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->''"Look on the bright side, Eddy. My parents say fads go in a cycle. In another ten years, we'll be back in style!"''
-->-- '''Double D''', ''WesternAnimation/EdEddNEddy''[[note]][[WesternAnimation/EdEddNEddysBigPictureShow And that actually happened.]][[/note]]

It's a fact of life that something which portrays itself as "cutting edge" is eventually going to become mainstream, [[ItsPopularNowItSucks and from there passé]]. However, given enough time -- usually about 20 years -- what had been seen as [[DiscoDan behind the times]], [[DiscreditedMeme old hat]], or [[DeaderThanDisco just plain uncool]] suddenly begins to make a comeback, usually accompanied by words like "vintage," "nostalgic," and "classic." It's gone through the ups and downs of the popularity polynomial.

How often the item cycles back and forth between "cool" and "not cool" depends on many factors. If something reached a peak when you and your friends were kids, then when you become tweens or teens, it is a reminder of a childish time -- and as [[Creator/CSLewis the fear of childishness and the desire to be very grown up]] kick in, you don't want to think about it. But when you reach your later teens or become adults, it is seen as harmless. And once ''your'' kids discover it, it may even become cool again (as long as they don't associate it with their uncool parents). Now apply that on a larger scale.

Given enough cycles, it becomes an equivalent of CyclicTrope.

The name comes from the fact that we like {{a|ddedAlliterativeAppeal}}lliteration, and [[MostTropersAreYoungNerds some of us are math geeks]]. Here's also a [[TechnoBabble more detailed explanation]] about what a polynomial is and what it has to do with the ups and downs of popularity.

A ''polynomial'' in x is a sum of non-negative integer powers of x which are each multiplied by a real number. You might know some simple polynomials: y=ax+b, the equation for a straight line where a is the slope and b is the y-intercept, is a polynomial (it can be written as: y=ax[[superscript:1]]+bx[[superscript:0]]). That's called a polynomial of degree 1, because the highest power of x that appears is 1. A polynomial of degree 2 (y=ax[[superscript:2]]+bx+c) is called a parabola, and if you plot its graph it looks like a dish (which could be wide or narrow, or turned upside down, depending on what a, b, and c are).

Of course, there are polynomials of a higher degree than that, like y=4x[[superscript:5]]+8x[[superscript:4]]+15x[[superscript:3]]+16x[[superscript:2]]+23x[[superscript:1]]+42, which is of degree 5. Higher degree polynomials can create all sorts of curves when you plot them. Apart from the line and the parabola, you can get a lot of shapes, such as a lot of hairpin curves or a roller-coaster shape that goes on for a while before diving up or diving down.

So, in a polynomial in x of a high-degree you can expect y to go up and down as x grows.[[note]]This doesn't always happen-- exactly ''how'' often it happens is a difficult question in probability, but for our purposes the answer is "often enough."[[/note]] The trope name is about looking at the popularity of something as a polynomial in time: as time progresses, it becomes less popular, then more popular, then less popular again, and so on and so forth. Generally speaking, the higher degree the polynomial, the more times you switch from "cool" to "stupid" and back. The points where the popularity rises, flatlines, and then begins to decline are known as the polynomial's JumpingTheShark moments, and when it does the opposite- reverses a decline and starts to climb- rigorous mathematical notation is that it is GrowingTheBeard. Some fringe lunacy groups insist on an alternative terminology having to do with derivative signs and whatnot, but they can be safely ignored.

So if you were wondering what a polynomial was, [[AndKnowingIsHalfTheBattle now you know]].

See also ColbertBump (a resurgence triggered by a specific factor), DeadArtistsAreBetter (when a person's death [[NeverSpeakIllOfTheDead rehabilitates his or her reputation]]), CyclicTrope (when this happens to tropes) and DiscreditedMeme. Compare with TwoDecadesBehind, CareerResurrection, NostalgiaFilter, GenreRelaunch and VindicatedByHistory. Contrast with DeaderThanDisco.


[[folder:Anime and Manga]]
* Anime in North America has had a roller coaster of popularity over the years, normally with a particular series leading the surge. In the mid '90s, anime surged big time thanks to particularly ''Anime/{{Pokemon}}'', ''Anime/DragonBallZ'', and ''Anime/SailorMoon''. Around the early 2000s, the popularity began to lower but then in the mid 2000s another boom kick started thanks to ''Manga/{{Naruto}}'' and ''Manga/{{Bleach}}''. There was a crash afterwards, but in TheNewTens shows like ''Anime/KillLaKill'', ''Webcomic/OnePunchMan'', and ''Manga/AttackOnTitan'' caused yet another boom. Two particular anime that experienced this is ''Dragon Ball Z'' and ''Anime/NeonGenesisEvangelion'': Both acted as gateway series to the world of anime, ''Dragon Ball Z'' being the most popular shonen series and ''Evangelion'' once being regarded TrueArt. Around the early 2000s, HypeBacklash hit both series big time and it suddenly became wrong to openly admit to liking either series. Then later ''[[Anime/DragonBallKai Dragon Ball Z Kai]]'' and ''Anime/RebuildOfEvangelion'', respectively, renewed interest in both franchises, but then interest died out again after ''Kai'' became OvershadowedByControversy toward the end and the ''Rebuild'' movies took a hard turn into DarkerAndEdgier than even the original TV show. ''Dragon Ball'', however, has since rebounded with a pair of movies (''[[Anime/DragonBallZBattleOfGods Battle of Gods]]'' and ''[[Anime/DragonBallZResurrectionF Resurrection F]]'') and ''Anime/DragonBallSuper''.
* ''Anime/YuGiOhARCV'' managed to renew a lot of interest in the series after the previous two series (''Anime/YuGiOh5Ds'' and ''Anime/YuGiOhZexal'') proved to be rather divisive among fans. This is thanks in part by having a surprisingly well thought out and in-depth plot, as well as having a surprisingly in-depth cast of characters where even the generic anime stereotypes manage to hold a surprisingly large fanbase. Also helps the characters are also GenreSavvy, with quite a few using competitive viable decks and carrying multiple copies of the same card. Indeed, many consider it the best anime since [[Anime/YuGiOh the original,]] with a bold few even going as far to say as it manages to ''top'' it many ways!
* ''Anime/MDGeist'' is a bizarre example of this phenomenon. Part of the initial North American anime boom, ''MD Geist'' was successful when it was brought to North America, largely due to the efforts of Creator/CentralParkMedia president John O'Donnel, who loved it and [[AdoredByTheNetwork promoted it to a ridiculous level]]. In part [[HypeBacklash due]] to this overexposure, it was hated by vocal {{Otaku}}s and acquired a reputation as the "worst anime ever" after its commercial success faded. This changed in the late 2000s when the OVA was shown on Creator/SciFiChannel Ani Monday block, due to a combination of a growing backlash against certain trends such as {{Moe}} and [[CriticalBacklash being nowhere near as bad as advertised]]. While few people would argue ''MD Geist'' is good art, it is now largely seen as [[SoBadItsGood enjoyable]] rather than being [[DarthWiki/SoBadItsHorrible garbage]], and [[http://forgottenjunk.blogspot.com/2011/07/md-geist-most-detailed-article.html several]] [[http://www.colonydrop.com/index.php/2011/07/15/mdgeist?blog=1 articles]] have been [[http://www.otakuusamagazine.com/Anime/News1/The_Truth_About_MD_Geist_1154.aspx written]] arguing against its reputation as the "worst anime".

[[folder:Comic Books]]
* {{Superhero}} comics have been on this path for years. They were one of the few comics that survived UsefulNotes/TheComicsCode (although they had to censor themselves), and were the more successful comics throughout the {{UsefulNotes/The Silver Age|Of Comic Books}} and {{UsefulNotes/The Bronze Age|Of Comic Books}}. During the later parts of the 80s,''ComicBook/{{Watchmen}}'' was a successful deconstruction of the Superhero Genre, while ''ComicBook/TheKillingJoke'' and ''ComicBook/TheDarkKnightReturns'' were grittier takes on ''Franchise/{{Batman}}''. Seeing this, many comics went DarkerAndEdgier, leading to the UsefulNotes/TheDarkAgeOfComicBooks. Unfortunately, most of the dark material, while popular at first, got old. UsefulNotes/TheGreatComicsCrashOf1996, caused by a number of factors (such as the failure of ' ''ComicBook/DeathMate'', and the overuse of collectors editions/crisis crossovers), made many companies such as Creator/ValiantComics die, and even Creator/{{Marvel}} filed for bankruptcy. By 2001, comic book sales were only 67 million, their lower point in years. Marvel and DC focused on their movies, while Creator/DarkHorseComics and Creator/ImageComics focused on licensed and genre material. However, with the popularity of Franchise/MarvelCinematicUniverse and similar films, as well as lots of successful TV adaptations and new diverse titles like ''ComicBook/MsMarvel2014'' and ''ComicBook/{{Batgirl 2011}}'', superhero comic books have had a significant rebound. [[/folder]]

[[folder:Films -- Animated]]
* Disney has gone through ups and downs. During UsefulNotes/TheGoldenAgeOfAnimation, Disney's films were successes. However, after the death of Creator/WaltDisney, the confused company released a string of weak, underperforming films in TheSeventies. By TheEighties, Disney was better known as a theme park operator than a filmmaker. However, in 1989, ''Disney/TheLittleMermaid'', an animated film deliberately reminiscent of the Golden Age films of the 1940-50s, became an unexpected critical and commercial success and kicked off the [[UsefulNotes/TheRenaissanceAgeOfAnimation Disney Renaissance]] that lasted throughout the entire [[TheNineties Nineties]]. By the TurnOfTheMillennium though, audiences, tiring of the increasingly [[AwardBaitSong cliched]] [[TalkingAnimal formula]] [[RebelliousPrincess prevalent]] in these films, drifted towards the then-new AllCGICartoon popularized by Creator/{{Pixar}} and Creator/DreamWorksAnimation. Disney responded by impulsively shutting down their traditional animation studio and releasing a string of their own CGI cartoons, none of which made much of an impact. Disney later announced that in the wake of the increasing popularity of CGI and decreasing interest in hand-drawn animation, they would be focusing on CGI flicks for the foreseeable future.
** The pendulum swung back ''again'' in 2009 with the release of ''Disney/ThePrincessAndTheFrog'', which, while not the smash hit the studio was hoping for, still managed to be a formidable success. Content-wise, Disney has returned to stories similar to those of the '90s with ''Disney/{{Tangled}}'' and ''Disney/{{Frozen}}'' -- except reimagined with a new level of self-awareness and avoidance or subversion of the much-maligned typical Disney formulas, and with films from other genres (''Disney/WreckItRalph'', ''Disney/BigHero6'', ''Disney/{{Zootopia}}'') released in between them to prevent their formulas from becoming stale like they did at the end of their Renaissance. So far, this new approach has been highly successful with all their '10s films (barring 2011's little-marketed ''Disney/WinnieThePooh'') receiving highly positive critical and box office reception.

