[AC:Artists]]
* Music/TobyKeith was a big name in CountryMusic for many years. His 1993 debut single "Should've Been a Cowboy" was a chart-topping smash, his first three albums all went platinum, and thirteen of his first fifteen singles made the Top 10 on the country charts. He hit a bump in the road with some label disputes that caused him to leave Creator/MercuryRecords for Creator/DreamWorksRecords at the end of the decade, but his second [=DreamWorks=] single "How Do You Like Me Now?!" became a SleeperHit, topping the country charts for five weeks and becoming his first top-40 pop hit. Keith created five albums for [=DreamWorks=] between 1999 and 2005, with all five producing multi-platinum sales. The increase in hits was not without controversy. Some fans derided Keith for including macho posturing in his material, and his [[UsefulNotes/TheWarOnTerror post-9/11 release]] "Courtesy of the Red, White, and Blue (The Angry American)" was seen as too over-the-top in its PatrioticFervor (a sentiment echoed in a publicized feud with [[Music/TheChicks Natalie Maines]]). Despite the pushback, Keith remained a major draw and seamlessly moved to his own Show Dog label after [=DreamWorks=] Records closed in 2005. It was at this point that he bolstered his fortunes with the restaurant chain Toby Keith's I Love This Bar & Grill, his own line of mezcal, and the aforementioned record label. His momentum began to slow in the Show Dog era due to a myriad of weak novelty songs, and a decision to always release one album per year -- meaning he often had to pull singles that were doing well on radio just to rush out the lead single to the next album. He seemed to bounce back in 2011 with "Red Solo Cup", which became a viral crossover due to its unusual style and quirky, cameo-filled music video. However, any momentum brought by that single was killed by his 2015 album ''35 MPH Town'' being his first not to have a top-20 hit at all, and its follow-up never materializing due to its intended lead single coming nowhere close to the country top 40. His restaurant chain also sank due to a myriad of construction and leasing issues; Show Dog Records (by then renamed Show Dog-Universal) had shed nearly its entire roster of artists due to poor promotion, poor single choices, and [[DevelopmentHell constant delays or outright cancellations]] in album releases. While Keith released more albums and singles after ''35 MPH Town'', all of them similarly failed to gain any traction on the country charts. Keith is now seen as a punchline for the use of cartoonishly-overblown jingoism, over-reliance on TestosteronePoisoning, and [[TheAlcoholic excessive use of booze]] in country music.

[[AC:Groups]]
* Music/{{Sugarland}} went from being one of the hottest acts in country music to falling completely off the radar. Founding members Jennifer Nettles, Kristian Bush, and Kristen Hall saw their debut album ''Twice the Speed of Life'' produce three Top 10 hits and double-platinum sales, and Nettles sang duet vocals on Music/BonJovi's "Who Says You Can't Go Home", a surprise hit on country radio in summer 2006. Not even losing Hall after the first album seemed to slow them down, as their second album sold even better, and accounted for their first #1 hits along with two Grammys for their SignatureSong "Stay". ''Love on the Inside'' fared similarly well, giving Sugarland three more #1 hits and becoming their first album to reach #1 on Top Country Albums. Sugarland was also sweeping the duo categories at various country music awards shows, and seemed poised to replace Music/BrooksAndDunn as the genre's biggest duo. Then came their fourth album, ''The Incredible Machine'', in 2010. While lead single "Stuck Like Glue" was their highest-selling single, the album itself was met with mixed reception for its increasing acoustic-pop and arena-rock influences, LighterAndSofter lyrics, and jarring {{steampunk}} influence. The final nail in the coffin, however, wasn't anything related to the band's music, but bad weather. Just before their performance at the Indiana State Fair in August 2011, a stage collapsed in high winds, killing seven people and injuring 58 more. Sugarland was held as TheScapegoat for the accident and found themselves at the head of several lawsuits, ultimately resulting in the duo paying a large chunk of settlements. After cutting a song for the ''Film/ActOfValor'' soundtrack, they went on hiatus (which they were planning to do anyway since Jennifer was pregnant at the time). Both Jennifer and Kristian recorded solo albums, and while Nettles' first solo outing was a HitlessHitAlbum, neither member found any radio success. Their 2018 reunion album ''Bigger'', despite fairly positive critical reception, sold a dismal 50,000 copies and saw both of its singles flop on the charts. In addition, nearly every bit of media coverage about the reunion [[OvershadowedByControversy felt it necessary to place prominence on the Indiana State Fair incident]]. Sugarland's legacy anymore seems to be that of an act that started out strongly, only to grow too [[GenreRoulette experimental]] and too reliant on style over substance -- or worse, as the band who saw their careers "blown away" by an unfortunate accident that they had nothing to do with.

[[AC:Songs]]
* Darryl Worley's "Have You Forgotten?" was a huge country hit in 2003, reaching the top of the ''Billboard'' country charts in only five weeks (tying an at-the-time record for fastest ascent to the top) and staying there for seven weeks, in addition to peaking at #22 on the Hot 100. The song was intended to bridge the gap between 9/11 and the Iraq War, with [[PatrioticFervor politically charged]] lines like "Have you forgotten how it felt that day / To see your homeland under fire and her people blown away?" and "You say we shouldn't worry 'bout [[UsefulNotes/OsamaBinLaden Bin Laden]]". While the historically conservative country fanbase took very well to the song for its patriotic themes, many people who weren't country fans derided it as an aimless tune full of straw-man arguments. Between its {{narm}} factor and the [[UnintentionalPeriodPiece lyrics that could only have come from one very specific time period]] -- it's hard to "worry 'bout Bin Laden" anymore now that he's dead, and the US pulled out of Iraq at the start of UsefulNotes/TheNewTens -- this song isn't played at all anymore, not even around patriotic holidays like Memorial Day or Independence Day.
[[/folder]]

