Line #73 JustForFun/MonkeesEqualsMonkees


1	'''Monkees Equals Monkees''' is a game that was invented by essayist and music critic Chuck Klosterman at a party, and is described in detail in his book ''Sex, Drugs, and Cocoa Puffs''. The basic game is to match a band and television show on the following five bases:
2	# Time Period,
3	# Longevity,
4	# Commercial Success,
5	# Critical Response,
6	# Overall Aesthetic Soul (most important)
7
8	Though not all five criteria have to be exact, it is preferred. In fact, you will likely find many other matching criteria when you engage in this.
9
10	Klosterman gives the following examples:
11	* Music/{{The Rolling Stones\|Band}} = ''Series/{{Gunsmoke}}''
12	* Music/TheStrokes = ''Series/TwentyFour''
13	* Music/JimiHendrix = ''Series/TheTwilightZone1959''
14	* Music/{{Devo}} = ''Series/Fernwood2Nite''
15	* Music/LynyrdSkynyrd = ''Series/TheBeverlyHillbillies''
16	* Music/MollyHatchet = ''Series/PetticoatJunction''
17	* Music/TheBlackCrowes = ''Series/That70sShow''
18	* Music/DarylHallAndJohnOates = ''Series/BosomBuddies''
19	* Music/{{U2}} = ''Series/{{MASH}}''
20	* Music/{{Dokken}} = ''Series/ItsYourMove''
21	* Music/{{Eurythmics}} = ''Series/MorkAndMindy''
22	* Music/{{Journey\|Band}} = ''Series/{{Dynasty\|1981}}''
23	* Music/JohnLennon = ''Series/{{Maude}}''
24	* Music/PaulMcCartney = ''Series/{{Frasier}}''
25	* Music/GeorgeHarrison = ''Series/TheJeffersons''
26	* Music/RingoStarr = ''Series/{{Flo}}''
27	* Music/DavidLeeRoth = ''Series/KnotsLanding''
28	----
29	!!Standard convention applies — add at the top (but below this line), separated by a line.
30	----
31	Music/TheyMightBeGiants = ''Late Night/Late Show with Creator/DavidLetterman''. Based in New York, they both emerged in TheEighties with a unique style built on {{Deconstruction}} and irony with a surreal edge. Critical darlings, they slowly build an audience mostly through word-of-mouth and gain a hip cachet. They're especially popular with college students. After getting ScrewedByTheNetwork (Creator/{{NBC}}, Creator/ElektraRecords) they make a ChannelHop. Eventually the buzz around them cools down but they achieve LongRunner status by constantly experimenting and trying new things, and even gain some new respectability in their later years. Not to mention TMBG making frequent appearances with Letterman.
32	----
33	Music/PearlJam = ''Series/{{Friends}}''. In the same vein as Nirvana/''Seinfeld'' (as detailed below), but with a crowd-pleasing mix of edginess and more mainstream stylings. They're at one point more successful than their more acclaimed peer and become very influential in their own right.
34
35	Additionally, ''Friends'' was inspired by ''Film/{{Singles}}'', the movie that featured members of Pearl Jam.
36	----
37	Music/{{Soundgarden}} = ''Series/NewsRadio''. Both slightly more idiosyncratic than the above pairings, but with decidedly smaller yet dedicated followings (moreso on the latter). Plus, just as Kurt Cobain, the most important lead figure of the 90s admired Soundgarden, Jerry Seinfeld, he of the most important comedy of the era, loved [=NewsRadio=] so much he appeared AsHimself in an episode.
38
39	Additionally, both sadly lost an important member, albeit under different circumstances.
40	----
41	Music/TheReplacements = ''Series/MysteryScienceTheater3000''. Local Minnesota cult heroes go national. They gain critical acclaim and a small but rabid following. They take a big stab at mainstream acceptance (''Don't Tell a Soul''; ''Recap/MysteryScienceTheater3000TheMovie'') but fall short. Still, they're fondly remembered and considered highly influential. Also, the founder of the group (Bob Stinson/Joel Hodgson) departs at a key moment in its run.