[[folder:Films -- Live-Action]]
* The 1967 film ''Film/ToSirWithLove'' laid this bare for the audience in a scene where Mark Thackeray (Creator/SidneyPoitier) informs his disbelieving students about many things that are OlderThanTheyThink: their clothing is from the 1920s, their hairstyles from the 16th century, and so on. A trip to a museum later in the film re-{{lampshade|Hanging}}s it when one of the students is shown with his head next to that of a Renaissance statue -- and they both have the same haircut.
* Musicals have been getting in and out of this since its beginnings: the UsefulNotes/RiseOfTheTalkies brought a glut of musical films in 1929-30, only for TheGreatDepression to shift tastes to the point many films had to be modified to eliminate the songs and promoted as such. But halfway through the decade Busby Berkeley's new approach to choreography and the popularity of the Astaire-Rogers team led to a wave of musicals that intensified during the war years, with MGM becoming associated with the genre, which then faltered through the 1950s with the rise of television, being relegated to the B-movie domain by the time rock-and-roll came along. But in TheSixties ''Mary Poppins'' and ''The Sound of Music'', as well the British musical films of the Beatles era led Hollywood to reconsider musicals, but these attempts were [[GenreKiller killed]] by a parade of flops over 1967-69 (''Camelot'', ''Film/DoctorDolittle'', ''Film/PaintYourWagon'', ''Finian's Rainbow'', ''Film/ChittyChittyBangBang'', and finally ''Theatre/HelloDolly'') that rendered musicals DeaderThanDisco, with ''Film/{{Cabaret}}'' and ''Music/JesusChristSuperstar'' being the only exceptions. While the genre briefly resurfaced late in TheSeventies via a few successful efforts, most notably ''Film/SaturdayNightFever'' and ''Film/{{Grease}}'', it gave up the ghost early in TheEighties after the disco backlash set on, with ''Film/{{Xanadu}}'' and ''Cant Stop the Music'' [[GenreKiller killing off the genre for two decades]]. 2001's ''Film/MoulinRouge'' was the first live-action musical in years to attract positive attention, but a comeback truly kicked off the following year with the Oscar-winning film of ''Film/{{Chicago}}'', and has continued into the present with the likes of ''Theatre/{{Dreamgirls}}'', ''Film/{{Hairspray}}'', ''Theatre/MammaMia'' and ''Theatre/LesMiserables''. Disney even managed to make a highly successful franchise out of ''Film/HighSchoolMusical'', to the point where the third film was upgraded to a theatrical release. ''Series/{{Glee}}'' helped to carry the musical revival torch into TheNewTens, alongside films like ''Film/PitchPerfect'', ''Joyful Noise'' and shows like ''Series/{{Smash}}'' (though neither of the latter two were particularly successful), with Creator/DisneyChannel having several other stabs at musical franchises such as ''Film/CampRock'' and ''Film/TeenBeachMovie''.
* Hardly any [[SwordAndSandal ancient history films]] between ''Film/{{Cleopatra}}'' and ''Film/{{Gladiator}}''. Then it became a trend again, only to fall out of favor ''again'' due to the failures of later ones like ''Film/{{Alexander}}''. Then ''Film/ThreeHundred'' brought them back into vogue, this time tending to have more stylized aesthetics.
* Putting original songs in movies has become this. Original songs in movies used to be the norm, with many being acclaimed as classics to this day, and the Best Original Song category was thriving with nominations. However, by the 2000s, with fewer and fewer films using theme songs in favor of filling up the soundtrack with as many hot artists of the moment as they can, and less radio airplay for such songs, original songs had fallen off the radar. The persistence of the MovieBonusSong and AwardBaitSong tropes were the only things keeping them alive, and the effects showed at the Academy Awards Best Original Song category -- the 2011 winner [[Film/TheMuppets "Man or Muppet"]] beat out ''one'' other nominee (''Rio''), which was most likely there so that there wouldn't be just the single nominee. However, in TheNewTens, with the success of songs such as "Skyfall" from ''Skyfall'', "Everything is Awesome" from ''The Lego Movie'' and "Let It Go" from ''Frozen'' along with their performances on stage, original songs have seen a significant revival.
* This has happened more than once to the {{horror}} genre:
** The [[UniversalHorror classic Universal monster movies]] were certainly big hits in their own day, but they reached the height of their popularity in the [[TheFifties mid 1950s]], when Universal released a large number of them in a television package called ''Shock! Theater''. ''Shock!'' introduced the films to a new audience that could view them from the comfort of their homes, with the lovably campy assistance of various local [[HorrorHost Horror Hosts]], kicking off a "Monster Boom" craze that lasted well into the '70s. [[Film/HammerHorror Hammer Film Productions]] came along at almost the same time to produce lurid color remakes of the classic films, ensuring the monsters' legacies would live on and restoring glamour to the horror genre, which, by that point, had devolved into BMovie hell.
** In the first half of TheNineties, the horror genre (and the {{slasher|Movie}} genre in particular) was seen as stale, {{cliche|Storm}}, and behind the times, filled with bad writing, cheap scares, and [[UnfortunateImplications not-so-subtle misogyny]]. New horror movies were flopping at the box office left and right (even in the normally-reliable month of October), and the slasher icons of TheEighties viewed as walking punchlines. Then came ''Film/{{Scream|1996}}'', which {{deconstruct|ion}}ed, [[DeconstructiveParody parodied]], and {{lampshade|Hanging}}d all the genre's conventions, put them all back together, and single-handedly restored the genre to commercial viability. While the teen slasher boom it spawned turned out to be short-lived (due to a combination of SturgeonsLaw and a TooSoon reaction after the UsefulNotes/{{Columbine}} massacre), horror cinema in general hasn't looked back.
** The effects of ''Scream'' revitalizing the horror genre are visible in how the reputation of ''Film/{{Halloween 1978}}'' has evolved over the years. While it's always had, at the very least, a cult fandom, in the late '80s and early '90s its status as the TropeCodifier for the SlasherMovie was more of a liability than anything, and many critics blamed it for drowning the horror genre in a wave of gore-soaked hack-n-slashes (despite the fact that ''Halloween'' itself was [[GoryDiscretionShot comparatively bloodless]]). With the reappraisal of slashers in general starting in the late '90s, its reputation has recovered, and most critics once more recognize it as a classic.
* ZombieApocalypse movies, and zombies in general, were practically forgotten throughout the '90s. It wasn't until the early 2000s that ''Film/TwentyEightDaysLater'', the ''[[Film/DawnOfTheDead2004 Dawn of the Dead]]'' remake, and ''Film/ShaunOfTheDead'' kickstarted the genre again.
* ''Film/{{Titanic|1997}}'' became the highest-grossing movie ever and won 11 Oscars. Then the overexposure (particularly of the Music/CelineDion theme), HypeBacklash, annoying Creator/{{Leonardo DiCaprio}} fangirls, and the overall schmaltzy and overblown tone of the movie damaged both its reputation and popularity. By the time the movie turned 15 and got a [=3D=] re-release in theaters, all was forgiven and forgotten.
* Big-budget, theatrical superhero movies have risen and fallen several times. The 1940s and '50s saw ''Franchise/{{Batman}}'', ''Franchise/{{Superman}}'', and ''Franchise/TheGreenHornet'' movie serials ride the original comic book boom onto the big screen, but that trend crashed roughly alongside the Comics Code Authority bringing about the end of the Golden Age of superhero comics, and superhero movies were relegated to low-budget made-for-TV fare for twenty years (with the odd exception like 1966's Adam West TV spinoff ''Film/BatmanTheMovie''). The success of Richard Donnor's ''Film/{{Superman}}'' in 1978 revived interest, as did 1989's ''Film/{{Batman}}'', but each was followed by only one well-received sequel, two poorly-received ones, and a decade each of [[FollowTheLeader B-grade imitators]] like ''Film/{{Supergirl}}'', ''Film/HowardTheDuck'', and ''Film/TheMeteorMan'' which were generally poorly received by critics and audiences. In 1998, ''Film/{{Blade}}'' was released and ended up being a SleeperHit. Then in the early [[TheAughts 2000s]], the genre began a slow-building but powerful and long-lasting resurgence with the ''Film/XMen'' and ''Film/SpiderMan'' film franchises. In TheNewTens, the release calendar has been dominated by big budget superhero adaptations such as Christopher Nolan's ''The [[Film/BatmanBegins Dark]] [[Film/TheDarkKnight Knight]] [[Film/TheDarkKnightRises Trilogy]]'' and [[Franchise/MarvelCinematicUniverse Marvel's sprawling Cinematic Universe]], and there appears to be no end in sight.
* {{Lampshade|Hanging}}d in ''Film/TwentyOneJumpStreet''. While returning to his old high school, one of the leads notices an attractive young woman reading a comic book. He points out that when he was a teenager, only geeks read comics, and were usually mocked for doing so.
* Hard-R comedies first took off in the late 1970s, with films like ''Film/AnimalHouse'' and ''Film/TheKentuckyFriedMovie'' pushing major boundaries in terms of what constituted "good taste"[[note]]Although, technically, 1972's ''Film/PinkFlamingos'' still holds the record for "raunchiest movie ever made", and unlike most European comedies of the era, these had a plot and could be shown at a regular movie house.[[/note]] and becoming hit films in the process. Unfortunately, a saturation of films in the early '80s, many of which relied solely on VulgarHumor rather than witty writing, dissolved the genre just before ''Film/{{Ghostbusters}}'' and ''Film/BackToTheFuture'' led family-friendly humor to dominate comedy. During that time, the decidedly tamer comedy of "teen films" like ''Film/FerrisBuellersDayOff'' in the late '80s and some of the works of actors like [[Creator/PaulReubens Paul "Pee-Wee" Reubens]], Creator/JimCarrey, Creator/RobinWilliams, and Creator/AdamSandler became the norm for more mature audiences. However, ''Film/{{Clerks}}'' sardonic Gen X-fueled approach to adult humor made it a sleeper hit and the hard-R comedy came back in 1998 when ''Film/TheresSomethingAboutMary'' became a surprise critical and commercial hit. The genre thrived for the next three or four years with such box office bonanzas as ''Film/AmericanPie'' and ''Film/ScaryMovie''. While the new wave's over-emphasis on high school- and college-centered comedy (what with the audience for such movies moving on to adulthood) and ''WesternAnimation/TheSimpsons''' brand of humor influencing family films like ''Film/{{Shrek}}'' threatened to dissolve the genre yet again, the films of Creator/JuddApatow, starting with the 2005 hit ''Film/TheFortyYearOldVirgin'', proved that such films could be just as popular with adults as with teenagers, even pre-teens. By 2010, family films would start GettingCrapPastTheRadar in order to compete in even terms, and movies with tamer material were seemingly doomed to bomb and become video material, (unless it was exceedingly optimistic). However, the better-than-expected release of Pixar's ''WesternAnimation/InsideOut'' during the summer of 2015 has led the industry to wonder if the sorry state of family-friendly entertainment is about to end. All this while a glut of "laugh-out-loud" comedies became apparent with ''Film/{{Pixels}}'' and ''Film/{{Ted 2}}'' floundering at the box office and being met with critical scorn.
* Vampire movies are in a full swinging pendulum of this. They will gain popularity for awhile, then play themselves out, only for the process to repeat.
* After his [[Film/GodzillaFinalWars last film]] in 2004, ''Franchise/{{Godzilla}}'' has received very little public or internet attention. But once footage and trailers for [[Film/{{Godzilla2014}} the 2014 reboot]] started being released in December of 2013, Godzilla started trending very often on social network sites, leading to revived interest in the franchise specifically (hence why many of the films were brought back into circulation after [[KeepCirculatingTheTapes years with no home video releases]]) and the {{Kaiju}} genre in general (hence the sustained interest in ''Film/PacificRim'' and the ContinuityReboot for ''Franchise/{{Gamera}}'').
* Franchise/TheMuppets: It may not be obvious to today's viewers, but the original film ''Film/TheMuppetMovie'' had any number of cameos from people who were, at the time, ''huge'' stars, and ''Series/TheMuppetShow'' guest stars were frequently leading lights either as actors or singers (or both) as well. They have made a huge comeback, now that the media industry is full of influential producers and talents who grew up on their show and still love them. There's no shortage of celebrities who want to perform with them, as [[Film/TheMuppets their 2011 film]] demonstrates.
* The 1978 film ''Film/TheDeerHunter'' won five UsefulNotes/{{Academy Award}}s, including Best Picture and Best Director for Michael Cimino, and was acclaimed as one of the first great movies about UsefulNotes/TheVietnamWar and the impact it had on the people who fought in it. Then Cimino went and [[CreatorKiller sank an entire studio (as well as his career)]] with his follow-up, the critically ravaged BoxOfficeBomb ''Film/HeavensGate''. The backlash against Cimino in the wake of ''Heaven's Gate'' was so severe that it stained the reputation of ''The Deer Hunter'' for quite some time. There was a period of time in the early-mid '80s when it was uncool in film critic circles to like that film, as many critics tried to explain how they'd been "suckered in" by Cimino. The [[http://www.nytimes.com/movie/review?res=940CE4D61638F93AA25752C1A966948260 more charitable]] said that he'd made a DealWithTheDevil for its success. As the debacle of ''Heaven's Gate'' fell further into the past, however, the film eventually regained its reputation as one of the great Vietnam War movies. While Creator/MarkKermode [[https://web.archive.org/web/20110721174514/http://www.film4.com/features/article/oh-deer-oh-deer-oh-deer still hates it]], many others have since reevaluated their negative positions on the film, and it was added to the Library of Congress in 1996 and made AFI's 100 Years... 100 Movies list in both [[AFIS100Years100Movies 1998]] and [[AFIS100Years100Movies10THAnniversaryEdition 2007]] (actually climbing 26 spots on the latter list).

* ''Literature/TheAeneid'' versus its predecessors, ''Literature/TheIliad'' and ''Literature/TheOdyssey''. For many years, ''The Aeneid'' was considered the true accounting of the war, and practically required reading for any aspiring creative worker. This is for several reasons, chief among them being that Vergil's work deals primarily with the history of Rome, and most Renaissance thinkers were Italian. It was also written in Latin, which was much more widely-understood than Homer's Greek. As a result, many writers ended up inheriting Vergil's interpretations, [[RonTheDeathEater which usually depicted the Greeks in a poor light.]] However, these days, it's reversed; most people have read or at least know the plot of Homer's works, while Vergil's are mostly read by Latin students. This may be due to the rising popularity of Greek mythology and culture, the proliferation of translated versions of Homer eliminating the language barrier, or the greater mass-appeal of a massive war and a decades-long adventure as opposed to Vergil's more introverted work. Audiences today read ''Literature/TheDivineComedy'' and wonder what poor Odysseus is doing at the Eighth Circle of Hell.