[[folder:Hip-Hop]]
[[AC:Genres]]
* NewJackSwing suffered from a ton of backlash by the mid-'90s, with some critics calling the scene watered-down, cookie-cutter R&B/hip-hop and slowly driving them out. However, you could make the argument that oversaturation might have been the real culprit, as all the new jack swing songs started to sound the same. New jack swing was arguably at its climax in 1991 until Music/{{Jodeci}} came out and created a new R&B sound, which was later dubbed Hip Hop Soul (by the time that Music/MaryJBlige's debut album was released).
* AutoTune — specifically, the vocal distortion that was popularized by Music/TPain in the late '00s — has fallen victim to this. When Music/TPain used autotune to make his singing voice sound more "robotic", it launched [[FollowTheLeader a trend of countless rappers and singers doing the same thing]], such as Music/KanyeWest, Music/LilWayne, Akon, Music/FloRida, Music/{{Kesha}}, and 3OH!3. Songs featuring the technique were inescapable from 2007-10 and filled up parties everywhere. However, it was also subject to frequent mockery, and eventually, the backlash became too much to bear. Most artists who used it began to move away from the technique, and those who continued using it found diminished sales and show attendances. T-Pain, the one who popularized it, would hit this status himself. It's now viewed as a punchline for late '00s hip-hop and one of the most regrettable trends as of late. In contrast to other trends that had fallen out of the public, autotune is still in use primarily from trap artists like Future, Travis Scott, Lil Uzi Vert, and Bad Bunny, who all use the program in the majority of their songs and all of them having long term success throughout the 2010s because of it.
* {{Crunk}} music is firmly dead in the water today. Created by the Music/ThreeSixMafia in the '90s, and then [[GenrePopularizer popularized by]] Music/LilJon and the Eastside Boyz in 2003 with their huge hit "Get Low", it was absolutely massive in the mid-2000s. It was this genre that put SouthernRap on the map, making the city of UsefulNotes/{{Atlanta}} ''the'' capital of HipHop (an effect that's still being felt today). Crunk filled clubs and house parties all across the nation, basically being to rap in the '00s as to what PostGrunge was to rock music in that same decade. And not unlike post-grunge, crunk quickly gained a large number of detractors both in the hip-hop community and out, with its [[MisogynySong misogynistic objectifying of women]], [[OdeToIntoxication glorification of drugs]], and screaming lyrics about immature subject matter (primarily about being drunk/stoned, and [[IntercourseWithYou having sex with prostitutes/strippers]] InDaClub, [[BreadEggsBreadedEggs or both]]) that took ClusterFBomb and NWordPrivileges to the extreme (which, being a subgenre of HipHop, is really saying something). Today, virtually all crunk artists are completely forgotten, with the possible exception of Three 6 Mafia and Lil Jon (with the former due to Juicy J and their cult following in the hip hop community and the latter mainly because of his viral hit "Turn Down for What", in collaboration with DJ Snake). The basic idea of crunk ("danceable hip-hop music") lives on in the form of TrapMusic, but the genre itself is unlikely to come back anytime soon, as it's among [[TheScrappy the most hated genres]] of hip-hop and modern music in general.
* An offshoot of crunk, {{Crunkcore}}, is also firmly Deader Than Disco, maybe even more than its parent genre itself. It developed in the late 2000s as [[NeoclassicalPunkZydecoRockabilly a fusion between]] crunk and the vocal styles of screamo; many crunkcore bands, however, did not scream and often just combined the crunk atmosphere with scene fashion and pop melodies. Bands like Music/{{Millionaires}}, Music/BrokeNCYDE, 3OH!3, Family Force 5 (notably combining crunkcore with [[ChristianRock modern Christian themes]]), Breathe Carolina, I Set My Friends on Fire, and Music/BloodOnTheDanceFloor helped popularize the genre. They also gained a ''massive'' backlash for not only carrying the same misogynistic IntercourseWithYou themes as regular crunk, but for their ''even more'' annoying vocal and image style, and the ''many'' sexual assault allegations against Dahvie Vanity of Blood on the Dance Floor helped give it a reputation for being a genre that had a problem with predatory pedophiles and child rapists. Crunkcore died with scene in the early 2010s, and while many of these bands continue to exist, they [[GenreShift changed their sound]] to abandon crunkcore completely.
* Another offshoot of crunk, snap, is also stone dead. Spawned in UsefulNotes/{{Atlanta}} sometime in the mid-'00s, its origins aren't entirely clear, though most will point to J-Kwon, Dem Franchize Boyz, and [=D4L=] as the creators of the genre. What is known is that it quickly became ''monstrously'' popular. A LighterAndSofter variant of crunk that downplayed the aggression in favor of a more danceable sound, snap ruled the charts from 2005 to around 2008 thanks to hits like [=D4L=]'s "Laffy Taffy", Dem Franchize Boyz' "Lean wit It, Rock wit It", David Banner's "Play", and the Ying Yang Twins' "Wait (The Whisper Song)", which were downright ubiquitous and sold absolutely incredible amounts via online and ringtone sales.\\
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Its downfall came almost as swiftly as its rise for three reasons. The first was the rise of smartphones, which allowed people to store a library of hundreds of full songs on their phones, killing off the ringtone market. The derisive term "ringtone rap" was largely referring to snap, and as the genre derived most of its popularity from cheap digital singles and ringtones, this view was not inaccurate. The second was backlash from both hip-hop fans and the mainstream as a whole, who saw snap as stupid, substance-devoid, and MoneyDearBoy personified.[[GenreKiller The third and final killing blow]] was likely the backlash against Music/SouljaBoy. By the end of 2008, snap was having its last gasp by way of V.I.C.'s "Get Silly"; following this, the genre spent 2009 rapidly dying and was essentially gone completely by 2010. Nowadays, snap is viewed as the absolute nadir of 2000s pop music and one of the worst things to ever happen to hip-hop, and there has been absolutely nothing even resembling a revival of the genre. The artists themselves are invariably remembered as {{one hit wonder}}s if they even are remembered, as it's more likely that people will just recognize the songs without knowing who recorded them.
* SwagRap, an offshoot of alternative hip-hop that originated from both Cloud Rap and the hyphy movement in the Bay Area, is also dead in the water. The exact sound of Swag Rap varies, so it's really more of a scene than a sound. Noticeable characteristics include a DIY ethic and unconventional promotional tactics (often online, but not always), many Swag groups also use (fittingly) the term "swag", short for swagger and a synonym for "cool". The genre originated from acts like Soulja Boy due to his penchant for saying swag in his songs, but it was Music/{{OFWGKTA}}, Music/LilB, and A$AP Mob who popularized it, which resulted in the genre blowing up overnight on the internet.\\
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Its downfall came around the 2010s for many reasons. One, the genre is frequently mistaken for Cloud Rap, which resulted in many rappers like Music/DannyBrown distancing themselves from the swag rap movement. Two, the term "swag" has been frequently ridiculed by mainstream listeners and the general public alike by 2012 due to its overusage online, which resulted in the term falling off the wayside by 2014. And three, its detractors have frequently accused the genre of having simplistic and highly stereotypical lyrics that heavily relied on materialism, glorification of drugs (such as weed, codeine lean, and prescription pills like Xanax), misogynistic overtones, and especially its heavy usage of the term "swag" and other internet lingo, despite certain acts like Odd Future and Lil B playing these cliches for laughs and as a critique of modern-day radio-friendly hip-hop. Any chances of the genre coming back is all but dead due to all of these acts either disbanding, changing their sound completely, and growing out of these topics over more nuance subject matter, combined with many offshoots of Cloud Rap such as [=SoundCloud=] Rap, Emo Rap, and most infamously, Mumble Rap catching the attention of many newer acts, losing what very little chance the genre have on a revival.

[[AC:Rappers/Producers]]
* In the early '90s, Music/MCHammer was one of the biggest rap stars in the world, with his 1990 album ''Please Hammer, Don't Hurt 'Em'' selling ten million records -- the first rap album to ever accomplish that feat -- and his song "U Can't Touch This" becoming a sensation. A big part of Hammer's success was that he was considered a [[TheMoralSubstitute family-friendly alternative]] to the GangstaRap of the day since he made it a point to keep his music fairly clean. However, as [[https://www.youtube.com/watch?v=D6_BkVXGXdU discussed]] by WebVideo/TheRapCritic, there soon came three factors that derailed Hammer's success. First, the gangsta rap boom caused MC Hammer to switch his sound in order to stay relevant, taking on a more hardcore DarkerAndEdgier persona more in line with the gangsta rappers of the day. This not only [[ContractualPurity ruined the clean-and-wholesome image]] that Hammer had cultivated, but hip-hop fans [[PrettyFlyForAWhiteGuy didn't buy this street-wise hustler act for an instant]]. Second, [[WolverinePublicity Hammer was massively overexposed]]. Rivals like Music/LLCoolJ were dissing Hammer for what they saw as over-the-top commercialization, which included his SaturdayMorningCartoon ''WesternAnimation/{{Hammerman}}''. Finally, he single-handedly redefined the phrase "ConspicuousConsumption" for [[TheNineties Generation X]]. He bought massive mansions, multiple cars, thoroughbred racehorses, gold chains for his dogs, and kept an entourage that ballooned to nearly two hundred people. He had to file for bankruptcy in 1996 as a result of this overspending, and he remains a symbol of living beyond one's means. By 1997, MC Hammer had all but vanished from mainstream attention, known only as a washed-up punchline with "U Can't Touch This" as a OneHitWonder.
* Music/SouljaBoy came out of nowhere in 2007 with "Crank That (Soulja Boy)", a viral dance tune that became the first rap song to become a hit through the power of the internet. The dance spread across pop culture like wildfire, topping the Hot 100 for seven weeks. A year later, he released "Kiss Me Thru the Phone", which sold over five million in the U.S. alone. However, his popularity would collapse rapidly by 2010 for a few reasons. His primary audience was kids and teens, who eventually matured and grew out of him. He infamously dissed the well-regarded Music/LupeFiasco in a 2010 interview, prompting Lupe to release a diss track in response. Nowadays, despite his five Top 40 hits, he's remembered as a OneHitWonder for "Crank That", which is only brought up as a symbol of how bad rap music got in the '00s. An attempt at releasing a "[=SouljaGame=]" line of video game consoles in 2018 backfired badly when they turned out to be [[ShoddyKnockoffProduct rebranded poor-quality emulator devices]] loaded with pirated games and sold at a markup, leading to a legal threat from Creator/{{Nintendo}} that forced him to quickly pull the machines from sale.
* Of all the acts that fell off at the turn of the '10s, few fell harder than Music/TPain. Despite getting panned by critics for largely abandoning rapping in favor of Auto-Tune-assisted singing, his debut album produced two Top 10 hits and became a staple of clubs and parties around the world. He continued to build on that success with his 2007 album ''Epiphany'', which produced his first #1 hit and became his first chart-topping album. However, backlash against T-Pain's overexposure, use of Auto-Tune, and less-than-positive lyrics built up over time, and after 2008 each successive album release produced fewer sales and hit singles. As he was the GenrePopularizer of his particular brand of auto-tuned music, he had a hard time escaping from the niche he carved for himself once it fell from popularity. While T-Pain is still recording and performing today, it seems unlikely he will ever recapture the glory of his early career.
* Music/VanillaIce burst onto the hip-hop scene in 1990 with his debut single "Ice Ice Baby", which topped the Hot 100, and his debut album ''To the Extreme'' spent seventeen weeks on top of the ''Billboard 200'', going on to sell over seven million copies in the United States. Unfortunately, Ice was being accused of plagiarism, [[SuspiciouslySpecificDenial which he awkwardly denied]]. The bassline for "Ice Ice Baby" was stolen from Music/{{Queen}} and Music/DavidBowie's "Under Pressure", while another single named "Funky Music" did not properly credit Wild Cherry's lead singer Rob Parissi as a songwriter. His motion picture debut, ''Film/CoolAsIce'', [[BoxOfficeBomb didn't make the Top 10 on its debut weekend]], got terrible reviews and earned Ice a [[UsefulNotes/GoldenRaspberryAward Razzie]] for Worst New Star. His second album, 1994's ''Mind Blowin''' was a gigantic commercial flop. When he released his third album, the RapRock effort ''Hard to Swallow'' in 1998, [[http://www.mtv.com/news/1435113/vanilla-ice-explains-his-skate-rock-comeback/ the executives at Republic Records]] ''seriously'' compared it Creator/JohnTravolta's CareerResurrection in ''Film/PulpFiction''. It was also a huge dud. He soon fell into drug addiction and at one point was nearly DrivenToSuicide, forcing him to (understandably) put his recording career on hold. While he's made a full recovery and has made a small fortune [[http://www.cracked.com/article_20317_the-7-most-wtf-post-fame-careers-famous-musicians.html flipping houses]] on The [=DIY=] Network, most people in America see Vanilla Ice as ''the'' [[PrettyFlyForAWhiteGuy punchline]] about white rappers.
* After the death of Music/TupacShakur in 1996, Ja Rule tried to capitalize on Tupac's image and persona. Starting in 1999 with his single "Holla Holla", Ja Rule released several chart-topping songs through the 2000s, which got him four Grammy Nominations along with six top-ten albums. But his hardcore gangsta image had a lot of holes in it, since he sang in most of his songs and released several romantic duets (described by WebVideo/TheRapCritic as "thugs need love too" songs). Of course, what really sealed Ja Rule's fate was [[BullyingADragon starting a feud with]] Music/{{Eminem}}, by [[WouldHurtAChild insulting his daughter Hailie]] in the song "Loose Change". Eminem, well-known in rap circles for being [[PapaWolf fiercely protective of his daughter]], was so pissed off at the line that he teamed up with D12 and Obie Trice to write a response track called "Hailie's Revenge", where they tore into Ja Rule for ripping off Tupac and not being a real gangster. Ultimately, Ja Rule joined the dustbin of flash-in-the-pan 2000s rappers, and the most that's been heard of him since then is his involvement in the [[Horrible/MusicFestivals Fyre Festival]] fiasco.
[[/folder]]