42	----
43	Music/The13thFloorElevators = ''Series/AndyRichterControlsTheUniverse'' (or Music/VelvetUnderground = ''Series/AndyRichterControlsTheUniverse'') Not exactly a popular success, but successful with the right people. The direct influence pales before the indirect influence.
44	----
45	Music/{{KISS}} = ''Series/MondayNightFootball''. A guaranteed arena-filler for more than 40 years, with a lineup that's changed several times over the years and has often scandalized some critics with its antics. The band's costumes could easily be modified football pads. And, just like UsefulNotes/AmericanFootball generally (and MNF in particular) they make enough money to feed several small countries even if the quality of the actual product can vary with each lineup (or each performance!) thanks to an extremely fanatical fan base. TheMerch doesn't hurt the bottom line for either one of them either, for that matter, and fans of both are well-known for painting their faces in team colors. Now almost considered a national institution.
46	----
47	Music/{{Dishwalla}} = ''Series/BabylonFive''. Both at the height of their popularity in the mid-1990's; both independent productions which explored lots of deep metaphysical themes. Both greatly missed by their devoted fan base.
48	----
49	Music/MichaelJackson = ''Series/DiffrentStrokes''. Both featured a breakout African-American performer pretending to be much younger than he actually was in a scenario where the older siblings are overshadowed by his success. Both reached the height of their popularity in the late 70's/early 80's. Both were associated at one point with child molestation. Both Michael Jackson and Gary Coleman unfortunately would deal with legal and financial problems and suffer a long decline. And, tragically, both would die young due to health complications and medical malpractice.
50	----
51	Music/VanHalen = ''Series/{{Dallas}}''. Epic struggle of two brothers over the fate of a valuable family franchise that dominated TheEighties, with a revival in 2012. Added bonus: David Lee Roth, the original and current singer of Van Halen, is associated above with ''Knots Landing''--originally a spinoff of ''Dallas''.
52	----
53	Music/TheMoodyBlues = ''Series/StarTrekTheOriginalSeries''. Both were highly experimental and probably ''too'' revolutionary for the late 60's/early 70's (which is saying something), and both are now considered groundbreaking despite a disappointing initial run. Both were known for extremely expensive productions and the use of psychedelic imagery. Both contained a highly polarizing personality who would cause the other players in the franchise to go their separate ways during TheSeventies (Justin Hayward and Creator/WilliamShatner, respectively). Both would experience an extremely successful revival in TheEighties.
54	* As a bonus, some of the Moodies' album titles could pass for ''Star Trek'' episode titles: ''Music/DaysOfFuturePassed'', ''On The Threshhold Of A Dream'', ''To Our Children's Children's Children''[[note]] with the added bonus that it was written as a tribute to the Apollo Moon landing[[/note]], ''A Question Of Balance'', and ''Long Distance Voyager''.
55	----
56	On the other hand Music/KingCrimson = ''Franchise/StarTrek'' (The Entire Thing): Both started in {{the sixties}} to little commercial success but now both ''Series/StarTrekTheOriginalSeries'' and King Crimson’s first album ''Music/InTheCourtOfTheCrimsonKing'' are considered classics in their own right and arguably [[FirstInstallmentWins the best incarnations of the franchise]]. However, the early runs stagnated quickly, with Peter Sinfeld and Creator/WilliamShatner being very comparably cheesy.
57
58	Afterwards they both slipped in and out of existence with the band breaking up every other time they gained some modicum of success and the various series after they gained a full audience. Not to compare {{progressive rock}} fans to Trekkers or vice versa but both cult followings have grown exponentially with a large internet fandom and a blockbuster movie respectively. And since these growths in popularity both franchises have had no new material.
59
60	In both expect experimental production techniques, a strange aura when dealing with {{speculative fiction}}, imitators during their more vacant years, eccentric genius creators with Robert Fripp and Creator/GeneRoddenberry and a release schedule which seems designed to avoid success.
61	* Bonus in that in the latest incarnation, only one original member of the lineup appears (Robert Fripp and Creator/LeonardNimoy, respectively).
62	----
63	Music/BillyIdol = ''Series/MaxHeadroom''. Two 1980's icons, although Billy proved to have a ''lot'' more staying power than Max. The aesthetic of the show matches Billy's work almost precisely (particularly ''Cyberpunk'').