[[folder:Live Action TV]]
* For 25 years or so after it first aired, ''Series/BattlestarGalactica1978'' was regarded as being a pretty solid show considering the time period when it was produced. Then during the [=2000s=] following the launch of the reimagined series, people tended to dismiss it as being just silly, campy fluff that wasted the potential of its concept. In the years since the finale of the reimagined series however, people have started to warm up to the original again, for at least being fun to watch and not having a storyline which collapsed in on itself (it helps that it's much easier to ignore ''Galactica 1980'' than it is to ignore the latter few reimagined seasons).
* Although easy to forget now that it's a massive media juggernaut seemingly beloved by all, ''Series/DoctorWho'' was considered a joke in the years between the mid '80s and 2005. It had been a very popular show at its height in the '70s, but during its '80s DorkAge and after its cancellation in 1989 it was, at best, a CultClassic, and at worst, something for people to sneer at and assert that, no, ''they'' never watched if they wanted to maintain a shred of credibility. Then Creator/RussellTDavies and Creator/ChristopherEccleston came along, and suddenly everything changed. The show not only became a huge success in Britain and returned to omnipresence in pop culture, but for the first time it managed to cross ThePond and establish a substantial international fanbase, with ''Doctor Who'' merchandise sold in mainstream American music/video stores.
** Case in point: [[http://www.rotten.com/library/culture/doctor-who/ this article]] from the Rotten Library, written in 2005 just as ''Doctor Who'' was returning to television, exemplifies the dismissive attitudes (in this case, from an American perspective) that many people had towards the show at the time, ending with a joke about looking for "New ''Who''" on struggling Creator/{{PBS}} stations in between [[{{Telethon}} pledge drives]]. It would be [[HilariousInHindsight unimaginable]] for that same article to be written today.
* {{Game show}}s in general tend to go through cycles. They went through their first boom in TheFifties, and fell hard after it was revealed that several of them (most infamously ''Series/TwentyOne'') were [[ExecutiveMeddling rigged]] in order to create tension for viewers. Except for the PanelGame variants like ''Series/IveGotASecret'' and low-stakes parlor games like ''Series/{{Password}}'', and a little thing called ''Series/{{Jeopardy}}'' that started in 1964, American audiences wouldn't fully trust game shows again until TheSeventies, when shows like ''Series/FamilyFeud'', ''Series/ThePriceIsRight'', ''Series/TheJokersWild'', ''The $10,000 Series/{{Pyramid}}'', and ''Series/WheelOfFortune'' became popular on network TV. The network games almost began to die down in [[TheEighties the '80s]] when the current syndicated version of ''Wheel'' debuted, followed a year later by a syndie revival of ''Jeopardy!'', but the market did get quite saturated around the late part of the decade: in 1989 and 1990 over a dozen new shows premiered (including revivals and network primetime versions, even ''Monopoly'' had a show), except that the early 90s depression caused a backlash against the genre, which quickly went through the wayside: Except for the juggernaut ''Series/ThePriceIsRight'', there wasn't a single network daytime game show between the end of ''Series/CaesarsChallenge'' in 1993 and the ''Series/LetsMakeADeal'' revival that began in 2009. Meanwhile, cable became a haven for game shows for a while, but most of them were cheap, short-lived fluff outside a few {{Cult Classic}}s like ''Series/SupermarketSweep'', ''Series/{{Double Dare|1986}}'', etc. The cable boom also made way for Creator/{{GSN}}, which offered reruns of older shows.\\
The genre returned in a big way in the late '90s/early 2000s with ''Series/WhoWantsToBeAMillionaire'' and ''Series/TheWeakestLink'', as well as shows like ''Series/{{Greed}}'' and the {{revival}} of ''Series/TheHollywoodSquares''. This boom also caused a deluge of [[WhoWantsToBeWhoWantsToBeAMillionaire their assorted clones]]. In the early 2000s, ''Millionaire'' and ''Link'' pulled in tens of millions of viewers and were watercooler discussion fodder, and their hosts (Regis Philbin and [[TheMeanBrit Anne Robinson]], respectively) were household names. On top of that, their flashiness and huge prize budgets mostly spelled the end of low-budget cable game shows. Then their networks [[AdoredByTheNetwork began marketing them to death]] (Creator/{{ABC}} aired ''Millionaire'' almost every night of the week), and reality shows like ''Series/{{Survivor}}'', ''Series/AmericanIdol'' and ''Series/TheAmazingRace'' started taking off and providing what were then innovative alternatives to the traditional quiz show model. Almost overnight, the shows were only surviving in syndication -- and even that wasn't enough to keep ''Link'' alive. To this day, their catch phrases ("Is that your final answer?" for ''Millionaire''; "You are the weakest link. Goodbye!" for ''Link'') are considered annoying as all hell. Game shows generally started to die off again, with one of the only success stories in the mid-2000s being ''Series/{{Lingo}}'' (2002-2007) on GSN. ''Series/DealOrNoDeal'' sparked another brief revival in 2008, but its incredibly flimsy premise, ever-increasing gimmickry, and WolverinePublicity helped do it in. Meanwhile, through all the cycles the genre has gone through, the aforementioned syndie versions of ''Wheel'' and ''Jeopardy!'', and ''Price'' over on CBS, have remained consistently strong.
** In the UK, the genre seemingly died out at the end of the Millionaire Years (thanks to that show and others like The Weakest Link becoming a bit of a joke), but has recovered in later years with shows like ''Pointless'', ''Series/TheChase'' and ''Eggheads'' getting good ratings and being nominated for TV awards.
* ''Series/MightyMorphinPowerRangers'' is quickly becoming a good example of this. It was a huge phenomenon in the early 90s, but it began to slowly dwindle until about 2002, when it was bought by Disney, when it got worse. It had a short burst of success then, but Disney was apathetic to the show at even the best of times, and it essentially culminated in its cancellation in 2009 after ''Series/PowerRangersRPM''. However, soon after, the show was bought back by Saban, [[ChannelHop hopped]] over to Nickelodeon, and the franchise seems to be back on an upswing.
* In-universe example from ''Series/HowIMetYourMother'': Marshall and Ted take a long drive with just one song to listen to, "I'm Gonna Be (500 Miles)". In alternating hours, they either hate it or love it (though unlike in a standard example, the moments of high "popularity" don't follow the thing's absence, but rather that it has managed to sink in).
* The long-form MiniSeries in the U.S. In TheSeventies and TheEighties, this was seen as the premier format for high-quality television, with shows like ''Series/{{Roots}}'', ''Series/JesusOfNazareth'', ''Series/{{V}}'', and ''Rich Man Poor Man'' allowing the networks and their writers to stretch their wings and bring Hollywood-level production values and big-name stars to the small screen. The then-Big Three networks would devote large chunks of their annual budget and UsefulNotes/{{sweeps}} time to air miniseries that could take up a whole week (or even more) of programming to keep audiences glued to the TV. During TheNineties, however, the quality of miniseries fell into the gutter as networks exploited the format as a UsefulNotes/{{sweeps}}-week RatingsStunt first and a method of storytelling second. The length of most miniseries also decreased, shrinking to just two parts and 4-5 hours, as networks grew more cost-conscious. By the TurnOfTheMillennium, a glut of crappy miniseries had virtually discredited the format.\\
However, the miniseries found new life on cable television in the late '00s, where many smaller networks saw it as a cost-effective alternative to producing long-running series. Creator/{{FX}}'s ''Series/AmericanHorrorStory'' and Creator/{{HBO}}'s ''Series/TrueDetective'' have been using miniseries formats in all but name. Creator/TheHistoryChannel aired ''Series/{{Hatfields and McCoys}}'', which became a huge success. History followed that up with ''Series/TheBible'' and ''Vikings'', with both having high ratings starting out, but in the case of the former, outside of a very specific niche audience of conservative Christians, after the show had aired, audience opinion of the series dropped (critics never liked it), and in the case of the latter, ratings fell during season 2. Nevertheless, ''The Bible'' was a bestseller on home video, ultimately becoming the most successful miniseries ever produced, and the format has now been seen in a more favorable light. Since then, there has been a glut of miniseries that have been produced or are currently in development, even among the broadcast networks that had abandoned the format years earlier. Networks have used the format to test potential long-form projects (''Series/{{Fargo}}'', ''Series/UnderTheDome''), or they have been using them to revive long-running shows (''Series/TwentyFour'', ''Series/{{Heroes}}'', the original ''Series/LawAndOrder''). There are stand-alone projects being produced as well, a few of them being made to cash in on ''The Bible'' (NBC's ''AD'' and CBS' ''The Dovekeepers'', both of which share the [[Creator/MarkBurnett same]] [[https://en.wikipedia.org/wiki/Roma_Downey producers]] from ''The Bible'').
** As [[http://www.rottentomatoes.com/news/1933242/the_rise_and_fall_of_the_miniseries/ this article]] on Website/RottenTomatoes explains, many of the trends of modern television -- {{All Star Cast}}s in television productions, complete stories told in a finite number of episodes, even binge-watching -- began with the miniseries of the '70s and '80s. As such, the much-ballyhooed "GoldenAge of Television" of the 2010s can simply be viewed as the miniseries' return to prominence and takeover of the TV landscape, even if it's no longer referred to as such anymore.
* ''Franchise/StarTrek'' has varied in both popularity and quality, constantly going from being a CultClassic to being a mainstream phenomenon. ''Series/StarTrekTheOriginalSeries'' was moderately popular during its original 1966-69 run, but was cancelled after a low budget third season. The series was later revived as a 22 [[WesternAnimation/StarTrekTheAnimatedSeries episode animated series]]. While the first [[Film/StarTrekTheMotionPicture film]] received mixed reviews, it was enough to get another sequel, ''Film/StarTrekTheWrathOfKhan'', which was wildly considered the best film of the franchise and helped create a film series, albeit [[StarTrekMovieCurse one of varying quality]]. Later, another series, ''Series/StarTrekTheNextGeneration'' was released, and became an iconic show, lasting 176 episodes and seven seasons. The popularity ended up spawning two shows: ''Series/StarTrekVoyager'' and ''Series/StarTrekDeepSpaceNine''. While both were popular, they never achieved the status of ''The Next Generation''. The franchise hit a low point in the early 2000s, with the box office failure and poor reception of ''Film/StarTrekNemesis'' and the low ratings, lukewarm reception, and cancellation of ''Series/StarTrekEnterprise''. However, ''Film/StarTrek'', a reboot of the franchise was a success both critically and commercially, and ''Film/StarTrekIntoDarkness'' continued the streak, even though it resulted in a BrokenBase. A new TV series is scheduled for 2017.
* The televised live musical was inescapable in the '40s and '50s, but died out by 1960, with the last one being a remake of ''Theatre/PeterPan''. In 2013, NBC decided to put on the first televised live musical in 53 years, in the form of a remake of ''Theatre/TheSoundOfMusic'' starring Music/CarrieUnderwood. While it wasn't well received, ratings went through the roof and NBC decided that they would put out such a show annually. ''Peter Pan Live'', their next musical, was met with similar audience response, but 2015's ''Theatre/TheWiz Live'' became a critical darling just in time for another network to try out the live musical - Fox with ''Film/{{Grease}} Live'', set for January 2016. In addition, 2016 also brought an ABC-produced live remake of ''Film/DirtyDancing'' (presumably for as early as the fall sweeps) and NBC's fourth annual musical, ''Film/{{Hairspray}}'' (for December).


[[folder: General ]]