[[folder:Pop]]
[[AC: Genres & Industry Trends]]
* {{Charity Motivation Song}}s. The first few multi-artist singles were done in response to the famine in Ethiopia in TheEighties, and they were seen as revolutionary in bringing many artists together to promote a worthy cause. Band Aid's "Do They Know It's Christmas" and USA For Africa's "Music/WeAreTheWorld", both aimed at supporting those affected by the famine, [[FollowTheLeader are credited for kicking off the trend]], and other multi-artist singles after that also made international charts. As time went on, ValuesDissonance kicked in; multi-artist charity songs are now largely viewed as {{Glurge}} and (as [[http://www.avclub.com/article/we-care-a-lot-14-overblown-charityadvocacy-songs-b-2217 this AV Club article]] notes) mostly concerned about promoting the artists themselves instead of the cause behind the song. While the UK has continued to pump out multi-artist charity singles (many of which went to #1 in that country), the last American one of note was the 2010 "We Are The World" remake benefiting those affected by the Haitian earthquake. Even so, despite [[CriticProof peaking at #2 on the charts]], the song was [[FirstInstallmentWins considered inferior to the original version]], despite the vocals of Music/MichaelJackson from the original as a tribute to him. Nowadays, even original charity singles have been derided as egotistical glurgefests made by bands and artists looking for a quick bit of good publicity rather than people trying to promote a worthy cause.

[[AC:Male solo artists]]
* During TheFifties, Pat Boone was one of the biggest pop performers in America. He explicitly served as TheMoralSubstitute to the edgy RockAndRoll artists of the day by singing {{Bowdlerise}}d covers of their songs, with a number of them (such as his versions of Music/LittleRichard's "Tutti Frutti" and Music/FatsDomino's "Ain't That a Shame") actually [[CoveredUp making it higher on the charts]] than the originals. Nowadays, though, the original songs serve as the FirstAndForemost versions, while his covers have faded into obscurity. When he is remembered, it's usually as a symbol of the buttoned-up cultural conservatism of '50s pop culture; the fact that he's since found steady work as a right-wing Christian commentator hasn't done much to challenge that image. He has a cult following among metalheads for his album ''In a Metal Mood: No More Mr. Nice Guy'', which featured covers of classic metal songs in his big-band style. (Music/RonnieJamesDio even sang backing vocals on Boone's cover of "Holy Diver"!) Even then, though, it's chiefly an ironic fandom, akin to that of Creator/ChuckNorris.
* The animated character Music/CrazyFrog, the former mascot of German music and cellphone company Jamster[[note]]known as ''Jamba'' outside of the US, but renamed there to avoid conflict with the unrelated Jamba Juice[[/note]], was everywhere in Europe early in TheNoughties. The character was a male frog-like creature with a high-pitched voice who sang various songs and sometimes making weird sounds and gibberish. He was so popular that he gained his own set of video games and a few arcade cabinets. However, by the mid [=2000s=], the character started gaining a lot of dislike from the public and resulted in Jamster having to retire the character in early 2007 and ended up getting replaced with Music/{{Schnuffel}}, the company's current mascot who has gained more positive reaction with the public. The character even made a cameo in ''WesternAnimation/TheAmazingWorldOfGumball'' [[TakeThat where it gets chased by a group of angry animals.]]
* Music/{{Liberace}}, the flamboyant piano player, was one of the most popular and highest-paid music performers of TheFifties. He was especially popular among teenage girls, who [[{{Squee}} swooned]] over him the way their big sisters used to swoon over the young Music/FrankSinatra. His popularity extended well into TheSixties, as a pleasant alternative to [[RockAndRoll rock 'n' roll]]. Most popular non-rock and non-Creator/{{Motown}} music performers of the '50s and '60s are forgotten today, but Liberace is still remembered for being a ridiculously {{camp}} figure, as well as a joke on the era's cluelessness of his ''[[TransparentCloset obvious]]'' [[TransparentCloset closet homosexuality]] ("I wish my brother George was here" was referenced on WesternAnimation/LooneyTunes). If a character refers to Liberace (''Film/SupermanII'', ''WebVideo/YuGiOhTheAbridgedSeries''), they're AmbiguouslyGay. What's more, his legacy in [[ValuesDissonance modern times]] suffers on account of the fact that he was, during his life, [[ArmouredClosetGay very adamant]] about [[HaveIMentionedIAmHeterosexualToday denying that he was gay]], giving him detractors in today's LGBT community. Being openly gay back then was tantamount to career suicide, but even after his death in 1987, his estate and personal physician went through great efforts to cover up the fact that he died from AIDS-related complications. His fall from grace appeared complete when his Las Vegas museum closed due to waning popularity in 2010 (with plans to reopen it in 2014 failing to materialize).
* Few artists of TheNewTens fell as hard and as fast as Music/RobinThicke. He broke through in 2013, riding a wave of NoSuchThingAsBadPublicity thanks to his kinda-sleazy song "Blurred Lines", and a performance with Music/MileyCyrus at the 2013 [=VMAs=]. This worked because of a carefully-constructed image of a RuleAbidingRebel - he played the part of a [[HandsomeLech lecherous womanizer]] but got a pass because he was HappilyMarried to his wife, actress Paula Patton. However, the controversy surrounding "Blurred Lines" caught up to it, with a popular Tumblr post featuring rape survivors holding up cards with their rapists' quotes on them that echoed the song's lyrics. Moreover, stories began to emerge that Thicke's sleazy creep persona wasn't all an act -- after a photo showed Thicke groping a female fan, Patton filed for divorce. Thicke's follow-up album ''Paula'' was a desperate and depressing attempt to win her back, only digging him further down, as ''Paula'' bombed with only 24,000 copies sold in the US in its first week. Things only got worse for Thicke after he lost a lawsuit filed by Music/MarvinGaye, which proved that Thicke and collaborator Pharrell Williams copied "Blurred Lines" from Gaye's "Got to Give It Up"; the two were forced to pay Gaye's descendants $7.5 million. What truly solidified Thicke's Deader Than Disco status was in 2015, where rap superstar Music/FloRida had Thicke sing in "I Don't Like It, I Love It". The song spent weeks floating at the bottom of the charts and fell short of the Top 40. Comparing that to Rida's other two singles from the ''My House'' EP, which had no problems reaching the Top 10, and it's easy to see why "I Don't Like It" failed to be a hit. Now, Thicke is seen as a quintessential OneHitWonder to most of the general public. Of course, [[CareerResurrection "never say never"]] is the mantra of the entertainment industry, but for him to recover from falling so far so fast with [[OvershadowedByControversy all the controversy surrounding him]] would take nothing short of a miracle.

[[AC:Female solo artists]]
* In 2003, Music/AshleeSimpson piggybacked off of her older sister Music/{{Jessica|Simpson}} to enjoy a meteoric rise with a PopPunk sound akin to Music/AvrilLavigne. Her first album, 2004's ''Autobiography'', went triple platinum. Then came [[https://www.youtube.com/watch?v=5RrLAgi_mBY her disastrous performance]] on ''Series/SaturdayNightLive'' in October 2004, where she was [[ThatSyncingFeeling caught lip-syncing]] when her band started playing the wrong song, followed by an embarrassing "hoe-down" when she [[OhCrap realized what was happening]]. Matters were only made worse by an equally disastrous half-time performance at the 2005 Orange Bowl, in which she ''was'' singing live -- badly. Together, the two concert debacles created the impression that Ashlee couldn't actually sing without studio help. Her following album, 2005's ''I Am Me'', sold far less than ''Autobiography'' and didn't even reach the platinum mark. She only released one more album after that, the commercial bomb ''Bittersweet World'' in 2008. She's had a bit more success as an actress, playing Violet Foster on the short-lived ''Series/MelrosePlace'' SequelSeries and Roxie Hart in Broadway and West End productions of ''Theatre/{{Chicago}}''. But when she's brought up today outside the tabloids and reality TV, it's usually in the same breath as Music/MilliVanilli as the punchline of jokes about lip-syncing.