64	----
65	Music/TheB52s = ''Series/TheDukesOfHazzard''. Both were popular in the late 1970's/early 1980's, and both were considered somewhat lowbrow by [[SeriousBusiness serious critics]] at the time. Both were deeply rooted in Southern culture, and both highlighted aspects of Southern feminine fashion (bouffant wigs and cutoff denim short-shorts, respectively). Both featured Chrysler vehicles prominently (Plymouth Satellite vs. Dodge Charger). Both frequently explored themes of rebellion against authority with humor and strong sexual overtones, using lots of wild trips down dirty back roads (figuratively and literally). Both picked up a much-younger-than-expected PeripheryDemographic, resulting in some degree of {{Flanderization}}.
66
67	On at least one occasion, both have dealt with alien visitations. On a meta-level, both lost popularity with the death/departure of key players, but maintained a strong fan base into the 2000's (culminating in a new album and a BigDamnMovie respectively).
68	----
69	Music/TheStoneRoses = ''Series/TwinPeaks''. Both opened up an entire genre in the very early 90's, had a unique ethereal quality, and didn't really get a proper ending.
70	----
71	Music/{{Aerosmith}} = ''Series/SaturdayNightLive''. Both initially popular with youth in the 1970's, faltered in the early 80's and regained popularity in the late 80's after a ReTool of sorts. Both are still going today, for better or worse.
72	----
73	Music/{{Nirvana}} = ''Series/{{Seinfeld}}''. Both from the early 90's, [[OnceOriginalNowCommon revolutionary in their respective media and widely imitated afterward]]. Both were considerably more observational and nuanced than their shallow competitors (Nirvana vs. hair metal, ''Seinfeld'' vs. family sitcoms.)
74
75	Additionally, both had early, under-appreciated efforts later regarded as incomplete versions of their later selves (the scarcely-heard ''Music/{{Bleach\|Album}}'' and the barely-seen first couple seasons) and went out more or less on top of the game... though with a very painful finale.
76	----
77	Music/GunsNRoses = ''WesternAnimation/TheRenAndStimpyShow'': Icons of the early '90s, both had an edge to them that made them stand out from the more tame entries in their respective medium. Both would eventually fall victim to the ego of the most abrasive member of the cast (Axl Rose, Creator/JohnKricfalusi). A comeback is attempted (''Chinese Democracy'', ''WesternAnimation/RenAndStimpyAdultPartyCartoon''), but it falls flat.
78	----
79	Music/{{Eminem}} = ''WesternAnimation/SouthPark'': Debuting in the late '90s, both quickly acquired a reputation for shock humor and the scorn of MoralGuardians. Both managed to remain relevant through the TurnOfTheMillennium because there is substance and social commentary behind said shock humor.
80	----
81	Music/FranzFerdinand = ''Series/{{Lost}}'': Both are genre-busting children of the mid-2000s that became increasingly weird over time. Both had many short-lived imitators, but only time will tell if Franz comes to such a polarizing end.
82	----
83	Music/TheBeatles = ''Creator/MontyPython'': Both are so ubiquitous that they are as current as they were forty years ago. People born decades later can quote them. Both share a similar absurd sense of humor (''Film/{{Help}}'' and ''Film/MontyPythonAndTheHolyGrail'') and had subsequent misses (''Film/MagicalMysteryTour'' and '' Film/MontyPythonsTheMeaningOfLife''). [[OnceOriginalNowCommon Many people born after their height have difficulty appreciating how revolutionary they were.]] Both were decried by moral guardians but are now considered safe. Plus. there's Music/GeorgeHarrison's friendship with the Pythons and involvement with several of their projects, plus the influence of ''Radio/TheGoonShow'' on both groups.
84	----
85	Music/DavidBowie = ''Series/DoctorWho'': Are you kidding me? The spacey imagery, the multiple phases (featuring different character types) starting in the '60s, the fact that neither has ended (though got a little effed up in the eighties), and both are vaunted institutions originating in the UK? It's a no-brainer.