* In general, the TwoDecadesBehind rule of coolness applies:
** The [[TheFifties 1950s]] revival between [[TheSixties the late 1960s]] [[TheSeventies through]] [[TheEighties the 1980s]] [[TheNineties and even further]] with Music/ShaNaNa, ''Film/{{Grease}}'' and ''Film/StandByMe'' are remembered for sparking renewed interest in rock-and-roll.
*** The 1980s also revived 1960s guitar-based rock and jangly pop into college rock and AlternativeRock.
** The [[TheNineties 1990s]] and early 2000s revived [[TheSeventies 1970s]]-style hard rock and metal into grunge and post-grunge. Hip-hop and R&B songs sampled every '70s funk and disco track they could get their hands on. British Invasion-era music became popular for much of the 90s with ''Series/{{Friends}}'' and the "Cool Britannia" phenomenon.
** The 2000s and 2010s reinvigorated the 1980s' emphasis on synthesizers, vocal reverb, high production values, and relatively minimalist, almost un-syncopated beats.
** [[TheNewTens The 2010s]] have begun to show a revival of the grunge/alternative rock culture of the 1990s among the indie circles.
* The market for [[IdolSinger contemporary dance-pop music]] has seen great periods of popularity and decline, starting with the mid-to-late [[TheEighties 1980s]] led by Music/MichaelJackson's ''Music/{{Thriller}}'' and Music/{{Madonna}}'s early period, then falling to {{Grunge}} and hip-hop in TheNineties. It returned with the rise of the Music/SpiceGirls, Music/BackstreetBoys, Music/{{NSYNC}}, Music/{{Hanson}}, Music/ChristinaAguilera and Music/BritneySpears in 1998-1999, then gained a new audience when Creator/DisneyChannel and Creator/{{Nickelodeon}} stars like Music/TheJonasBrothers, Music/HilaryDuff and Music/MileyCyrus branched out into teen pop careers in the mid-to late 2000s. Music/JustinBieber, Cody Simpson, Music/OneDirection, Music/CarlyRaeJepsen, Series/BigTimeRush, Music/ArianaGrande and AustinMahone seem to be flying the flag for the 2010s.
* Teen Pop tends to regularly go in and out of style. The genre first reached mainstream prominence in the early-1960's and remained popular throughout both TheSixties and TheSeventies with such groups as The Osmonds and The Jackson 5. The genre fell out of fashion once [[DeaderThanDisco disco backlash]] set in but regained strength in the late-1980's with such singers as Tiffany and Debbie Gibson. This brief resurgence in the popularity of the genre was, of course, halted by the rise of grunge in the early-90's and remained dormant until the late 90's, when Music/TheSpiceGirls and Music/BritneySpears broke through. While the genre saw possibly more success than ever before at this time, a massive backlash came about, with many accusing the era's pop stars of being plastic and corporate made. Meanwhile, many up-and-coming singers like Music/{{Pink}} and Music/AvrilLavigne rebelled against the teen pop craze by creating a harsher and more rock-oriented style of pop music. The resurgence of genres like post-grunge also took a significant bite out of the genre's popularity. By around 2007 (thanks in no small part to Britney's highly publicized CreatorBreakdown), teen pop was good as dead. Only to come back during TheNewTens with such singers as Music/MileyCyrus and Music/JustinBieber. Also, some teenage singers have managed to hold appeal to adults and males due to their more mature DarkerAndEdgier premises, namely Music/{{Lorde}} and Birdy.
** By proxy, the BoyBand craze. From approximately 1998 to 2001, boy bands such as the Music/BackstreetBoys and Music/{{NSYNC}} ''dominated'' the pop music scene, with multi-platinum albums and incessant airplay and TV spots. At one point, the Backstreet Boys even had ''Burger King kids' meal toys''!! Inevitably, the over-saturation led to a huge backlash and by 2002, it was like they never existed. The boy band stigma has largely prevented most former boy band members from having much of a solo career afterwards (except Music/JustinTimberlake, who beat the stigma by downplaying his association with *NSYNC, and is now as well-known as an actor as he is a singer). Another reason for the downfall of boy bands was the increasing popularity of pop-punk bands like Simple Plan, Good Charlotte, and Fall Out Boy, who soon became the next big thing among the younger demographic, and since they actually played instruments and wrote their own songs, they had much less of a stigma attached to them than boy bands did. In 2012, though, boy bands [[UnCanceled made a comeback]], with Nickelodeon-produced Series/BigTimeRush and British exports Music/TheWanted and Music/OneDirection. A lot of the boy bands from the '80s and '90s (Music/NewKidsOnTheBlock, the Music/BackstreetBoys, etc.) also started reunion concerts, which attracted a sizable number of twenty- and thirty-something females. One Direction in particular has reached a phenomenon on the level of - or possibly even exceeding - their predecessors. In March, they became the first ever UK group to debut Billboard's top 200 album chart at #1 with the American release of their first album. Their second album sold half a million copies when it was released in November and was able to knock Music/TaylorSwift off the top of the charts. When their third album debuted at #1 in 2013, they became the ''first group in the nearly 60-year history of the Billboard 200 to debut their first three - and then four - albums at #1.'
* Music/TakeThat have had a phenomenal comeback after they reformed in 2006 after a decade apart - their three studio albums since their reformation vastly outselling their three before their breakup and their 2011 tour becoming the 22nd highest grossing in history.
* Vinyl records. They were already starting to become old-hat in TheSeventies with the introduction of audiocassettes. Then they went out of style in TheEighties as the cassette surpassed it in popularity, and more importantly the compact disc took over the market and they saw themselves pushed back to the indie rock genre and niche applications (particularly DJ-ing). However, beginning around the late 2000s or so, they've come back to the forefront, thanks to a combination of factors: the audio distortion caused by the LoudnessWar having a nasty effect on CD audio quality (an effect that killed cassettes, and was ''not'' heard on vinyl, since such loudness can't be achieved on that medium), a growing preference for the sound of vinyl records (possibly for the reason discussed), the obsolescence of [=CDs=] themselves due to the internet, and the surging popularity of indie rock and dance music, the two genres that made the most use of vinyl records since TheEighties. By the mid-2010s, many companies began to mass-produce turntables, and Sony announced it would manufacture a record player at CES 2016.
* Cassettes are beginning to make a silent resurgence in popularity in TheNewTens. [[http://www.hypebot.com/hypebot/2015/09/the-cassette-tapes-comeback.html In 2014 alone, over 10,000,000 cassette tapes were sold]] [[https://en.wikipedia.org/wiki/Compact_Cassette#21st_century_use while sales went up by 20% in 2015,]] and seem to have risen alongside vinyl amongst the same crowd. Reasons for this sudden re-popularity can be traced to the same immunity to (or necessary removal of) the LoudnessWar, its relative cheapness compared to [=CDs=], decent players providing surprisingly good quality, and the artists of genres that ''did'' make use of cassettes during their dormancy are getting greater exposure. The fact that labels such as Sony and Universal have readopted cassette tapes and their use of them made up 70% of sales in 2014 speaks volumes.
* In the late 2000s, the music industry considered that physical formats would be dead in a few years, with the popularity of MP3s and streaming. However in 2014-15 many artists weary of the royalties paid by Spotify and the like jumped ship to the premium subscription service Tidal as their only means of digital distribution. Since then, physical sales have taken a rebound (specially for cassettes).
* While there were still bands playing more traditionally rooted styles of metal in the late 90s and early 2000s that received a fair amount of attention from fan of their particular styles, bands playing modern styles of metal, such as GrooveMetal and modern TechnicalDeathMetal, was grew to be more popular with the average metal fan. However, by the mid 2000s, several thrash metal bands began to receive a lot more attention than you would expect for a band playing that style in that period, and these bands kicked off the ThrashMetal revival, which remained fairly popular for a couple of years. In the meantime, interest in older forms of metal other than thrash was also increasing thanks to Darkthrone who adopted a more straightforward, punkier sound and inspired an entire "metalpunk" movement. This was followed by an old school DeathMetal revival, the rise of a "retro" doom/70s occult rock scene and "new wave" of traditional heavy metal. Many older bands had also reformed during this time. Though the bands playing more modern forms of metal were still as popular as ever, the interest in older forms of metal among people who would normally have ignored it had grown. With the subsequent interest in the music of the 1990s as of TheNewTens, metal has seen a major rise in stoner and sludge metal; additionally, while [[{{Metalcore}} melodic metalcore]] as people knew it from the 2000s is essentially dead (having largely been integrated into post-hardcore and/or modern rock), there has been a large uptick in traditional metalcore as people started rediscovering the founders of the genre, while a new form that mixes that style with Swedish death metal, crust punk, and powerviolence has also been making waves.
* HeavyMetal in the mainstream suffered a deep slump in the early '90s, with {{grunge}} bands like Music/PearlJam and Music/{{Nirvana}} taking over the rock charts and Creator/{{MTV}}. The genre, which had ruled the rock music scene in TheEighties, was driven back underground; the few bands that did find success in TheNineties, like Music/AliceInChains, Music/{{Pantera}}, and Music/{{Metallica}}, were those with a DarkerAndEdgier sound that fit in with the anti-HairMetal sensibilities of the decade. However, as grunge burned out and transitioned into PostGrunge, metal made a comeback in the late '90s as an antidote to the {{boy band}}s and {{idol singer}}s of the era. Creator/{{MTV}} even celebrated this trend in 1999 with a TV special entitled ''The Return of the Rock'', featuring Music/KidRock and various other extreme musicians. While this breed of metal, known as NuMetal, eventually suffered a backlash itself, metal as a whole survived its fall better than it did the collapse of hair metal in the early '90s, with numerous subgenres emerging from its ashes.
* Swing music started off as a fringe genre of jazz, but through the '30s and '40s grew to be wildly popular. Then, in the aftermath of World War II, it suddenly fell out of favor. Teens and dancers abandoned swing for rock-n-roll or crooners like Music/FrankSinatra, while dedicated jazz fans abandoned swing for the more complex bebop. Up-and-coming jazz musicians preferred playing bebop, because it gave them more soloing time, and jazz clubs preferred booking bebop combos because they were smaller and thus less expensive than swing bands.
** Music/DukeEllington and his orchestra--who had originally been famous in the swing era--managed to make their comeback in 1956, when their performance at that year's Newport Jazz Festival drove the crowd to pandemonium. In the aftermath Duke was more renowned than he was back when swing was in, and this surge in popularity lasted until his death in 1974.
** Swing in general did ''not'' make a comeback with Duke. It did, however, make a brief revival in the '90s, largely thanks to musicians like Big Bad Voodoo Daddy and Brian Setzer.
* Rock music is a genre that has a habit of defying all rumors of its demise and eventually coming back swinging within a few years.
** Its first death came in the early '60s, when most of the big stars were put out of commission -- Music/ElvisPresley got drafted and then turned to acting, the Day the Music Died took the life of Music/BuddyHolly, Music/LittleRichard became born-again and started recording exclusively gospel songs, Music/JerryLeeLewis derailed his career by marrying his [[KissingCousins 14-year-old cousin]], Music/ChuckBerry did the same with his own run-ins with the law, and the remaining artists were mostly recording forgettable novelty songs. It was felt that, soon, RockAndRoll would be swept in the dustbin of history where the MoralGuardians felt it belonged...
** ...and then came UsefulNotes/TheBritishInvasion, providing a new jolt of creativity and mainstream appeal to the genre. Rock entered what many older fans still consider to be its GoldenAge in the '60s and '70s, with every genre of rock music since then, from HeavyMetal to PunkRock and everywhere in between, tracing its roots to bands from those two decades. TheEighties, however, began with rock reeling from the {{Disco}} boom of the previous decade, and continued to struggle in the face of the wave of synthpop and dance pop that emerged in its wake, with the dominant genre of rock music, HairMetal, increasingly seen as childishly hedonistic by the masses around the end of the decade. Many record executives felt that guitar-driven rock was on its way out...
** ...only for the explosion of {{Grunge}} and AlternativeRock in TheNineties to answer and repudiate those who saw the genre as either stuck in the past or wallowing in debauchery, proving that it was still vibrant and resonant, especially with young people. Even after {{Grunge}} ultimately fell by the wayside thanks to the suicide of Music/KurtCobain, other genres like PostGrunge, PopPunk, and NuMetal carried the torch well into the mid '00s. By the late '00s, however, this wave had seemingly crested and burned out, and it was feared that the excesses of PostGrunge would be a GenreKiller for rock music as a whole...
** ...only for it to live on in the form of LighterAndSofter indie rock on one side, and HeavyMetal and all its assorted subgenres on the other. However, there are many who consider rock music in the 2010's to be in a state of limbo. While there have been some mainstream hits from the rock genre during this time, they have paled in comparison to their EDM-pop contemporaries, and many of them tend to be {{One Hit Wonder}}s at best. Also, most of the rock hits in the 2010's heavily incorporated elements of other genres such as electronic and dance music in lieu of more "traditional" guitar-driven rhythms, which has led many veteran rock fans decrying these hits as [[NoTrueScotsman not being "real" rock]]. Meanwhile, the more "traditional" rock musicians have largely been driven underground or relegated to their own radio format with little hope of a crossover. Only time will tell if there will be another boom in rock's popularity, though given its history, it's quite likely it will happen.
* [[HipHop Rap music]] tends to sporadically go in and out of style. It enjoyed its first peak of mainstream success during the late '80s and early '90s, with artists like Music/MCHammer, Music/RunDMC and Music/VanillaIce bringing it out of the South Bronx and onto MTV and mainstream pop radio. However, the rise of GangstaRap and HardcoreHipHop in the mid '90s, while [[VindicatedByHistory now remembered]] as something of a golden age for rap music, earned the ire of the era's MoralGuardians due to its [[DarkerAndEdgier hard-edged]] lyrical content, causing rap to be driven off of mainstream radio playlists. The rise of {{grunge}} and AlternativeRock around the same time didn't help matters either. Rap came back in the late '90s through the mid '00s when Music/JayZ, Music/FiftyCent, Music/LilJon and other artists made GlamRap a fixture of nightclubs and parties all across America, while Music/{{Eminem}} put a white face on gangsta rap to become one of the biggest (and most controversial) stars of the era. Currently, it seems to be entering another hiatus, particularly now that {{synthpop}} and other forms of ElectronicMusic are back in vogue and competing with rap for attention at the aforementioned clubs and parties.
* ElectronicMusic (SynthPop, NewWave, early HouseMusic and {{Ambient}} specifically) dominated pop music in America during the '80s, hitting a peak during the [[https://en.wikipedia.org/wiki/Second_Summer_of_Love "Second Summer of Love"]] in 1988-89. In the '90s and '00s, though, it was supplanted by RAndB, {{idol singer}}s, and alternative rock, and was viewed as overly-synthesized and artificial. It also was not helped by the fact that a tidal wave of bad publicity surrounding electronic music's association with drugs and deaths related to overdoses led to panicked ThinkOfTheChildren-type laws that targeted raves and electronic parties specifically. As a result, the scene ended up being a largely underground (or overseas) affair. In the late '00s, artists like Music/LadyGaga, Music/{{Kesha}}, Music/LaRoux and Music/OwlCity used elements of synth-pop to their music, bringing it back into the mainstream and helping to pave the way for a full electronic dance music craze to take over in the states.
* One ElectronicMusic genre that has benefited from the polynomial is {{Trance}}. The genre (one known for its more emotional and melodic compositions compared to other electronic genres) began in the early 90s, and grew to popularity within the European club and party scene through the decade, eventually splintering off to several different subgenres. Trance continued to maintain a very dedicated fandom that gradually grew more and more through the '00s all over the world, and while it did grow a fanbase stateside, it was harshly written off by house, DrumAndBass and {{techno}} fans as being [[{{Narm}} cheesy]] and [[{{Glurge}} sappy]], with numerous think-piece articles proclaiming trance had become a DeadHorseGenre. Not helping matters was the massive BrokenBase and countless arguments between fans over what was [[NoTrueScotsman "true" trance]]. Then TheNewTens came in and an EDM explosion took over America, and although trance wasn't ''quite'' as popular as ElectroHouse, TrapMusic, or {{dubstep}}, it still did benefit greatly from the boom, with several [=DJs=] experiencing a major surge of new fans. The immediate selling-out of tickets for Insomniac's Dreamstate festival (which primarily featured smaller-name producers in its lineup) became the topic of discussion as the genre making a major comeback.
* The history of CountryMusic in America for the past few decades has essentially been a tug-of-war between those who performed a slicker sound inspired by pop and rock music (with frequent crossover forays on those charts) and those who preferred a more traditional country sound. From the late '50s through the '60s, the "Nashville sound" (also known as countrypolitan) dominated the country charts and had a significant presence on the pop charts, but it witnessed a backlash in the '60s from the rival "Bakersfield sound" and in the '70s from outlaw country artists, which both rejected the Nashville sound's pop styling and, in the latter's case, took on a DarkerAndEdgier attitude to boot. The film ''Film/UrbanCowboy'' in 1980 spawned a return of pop-country inspired by that film's soundtrack, which eventually produced a backlash in the late '80s in the form of the neotraditional movement, which drew its main influences from '40s and '50s country.\\
The "Class of 1989", a group of young artists led by Music/GarthBrooks and Music/ClintBlack, was a turning point in country music, marking its transition into a mainstream force throughout the American music world. The booming, Arkansas-based retail chain UsefulNotes/{{Walmart}}, using discount records as a loss leader to pull customers into the store, helped to popularize country outside of its rural base and bring it into suburban America. Furthermore, as explained in [[http://www.popmatters.com/pm/column/123260-pour-some-sugarland-on-me-why-country-music-is-the-new-classic-rock/ this article]], the collapse of HairMetal and ArenaRock in the early '90s and the rise of ThreeChordsAndTheTruth in mainstream rock music caused a lot of talented session musicians to pack up for Nashville, where that kind of guitar work was still in demand. This pulled into country music a lot of fans of "classic" rock styles who were turned off by {{Grunge}} and AlternativeRock, with Music/ShaniaTwain's 1997 smash hit ''Come On Over'' serving as the TropeCodifier for this sound.\\
Today, the "arena rock with a steel guitar" style remains the dominant trend within country music, albeit mixed with the "bro"-style rap-skewing country (e.g. Music/FloridaGeorgiaLine); time will tell how long it lasts. The 2010s have seen a backlash brewing, however, chiefly (and rather appropriately, given the aforementioned relationship with '80s hard rock) for the same reasons as the anti-hair metal backlash in TheNineties -- a perception that the genre has been overtaken by hedonistic party music and has lost touch with its roots, mirroring the criticism of GlamRap from old-school hip-hop fans. (The fact that [[CountryRap crossovers between country and hip-hop]] have been among the chief targets of this only heightens the comparisons.) It's been said that mainstream country music operates on a twenty year cycle, with the popular styles of country being reminiscent of what was popular in rock music [[TwoDecadesBehind twenty years prior]]; see, for example, the emergence of guitar-driven "arena country" in the mid-late '90s corresponding to the rise of arena rock in the mid-late '70s. If this is the case, then country may be facing a shift akin to the rise of grunge.
* {{Ambient}} electronic music was quite popular in the 1970s and '80s. It found a niche due to its atmospheric, often otherworldly dreamlike quality. Thus it is often called Space Music. It found frequent use as the soundtracks of a significant number of radio shows, TV series, animated series, documentaries, planetarium shows, computer games, and theatrical films. This gained some artists a cult status that exists to this day, even if in some cases it may be a case of RetroactiveRecognition with respect to the artist's name. Some examples include Music/BrianEno, Music/JeanMichelJarre, Vangelis, Kitaro, Paddy Kingsland, Shuki Levy, the MOS Technology SID chip, Rob Hubbard, Jan Hammer, Klaus Shulze, and Tangerine Dream. This genre of music seemed to experience a backlash by the 1990s, but this backlash was mostly limited to North America. The fact that most of these electronic artists were British, European, Japanese or otherwise not American may have played a part in a large percentage of Americans turning their back on it, especially in the post 9/11 atmosphere that caused a glut of ultra-patriotism. Americans, in the 2000s began to embrace more primal, acoustic, classic, [[FolkMusic "back to their roots"]] sounds such as Rockabilly, Blues, Honkytonk and other purely [[CountryMusic Americana]] styles.
** Note that ambient music lacks lyrics and purely instrumental music has not been popular in the U.S and the U.K. since the 1970s, and it has been dead since the 90s outside of smooth jazz and classical music (this mostly because of instrumentals' association with department store music).
** Although {{Ambient}} and similar genres are still not being produced very much outside of obscure indie composers, millennial hipsters appear to be embracing it mostly thanks to Website/YouTube. And the EndOfAnEra feeling accompanying the release of Music/PinkFloyd's final album is causing people to rediscover Ambient music. Then, there is, of course, the current disillusionment with American culture in general as well as an increasing backlash against the corporate media agenda behind modern pop music. But it's unlikely to ever return to the mainstream due to its non-commercial nature.
* The PowerBallad was once a staple of HairMetal groups during TheEighties. "Love Bites" (Music/DefLeppard), "Open Arms" (Music/{{Journey}}), "When the Night Goes Down" (Music/JudasPriest), "Carrie" (Music/{{Europe}}), "Is This Love" (Music/{{Whitesnake}}), "So Many Tears" (Music/{{Dokken}}) are just a handful of the songs that dealt with more emotional issues such as love and intimate relationships while de-emphasizing the sexual aspects. They not only showed off the voice range of the frontman, but they also revealed a more tender, sensitive side to these manly metal groups. The 80s had a very different view of masculinity, as the 70s "alpha male" craze died out (taking "cock rock" with it) and this was more than a decade before the rise of gay culture subverted all previous conventions. Power ballads actually helped for hair and metal bands to earn air time on the radio since they had more appeal to the non hardcore audience. Today, however, extreme hypermasculinity is emphasized at the cost of more soulful emotional songs and power ballads were relegated to {{Narm}}. Straight men who were children of the 80s either tend to deny having liked them or find others questioning their masculinity. Power Ballads still find a place on old-school compilations, especially given the inevitable TestosteronePoisoning that is likely to shift music tastes once again in the near future.
* NuMetal. During the '90s, it brought metal back into the mainstream for the first time in nearly a decade and introduced the genre to a whole new generation of metal heads. It was built on the premise of [[GenreBusting defying]] and [[NeoclassicalPunkZydecoRockabilly mixing]] genres, with influences such a grunge, funk, and hip-hop. Bands like Music/{{KoRn}}, Music/{{Slipknot}}, and Music/LimpBizkit were some of the biggest acts in the industry, which were later joined by Music/LinkinPark, Music/PapaRoach, Music/{{Staind}}, and Music/{{Evanescence}}. However, it eventually died out as the audiences tastes shifted towards {{Emo|Music}} and {{Metalcore}}. Meanwhile, it built such a massive hatedom from metalheads, who gave it derogatory nicknames like "mallcore", "whinecore", "poser metal", "MTV metal", and "sports rock". A stereotype of nu metal fans grew that they were either [[PrettyFlyForAWhiteGuy white trash]] or {{wangst}}y teens. Bands like Music/LinkinPark and Music/PapaRoach only stayed relevant by changing their sound into something more socially acceptable, and it became a taboo to admit being a nu metal fan, while rock radio stations practically blacklisted all songs that fell into the genre.\\
However, by the turn of TheNewTens, the vitriol towards nu metal significantly declined. The aforementioned emo and metalcore genres that were instrumental in killing nu metal off have died out themselves. Bands that kept to their style were met with commercial success (which includes [=KoRn=], Limp Bizkit, and Evanescence), while bands that abandoned the genre have re-integrated it into their sound with their latest albums (which includes Slipknot, Linkin Park, Papa Roach, and Staind). Moreover, the revivalist bands like Music/{{Issues}}, King 810, and Butcher Babies have all met commercial success. Other bands like In This Moment and Of Mice and Men weren't formerly nu metal switched to it, and got significantly bigger afterwards. The rock radio stations that blacklisted them for so long have started putting nu metal songs back into circulation and metal heads are much freer to talk about nu metal bands they like with much-less fear of persecution. This is possibly the result of an unspoken truce declared, with "traditional" rock in a state of limbo thanks to even ''more'' blurring of genres than nu metal had ever done (see above), they were more willing to accept people who like nu metal on the basis that they still like a relatively traditional form of rock/metal. It's unlikely that it'll be anywhere near as big as it was in its peak, but it is, ''is'', becoming a genre that is once again socially acceptable to like.