[[AC:Songs]]
* Starland Vocal Band's sexually suggestive "Afternoon Delight" was a huge hit when it was released in 1976, topping the Hot 100 and making #12 on the Year-End List. It even received three Grammy nominations, winning one, and likely contributed to the group's Best New Artist win (unfortunately for them, [[OneHitWonder they never had another hit]]). However, people eventually turned against the song to the point where if it's brought up today, it's most likely to make fun of it for being a cheesy IntercourseWithYou song that doesn't sound sexy at all. ''WebVideo/ToddInTheShadows'' summed it up like this:
--> ''Only very rarely do you have a popular song that in retrospect pretty much everyone agrees was absolutely terrible.''
* When it was released in 2000, "The Christmas Shoes" by the ChristianRock band [=NewSong=] became a massive crossover hit with secular listeners, topping the Adult Contemporary chart in the US, reaching #42 on the ''Billboard'' Hot 100, and hitting #31 on the CountryMusic charts. Another version of the song by GirlGroup 3 of Hearts also made the country music charts a year later, and a novelization was adapted into a MadeForTVMovie. These days, it frequently shows up on lists of the worst Christmas songs of all time, mainly for its {{glurge}}-y lyrics that paint a very twisted portrait of the TrueMeaningOfChristmas (which Creator/PattonOswalt devoted [[https://www.youtube.com/watch?v=iq10bz3PxyY a stand-up routine]] to tearing apart and making fun of). Because of the song's reputation, the song gets rarely played nowadays on radio stations during the holidays, [[EveryoneHasStandards not even on Christian or Country radio]].
[[/folder]]

[[folder:Rock]]
[[AC: Genres]]
* EmoMusic, specifically the 'emo-pop' that burst into the mainstream in the early-mid 2000s. Popularized by bands such as Music/FallOutBoy and Music/MyChemicalRomance, it experienced considerable backlash in the last couple of years of the decade, to the point where artists previously considered to be at the heart of the scene were publicly mocking it. By TheNewTens, groups that had formerly embraced the style had either disbanded or modified their sound, the labels 'emo' and 'scenester' had become epithets and insults among young people, and modern metalcore/scenecore, electronicore, and certain deathcore acts took their place as emo culture gradually transformed into scene. By 2017, there was evidence of a little nostalgia for the genre though - [[https://amp.dailydot.com/upstream/emo-night-new-york-los-angeles/ "Emo Nights" were being hosted in multiple populous US cities]], wherein [=DJs=] would play "emo" songs from the early to mid-2000s and the attendees (usually those who were teenagers in the genre's heyday) would often sing along to their old favorites. Those club nights ran parallel to the rising indie popularity of "emo revival" bands like Modern Baseball, although the style of music they play hews closer to the late '90s midwest emo sound than 2000s emo-pop.
* While scene largely supplanted emo, it too has become Deader Than Disco. The roots of scene started to emerge on [=MySpace=] and Facebook roughly around 2005, and slowly grew when emo was on its last legs. Unlike emo, there was no actual scene genre, but certain {{metalcore}}, {{crunkcore}}, and deathcore artists were commonly associated with the culture, and the Warped Tour was the general epicenter of the movement. Scene rapidly ascended to the forefront of alternative youth culture, and by 2010, it had fully taken emo's place. By 2013, it was beginning to die out; the steady decline of the Warped Tour was dragging scene down with it, while the near-constant stream of sexual misconduct allegations against numerous scene musicians helped hasten its demise. By 2015, scene was dead, and its fall completely wiped out {{electronicore}} and the last vestiges of crunkcore. The modern metalcore acts that were tied to scene found themselves either breaking up or substantially retooling their sounds to stay afloat. Nowadays, scene is generally regarded as the distillation of all of the most ridiculous and trashy aspects of the late 2000s and early 2010s youth culture full of annoying music, predatory scumbags, and ceaseless petty drama. While most of the acts that successfully escaped the scene label are still doing well, the ones who didn't survive are viewed as the dregs of the Warped Tour, and scene fashion is viewed as the domain of LowerClassLout lowlives.
* PostGrunge is to the TurnOfTheMillennium what the trope namer was to TheSeventies -- the punchline of a decade. It originated when bands played music that took the [[ThreeChordsAndTheTruth most popular elements]] of {{Grunge}} music while scrubbing down the more experimental elements and doing away with the dour lyrics that were undergoing a backlash at the time due in part to Music/KurtCobain's suicide. Post-grunge quickly became the most popular mainstream rock genre in the late '90s and only continued to get bigger in the 2000s, providing an ample amount of crossover hits and the forerunners of the genre became some of the biggest bands in the world. By the late 2000s though, fatigue would set in for a variety of reasons. Firstly, post-grunge built up a reputation for being [[StrictlyFormula formulaic]], as its mainstream friendliness made it easily saturate the airwaves. Secondly, numerous acts faced a backlash for the [[SexDrugsAndRockAndRoll childishly hedonistic]] and [[MisogynySong misogynistic]] themes of their lyrical subject matter. And because post-grunge had become nearly inseparable from rock music as a whole for over a decade, many rock fans felt that once the genre succumbed to its own fatigue, it did [[TakingYouWithMe lasting damage to rock music's overall reputation]]. Today, post-grunge is held up as a cautionary tale in what happens when you take a genre as unique as grunge and turn it into a [[MoneyDearBoy mass-produced commercial product]]. Besides a small handful of acts that either incorporated elements of other genres into their sound or {{Genre Shift}}ed entirely, the post-grunge scene is now a graveyard full of bands that can't chart to save their lives or have broken up entirely. Whenever anyone uses the term [[http://www.urbandictionary.com/define.php?term=Butt%20Rock "butt rock"]] in a derisive fashion, they're most likely referring to post-grunge.
* "ShockRock", rock music whose main allure was how shocking and offensive it was to MoralGuardians (such as Music/AliceCooper, Music/BlackSabbath, and Music/{{GWAR}}), has largely died out. The main reason is due to cultural desensitization to such musical flamboyance -- mainstream pop singers like Music/LadyGaga, Music/NickiMinaj, Music/AdamLambert, Music/MileyCyrus ([[ContractualPurity post-]]''Series/HannahMontana''), and others have made shock value such a major part of their routines that it's become, well, routine to expect musicians to push the envelope. Secondly, the internet has made far more extreme bands and genres (GangstaRap, DeathMetal, {{horrorcore}}, etc.) accessible to young people wishing to rebel against their parents. Furthermore, the MoralGuardians that once railed against shock rock, and [[NoSuchThingAsBadPublicity gave it much of its allure]] in the process, are nowadays seen as ineffectual jokes. The last true shock rock band to make it big was Music/MarilynManson in the '90s,[[note]]who, ironically, wrote a song called "Rock Is Dead" that decried and castrated the Shock Rock genre[[/note]] and possibly and since then, this once-controversial style of rock music has turned into joke fodder.