86	----
87	Music/{{Pavement}} = ''Series/FreaksAndGeeks'': Similarly nostalgic, bittersweet, and tragically overlooked in their own time (save for the Pitchfork crowd). Despite embracing the culture of TheEighties, both managed to capture the cynicism of TheNineties. Also the matching Album/Episode "____ and ____" naming system.
88	----
89	Music/SilverJews = ''Series/{{Undeclared}}'': The raunchier, less respected sequels to the aforementioned Music/{{Pavement}} and Series/FreaksAndGeeks.
90	----
91	Music/TheVines = ''Series/{{Heroes}}'': Thoroughly acclaimed after their debut, their sophomore efforts suffered due to external factors, and both [[JumpTheShark Jumped the Shark]] soon after and became reviled, then forgotten.
92	----
93	Music/GreenDay = ''WesternAnimation/TheSimpsons'': Original and unbridled in TheNineties, they later became overblown shadows of their former selves.
94
95	Alternately, Music/TheClash = ''WesternAnimation/TheSimpsons'' in a more time-shifted, less successful sense. Among the most edgy and topical of their respective eras, highly influential and regarded as all time greats, and at their peak could be considered "The Only Band/Show That Matters", later suffering SeasonalRot.
96	----
97	Music/OKGo = ''Series/{{Mythbusters}}'': Both weaved in and out of public consciousness throughout the TurnOfTheMillennium, redeemed their respective genres, and changed with the times, not to mention that both are partial to [[RubeGoldbergDevice ridiculous, extravagant and super-fun devices]].
98	----
99	Music/BlackSabbath = ''Series/AllInTheFamily'': Both started in the Nixon years and were considered politically radical for the time, setting the standard for their respective genres (Heavy Metal and Darker Sitcoms respectively) while claiming to be deeply rooted in their predecessors (60’s hippie rock and Classic American {{DomCom}}s). Both were accused of something they presented a satire of (Satanism and Racist Conservatism) and ended proper in the 79-80 period.
100
101	The Music/RonnieJamesDio run is comparable to the spin-off ''Series/ArchieBunkersPlace'' both running from 79-83. Further spin-offs could be attributed to solo careers, such as the [[{{Flanderization}} flanderized]] adventures of Music/{{Ozzy Osbourne}} to the flanderized adventures of ''Series/{{Maude}}''.
102	----
103	Music/PinkFloyd = ''Series/SesameStreet'': Both started in the late 60's in a form unrecognizable today (Pink Floyd known for its trippy psychedelic rock; Sesame Street known for its trippy animations). By the early seventies both quickly formatted themselves into a winning formula which had a quick fan base and were revolutionary in their respective genres. ''Sesame Street'' was and still is a record breaking children's TV show, Pink Floyd was and still is the maker of the best selling album of all time.
104
105	In the nineties Creator/JimHenson died of a bacterial infection and Pink Floyd dissolved, but both are still around in some form today; Sesame Street under new management and Pink Floyd still advertised under the remaining members' solo acts.
106
107	In recent years both have have had recent successes with Roger Waters' ''Music/TheWall'' appearing live again to cheers from fans and Sesame Street appearing on the Emmys for its 40th anniversary. Not to mention Mr. Hooper's death could be compared to the departure of Roger Waters, both in '82. And finally both are known for their crazy puppets.
108	----
109	Music/{{Weezer}} = ''Anime/SailorMoon'': Both began in 1992, though each had earlier incarnations: pre-Weezer bands ''Avant Garde'' and ''Zoom'' and ''Manga/CodenameWaSailorV'' respectively. At first both held a primarily upbeat and positive tone, though they had their darker undercurrents if you knew where to look, and were met with great acclaim (''The Blue Album'' and the original series). After that they both came out with an outright DarkerAndEdgier instalment (''Pinkerton'' and ''Sailor Moon S''), which was most controversial in its time yet has become quite the fan-favourite.
110
111	Following that both promptly shifted back to LighterAndSofter... to far less favourable response from critics and fans (Most of the band's 2000s work and ''Sailor Moon Super S''), before hitting rock bottom in the eyes of many (''Raditude'' and ''Stars'').
112
113	After being deemed irrelevant by pop culture, both were able to make a comeback of sorts and WinBackTheCrowd by deliberately invoking the past and riding on 90s nostalgia (''Everything Will Be Alright in the End'' and ''Sailor Moon Crystal''). While neither have truly recaptured the popularity they held at their peak, they've definitely climbed their way out of their respective AudienceAlienatingEra.