[[folder: Specific ]]

* When Music/TheMonkees debuted in the mid-'60s, they had a string of Top 40 hits and a television program. However, desperate to break out of the mold, they produced the movie ''Film/{{Head}}'', which was such a colossal MindScrew that it killed whatever popularity they had left. But when Creator/{{MTV}} reran their TV show to celebrate their 20th anniversary, their career got a second wind, and a single off their greatest hits album (''That Was Then, This Is Now'') re-entered the Top 40 after a 20+ year absence (at the time, it was a record).
* It's easy to forget now, but near the end of his life, Music/MichaelJackson was known for only two things: his degenerating physical appearance and allegations of pedophilia. His death in 2009 pushed his bad qualities far enough into the background that it became [[TooSoon somewhat]] [[NeverSpeakIllOfTheDead disrespectful]] to bring them up. Radio stations were free to play his hits from TheEighties again, whereas before the only song of his that would receive any airplay was the TitleTrack from his 1982 hit album ''Music/{{Thriller}}'' -- and even then it was only around Halloween. Granted, the resurgence of interest didn't lasted as long as expected; aside from two successful Creator/CirqueDuSoleil JukeboxMusical variants, various postmortem releases -- the concert rehearsal film ''This Is It'', the unreleased tracks compilation ''Michael'', a 25th anniversary rerelease of ''Music/{{Bad}}'' accompanied by a Spike Lee documentary -- didn't live up to mountains of hype, and his post-1980s work remains largely overlooked. Still-ongoing (as of 2013) court cases regarding the ugly circumstances of his death don't help, nor does his [[VocalMinority rabid fanbase's]] unwillingness to tolerate those who don't think he was TooGoodForThisSinfulEarth and the greatest artist/entertainer of all time, as it's discouraged less-worshipful examinations of his work and impact. But at least his GloryDays work is acceptable again.
* Between 2004 and 2008, Music/BritneySpears was viewed as the DistaffCounterpart of Music/MichaelJackson. People felt that her career and reputation were beyond repair, and that she'd literally kill herself through her out-of-control lifestyle and craziness. Some people were already writing her obituary. The release of her albums ''Circus'' and ''Femme Fatale'', however, put her music back on top of the charts, restoring her to a level of popularity not seen since her TeenIdol days, while her being placed in the conservatorship of her father took her name out of the tabloids.
* Music/{{Weezer}}'s music video for [[http://www.youtube.com/watch?v=kemivUKb4f4 "Buddy Holly"]] is the ultimate illustration of the 20-year cycle: a video made in TheNineties about a [[Series/HappyDays TV show]] from TheSeventies that was itself nostalgic for TheFifties.
* Music/{{Deftones}} were generally seen as being in somewhat of a downward slump after their apex, ''White Pony'', which was followed by two albums generally regarded as mediocre, ''Deftones'' (self-titled) and ''Saturday Night Wrist''. However, Chi Cheng's accident and the subsequent emotions it inspired in the band seemed to have spurred them into a new renaissance, abandoning the record they were working on at the time, ''Eros'', and instead producing ''Diamond Eyes'' and ''Koi No Yokan'', two of their most popular and highly regarded albums yet.
* Music/PinkFloyd, most specifically ''Music/TheDarkSideOfTheMoon'', has been described in a book as this:
-->As such ''Dark Side'' has outlasted almost all vagaries of fashion. {{Punk|Rock}} pilloried it, but the CD age rescued it; the hardcore late 1980s spat upon it, but the chemical generation spaced out to it; {{Britpop}} made it obsolete, but Music/{{Radiohead}} made it more relevant than ever. And not for one second did it ever stop selling.
* Music/EltonJohn began as a critically acclaimed singer-songwriter celebrated for classic albums like ''Elton John'', ''Tumbleweed Connection'', ''Madman Across The Water'' and ''Honky Chateau''. His public popularity grew in 1973 with the albums ''Don't Shoot Me I'm Only The Piano Player'' and the double album ''Music/GoodbyeYellowBrickRoad''. which spawned some of the biggest hits of TheSeventies. His popularity increased through the first half of the decade, and his outrageous image, employing crazy costumes and glasses made him a phenomenon and TeenIdol, [[CriticalBacklash even though the reviews were less enthusiastic]]. An infamous ''Rolling Stone'' magazine interview in 1976, where he [[StraightGay declared himself bisexual]] (later he'd claimed homosexuality), cost him much of his Middle American fanbase, and his own wish to stop touring, saw his fame taper off. Although he had a successful free concert in Central Park in 1980, sales and airplay were nowhere near as they were in the 1970s. He returned in the mid-1980s with albums like ''Too Low For Zero'' and ''Breaking Hearts'', and enjoyed more success in TheNineties after going sober (especially after co-writing songs for ''Disney/TheLionKing''), and he still has occasional comebacks to this day.
* While few have ever denied the social and cultural impact of Al Jolson's work, from about the 1970s onwards it was generally considered not cool to give him anything more than the most cursory acknowledgement, partly due to the nature of his act, but mostly because of his {{blackface}} makeup. It wasn't until the 2000s -- and ironically mostly through the efforts of modern-day black performers -- that Jolson started to become a widespread cultural icon again, with the turning point widely being seen as when the city of New York agreed to name a section of Broadway after Jolson.
* Music/{{Kiss}} suffered a career meltdown in the late '70s, partly due to HypeBacklash (they were ''everywhere'') and partly because the two ascendant hard-rock styles of the era, punk and British metal, made Kiss's style sound pretty outdated. Their 1980 "concept" album, ''Music/MusicFromTheElder'', was a commercial disaster. They had a mini-comeback starting in 1983 when they removed their trademark white-and-black makeup and relaunched as a Music/BonJovi-style glam-metal band, but they never again enjoyed the level of popularity in which they had basked from 1975 to 1978...until 1996, when drummer Peter Criss and lead guitarist Ace Frehley (temporarily) rejoined the band, the makeup was slathered back on, and Seventies nostalgia hit America in a huge way.
* Much like Kiss in the '80s, Music/MarilynManson experienced a massive decline in the 2000s as his style of showmanship, fashion, and composition became the rock and metal mainstream. Furthermore, a string of personal disasters and albums whose content was now controversial for ''not'' being offensive and over-the-top enough, but more personal and heartfelt (especially the album ''Eat Me, Drink Me'', a guitar driven, straight-up rock album), caused the ''Music/AntichristSuperstar'' to become a joke. Then he quit Interscope, came out with his "comeback album" ''Born Villain'', and then decided to be on all the shows. ''Series/TheWalkingDead''[='=]s talk show? On it. ''Series/OnceUponATime''? On it. ''Series/{{Californication}}''? As himself. Additionally, Website/{{Tumblr}} exposed the tall, androgynous rock star to teen girls, with [[EstrogenBrigade the expected results]]. Thanks to him being friends with approximately all of Hollywood, along with finally having a stable life, he is now seen as the flip side of TheNewTens '90s love, inspiring many of the new acts on the scene, like Motionless In White and In This Moment. Even the usually critical metal media gushed about "Third Day Of A Seven Day Binge", and he got a Grammy nomination for "No Reflection" in 2012.
* Music/TheBeachBoys were one of the few groups in the early-to-mid-[[TheSixties 1960s]] to rival Music/TheBeatles in popularity and influence, first through "fun and sun" hits like "Surfin' U.S.A." and "Little Deuce Coupe", then via their more sophisticated sound of 1965-67. ''Music/PetSounds'' was misunderstood and sold poorly when it was released, [[VindicatedByHistory but has since gone on to be seen and one of the best albums ever made in the rock era]] and is regularly rereleased. Failure to appear at 1967's Monterey Pop Festival, personal crises and the abandonment of their ''Smile'' project derailed the band's momentum and brought them negative press, they were seen to be terminally unhip, and Music/BrianWilson's descent into drug-aggravated mental illness and the release of inconsistent (or equally misunderstood) albums decreased the band's popularity, but touring and performing their golden oldies kept the money flowing, at a time when they needed the funds when their publishing was sold for a pittance by the Wilsons' father Murry. A GreatestHits album, ''Endless Summer'', came out in 1974 and went to number one, and the return of Brian as writer/producer/performer led to a career comeback. Inconsistent or weird album squandered this opportunity, Dennis Wilson died in a tragic drowning incident in 1983, and the group entered a slow period that lasted until 1988, when "Kokomo" from that year's ''Film/{{Cocktail}}'' movie topped the charts. With Brian separated from the band by his svengali therapist Dr. Eugene Landy (who Brian hired in 1975 and finally fired in 1993), the group could not sustain the success of "Kokomo" via Mike Love's leadership, the "golden oldies" formula was wearing thin as boomer nostalgia faded as the 90s rolled on, and Carl Wilson succumbed to cancer in 1996. However a renewed interest in the band occurred with 1992's boxed set ''Good Vibrations'', and Brian took to touring and recording playing ''Music/{{Smile}}'' and "Pet Sounds" on the road to massive success and critical acclaim. They later scored their first Top Ten album in many years with Brian as full-time member with the 50th anniversary "reunion album", ''That's Why God Made The Radio'' in 2012, though Brian, David Marks and Al Jardine left the band a year later.
* Music/{{Metallica}}. When they first appeared on the scene in 1982 with their demo ''No Life Til Leather'' and, a year later, their debut album ''Kill 'Em All'', they became hugely popular with metalheads and served as one of the {{Trope Codifier}}s for the then-new genre of ThrashMetal. With each new album the band released, the band became ever more popular, even with the tragic loss of their EnsembleDarkhorse LeadBassist Cliff Burton, and their PowerBallad "One" even had a MusicVideo Released on Creator/{{MTV}}. In 1991, the band released ''Metallica'', aka "The Black Album," which featured a GenreShift from their complex thrash material to a more conventional and commercial HeavyMetal sound. Metal fans everywhere [[TheyChangedItNowItSucks cried]] [[RuinedForever foul]], but the album went on to sell 20 million copies and make the band one of the biggest in the world.\\
However, the album proved to be a FranchiseOriginalSin for Metallica, as the process of their sound moving away from metal and the HypeBacklash from disgruntled thrash fans would just keep going further and further. Over the course of TheNineties, the band gradually shed even more of their metal elements, cutting their hair and changing to a BluesRock[=/=]SouthernRock[=/=]AlternativeRock sound for the decidedly SoOkayItsAverage ''Load'' and ''Reload'' albums. While both albums were successful and spawned quite a few radio staples[[note]]Although "Fuel" is probably the only song that still gets regular play to this day[[/note]], they ultimately failed to match the popularity of The Black Album. They partially regained credibility among metal fans with the 1998 [[CoveredUp all covers album]] ''Garage, Inc.'' and a live collaboration with the San Francisco Symphony Orchestra one year later. However, in 2000, they became embroiled in the controversy over Napster, which was the first major blow to their mainstream credibility. After that, things went haywire for the band. Frontman James Hetfield went to rehab for alcoholism, bassist Jason Newstead left the band for good, and then the double whammy of ''St. Anger'' and the {{Documentary}} ''Some Kind of Monster'' hit in 2003/2004. ''St. Anger'' proved to be a disastrous trainwreck that sounded like a Music/{{Korn}} album GoneHorriblyWrong (although it did sell reasonably well), and ''Some Kind of Monster'' made the band (especially drummer Lars Ulrich) come across as pretentious prima donnas who were well past their prime. After that, the band's name was permanently sullied, and became a punchline in both the mainstream and amongst metalheads. Fortunately, the band had a WinBackTheCrowd period in 2008-2009 with the ''Death Magnetic'' [=LP=] (which, despite its problems with [[LoudnessWar clipping]] and accusations of the songs being too long, was widely considered to be a welcome return to form for the band), ''[[VideoGame/GuitarHero Guitar Hero Metallica]]'', and their induction into the Rock and Roll Hall of Fame. However, they fell from grace yet again with their controversial 2011 collaboration with Music/LouReed, ''Lulu'', which was slammed by critics and reviled by fans. Today, Metallica's in a bit of a precarious position, as their anticipated new album (set to be released sometime in 2016) will likely be a crucial make-or-break moment for the band's credibility and popularity.
* Music/JustinBieber was one of the first "internet celebrities" to become a legitimate, mainstream pop star, having started out posting Website/YouTube videos of himself singing covers of R&B songs in the late '00s. He was a pop music sensation among teenage girls, known as [[FanCommunityNickname "Beliebers"]], and while he also had a massive Hatedom (mostly revolving around his high-pitched singing voice, his {{bish|onen}}ie appearance, and of course [[FanHater his fans themselves]]), it did little to slow his popularity.\\
Things started to change in 2012, however. His fanbase's biggest weakness, being dependent on a FleetingDemographic, began to manifest itself when the British/Irish BoyBand Music/OneDirection underwent a meteoric rise in popularity in the US. Bieber's popularity was gutted by the rise of One Direction; his sophomore album ''Believe'' sold an underwhelming 374,000 copies in its opening week and took nearly half a year to be certified platinum (in turn, One Direction's ''Take Me Home'' opened with 540,000 copies sold and went platinum in just five weeks), while One Direction started winning all of the awards that Bieber would've claimed just the prior year. That and his increasing {{jerkass}} demeanor battered his already-negative public image and turned many of his remaining fans against him (which benefited One Direction even more). He attempted to remain in the music world with a second concert film, ''Justin Bieber's Believe'', and with the album ''Journals'', both released in late 2013, but ''Believe'' was a BoxOfficeBomb (especially compared to his first concert film just two years prior), and ''Journals'' flopped so badly that his label withheld the album's sales figures to prevent further embarrassment. By the start of 2014, he had become better known for his tabloid antics, his on-and-off relationship with Music/SelenaGomez, and as the victim of arguably the most infamous musical equivalent of the [=MySpace=] vs. Facebook battle than for his music, many former "Beliebers" held him in very poor regard, and it was clear he was had become all but a has-been.\\
It wasn't until spring 2015 that audiences decided to give Bieber another chance. That was because he collaborated with Music/{{Skrillex}} and Music/{{Diplo}} for their side project Jack U, producing "Where Are U Now", which became Bieber's first top 10 hit since 2013 (the song's success can be attributed to Skrillex and Diplo's popularity and curiosity from fans wondering how a collaboration between them would work). In late summer 2015, he released "What Do You Mean?", a single that gained respect from even Bieber's haters and debuted at #1 in over a dozen countries. His next two singles, "Sorry" and "Love Yourself", also topped the Hot 100, Then the corresponding album ''Purpose'' was released and went straight to #1 as well, ultimately solidifying that Bieber was back and bigger than ever (One Direction, meanwhile, has underwent a series of problems following the departure of Zayn Malik from the group). Only time will tell if he manages to stick around for very long.
* This has not only happened personally with Music/JethroTull, notably with their CareerResurrection in [[TheEighties the late 1980s]], but the trope is explored with its share of satire in their 1976 ConceptAlbum, ''Too Old To Rock 'n Roll--Too Young To Die!'', which chronicle an over-the-hill rocker named Ray Lomas, who, well, is "living in the past". Fearing his unfashionability and growing old, he winds up, in a near-fatal motorcycle accident, has reconstructive surgery that makes him look twenty years younger, and emerges having seen a career comeback as his image and style of music come back into vogue.