[[AC:Bands]]
* Music/{{Creed}} was the biggest band in the world around the turn of the 21st century, reaching their peak with their Diamond-selling sophomore album ''Human Clay'' in 1999. However, between frontman Scott Stapp's on- and off-stage antics and their {{Signature Song}}s "With Arms Wide Open" and "Higher" being played on a seemingly infinite loop on the radio, a backlash formed from which the band would never recover. The tipping point came when the band performed in Chicago at the Allstate Arena in 2002. Stapp was so drunk that he could barely stand up, and the band got booed off after only three songs. Creed soon broke up, and [[TheBandMinusTheFace the backing band]] formed Music/AlterBridge with a different singer. (While never as successful as Creed, Alter Bridge is [[SurprisinglyImprovedSequel much more respected]].) Stapp's personal life, meanwhile, spiraled out of control, to the point that he was broke and living alone in a hotel for a period of time. Today, Creed remains one of the biggest pariahs of the music world, being [[http://www.rollingstone.com/music/pictures/readers-poll-the-ten-worst-bands-of-the-nineties-20130509/1-creed-0736783 voted as the worst band]] of the '90s by the readers of ''Magazine/RollingStone'' in 2013. Today, it is a social taboo to admit to having been a Creed fan, the general consensus being that they were a [[PoorMansSubstitute poor man's ripoff]] of Music/PearlJam with an obnoxious frontman, both [[{{Yarling}} on]] and [[{{Jerkass}} off]] the stage.
* Hinder was one of the many bands that fell to this status due to the death of PostGrunge. After they signed a deal with Universal Records in 2005 and released their single "Lips of an Angel", the band's rise was meteoric from there. The other two singles off of the album ("How Long" and "Better than Me") soon followed suit and managed to essentially take over the airwaves. This was all enough to propel the parent album to triple-platinum sales. ''Take It to the Limit'', their 2008 follow-up, debuted even higher at #4, and while its main singles "Use Me" and "Without You" weren't ''quite'' as huge as "Lips of an Angel", they still filled up rock radio. The first sign of serious trouble was when both singles from 2010's ''All American Nightmare'' barely charted. Not only did this not correct itself by 2012, but ''Welcome to the Freakshow'', their fourth major-label album, debuted at #65. Sales were so bad that their major label Republic Records unceremoniously dropped them. The final nail in the coffin was when frontman and founder Austin Winkler left the band in the middle of a tour due to his drug issues. Now signed to The End Records, they released ''When the Smoke Clears'' with a friend of the band on vocals to negative reviews; it managed to peak in the 70s on the Billboard 200 before vanishing the next week. Hinder's 2017 album, ''The Reign'', failed to chart, with "Remember Me" peaking at a lamentable #39 on rock radio. While still around, Hinder has gone from being a well-drawing act to playing in small clubs with other has-beens, and their music is viewed as emblematic of everything that was wrong with modern rock in the mid-'00s and early '10s: trashy, misogynistic, childishly hedonistic, and generally moronic.
* Music/LimpBizkit started out in 1997 after they were discovered by Music/{{Korn}}'s Jonathan Davis. Their blend of metal and hip-hop combined with {{angst}}y lyrics and use of turntables was a winning combination for teens and young adults across the world and brought NuMetal to the forefront of mainstream culture. The sales of their sophomore album ''Significant Other'', shot up to #1 and went 7x platinum in the US alone. Their fame skyrocketed even further when their following album ''Chocolate Starfish and the Hot Dog Flavored Water'' was released in 2000, which debuted at #1, and went 6x platinum in the US. However, the band's popularity rapidly collapsed in the early-mid '00s. First was when their guitarist Wes Borland left - [[EnsembleDarkhorse he was a fan-favorite and considered the most talented band member]], so his departure left a huge hole in the lineup. Their 2003 album ''Results May Vary'' was delayed multiple times, got terrible reviews when it finally came out, and barely made it past platinum. This album proved to be a GenreKiller for nu metal, which was already in decline at the time; the general feeling within nu metal circles was that they had created a monster, and had turned the genre into every single thing it was not supposed to be. After a hiatus, they reunited in 2011, when their album ''Gold Cobra'' debuted at a dismal #16 on the Billboard 200. [[https://www.youtube.com/watch?v=m7r1IctCR_A "Endless Slaughter"]], their latest single off of the [[DevelopmentHell oft-delayed]] ''Stampede of the Disco Elephants'', was met with near-unanimous derision and was widely decried as an incoherent, nonsensical mess. Once one of the turn of the Millennium's most popular rock bands, Limp Bizkit is now considered a disgrace to the genre, and even though nu metal did [[PopularityPolynomial regain some esteem in the eyes of the music industry and the public]], they're still considered a complete joke even by casual listeners. Few bands are more hated nowadays than Limp Bizkit. Yet the funny thing is, [[http://www.aux.tv/2015/03/turns-out-fred-durst-hates-limp-bizkit-fans-as-much-as-everybody-else/ lead singer Fred Durst doesn't really disagree]]. Nowadays, the only reason they're even known at all is because a [[Manga/JojosBizarreAdventureStoneOcean JoJo's Bizarre Adventure villain's Stand was named after them]], and that's really saying much when that's the only reason people know of them.
* Music/PuddleOfMudd became one of the biggest rock bands in the world after releasing their debut studio album ''Come Clean'', which yielded two massive hits and sold five million copies. Unfortunately, their follow-up, ''Life on Display,'' killed their popularity as fast as ''Come Clean'' made it. The album got trashed by critics and failed to go platinum. They had a small comeback in 2007 when the TitleTrack to their third album ''Famous'' was embraced with open arms by rock radio stations, but it was the Alfred Hitchcock-inspired "Psycho" that looked to put them back on top. But that's not what would happen when they released ''Volume 4: Songs in the Key of Love & Hate''. The album tanked massively and got the same tepid reviews as ''Life on Display''. Less than a year afterwards, all the original members of the group [[IAmTheBand except Wes Scantlin]] were gone, and it looked like their 2011 cover album would be their last release. In later years, Scantlin became a [[TheAlcoholic raging alcoholic]] and even more notorious for his obnoxious behavior on and off-stage, such as [[http://www.altpress.com/news/entry/puddle_of_mudd_frontman_loses_it_mid_set_calls_out_fan_for_stealing_his_hou accusing a fan of stealing his house]] and [[http://www.altpress.com/news/entry/puddle_of_mudd_singer_arrested_for_the_fourth_time_this_year repeated arrests]]. The final straw was a gig in England in March 2016, when Scantlin was so drunk that his bandmates just walked offstage. The band released its fifth album ''Welcome to Galvania'' in September 2019, which missed the Billboard 200 despite one Top 10 Mainstream Rock single. However, this would be relegated to a mere footnote in the band's history in April 2020 when a [[https://www.youtube.com/watch?v=aiwxiiZ01L8&feature=emb_title video]] of them covering Music/{{Nirvana}}'s "About a Girl" was discovered, which quickly went viral and became the subject of several memes due to Scantlin's strained, off-key vocal performance. Today, Puddle of Mudd is one of the most hated bands of the new millennium, with any reference to them today only being done to criticize Wes Scantlin's "whiny voice", the aforementioned video, or as another example of "X-rated post-grunge garbage." Even in the "never say never" world that is the music industry, Puddle of Mudd has fallen so hard that it would be nothing short of a '''miracle''' for them to regain any respect.

[[AC:Songs]]
* Music/DrowningPool's debut single "Bodies" was a big hit on rock radio, peaking at #6 on Active Rock and #12 on Alternative. The song proved to be hugely memetic, quickly becoming the band's SignatureSong and being featured in countless TV shows, movies, video games, sporting and pro wrestling events, and commercials. However, the song very quickly came to be overused in [=AMVs=], Notepad tutorials, and Windows Movie Maker videos, a result of it being featured as part of Website/YouTube's [=AudioSwap=] library, which also included other singles from Wind-Up Records artists. Even worse, however, was the controversy surrounding the song, with its chorus of "let the bodies hit the floor" and its connection to a number of high-profile crimes. The song was repeatedly played [[EnhancedInterrogationTechniques to torture inmates]] at Guantanamo Bay, in 2003 a teenager shot and murdered his parents while listening to "Bodies", and most infamously, in 2011 Jared Loughner had uploaded a video set to "Bodies" of him burning the American flag before going on a mass shooting in Tucson, Arizona. The song was also included in [=iHeartMedia=]'s (then Clear Channel) list of [[https://en.wikipedia.org/wiki/2001_Clear_Channel_memorandum "lyrically questionable" songs]] that was given out to their radio stations after 9/11. Originally written as a mosh-pit anthem, "Bodies" very quickly came to be viewed as a [[MurderBallad mass murder anthem]] instead, and while Drowning Pool themselves condemned the Tucson shooting, their chart success slid down the drain until their 2016 album ''Hellelujah'' completely missed the ''Billboard'' 200.
[[/folder]]
----

* Music/SouljaBoy came out of nowhere in 2007 with "Crank That (Soulja Boy)", a viral dance tune that became the first rap song to become a hit through the power of the internet. The dance spread across pop culture like wildfire, topping the Hot 100 for seven weeks. A year later, he released "Kiss Me Thru the Phone", which sold over five million in the U.S. alone. However, his popularity would collapse rapidly by 2010 for a few reasons. His primary audience was kids and teens, who eventually matured and grew out of him. He infamously dissed the well-regarded Music/LupeFiasco in a 2010 interview, prompting Lupe to release a diss track in response. Nowadays, despite his five Top 40 hits, he's remembered as a OneHitWonder for "Crank That", which is only brought up as a symbol of how bad rap music got in the '00s. An attempt at releasing a "[=SouljaGame=]" line of video game consoles in 2018 backfired badly when they turned out to be [[ShoddyKnockoffProduct rebranded emulator devices]] loaded with pirated games and sold at a markup, leading to a legal threat from Creator/{{Nintendo}} that forced him to quickly pull the machines from sale.

* Music/LimpBizkit started out in 1997 after they were discovered by Music/{{Korn}}'s Jonathan Davis. Their blend of metal and hip-hop combined with {{angst}}y lyrics and use of turntables was a winning combination for teens and young adults across the world and brought NuMetal to the forefront of mainstream culture. The sales of their sophomore album ''Significant Other'', shot up to #1 and went 7x platinum in the US alone. Their fame skyrocketed even further when their following album ''Chocolate Starfish and the Hot Dog Flavored Water'' was released in 2000, which debuted at #1, and went 6x platinum in the US. However, the band's popularity rapidly collapsed in the early-mid '00s. First was when their guitarist Wes Borland left - [[EnsembleDarkhorse he was a fan-favorite and considered the most talented band member]], so his departure left a huge hole in the lineup. Their 2003 album ''Results May Vary'' was delayed multiple times, got terrible reviews when it finally came out, and barely made it past platinum. This album proved to be a GenreKiller for nu metal, which was already in decline at the time; the general feeling within nu metal circles was that they had created a monster, and had turned the genre into every single thing it was not supposed to be. After a hiatus, they reunited in 2011, when their album ''Gold Cobra'' debuted at a dismal #16 on the Billboard 200. [[https://www.youtube.com/watch?v=m7r1IctCR_A "Endless Slaughter"]], their latest single off of the [[DevelopmentHell oft-delayed]] ''Stampede of the Disco Elephants'', was met with near-unanimous derision and was widely decried as an incoherent, nonsensical mess. Once one of the turn of the Millennium's most popular rock bands, Limp Bizkit is now considered a disgrace to the genre, and even though nu metal did [[PopularityPolynomial regain some esteem in the eyes of the music industry and the public]], they're still considered a complete joke even by casual listeners. Few bands are more hated nowadays than Limp Bizkit. Yet the funny thing is, [[http://www.aux.tv/2015/03/turns-out-fred-durst-hates-limp-bizkit-fans-as-much-as-everybody-else/ lead singer Fred Durst doesn't really disagree]]. Nowadays, the only reason they're even known at all is because a [[Manga/JojosBizarreAdventureStoneOcean JoJo's Bizarre Adventure villain was named after them]], and that's really saying much when that's the only reason people know of them.