114
115	Both their audiences are said to consist mainly of pre-adolescent girls and older, geekier guys, and both have featured prominent cases of ToughActToFollow. Add to all this that frontman Rivers Cuomo is a ''Anime/SailorMoon'' fan, and what more needs to be said?
116	----
117	Music/{{Radiohead}} = ''Anime/NeonGenesisEvangelion'': Huge in the mid-to-late nineties, they started off as fairly typical entries into their respective genres (alt-rock and mecha) before gaining much more attention upon taking a turn for the darker, angstier and certainly [[TrueArtIsIncomprehensible more bizarre]]. Both had their direction heavily affected by CreatorBreakdown and contain clear examples of TheWoobie (some would say JerkassWoobie), and are noted for their overall cold and dystopic sci-fi feel.
118
119	Both became massively influential in their respective genres and even their entire mediums (music and anime), thus both spawned a rather noticeable strain of FollowTheLeader. And both came back into the spotlight in a major way in the late 00s/early new 10s (Radiohead with ''In Rainbows'' and ''King of Limbs'', Evangelion with the ''Rebuild'' movies).
120	----
121	Music/CrowdedHouse = ''Series/RoundTheTwist'': Set in Australia (for the most part), popular in Britain yet had trouble crossing over to America. Both were known for being primarily light-hearted and quirky but capable of being pretty dark and morbid at times (songs like "Hole In The River" and "Into Temptation" for CH, ''Twist'''s infamous terror) and undeniably strange (just look at the {{Surreal Music Video}}s for "Chocolate Cake" and especially "Private Universe", ''Twist'' speaks for itself).
122
123	Both were based around a fairly turbulent family (the Finn Brothers, at least for Woodface) and naturally both had at their core a 'Crowded House' (the apartment the band shared from which they took their name, the Twist family lighthouse).
124
125	They were at their peak in the late eighties and early nineties, but became plagued by CreativeDifferences and came to an end shortly after the departure of a key member named Paul, causing WhatCouldHaveBeen their greatest achievement to never see the light of day (CH's initially planned fifth album, the ''Twist'' movie). After years of absence a comeback was made with a new lineup, but didn't garner the acclaim of the original.
126	----
127	Music/{{REM}} = ''Franchise/MyLittlePony'': Originating in the 80s with a knack for fantasy references (REM to Southern folklore and Classic mythology, MLP to more fairytale fare), only to end up mocked for their assumedly lighter, brighter tone compared to their contemporaries (REM to more AccentuateTheNegative prone AlternativeRock bands and MLP to more boy-oriented shows).
128
129	With the approach of the 90s both would ditch their signature features (REM's slurred vocals, indie label and jangly guitars, MLP's fantasy elements) to head down a more mainstream route and to deal with themes more grounded in reality, such as ''Music/AutomaticForThePeople''[='=]s obsession with mortality and ''Tales''' focus on modern life. In this time both would strive for a specific appeal to teenagers, REM with "Everybody Hurts" and MLP with ''Tales'' in general.
130
131	Both hit a real slump come the 00s, REM with their post-Bill Berry AudienceAlienatingEra and MLP with its Gen 3. However both would make a triumphant return as said decade came to a close, REM with their last two albums and MLP of course with ''[[WesternAnimation/MyLittlePonyFriendshipIsMagic Friendship is Magic]]''.
132
133	Both place friendship in high importance (REM's democratic approach between members who are now still close even after breaking up, ''Friendship Is Magic'' is self-explanatory), both have a reputation for weirdness (REM's IndecipherableLyrics and {{Cloudcuckoolander}} bandmates, MLP with Gen 1's odder villains and Gen 4's [[GenkiGirl Pinkie]] [[NoFourthWall Pie]] and [[MadGod Discord]]), both have been outspokenly feminist (REM in their political causes, MLP with the heroic yet girly Megan and Creator/LaurenFaust's goals for the show)
134
135	A farmer was a key member of each (Bill Berry and Applejack), and last but not least both picked up a fanbase quite unlike what you'd expect (REM's more mainstream following from Document onwards, MLP and [[TestosteroneBrigade Bronies]]).