[[folder:Professional Wrestling]]
* Wrestling/HulkHogan. At the height of his popularity in 1985, he hosted ''Series/SaturdayNightLive'' and was on the cover of ''Sports Illustrated''. By the time 1994 rolled around (thanks to a combination of confirmed allegations of steroid use, a worn out gimmick that seemed stuck in the '80s - partially for the previous reason, and a rather disastrous movie career), he was seen as a self-parody whose shelf life was such that he needed to [[FaceHeelTurn ditch the hero routine]] [[Wrestling/NewWorldOrder altogether]] just to [[WereStillRelevantDammit remain relevant]]. However, in 2002, his return to [=WrestleMania=] -- still in his villain persona -- resulted in the fans cheering him over the Rock. To this day, he and [[Wrestling/DwayneJohnson the Rock]] are among the closest things the Wrestling/{{WWE}} has produced to A-list deities.

* This happens to pro athletes all the time, even more so today in the age of multi-million dollar contracts, free agency, and intense media scrutiny. You'd never know it today, but Ted Williams was booed everywhere in the American League, including Boston, for at least half of his career -- but time (and military service) has left him in a more favorable light. Alex Rodriguez seems to be on a downturn right now, but was one of the most popular players in the past and probably will be again before it's all said and done. Jennifer Capriati went from "tennis phenom" to "troubled teenager" to "elder stateswoman of tennis". Mike Tyson alone has jumped back and forth at least twice each.
* During UsefulNotes/TheFifties, the only place where UsefulNotes/{{baseball}} wasn't in a sorry state was UsefulNotes/NewYorkCity. The minor leagues were collapsing due to the availability of major league games on television, old stadiums were growing increasingly decrepit, the dominance of New York teams (particularly [[InvincibleHero the Yankees]])[[note]]Of the ten World Series held in the '50s, eight were won by teams from New York. The only years when this wasn't the case were 1957, when the UsefulNotes/{{Milwaukee}} Braves pulled it off, and 1959, when the UsefulNotes/LosAngeles Dodgers won -- and just two years earlier, they had been the ''Brooklyn'' Dodgers.[[/note]] was causing fans outside New York to tune out, some teams were still refusing to integrate long after Jackie Robinson had broken down the color barrier, and the sport had no real presence (other than the aforementioned minor leagues) in the fast-growing "Sun Belt" of the South and the West Coast. All of this gave [[UsefulNotes/AmericanFootball football]], both professional and [[UsefulNotes/CollegiateAmericanFootball college-level]], enough room to build itself up as a serious rival to baseball's status as "America's pastime."\\
Then in 1957, the Brooklyn Dodgers and New York Giants[[note]]The baseball team, not the present-day NFL team. To avoid confusion, the football team is sometimes referred to as the "New York ''Football'' Giants," which is still its legal corporate name.[[/note]] moved to, UsefulNotes/LosAngeles and UsefulNotes/SanFrancisco, respectively, starting a trend for other teams looking to build new stadiums, which resulted in the sport's expansion beyond the East Coast and the Midwest. This was followed by the collapse of the long-running Yankees dynasty in TheSixties, meaning that fans of other franchises now had a chance to see their teams win the World Series. Suddenly, baseball was relevant again, and in a position to put up a real fight against football for the rest of the century.\\
Of course, [[CreatorProvincialism New York sportswriters]] are still likely to remember TheFifties as [[NostalgiaFilter baseball's "golden age"]], simply because it was the era in which the Yankees got the World Series rings they were ''entitled'' to, dammit! And if the Yankees didn't win, then the Dodgers or the Giants probably did.
* The 1919 Black Sox scandal shattered baseball's public image and almost destroyed the sport. Fortunately, Babe Ruth began his career around the same time, and his prowess made baseball even more popular than before.
* The scarce TV coverage of the MLB in the early '90s triggered a strike that cut short the 1994 season and the steroids scandal of the 2000s tarnished the reputation of some of the biggest sluggers of the late '90s and the sport's popularity began to fade quickly. However, it seems that everything has been forgiven and forgotten by the following decade, primarily because of the scandals that have rocked the NFL.
* The NBA experiences this around every two decades: After gaining notoriety in the 1970s with Kareem Abdul Jabbar, by the next decade, however, the only place you could see basketball was on scattered late-night broadcasts. Then Michael Jordan took the sport to worldwide popularity as the 1990s unfolded, but his eventual retirement left a huge void in its' popularity for the ensuing years. And while it is nowhere as widespread as it was 20 years ago, [=LeBron=] James has given the league enough buzz to rival football and baseball in national attention.
* Even the NFL has had some rough patches along the way. A ''Sports Illustrated'' cover in the early 1990s mentioning how to revive "a boring league". An article like this would hardly be associated with pigskin nowadays.
* Sports like figure skating, women's gymnastics and, depending on where you live, [[UsefulNotes/AssociationFootball soccer]]. Every four years, during the UsefulNotes/OlympicGames and UsefulNotes/TheWorldCup, those sports take center stage and grab the headlines, and then afterwards, the athletes largely disappear into obscurity until the next big sporting event rolls around.
* George Steinbrenner is generally remembered as controversial but successful as owner of the New York Yankees from 1973 until his death in 2010, but there was a time when he was considered much more controversial than successful. Within a few years of becoming owner, he established a reputation as an often tyrannical and capricious but effective owner, using his vast reserves of money and the newly instituted system of free agency to put together a dysfunctional but winning team, winning the World Series in 1977 and 1978. They continued to be mostly a winning team for the next decade, but repeatedly fell short of playoff success, and then finished with a losing season each year from 1989 to 1992. This, coupled with his being removed permanently from the Yankees' baseball operations in 1990 for hiring a gambler to dig up dirt on star player Dave Winfield, caused him to be seen as a corrupt egomaniac who had ruined a once proud franchise. However, he was reinstated in 1993, and brought the Yankees back to their winning ways, partly because he took a less hands-on approach to the team, including stopping his infamous tendency to constantly replace managers. The Yankees won five more World Series before his death, insuring that his legacy would be overall positive. Keith Olbermann discusses this in [[https://www.youtube.com/watch?v=9MoJweOFQT0 this video]].
* Brett Favre was revered by fans as the guy who saved the Green Bay Packers franchise and brought them their first Super Bowl victory in 30 years when he retired for the first time following the 2007 season. He then [[{{Retirony}} un-retired]] before the 2008 season and was traded to the New York Jets. The move divided the Cheeseheads (Packers fans) to the point that the CBS affiliates in Green Bay and Milwaukee requested as many Jets games as possible to facilitate the large number of fans who still supported Favre. Following the season, Favre retired for a second time, then un-retired again only to sign with the Packers' hated rivals, the Minnesota Vikings, which drew ire even from fans who'd continued to support him as a Jet. After a relatively successful year with the Vikings, in which they beat the Packers twice, Favre retired again only to once-again come out of retirement. Fortunately for the Packers, it got better this time around. Not only did the Packers, led by former Favre understudy Aaron Rodgers easily avenge both of the previous years' losses to the Vikings en route to victory in Super Bowl XLV, but Favre had the worst season of his career that also saw him miss his first game since becoming the Packers starting QB in 1992 due to a late-season injury. To make matters worse, he was also involved in a scandal when it came to light that he attempted to have [[AllGuysWantCheerleaders an extra-marital affair with a Jets cheerleader]] during his stint in New York. He retired for good following the 2010 season, and step were taken on both sides to repair Favre's relationship with the Packers organization and fans.
* American football in Germany has undergone at least one cycle of this, though outside factors played a huge role. Back in the 1990s and early 2000s, the World League of American Football and later NFL Europe brought (semi)pro football to Europe and Germans in particular liked what they were getting - big shows, concerts, American talent and the big stadiums where soccer games were normally held. In addition Football was part of the pay TV package you had to buy if you wanted to see soccer on live TV, so many Germans had the NFL on their TV anyway and ratings were solid. Even the domestic German league managed a couple of games with attendance figures like 30.000 for a Braunschweig-Hamburg final. Then the NFL Europe shut down because Roger Goodell (who had just become commissioner) wanted to save money and instead focus on the NFL International Series. To add insult to injury, Hamburg went bankrupt and Braunschweig entered a serious DorkAge due to money and fan interest running out. The pay TV company dropped the NFL due to its high cost and Football entered a serious slump. Cue back to back European championships for the German national team (2010 and 2014, the 2018 edition will be held in Germany) and promising ratings for the NFL in free TV coverage (Playoffs only). Suddenly one very smart person over at Pro7 / Sat1 Media Group decides to carry the regular season (two games every Sunday, plus all London and Thanksgiving games) and ratings suddenly explode, teams don't know where to go with all the young people who suddenly want to try the sport and NFL related hashtags are trending topic on German Twitter. And if you try counting the amount of people running around with NFL basecaps on any given day, you'd soon get tired of all the Raiders and Patriots gear.

[[folder:Stand-Up Comedy]]
* The general subject matter in which comedians are allowed to traffic seems to shift this way and that constantly. Perhaps most notably, ethnic/racial and male-chauvinist humor has [[CrossesTheLineTwice gone back and forth across the line]] on more or less a decade-by-decade basis since TheSixties, with TheEighties probably the low point of acceptability.
* Similarly, political humor seems to wax and wane, depending on how high a profile America has on the world stage at a given moment.

* ''Theatre/{{RENT}}'' was a huge hit when it premiered on Broadway. It was acclaimed and loved by audiences, becoming one of the most popular Broadway musicals of the 1990s. Then, around the mid-2000s, the musical started to get dismissed as narmy and overrated by audiences. HypeBacklash had set in and the show eventually had its final showing in 2008. The failed film adaptation surely didn't help things. Fast-forward to the 2010s and it is again being recognized as a fantastic work of drama with interesting compositions that were unlike anything at the time. ''RENT'' continues to hold a high popularity and seems to be making a comeback with audiences.
* Terence Rattigan. Ask any critic or theater buff in the '40s and '50s, and they'd probably list Rattigan - author of '' Film/TheDeepBlueSea'', ''Film/SeparateTables'' and ''Film/TheWinslowBoy'', among others - as one of England's great playwrights, a master of witty dialogue and refined, well-plotted drama. Just a decade later, with the advent of the "Angry Young Men" (John Osborne, Harold Pinter, etc.) and their more emotional, formally fluid and class-driven work, Rattigan became despised for the very qualities that he'd been praised for. After decades of disfavor, critics in the '90s began analyzing Rattigan's plays through the prism of personal identity and sexual repression, viewing thematic content previous generations had ignored or dismissed. With frequent revivals and film adaptations of his work, Rattigan has regained his reputation.