* The sub-genre known as "bro-country" has come to be this. In late 2012, duo Music/FloridaGeorgiaLine had a smash crossover with their debut single "Cruise", which would codify the subgenre with a mix of hip-hop beats, hair-metal guitar work, and AutoTune, combined with lyrics about hot women, trucks, beer, and partying. Many other artists -- including not only established acts like Music/LukeBryan, Music/JasonAldean, Music/BlakeShelton, and Music/JakeOwen, but also up-and-comers like Music/SamHunt, Music/ColeSwindell, Music/ThomasRhett, and "Cruise" co-writer Chase Rice -- followed suit. While most of the songs were hugely successful, bro-country was quickly subject to derision for being StrictlyFormula, as lampshaded in [[https://www.youtube.com/watch?v=FY8SwIvxj8o a viral video mashup which played six bro-country songs on top of each other]] to show that they all sounded pretty much the same. One of the first real blows from within country music itself came in late 2014 when female duo Music/MaddieAndTae had a dark-horse #1 hit with "Girl in a Country Song", which was a DeconstructiveParody sung by women that hated being objectified by bro-country songs. A few months later in 2015, radio consultant Keith Hill came under fire for saying that radio stations should play fewer female artists than male artists. This led to a massive outcry about sexism and misogyny in country music (although the change was not immediate; not long after this, for the first time in country music history, ''no women'' were in the Top 20 of the ''Billboard'' Country Airplay chart). Also not helping matters was the changing politics of country music and its fans —- the genre was rapidly gaining popularity with pockets of America generally less enthusiastic about country music, who were more likely to push back against bro-country and the themes that had once made it so popular. By the end of TheNewTens, most of the mainstream artists have divorced themselves from bro-country trappings (typically by focusing on more romantic ballads), while newcomers have displayed varying degrees of traditionalism and female artists have returned to prominence. In short, "bro-country" is very much dead, and an OldShame for the country music genre as a whole.

* Music/{{Sugarland}} went from being one of the hottest acts in country music to falling completely off the radar. Founding members Jennifer Nettles, Kristian Bush, and Kristen Hall saw their debut album ''Twice the Speed of Life'' produce three Top 10 hits and double-platinum sales, and Nettles sang duet vocals on Music/BonJovi's "Who Says You Can't Go Home", a surprise hit on country radio in summer 2006. Not even losing Hall after the first album seemed to slow them down, as their second album sold even better, and accounted for their first #1 hits along with two Grammys. ''Love on the Inside'' fared almost as well, giving Sugarland three more #1 hits and becoming their first album to reach #1 on Top Country Albums. Sugarland was also sweeping the duo categories at various country music awards shows, and seemed poised to replace Music/BrooksAndDunn as the genre's biggest duo. Then came their fourth album, ''The Incredible Machine'', in 2010. While lead single "Stuck Like Glue" was their highest-selling digital single, the album itself was met with mixed reception for its increasing acoustic-pop and arena-rock influences, LighterAndSofter lyrics, and jarring {{steampunk}} influence. The final nail in the coffin, however, wasn't anything related to the band's music, but bad weather. Just before their performance at the Indiana State Fair in August 2011, a stage collapsed in high winds, killing seven people and injuring 58 more. Sugarland was held as TheScapegoat for the accident and found themselves at the head of several lawsuits, ultimately resulting in the duo paying a large chunk of settlements. After cutting a song for the ''Film/ActOfValor'' soundtrack, they went on hiatus. Both Jennifer and Kristian recorded solo albums, and while Nettles' first solo outing was a HitlessHitAlbum, neither member found any radio success. Their 2018 reunion album ''Bigger'', despite fairly positive critical reception, sold a dismal 50,000 copies and saw both of its singles flop on the charts. In addition, nearly every bit of media coverage about the reunion [[OvershadowedByControversy felt it necessary to place prominence on the Indiana State Fair incident]]. Sugarland's legacy anymore seems to be that of an act that started out strongly, only to grow too [[GenreRoulette experimental]] and too reliant on style over substance -- or worse, as the band who saw their careers "blown away" by an unfortunate accident that they had nothing to do with.

* Darryl Worley's "Have You Forgotten?" was a huge country hit in 2003, ascending to the top of the country charts in only five weeks (tying an at-the-time record for fastest ascent to the top) and staying there for seven weeks, in addition to peaking at #22 on the Hot 100. The song was intended to bridge the gap between 9/11 and the Iraq War, with [[PatrioticFervor politically charged]] lines like "Have you forgotten how it felt that day / To see your homeland under fire and her people blown away?" and "You say we shouldn't worry 'bout [[UsefulNotes/OsamaBinLaden Bin Laden]]". While the historically conservative country fanbase took very well to the song for its patriotic themes, many people who weren't country fans derided it as an aimless tune full of straw-man arguments. Between its {{narm}} factor and the [[UnintentionalPeriodPiece lyrics that could only have come from one very specific time period]] -- it's hard to "worry 'bout Bin Laden" anymore now that he's dead, and the US pulled out of Iraq at the start of UsefulNotes/TheNewTens -- this song isn't played at all anymore, not even around patriotic holidays like Memorial Day or Independence Day.

* Music/{{Sugarland}} went from being one of the hottest acts in country music to falling completely off the radar. Founding members Jennifer Nettles, Kristian Bush, and Kristen Hall saw their debut album ''Twice the Speed of Life'' produce three Top 10 hits and double-platinum sales, and Nettles sang duet vocals on Music/BonJovi's "Who Says You Can't Go Home", a surprise hit on country radio in summer 2006. Not even losing Hall after the first album seemed to slow them down, as their second album sold even better, and accounted for their first #1 hits along with two Grammys. ''Love on the Inside'' fared almost as well, giving Sugarland three more #1 hits and becoming their first album to reach #1 on Top Country Albums. Sugarland was also sweeping the duo categories at various country music awards shows, and seemed poised to replace Music/BrooksAndDun as the genre's biggest duo. Then came their fourth album, ''The Incredible Machine'', in 2010. While lead single "Stuck Like Glue" was their highest-selling digital single, the album itself was met with mixed reception for its increasing acoustic-pop and arena-rock influences, LighterAndSofter lyrics, and jarring {{steampunk}} influence. The final nail in the coffin, however, wasn't anything related to the band's music, but bad weather. Just before their performance at the Indiana State Fair in August 2011, a stage collapsed in high winds, killing seven people and injuring 58 more. Sugarland was held as TheScapegoat for the accident and found themselves at the head of several lawsuits, ultimately resulting in the duo paying a large chunk of settlements. After cutting a song for the ''Film/ActOfValor'' soundtrack, they went on hiatus. Both Jennifer and Kristian recorded solo albums, and while Nettles' first solo outing was a HitlessHitAlbum, neither member found any radio success. Their 2018 reunion album ''Bigger'', despite fairly positive critical reception, sold a dismal 50,000 copies and saw both of its singles flop on the charts. In addition, nearly every bit of media coverage about the reunion [[OvershadowedByControversy felt it necessary to place prominence on the Indiana State Fair incident]]. Sugarland's legacy anymore seems to be that of an act that started out strongly, only to grow too [[GenreRoulette experimental]] and too reliant on style over substance -- or worse, as the band who saw their careers "blown away" by an unfortunate accident that they had nothing to do with.

* The sub-genre known as "bro-country" has come to be this. In late 2012, duo Music/FloridaGeorgiaLine had a smash crossover with their debut single "Cruise", which would codify the subgenre with a mix of hip-hop beats, hair-metal guitar work, and AutoTune, combined with lyrics about hot women, trucks, beer, and partying. Many other artists -- including not only established acts like Music/LukeBryan, Music/JasonAldean, Music/BlakeShelton, and Music/JakeOwen, but also up-and-comers like Music/SamHunt, Music/ColeSwindell, Music/ThomasRhett, and "Cruise" co-writer Chase Rice -- followed suit. While most of the songs were hugely successful, bro-country was quickly subject to derision for being StrictlyFormula, as lampshaded in [[https://www.youtube.com/watch?v=FY8SwIvxj8o a viral video mashup which played six bro-country songs on top of each other]] to show that they all sounded pretty much the same. One of the first real blows from within country music itself came in late 2014 when female duo Music/MaddieAndTae had a dark-horse #1 hit with "Girl in a Country Song", which was a DeconstructiveParody sung by women that hated being objectified by bro-country songs. A few months later in 2015, radio consultant Keith Hill came under fire for saying that radio stations should play fewer female artists than male artists. This led to a massive outcry about sexism and misogyny in country music (although the change was not immediate; not long after this, for the first time in country music history, ''no women'' were in the Top 20 of the ''Billboard'' Country Airplay chart). Also not helping matters was the changing politics of country music and its fans —- the genre was rapidly gaining popularity with pockets of America generally less enthusiastic about country music, who were more likely to push back against bro-country and the themes that had once made it so popular. By the end of TheNewTens, most of the defining artists have fully divorced themselves from bro-country trappings (typically by focusing on ballads), while new artists have displayed varying degrees of traditionalism and female artists have returned to prominence. In short, "bro-country" is very much dead, and an OldShame for the country music genre as a whole.