136	----
137	''Future Sound of London'' = ''Series/TheElectricCompany1971'': Both were innovative and beloved acts in their time, both disappeared for many years at the height of their popularity, both returned many years later with a completely new style that alienated the old fans and didn't have the same wide appeal, and both issued releases of their old work to placate fans of the old style.
138	----
139	Music/ElvisPresley = ''Series/ILoveLucy'': Popular in the 50's, popular today. They also had their OnceOriginalNowCommon moments as Elvis established rock 'n' roll in music and ''Lucy'' pioneered the rerun.
140	----
141	Music/TheSmiths = ''Series/{{Blackadder}}'': Hailing from 80s Britain, both revolved around an intelligent yet gloomy and arrogant man who saw himself SurroundedByIdiots (Blackadder by his sidekicks and superiors, Morrissey by mainstream pop acts). Both were rooted in the past (''Blackadder'' in its historical eras, The Smiths in 60s pop groups) yet also made major deviations from the past (''Blackadder'' with its rampant anachronisms, The Smiths with their downbeat tone). Both came out in four main instalments, yet an incident in the latter 90s cemented that both would never return.
142	----
143	Music/{{Failure}} = ''Series/{{Firefly}}'': A close-knit pair of Californians create a grungy science fiction world, marked by a focus on criminals and people with brain issues (Failure's lyrical themes of drug dealers and the mentally disturbed, Firefly's focus on a group of smugglers and a lobotomized young girl). Received great critical acclaim when they first came out, but ExecutiveMeddling prevented them from getting the mainstream success they deserved. After their untimely ends, posthumous interest allowed them both to get closure during the mid 00's with a BigDamnMovie.
144	----
145	Music/NeutralMilkHotel = ''WesternAnimation/RockosModernLife'': Both had a modest run that ended in the 90's, but continued to gain a cult following afterward that eventually spurred revivals in 2013 (NMH got the band back together, Creator/ShoutFactory released RML DVD's for the first time.) Thematically, both are notable for their old fashioned aesthetics (Rocko's animation was modeled after golden age Warner Bros. cartoons) and numerous coded references to sex and masturbation. Finally, both Jeff Mangum and Joe Murray suffered from CreatorBreakdown that they blamed on their work.
146	----
147	Music/GratefulDead = ''Franchise/ScoobyDoo'': Both emerged from the late 1960s counterculture and both often a stable of the stoner culture. Noted for longevity and often sited by non-fans as being boring, repetitive and predictable. Semi-horror imagery (The Dead's living skeletons, Scooby's "MonsterOfTheWeek") plays a major part. Not to mention the various spin-offs, imitators, celebrity guest appearances. By the 1980s, both were considered icons and drawing in new fans (the "Touch of Gray" video for The Dead, a string of new series and direct to DVD movies for Scooby).
148	----
149	Music/TheWho = ''Series/{{Bonanza}}'': Given that the Who competed with the Stones and ''Bonanza'' with ''Gunsmoke'' in the 60's. Also under-appreciated later on (the post-Keith Moon Who albums, the final season of ''Bonanza'').
150	----
151	Music/ManfredMann = ''Series/MissionImpossible'': a group of rotating musicians/spies originating in the 60's with two constants (Manfred Mann/Barney and Mike Hugg/Willy). The Manfreds, featuring the original members except Manfred Mann, may be compared to the 80's revival of ''Mission Impossible''.
152	----
153	Music/TheDoors = ''Series/GetSmart'': Originating in the 60's and into the early 70's, now cult favorites. They also continued to work without some of their important people (The Doors without Jim Morrison and ''Get Smart'' without the Chief).
154	----
155	Music/NewKidsOnTheBlock=''Series/SavedByTheBell'': Both started at the very end of 80s and became huge with a preteen audience as the decade turned. Saved By The Bell lead to live-action teen sitcoms replacing cartoons as the main stable of modern kids TV and New Kids lead to the creation of the modern boy band.