[[folder:Video Games]]
* The Indie Game scene altogether is the end result of this. Many Indie Developers are themselves gamers who first got introduced into the medium during the 8 and 16-bit era of gaming. As a result, [[SpiritualLicensee they model their own games]] on the ones they grew up with.
* ''VideoGame/DukeNukemForever'' has gone through this cycle twice already. It was highly anticipated in the late '90s, became nothing more than a punchline to any joke about vaporware or ScheduleSlip during the 2000s, and then became legitimately anticipated again when it was finally released in 2011. Unfortunately, this, combined with TwoDecadesBehind, is also a major reason why it received such a lukewarm reaction. Critics pointed out that, after 15 years in development, its style of gameplay and presentation didn't hold up well against the landscape of modern shooters.
* Sci-Fi shooters like ''Franchise/{{Halo}}'' and ''Franchise/{{Doom}}'' have experienced this cycle. During the '90s and early 2000s, ''Doom'', ''Halo'' and their clones were insanely popular among action aficionados for their fast-paced, action-packed gameplay and sci-fi aethetics. However, while neither have been forgotten per se, they declined in popularity from 2005 onwards due to competition from modern military shooters. So much so that ''VideoGame/CallOfDuty4ModernWarfare'' dethroned ''VideoGame/{{Halo 3}}'' as the most played game on Xbox Live. It didn't help that an increasing SciFiGhetto attitude led to a backlash towards sci-fi shooters. However, military shooters themselves [[DeaderThanDisco became less popular]] starting since 2010 due to a mix of market oversaturation, [[ItsTheSameNowItSucks lack of innovation]], and [[UnfortunateImplications questionable depictions of foreigners and military intervention]]. Subsequently, interest in sci-fi shooter was rekindled as they offered diverse array of gameplay styles and weapon diversity in fantastical settings without any real baggage that plagued modern military shooters. Ironically, many new shooters like ''VideoGame/TitanFall'', ''VideoGame/{{Destiny}}'', and even ''Halo'''s rival ''VideoGame/CallOfDuty'' [[FollowTheLeader have begun copying]] ''Doom'' and ''Halo''. A good example of this is Yahtzee of ''WebAnimation/ZeroPunctuation''. Although he has mocked ''VideoGame/{{Doom 3}}'' as a tacky and dated, he admits in his review of its re-release that ''Doom 3'' and other sci-fi shooters are more enjoyable than most "spunkgargleweewees".
* Creator/{{Nintendo}}. In the '80s and early '90s, it was the embodiment of modern entertainment. In the late '90s and early 2000s, it became "the kiddy company" and slipped into last place. So what does Nintendo do? Rather than fight the "kiddy" label, they embraced it (to the aggrieved cries of the hardcore gaming market), marketing the UsefulNotes/{{Wii}} to families, senior citizens, and other groups not traditionally viewed as "core" gamers. Thanks to this strategy, it was once again the dominant force in gaming. [[CasualVideoGame Casual gaming]] is largely responsible for Nintendo's resurgence, being followed up by Zynga, Popcap, smartphone apps, and motion controls for the other consoles. These casual-friendly developers eventually left Nintendo crowded out in the eighth generation. Now, Nintendo seems to have hit another low with their UsefulNotes/{{Wii U}}, which has fallen to last place behind the UsefulNotes/{{PlayStation 4}} and UsefulNotes/XboxOne despite a one year head start. This is largely due to their attempt [[WinBackTheCrowd win back]] core gamers while [[MisaimedMarketing still trying to appeal to casuals simultaneously]]. Whilst it does have an audience with hardcore gamers and Nintendo fans, the casual fans have moved on to other products like smartphones and casual games. The Wii U was however, partially rescued by the success of some games, like the fourth version of ''VideoGame/SuperSmashBros'', and the SleeperHit ''VideoGame/{{Splatoon}}''.
* ''Franchise/{{Pokemon}}''. Back in the late '90s, it was the king of kid fads. But it quickly faded among people who only played it to be "cool", and in a few short years, the only people who would still publicly admit to liking it were small children (though the games were still system sellers). After the release of ''VideoGame/PokemonDiamondAndPearl'', it started making a comeback. Kids can safely admit to liking it in public again, longtime fans are no longer bashed for it, and those kids who were only fans back in the day are now grown-ups old enough to wax nostalgic about it, as seen in the page image. In fact, a Japanese clothing company released a line of Poké-merchandise specifically targeted at adult Poké-fans, with an "artsier" bent to it. However, the above is mostly restricted to the games: while there is not as much hate for the ''Pokémon'' anime as around the Johto arc, it still hasn't recovered quite as much as the games did.
* Indie gaming, the Wii, and mobile gaming have brought back quite a few genres that were once assumed to have died.
** [=2D=] side-scrollers and platformers, such as ''Franchise/{{Castlevania}}'', ''VideoGame/{{Contra}}'', ''Franchise/SuperMarioBros'', and ''VideoGame/DoubleDragon'', once made up the bedrock of the industry. After the VideoGame3DLeap, they were viewed as quaint relics of the pre-UsefulNotes/PlayStation era, and were relegated to handhelds and cheap Flash games... until ''VideoGame/NewSuperMarioBros'' and ''VideoGame/NewSuperMarioBrosWii'' tore up the charts, and indie games like ''VideoGame/{{Braid}}'' and ''VideoGame/{{Eversion}}'' became critical darlings. Now, the side-scroller has once again become a major part of gaming, as seen with the latest installments in series like ''VideoGame/{{Mega|Man9}} [[VideoGame/MegaMan10 Man]]'', ''VideoGame/{{Sonic|TheHedgehog4}}'', ''VideoGame/{{Donkey Kong|CountryReturns}}'', ''VideoGame/{{Rayman|Origins}}'', and ''VideoGame/{{Kirby|sReturnToDreamLand}}'', as well as original games like ''VideoGame/LittleBigPlanet'', ''Super VideoGame/MeatBoy'', and ''VideoGame/SplosionMan''.
** The SurvivalHorror genre originated as a nifty response to the technological limitations of fifth-generation consoles, and produced a mountain of {{killer app}}s for the young UsefulNotes/PlayStation console, most notably ''VideoGame/{{Resident Evil|1}}'' and ''VideoGame/{{Silent Hill|1}}'', which were among the premier game franchises in the second half of the '90s. In the TurnOfTheMillennium, however, the genre was squeezed out by rising budgets and the homogenization of the AAA game industry; both ''Resident Evil'' and ''Silent Hill'' went through {{Dork Age}}s brought on by attempts to compete with shooters, and other series likewise withered and died. However, starting in the late '00s, the genre made a comeback in the indie realm, with games like ''VideoGame/AmnesiaTheDarkDescent'', ''VideoGame/DayZ'', ''VideoGame/{{Slender}}'', and the ''VideoGame/FiveNightsAtFreddys'' games being well-received and spawning a wave of new horror efforts. With ''VideoGame/TheLastOfUs'' being a smash hit critically and commercially, with many even considering it the best game of the entire SeventhGeneration, the genre is on its way back to being a success with mainstream developers as well.
** After the leap to 3D, sprite graphics were considered hopelessly outdated, something only seen in bargain-bin UsefulNotes/{{shovelware}} and in "retro" collections that only got away with it due to the GrandfatherClause. But once again, indie and smaller developers looked at sprites and saw an inexpensive alternative to high-tech 3D graphics engines, especially now that technology allowed for the display of far more detailed sprites. ''Braid'', for instance, got a ton of mileage out of its artistic sprite characters.
** The AdventureGame, particularly the point-and-click puzzle variety, mostly dried up around the mid '90s around the same time Creator/LucasArts stopped making them in favor of ''Franchise/StarWars'' licensed games, upstaged by new genres such as the FirstPersonShooter. For a long time, they were all but absent except in the indie and hobby scene. Starting around 2008, however, Creator/TelltaleGames started making inroads with rebooting classic franchises such as ''Franchise/SamAndMax'', and the rise of digital distribution meant that companies like [=LucasArts=] and Creator/{{Sierra}} could offer their old games for sale to the public again. Fast forward to 2013, where adventure games feature heavily in the indie renaissance, Telltale's adaptation of ''VideoGame/TheWalkingDead'' wins multiple Game of the Year awards, and the mere promise of an adventure game by [=LucasArts=] veteran Creator/TimSchafer nets Creator/DoubleFine over $3 million on Website/{{Kickstarter}} and starts the craze of crowdfunding indie games (including other genres that fell victim to market trends and the blockbuster model).
* Retro gaming, in particular the 16-bit period. Emulators have led people to discover a lot of old classics that can be played for free, take up hardly any space and do not take any time to install. Companies have followed suit by reissuing older games. In addition, PS1 gaming is also making a comeback via the [=PlayStation=] Network and emulation on PSP. This doesn't apply to Europe, though, due to NoExportForYou issues.
* ''Franchise/MortalKombat'' in TheNineties: a ridiculously popular 2D fighting game, with blood and gore as a selling point. ''Mortal Kombat'' during the TurnOfTheMillennium: an overcomplicated, ridiculously unbalanced 3D fighting game series that was past its prime (the LighterAndSofter crossover with DC not helping anything), and suffered heavily from the PolygonCeiling. ''Mortal Kombat'' starting with the [[VideoGame/MortalKombat9 2011 reboot]]: a ridiculously popular fighting game that uses 3D graphics but is played on a 2D plane, with blood and gore as a selling point.
* The ''Franchise/SonicTheHedgehog'' series has gone on a wild roller coaster of this. When it came out, it immediately became on of the definitive games of [[The16BitEraOfConsoleVideoGames The 16-bit Era]] and put the UsefulNotes/SegaGenesis into a fierce [[UsefulNotes/ConsoleWars competition]] with Nintendo. During the time of the UsefulNotes/SegaSaturn, his popularity dipped because the series was strangely on main series hiatus, only existing through spinoffs such as ''VideoGame/SonicR'' and an enhanced remake of ''VideoGame/Sonic3DFlickiesIsland''. Come the UsefulNotes/SegaDreamcast, Sonic regained the splotlight with the leap to 3D, with ''VideoGame/SonicAdventure'' and ''VideoGame/SonicAdventure2'' was wildly popular and highly acclaimed, but subsequent games would take their flaws, such as [[PolygonCeiling dodgy camera and controls]] and GameplayRoulette, and cause the series to slowly slide into a bad reputation for its flawed 3D games. This was exacerbated by the over-the-top DarkerAndEdgier ''VideoGame/ShadowTheHedgehog'', the infamous ObviousBeta ''VideoGame/SonicTheHedgehog2006'' and the shameful PortingDisaster of [[VideoGame/SonicTheHedgehog1 the original game]], causing the series to fall into SnarkBait. After ''VideoGame/SonicUnleashed'' introduced a new well-received style of play, with ''VideoGame/SonicColors'' and ''VideoGame/SonicGenerations'' refining it and removing any poorly received alternate gameplay styles, Sonic's popularity increased even more to the point of appearing to market commercials (he hasn't done this since the '90s), and even appearing in ''[[Disney/WreckItRalph a movie]]''. Then after ''that'', the series' popularity dipped once again, with ''VideoGame/SonicLostWorld'' getting a mixed reception for its jarringly different gameplay and collection of other highly experimental play styles from the well-received boost games, and then even more so with the ill-fated ''VideoGame/SonicBoom: Rise of Lyric''. Even though the latter was part of a spin-off [[WesternAnimation/SonicBoom sub-franchise]], the industry as a whole started to trash Sonic as being a failed relic of the 16-bit era once again. The upcoming 25th anniversary for Sonic is seen by its fans as a make-or-break point for the franchise, and only time will tell if the series can permanently regain its status as a venerated video game icon or slide into SnarkBait.
* The [[EasternRPG JRPG]] genre in the West. During the '90s and early 2000s, it was viewed as the ultimate video game narrative genre, with awesome storylines that many said rivaled some Hollywood blockbusters. However, sometime during the mid 2000s, with the explosion of Western development teams and the decay of the Japanese industry, the tides changed dramatically, not helped by the fact that technological advances eventually allowed other genres to tell equally detailed stories. In addition, the ''Franchise/FinalFantasy'' series suffered a major dip in quality after ''VideoGame/FinalFantasyX''. During the late 2000s and early 2010s, thanks in no small part to the [[BaseBreaker incredibly polarizing critical and commercial reception]] of ''VideoGame/FinalFantasyXIII'', the once overwhelmingly popular JRPG had become a dreaded video game genre, seen as a poison that had been holding video games back as a narrative medium for too long. The fact that most of these games relied on {{anime}} style art alienated non-anime fans. Fortunately in 2012, thanks to the critical and commercial success of ''VideoGame/{{Xenoblade}}'',[[note]]which was released for the Wii, of all consoles[[/note]] the JRPG made a comeback. The genre is now in good critical and commercial standing once again, with games like ''VideoGame/TheLastStory'', ''VideoGame/NiNoKuni'' and the sleeper hit ''VideoGame/BravelyDefault'' being cited as some of the finest games the genre has ever produced. Also, certain fondly remembered games have enjoyed well received remakes such as ''[[VideoGame/LunarTheSilverStar Lunar: Silver Star Story]]'' and the UpdatedRerelease of Persona 4.
* ''VideoGame/DonkeyKongCountry'': The series was huge in the mid '90s, with both critics and gamers praising it to no end. And, while ''DKC 3'' may not have had the impact the first two games had,[[note]]it was, after all, released two months after VideoGame/SuperMario64 - by which time, 2D platformers were perceived as a thing of the past[[/note]] the series remained popular, though the critical praise tapered a bit drawing closer to the TurnOfTheMillennium, with other formerly less hyped games being favored on the whole in retrospect. Opinions really began to shift following the release of Donkey Kong 64, which many reviewers panned for being a uninspired FetchQuest, and by the mid-2000s a full-fledged HypeBacklash had set in, with it becoming trendy among critics and gamers to badmouth the series. Most retrospectively attribute this to spite over Rare's decision in late 2002 to leave Nintendo for Microsoft, while others point to a well-publicized quote by Creator/ShigeruMiyamoto proclaiming that the series was all graphics and no gameplay. Regardless, the ''Donkey Kong Country'' series found its way onto many "Most Overrated Games of All Time" lists and was seen as a prime example of all that was wrong with the mid '90s shift to 3D. Fortunately, the backlash subsided greatly after ''VideoGame/DonkeyKongCountryReturns'' became a massive critical and commercial success. And the series' reputation has, since, returned to greatness among critics and gamers.
* ''VideoGame/{{Everquest}}'' was for years ''the'' [=MMORPG=] for people. Eventually, however, ''VideoGame/WorldOfWarcraft'' became more popular. Over the years, it had difficulty staying mainstream with the increasing amount of [=MMOs=] being made. The upcoming ''Everquest Next'' has renewed interest with many people, especially as it's [[UsefulNotes/{{PlayStation 4}} due for consoles]].