* Music/LimpBizkit started out in 1997 after they were discovered by Music/{{Korn}}'s Jonathan Davis. Their blend of metal and hip-hop combined with {{angst}}y lyrics and use of turntables was a winning combination for teens and young adults across the world and brought NuMetal to the forefront of mainstream culture. The sales of their sophomore album ''Significant Other'', shot up to #1 and went 7x platinum in the US alone. Their fame skyrocketed even further when their following album ''Chocolate Starfish and the Hot Dog Flavored Water'' was released in 2000, which debuted at #1, and went 6x platinum in the US. However, the band's popularity rapidly collapsed in the early-mid '00s. First was when their guitarist Wes Borland left - [[EnsembleDarkhorse he was a fan-favorite and considered the most talented band member]], so his departure left a huge hole in the lineup. Their 2003 album ''Results May Vary'' was delayed multiple times, got terrible reviews when it finally came out, and barely made it past platinum. This album proved to be a GenreKiller for nu metal, which was already in decline at the time; the general feeling within nu metal circles was that they had created a monster, and had turned the genre into every single thing it was not supposed to be. After a hiatus, they reunited in 2011, when their album ''Gold Cobra'' debuted at a dismal #16 on the Billboard 200. [[https://www.youtube.com/watch?v=m7r1IctCR_A "Endless Slaughter"]], their latest single off of the [[DevelopmentHell oft-delayed]] ''Stampede of the Disco Elephants'', was met with near-unanimous derision and was widely decried as an incoherent, nonsensical mess. Once one of the turn of the Millennium's most popular rock bands, Limp Bizkit is now considered a disgrace to the genre, and even though nu metal did [[PopularityPolynomial regain some esteem in the eyes of the music industry and the public]], they're still considered a complete joke even by casual listeners. Few bands are more hated nowadays than Limp Bizkit. Yet the funny thing is, [[http://www.aux.tv/2015/03/turns-out-fred-durst-hates-limp-bizkit-fans-as-much-as-everybody-else/ lead singer Fred Durst doesn't really disagree]].

And this isn't even taking into account disco's influence on underground music, especially PostPunk bands like Music/PublicImageLtd and ex-No Wavers like Material, Contortions, and Liquid Liquid. All operated under the basic premise of [[NeoclassicalPunkZydecoRockabilly "take a disco beat and pile weird stuff on top of it"]], often to great and innovative effect. [=PiL=] even had a hit with [[ExactlyWhatItSaysOnTheTin a song called "Death Disco"]]... although [[Music/TheSexPistols who was]] [[Music/JohnLydon singing]] probably had some effect. In the U.S., Music/TalkingHeads were heavily influenced by disco while racking up hits and critical acclaim. There was also the {{Industrial}} fascination with Eurodisco, [[YouDontWantToKnow but that's another matter entirely]]. This marriage of punk and disco later evolved into the AlternativeDance and Madchester genres of the late 1980s and early 1990s, which saw the success of groups like Music/NewOrder, Music/TheStoneRoses, and Music/HappyMondays. Then, the overtly disco-influenced dance-punk genre of the early 2000s led to the rise of acclaimed indie band Music/LCDSoundsystem. The disco revival scene hit a peak in 2013, when Music/DaftPunk's single, "Get Lucky" (sung by Music/PharrellWilliams, who himself released the hit dance song "Happy"), became one of the biggest hits of 2013, proving that the influence of disco was ''not'' dead.

* The animated character Music/CrazyFrog, the former mascot of German music and cellphone company Jamster, was everywhere in Europe early in TheNoughties. The character was a male frog-like creature with a high-pitched voice who sang various songs and sometimes making weird sounds and gibberish. He was so popular that he gained his own set of video games and a few arcade cabinets. However, by the mid [=2000s=], the character started gaining a lot of dislike from the public and resulted in Jamster having to retire the character in early 2007 and ended up getting replaced with Music/{{Schnuffel}}, the company's current mascot who has gained more positive reaction with the public. The character even made a cameo in ''WesternAnimation/TheAmazingWorldOfGumball'' [[TakeThat where it gets chased by a group of angry animals.]]

Finally, the anti-disco backlash is seen by many as having had a very ugly undercurrent. Music historians who have investigated why disco became so fiercely hated agree that overexposure and elitism weren't the sole factors behind the death of disco, but that [[ValuesDissonance homophobia, sexism, and racism]] also played into it (disco having succeeded, if only for a brief time, in uniting Americans across color and sexual lines). Robert Christgau [[http://www.robertchristgau.com/xg/pnj/pj78.php called out]] the latent homophobia and racism in the "Disco Sucks" movement as early as 1979, and witnesses to Disco Demolition Night noted a startling amount of destroyed records that belonged to black artists who never actually touched disco. What's more, [[https://www.rollingstone.com/music/music-news/twisted-sisters-dee-snider-on-destroying-disco-why-lemmy-was-an-angel-181187/ the racism was more than open]] in some parts of the country, as Music/TwistedSister found out.[[note]]They had Music/BarryWhite hung in effigy during their concerts, and at a show in [[UsefulNotes/NewYorkState upstate New York]], the mostly white male patrons started cheering and yelling "Hang the n[=----=]r!" in approval. As a multiracial band that simply thought disco was overexposed and saw Barry White as a symbol of it, they were shocked by this reaction and quickly removed the effigy from future stage shows.[[/note]] As WebVideo/ToddInTheShadows [[https://youtu.be/pvzgn9XSjgI?t=4m47s pointed out]], hatred of disco often spilled into a more general backlash by white listeners against ''all'' African-American music, effectively raising a wall between the "white" and "black" music worlds that wouldn't be crossed until the mid-'80s, when black artists like Music/MichaelJackson and Music/{{Prince}} and white artists like Music/TalkingHeads and Music/PeterGabriel became superstars with artistically strong music that was easily accessible to both white and black audiences; top tens in the early '80s were topped by strictly white-oriented talent such as Eddie Rabbitt and Sheena Easton. While overexposure (which WebVideo/ToddInTheShadows [[https://youtu.be/OxvaIo-6bhk?t=279 also mentioned]]) and concerns of elitism are generally seen as having been more valid reasons for the backlash, the bigotry that intertwined with much of it cause many retrospective analysts to call the nature and extent of the "Disco Sucks" movement into considerable question, with most nowadays feeling that the bigoted aspects ultimately co-opted and overshadowed the whole affair, turning it into a display of far-right strongarming that coincided with the Conservative Revolution of the late '70s, culminating in the election of UsefulNotes/RonaldReagan in 1980. The culturally conservative climate combined with the AIDS crisis made the practice of cruising clubs for casual sex seem dangerous. \\

* The sub-genre known as "bro-country" has come to be this. In late 2012, duo Music/FloridaGeorgiaLine had a smash crossover with their debut single "Cruise", which would codify the subgenre with a mix of hip-hop beats, hair-metal guitar work, and AutoTune, combined with lyrics about hot women, trucks, beer, and partying. Many other artists -- including not only established acts like Music/LukeBryan, Music/JasonAldean, Music/BlakeShelton, and Music/JakeOwen, but also up-and-comers like Music/SamHunt, Music/ColeSwindell, Music/ThomasRhett, and "Cruise" co-writer Chase Rice -- followed suit. While most of the songs were hugely successful, bro-country was quickly subject to derision for being StrictlyFormula, as lampshaded in [[https://www.youtube.com/watch?v=FY8SwIvxj8o a viral video mashup which played six bro-country songs on top of each other]] to show that they all sounded pretty much the same. Over time, artists such as Music/BradPaisley, Music/KennyChesney, and Music/ZacBrownBand publicly decried the new subgenre. One of the first real blows from within country music itself came in late 2014 when female duo Music/MaddieAndTae had a dark-horse #1 hit with "Girl in a Country Song", which lampooned bro-country's perspective on women. A few months later in 2015, radio consultant Keith Hill came under fire for saying that radio stations should play fewer female artists than male artists. This led to a massive outcry about sexism and misogyny in country music (although the change was not immediate; not long after this, for the first time in country music history, ''no women'' were in the Top 20 of the ''Billboard'' Country Airplay chart). Also not helping matters was the changing politics of country music and its fans —- the genre was rapidly gaining popularity with pockets of America generally less enthusiastic about country music, who were more likely to push back against bro-country and the themes that had once made it so popular. By the end of TheNewTens, most of the defining artists have fully divorced themselves from bro-country trappings (typically by focusing on ballads), while new artists have displayed varying degrees of traditionalism and female artists have returned to prominence. In short, "bro-country" is very much dead, and an OldShame for the country music genre as a whole.