156	----
157	Music/FleetwoodMac=''Series/TheMuppetShow'' or ''Franchise/TheMuppets'' franchise in general: Spent most the 1960s doing experimental work which is little recognized, except by die hard fans. Tried to reach out to a new audience in the mid-70s with some new but forgettable players (SNL's Land of Gorch and the "New" Mac). Finally hit mainstream after years of trying in the late 70s as a British-American co-production which among the new additions was, a flamboyant blonde diva, who became a fashion icon and fan favorite (Miss Piggy[=/=]Music/StevieNicks). Spent the next few decades in some form or another (including appearing at UsefulNotes/BillClinton's first inauguration), but the "classic" late 70s line-up remains the most beloved and remembered and has reformed to much fanfare and success in recent years.
158	----
159	Music/TheBeachBoys = ''Series/HRPufnstuf'': Both started in the 60's (The Beach Boys known for their psychedelic pop; H.R. Pufnstuf known for its live action and puppetry fairytale)
160	By the seventies both quickly formatted themselves into a winning formula which had a revolutionary effect on their respective genres.
161	Krofft brothers' response in several interviews to popular beliefs that subtle recreational drug references exist in the show and Wilson's response when asked about LSD, but both are still around.
162	----
163	Music/{{Beck\|Musician}} = ''WesternAnimation/SpongeBobSquarePants'': Beck paid tribute to creator Creator/StephenHillenburg, speaking of how the late animator created the artwork for some of his early releases. It's not hard to see why, as both are playful, at times experimental, and frequently funny.
164	----
165	Music/FiftyCent = ''Series/{{Oz}}'': A gritty show with a great premise whose downfall was due to a focus on sensationalism over content.
166	----
167	Music/ATribeCalledQuest = ''Series/TheCosbyShow'': The pioneers who showed America there was a viable market in the portrayal of Black middle class life.
168	----
169	Music/{{Tool}} = ''WesternAnimation/CourageTheCowardlyDog'': Both started in the 90's,and had a surreal disturbing imagery. Music videos are DerangedAnimation, as is ''Courage''.
170	----
171	Music/TheSmashingPumpkins = ''WesternAnimation/{{Rugrats}}'': Carefree, fun-loving and crazy. Tommy Pickles and Billy Corgan are both bald. Both get darker as they go on.
172	----
173	Music/{{Bjork}} = ''Series/XenaWarriorPrincess'': in 1995, album ''Post'' is released, and ''Xena: Warrior Princess'' premiered. Fantasy imagery abound in both. In fact, could Bjork be Xena?
174	----
175	Music/AnimalCollective = ''Series/YoGabbaGabba'': In the same vein as Pink Floyd/Sesame Street and The Beach Boys/H.R. Pufnstuf, both started in the 00's in a form unrecognizable today (Animal Collective known for its experimental psychedelic pop; Yo! Gabba! Gabba! known for its trippy animations). Both quickly formatted themselves into a winning formula with a big fanbase, and were revolutionary in their respective genres. 2007 marked the show's debut, and the release of the ''Strawberry Jam'' album; in 2012, ''Yo! Gabba! Gabba!'' ended and the album ''Centipede Hz'' was released.
176	----
177	Music/ArcticMonkeys = ''Series/TheOfficeUS'': Both carefree and funny, both started in the early 00's. The US series had its finale in 2013, the same year that the band released their NewSoundAlbum ''AM''.
178	----
179	Music/LedZeppelin = ''Series/HawaiiFiveO'': Both began in 1968, and started off as fairly typical entries into their respective genres (hard rock and police drama). Both ended in 1980, but both are still around in some form today.
180	----
181	Music/TheBlackEyedPeas = ''WesternAnimation/FamilyGuy'': Both started in the late 90's in a form unrecognizable today (Peas were politically-minded at first; Family Guy was [[Flanderization/FamilyGuy too different to be listed here fully]]), but both became victims of SeasonalRot overtime (Peas started becoming a living, breathing WildTeenParty and stopped being political; Peter became much more of a {{Jerkass}}). Of course, both became SoBadItsGood, and eventually went under for a while (Peas took a 5-year hiatus; ''FG'' was outright cancelled) before coming back by popular demand, as a sort-of mixture betweeen pre- and post-seasonal rot.

Context JustForFun / MonkeesEqualsMonkees