-->'''Nelson''': What ''is'' this place?\\

* While scene largely supplanted emo, it too has become Deader Than Disco. The roots of scene started to emerge on [=MySpace=] and Facebook roughly around 2005, and slowly grew when emo was on its last legs. Unlike emo, there was no actual scene genre, but certain metalcore, crunkcore, and deathcore artists were commonly associated with the culture, and the Warped Tour was the general epicenter of the movement. Scene rapidly ascended to the forefront of alternative youth culture, and by 2010, it had fully taken emo's place. By 2013, it was beginning to die out; the steady decline of the Warped Tour was dragging scene down with it, while the near-constant stream of sexual misconduct allegations against numerous scene musicians helped hasten its demise. By 2015, scene was dead, and its fall completely wiped out electronicore and the last vestiges of crunkcore. The modern metalcore acts that were tied to scene found themselves either breaking up or substantially retooling their sounds to stay afloat. Nowadays, scene is generally regarded as the distillation of all of the most ridiculous and trashy aspects of the late 2000s and early 2010s youth culture full of annoying music, predatory scumbags, and ceaseless petty drama. While most of the acts that successfully escaped the scene label are still doing well, the ones who didn't survive are viewed as the dregs of the Warped Tour, and scene fashion is viewed as the domain of LowerClassLout lowlives.
* PostGrunge is to the TurnOfTheMillennium what the trope namer was to TheSeventies -- the punchline of a decade. It originated when bands played music that took the [[ThreeChordsAndTheTruth most popular elements]] of {{Grunge}} music while scrubbing down the more experimental elements and doing away with the dour lyrics that were undergoing a backlash at the time due in part to Music/KurtCobain's suicide. Post-grunge quickly became the most popular mainstream rock genre in the late '90s and only continued to get bigger in the 2000s, providing an ample amount of crossover hits and the forerunners of the genre. By the late 2000s though, fatigue would set in for a variety of reasons. Firstly, post-grunge built up a reputation for being [[StrictlyFormula formulaic]]. The harder-tinged acts also faced backlash for the [[SexDrugsAndRockAndRoll childishly hedonistic]] and [[MisogynySong misogynistic]] themes of their own lyrics. And because post-grunge had become nearly inseparable from rock music as a whole for over a decade, many rock fans felt that once the genre succumbed to its own fatigue, it did [[TakingYouWithMe lasting damage to rock music's reputation]]. Today, post-grunge is held up as a cautionary tale in what happens when you take a genre as unique as grunge and turn it into a [[MoneyDearBoy mass-produced commercial product]]. Besides a small handful of acts, the post-grunge scene is now a graveyard of bands that can't chart to save their lives. Whenever anyone uses the term [[http://www.urbandictionary.com/define.php?term=Butt%20Rock "butt rock"]] in a derisive fashion, they're most likely referring to post-grunge.

* After the death of Music/TupacShakur in 1996, Ja Rule tried to capitalize on Tupac's image and persona. Starting in 1999 with his single "Holla Holla", Ja Rule released several chart-topping songs through the 2000s, which got him four Grammy Nominations along with six top-ten albums. However, for someone who claimed to be a hardcore gangsta rapper, Ja Rule sang far too often in his songs. His overabundance of (as WebVideo/TheRapCritic describes) "thugs need love too" songs didn't help. But what really sealed Ja Rule's fate was [[BullyingADragon starting a feud with]] Music/{{Eminem}}. In 2002, Ja Rule released a song titled "Loose Change" in which Ja Rule said Eminem's then 7-year-old daughter Hailie would grow up to be a "slut". Eminem, well-known in rap circles for being [[PapaWolf fiercely protective of his daughter]], was pissed off at the line. In fact, Eminem was so pissed off that he teamed up with D12 and Obie Trice to write a response track called "Hailie's Revenge", where they accused Ja Rule of ripping off Tupac, not being a real gangster, and saying that no one would remember him when he dies. Ja Rule couldn't keep it going anymore after the insults thrown his way by Eminem, and he ended up joining the dustbin of 2000s rappers that flashed in the pan before fading into obscurity. The most noteworthy news to spring from Ja Rule since then came in 2017, when he was indicted for fraud due to his involvement in the debacle known as the [[Horrible/MusicFestivals Fyre Festival]]. With all of the controversy and bad blood around Ja Rule, it's highly unlikely that he will ever reach the same level of success again.

* Music/LimpBizkit started out in 1997 after they were discovered by Music/{{Korn}}'s Jonathan Davis. Their blend of metal and hip-hop combined with {{angst}}y lyrics and use of turntables was a winning combination for teens and young adults across the world and brought NuMetal to the forefront of mainstream culture. The sales of their sophomore album ''Significant Other'', shot up to #1 and went 7x platinum in the US alone. Their fame skyrocketed even further when their following album ''Chocolate Starfish and the Hot Dog Flavored Water'' was released in 2000, which debuted at #1, and went double diamond (over 20 million records sold). However, the band's popularity rapidly collapsed in the early-mid '00s. First was when their guitarist Wes Borland left - [[EnsembleDarkhorse he was a fan-favorite and considered the most talented band member]], so his departure left a huge hole in the lineup. Their 2003 album ''Results May Vary'' was delayed multiple times, got terrible reviews when it finally came out, and barely made it past platinum. This album proved to be a GenreKiller for nu metal, which was already in decline at the time; the general feeling within nu metal circles was that they had created a monster, and had turned the genre into every single thing it was not supposed to be. After a hiatus, they reunited in 2011, when their album ''Gold Cobra'' debuted at a dismal #16 on the Billboard 200. [[https://www.youtube.com/watch?v=m7r1IctCR_A "Endless Slaughter"]], their latest single off of the [[DevelopmentHell oft-delayed]] ''Stampede of the Disco Elephants'', was met with near-unanimous derision and was widely decried as an incoherent, nonsensical mess. Once one of the turn of the Millennium's most popular rock bands, Limp Bizkit is now considered a disgrace to the genre, and even though nu metal did [[PopularityPolynomial regain some esteem in the eyes of the music industry and the public]], they're still considered a complete joke even by casual listeners. Few bands are more hated nowadays than Limp Bizkit. Yet the funny thing is, [[http://www.aux.tv/2015/03/turns-out-fred-durst-hates-limp-bizkit-fans-as-much-as-everybody-else/ lead singer Fred Durst doesn't really disagree]].

* After the death of Music/TupacShakur in 1996, Ja Rule tried to capitalize on his image and persona. Starting in 1999 with his single "Holla Holla", Ja Rule released several chart-topping songs through the 2000s, which got him four Grammy Nominations along with six top-ten albums. However, a number of factors would lead to his career's demise before the decade ended. Firstly, for someone who claimed to be a hardcore gangsta rapper, he sang far too often in his songs. Another was his overabundance of, as WebVideo/TheRapCritic describes, "thugs need love too" songs. But what really sealed Ja Rule's fate was the same reason many rappers in the 2000s fell off: [[BullyingADragon he started a feud with]] Music/{{Eminem}}. In 2002, Ja released a song titled "Loose Change", in which Ja Rule had a line specifically aimed at Eminem's then 7-year-old daughter Hailie. Eminem, well-known in rap circles for being [[PapaWolf fiercely protective of his daughter]], was pissed off at the line. In fact, Eminem was so pissed off that he teamed up with D12 and Obie Trice to write a response track called "Hailie's Revenge", where they accused Ja Rule of ripping off Tupac, not being a real gangster, and saying that no one would remember him when he dies. Ja Rule just couldn't keep it going anymore after all of the insults thrown his way, and he ended up joining the dustbin of 2000s rappers that flashed in the pan for a moment before fading into obscurity. The most noteworthy news to spring from Ja Rule since then came in 2017, when he was indicted for fraud due to his involvement in the debacle known as the [[Horrible/MusicFestivals Fyre Festival]]. Ja Rule is now viewed as one of the prime examples of rappers who tried to leech off Tupac's fame and influence; with all of the controversy and bad blood around Ja Rule, it's highly unlikely that he will ever reach the same level of success again.

For a time in the late '70s, the music genre of {{disco}} was the biggest thing ever. While it had its roots in the ethnic and gay club scenes of UsefulNotes/NewYorkCity and UsefulNotes/{{Philadelphia}} in the late '60s and early '70s, it burst into the popular consciousness with the blockbuster success of ''Film/SaturdayNightFever'' and its soundtrack in 1977. Clubs like New York's Studio 54 became ''the'' places to be and be seen. Then, even before TheEighties officially started, a backlash emerged from both white and black music listeners. Whites gravitated towards various forms of rock, specifically {{punk|Rock}}, {{new wave|Music}}, [[ProgressiveRock prog rock]] (though that too was on its way out at the time), and assorted types of hard rock and [[HeavyMetal metal]] (including HairMetal, which itself became the Disco of the '80s), and rejected the genre's hip, urban image. Meanwhile, the black leaders of {{funk}} (e.g. Music/GeorgeClinton) actively led a campaign to "rescue dance music from the blahs," rejecting disco's fusion of "their" music style with mainstream pop. Additionally, working-class music listeners rapidly grew resentful of what they perceived to be a culture of elitism in the disco scene, given the large amount of money needed to afford the flashy outfits and dance lessons that were necessary to survive on the dance floor. Not helping matters was a number of factors that added bigotry into the mix: disco's popularity (and continued CultClassic status) in gay clubs, the popularity of black musicians and large presence of nonwhite disco fans, and the European origins of some successful musicians and record labels all became fodder for homophobia, xenophobia, racism, and nationalism to be thrown into the mix, leading disco to be perceived among these crowds as "pretentious, gay, and un-American". Many radio stations promised "[[Music/TheBeeGees Bee Gee]]-free weekends", and a novelty country song called [[https://www.youtube.com/watch?v=xqSBQFJRKq8 "Disco Sucks"]] became a crossover hit on the pop charts. Meanwhile, hard rock and punk rockers mocked it publicly, even if several of them admitted in Creator/VH1's ''[[ILoveTheExties I Love the '70s]]'' that they thought the soundtrack to ''Film/SaturdayNightFever'' was brilliant.\\