[[folder:Western Animation]]
* WesternAnimation as a whole went through this from the late 1960s to the late 1980s at least in so-called critical circles. While animation was already becoming less and less popular through the 1950s and much of the 1960s, the death of Creator/WaltDisney ushered upon a period of change. With a lot of the former mainstream on individual down turns, most of the success came from LimitedAnimation on tv, which while popular in society, the critical side denounced it as UsefulNotes/{{the dark age|OfAnimation}}. A typical device used in favor of this is that it transformed animation from DoingItForTheArt into [[AnimationAgeGhetto a gimmick used to entertain children]], Critics would later change tune when films such as ''Film/WhoFramedRogerRabbit'' [[UsefulNotes/TheRenaissanceAgeOfAnimation were released]]. Arguments as to how true this was will often result in one side arguing the other sees things through a NostalgiaFilter, but the other's counter point will be WhatDoYouMeanItsForKids This also applies to the TurnOfTheMillennium, where popularity suffered greatly with the likes of ''WesternAnimation/JohnnyTest'' plaguing several cartoon channels, resulting in NetworkDecay. Then, ''Phineas and Ferb'' came out, after more than a decade of DevelopmentHell and became a massive hit ratings wise (From 2009 through 2012, often sided with/beat ''WesternAnimation/{{SpongeBob|SquarePants}}'' in the ratings) with children and adults, allowing shows like ''WesternAnimation/AdventureTime'', ''WesternAnimation/RegularShow'', and ''WesternAnimation/MyLittlePonyFriendshipIsMagic'' for a new Renaissance of cartoons in the 2010s.
* ''Franchise/MyLittlePony'', after its enormous popularity during the '80s and early '90s, faded into obscurity by the latter half of the '90s. In 2010, along came ''WesternAnimation/MyLittlePonyFriendshipIsMagic'', which not only proved to be popular among viewers of [[PeripheryDemographic an unexpectedly wide age range]] but also [[FountainOfMemes exploded onto the Internet]], collecting more images, comments, and views on Website/KnowYourMeme than anything else.
* While ''WesternAnimation/{{Rugrats}}'' thrived in the 1990s, in the 2000s, the franchise had hit a snag. While was still popular to an extent, it had been overstepped by ''WesternAnimation/{{SpongeBob SquarePants}}'' and ''WesternAnimation/TheFairlyOddParents'' in popularity, and the third installment in the ''Rugrats'' movie franchise flopping. What didn't help was Nickelodeon's dispute with Klasky-Csupo about the expense of the cost of the shows when new management had stepped in and due to ''Rugrats'' not being as big as it was, didn't have that to back itself up and as a result, had ended and faded into obscurity throughout the entire 2000s, and former fans often denied they ever saw the series just to keep a shed of credibility. Fast forward to 2011, where ''Rugrats'', alongside ''WesternAnimation/{{Doug}}'' and ''WesternAnimation/TheRenAndStimpyShow'', is having its 20th anniversary. Nickelodeon had begun showing reruns of the show early in the morning and the creation of The 90s Are All That block, had lead way to reviving the popularity of the show. Due to this, the show has been fondly remembered, even included in several different parodies (''WesternAnimation/RobotChicken'' did a sketch spoofing how neglectful the parents are) and songs (Childish Gambino's "L.E.S"), as well as airing the show on several different Viacom related networks and blocks.[[note]]It even aired on the dying [=NickMom=] block on Nick Jr. for a little while.[[/note]] As a result, the show is now remembered fondly and is even being considered for a second uncancellation by Nickelodeon.
* A similar case occurred with ''WesternAnimation/ThePowerpuffGirls'': One of the most popular cartoons of the late 1990s-early 2000s until its reputation tanked hard after the movie was released when Creator/CraigMcCracken left the show to make ''WesternAnimation/FostersHomeForImaginaryFriends''. However, the show suddenly regained its popularity in later years, and various adaptations in the form of one-off specials, a couple of new comic book series and a reboot for 2016.
* SliceOfLife kids' cartoons such as ''WesternAnimation/{{Doug}}'', ''WesternAnimation/HeyArnold'', and the Creator/KlaskyCsupo shows, featuring plots that could conceivably happen in real life, have gone through this somewhat. They enjoyed a heyday in the '90s only to fade away after both the industry and kid viewers proved to be more influenced by ''WesternAnimation/TheRenAndStimpyShow'' and its imitators, with cartoons aimed solely at children becoming mostly centered on the slapstick and the surreal. But the genre eventually started getting a small revival. ''WesternAnimation/MyLittlePonyFriendshipIsMagic'', behind its fantasy veneer (and occasional adventure episode), is pure slice-of-life; its success proved that there was still an audience for non-zany animation. ''WesternAnimation/LittlestPetShop2012'' (made by many of the same team as ''MLP'') and ''WesternAnimation/{{Clarence}}'' also count as example.
* ''WesternAnimation/LooneyTunes''. They started during the war years, but fizzled out by TheSixties due to the departures of most of its creative team.[[note]]The final cartoon made under the original management was a rare Cool Cat (no, not [[Film/CoolCatSavesTheKids that one]]) cartoon called ''Injun Trouble''.[[/note]] In the '70s and '80s, the original ''Looney Tunes'' shorts were repackaged for FirstRunSyndication during the GloryDays of after-school kids' shows and Saturday morning cartoons, renewing their popularity among young people. But this too died out as newer, fresher programs were made available to kids. Along came ''Film/SpaceJam'', which combined classic ''Looney Tunes'' humor with a story accessible to 1990s youth thanks to the involvement of Michael Jordan. The buzz was so large that home video markets put out some of the original shorts in [[http://looney.goldenagecartoons.com/DVDvideo/VHS/videostarsofsj.html VHS compilations]] to get kids to better familiarize with the classic characters, and today the film is remembered on the Internet as a FountainOfMemes. Between the Creator/CartoonNetwork's "June Bugs" marathons, ''Film/LooneyTunesBackInAction'' and multiple original TV shows on that channel, the ''Looney Tunes''[='=] popularity has been on-off since then.

* Creator/AdamWest. In the late 1960s, he was a primetime TV star and the actor charged with bringing Series/{{Batman}} back to life. Head to the '80s and the return of the [[UsefulNotes/TheDarkAgeOfComicBooks Dark Knight]], and West is a ''persona non grata'', firmly stuck as a reminder of the DorkAge Batman. But today? He's a staple voice actor in comedies such as ''WesternAnimation/FamilyGuy'' [[AdamWesting precisely because of his history as Batman]], and trademark [[LargeHam overdramatic voice]]. In fact, the whole thing is lampshaded in ''WesternAnimation/BatmanTheAnimatedSeries''. There is an episode wherein Bruce Wayne meets the actor who'd played his childhood idol. The actor's life mirrors West's post-Batman life, and West did the voice acting.
* Adam West's particular incarnation of Batman has enjoyed repopularization via the light-hearted ''WesternAnimation/BatmanTheBraveAndTheBold'' and the comic book ''Batman '66''.
* For some reasons, many of a given decade's iconic elements will invariably return to the forefront about 30 years later: As an example, the raccoon coats of TheRoaringTwenties returned big time in TheFifties, whose unique car styling got an enormous boost in TheEighties. And the pop music off the 1980s has become very influential over the music artists of the 2010s.
* TheSeventies. Throughout the '80s and '90s, this decade was seen as America's DorkAge. Since the late '90s, it's seen as a more innocent time. Elements from the '70s which have made comebacks since then include:
** Bell-bottom jeans.
** The afro.
*** The medium-length bowl cut with the fringe.
** Rollerskating thanks to Rollerblade pushing inline skates.
** [[TheStoner Stoners]] on TV.
** Disco. A great deal of popular music for the past two decades (especially between 2005 and 2011-12) has been essentially "Disco that Dared Not Speak Its Name". However, the ''word'' still has a ways to go. Thanks to bands like Music/DaftPunk and LCDSoundsystem, it's on its way back.
** {{Blaxploitation}} also makes a comeback every few years, although this is mainly so that people can [[BlaxploitationParody have a]] [[AffectionateParody giggle]] at the loud fashions and overuse of JiveTurkey, rather than recall the genre's roots as a supplement of the UsefulNotes/CivilRightsMovement.
*** Blaxploitation music is very well regarded by [=DJs=], and record collectors. It was also sampled by a lot of rappers. Even if the fashion is cliched, the music is still cool as ever.
* TheEighties. In the '90s and '00s, ''this'' was seen as America's DorkAge. However, many of the fashions and styles of that decade have made a comeback, with the returning popularity of everything from ''Franchise/{{Transformers}}'' to leg warmers. Yes, ''leg warmers''.
** [[ZettaiRyouiki Leg warmers + skirts]] = [[{{Fanservice}} awesome.]] The inverted version (leggings under skirts) seems to have made a comeback in the mid [[TurnOfTheMillennium '00s]] after being absent for ten years. Here, it has some justification -- the revived trend started with teenage girls, who used the style to [[LoopholeAbuse exploit a loophole]] in many high school {{dress code}}s that established a minimum length for skirts. If you were wearing leggings underneath, you could wear as short a skirt as you wanted, since you were technically also wearing pants. Eventually, the fad expanded and they have become commonplace.
** Canvas sneakers: One of the icons of the decade, but also a target of serious hate during the 90s, to the point that Converse was hit much worse by the early-90s backlash than even ''Ray-Ban'', even constantly slipping into bankruptcy. Nike bought the company in 2003, a time when the 80s revival was brewing, and this was approached to relaunch the model which is still extremely popular these days.
** In the 90s, {{Synthpop}} used to be the prime example for people to explain why the 80s sucked so much. About twenty years later and thanks to the rise of ElectronicMusic, synthesizers are mandatory if you want to hit it big in the music industry.
*** Hair Metal, the ''other'' example of why the 80's were so lame, also saw a small but noticeable resurgence in popularity in the mid-00s.
** Conspicuous consumption, at least until 2005, then became unthinkable of after 2007. It is beginning to resurface again in the mid-2010s as the economy began to recover.
** The "Religious Right" once again became a potent political force in the latter half of TheOughts in the U.S., heralding an attempt to return to "[[GoodOldWays traditional values]]". TheNewTens' "conservative revolution" not only strengthened it (in spite of having a [[UsefulNotes/BarackObama Democratic president in his second term]]), but has also brought a general backlash against social justice movements, particularly hitting the feminist, anti-racist and transgender movements[[note]]The term "Social Justice Warrior" has gained popularity as a disparaging term for activists[[/note]]. And it's not just the religious right: a lot of the backlash comes from the very secular techie and video game communities.
* While TheNineties never had the cultural backlash the 70's or the 80's had, some trends from that decade are starting to come back, such as plaid flannel shirts and hi-top fades.
* The Yo-Yo. More like Popularity Sinusoid. It really ''does'' come around that regularly.
** [[FridgeBrilliance Which is fitting, when you think about it]].
** At one point, this was because the Coca Cola Company gave yo-yos a marketing push about every three years or so.
* Skateboarding has similarly fluctuated in and out of popularity so much that nobody seems to care whether or not it's "in," least of all the skaters themselves. Skateboarding was big in the mid-to-late Seventies, largely on the back of the popularity of surfing at that time. It died away in the early Eighties, until, of all things, ''Film/BackToTheFuture'' mainstreamed it again.
* Ventriloquism was once considered the deadest of all show business horses, since every new act would be [[ToughActToFollow inevitably compared to]] Edgar Bergen (or at least to [[PoorMansSubstitute Paul Winchell]]). Then all of a sudden Jeff Dunham came along, and earned his own TV special after several sold-out performances. Terry Fator also has his own Las Vegas show.
* Modern social dance has undergone a huge revival, starting in the '90s, this after about fifty years of dormancy. Latin clubs sprung up across the U.S., ballroom dancing got a big boost with ''Series/DancingWithTheStars'', and swing dancing was resurrected by college students across the US and Europe.
* Eyewear (both CoolShades and NerdGlasses) has varied greatly through the years: Beginning in TheRoaringTwenties, and thanks to Creator/HaroldLloyd, glasses became a fashionable element[[note]]Prior to that, if you wore glasses, it was because you were an intellectual, a clergyman, an older person or UsefulNotes/TheodoreRoosevelt[[/note]]. These were initially made of tortoiseshell, which by TheGreatDepression and through UsefulNotes/WorldWarII had been displaced by the more cost-efficient metal rims. Sunglasses also originated during the Jazz Age, first used by movie stars around 1922 and publicly introduced in 1929.
** Post-WWII spectacles were made of tortoiseshell, and later plastic[[note]]Shuron Ronsirs/Ray-Ban Browlines were introduced in 1947, Ray-Ban Wayfarers appeared in 1952[[/note]], which by the end of TheSixties were seen as too conformist. Then metallic frames took over[[note]]While first made in 1937, it wasn't until about '68 when Ray-Ban Aviators were used outside military circles[[/note]] during TheSeventies, but by the end of the decade, plastics returned big time[[note]]Wayfarers were boosted primarily by the film ''Film/TheBluesBrothers'' and by the NewWave movement[[/note]] to dominate TheEighties. TheNineties and UsefulNotes/TheOughts brought back metals[[note]]''Series/{{Jackass}}'' contributed to the Aviators' newborn popularity[[/note]] aside from sporty wraparounds, while TheNewTens did the same with plastic[[note]]80s nostalgia, {{Hipster}}s and ''Series/MadMen'' were instrumental for a return to Wayframes[[/note]].
* Facial hair in the West has gone in and out of style in a cyclical fashion for centuries among the elite following the same basic pattern as anything else: the ruling class has facial hair, everyone else has facial hair, the ruling class doesn't want to look like the lower class, the ruling class no longer has facial hair, and so on. The last time it was "in" in the West (i.e. would you expect your average CEO/congressman/stockbroker to have facial hair) was during the first several decades of the 20th century -- the last US president, for example, to have facial hair was UsefulNotes/WilliamHowardTaft, who was President from 1909-1913.
** Possession of a moustache ''will'' lead to jokes about you being a creepy possible pedophile with an addiction to disco music (if you're older than 30) or an insufferable hipster (if you're younger than 30).
** Facial hair seems to be making a ''very'' gradual comeback, or depending on how you look at it, it already has, with the most popular style being the PermaStubble. It can go back to clean shaven or full on beards from here. A quick perusal of Pinterest's Men's Fashion section will show the many variety of beards worn by fashion models and actors, both current and former Silver Screen Studs. In 2015, Paul Ryan became the first Speaker of the House to sport a beard in nearly 100 years, though it is closer to the aforementioned "permastubble" look than the epic beards of the 19th century. Nevertheless, this may represent a sort of turning point, as male politicians have generally been advised against sporting beards for most of the last few decades.
** Mustaches were ''very'' common for men between about 1850 and 1900, then slowly started to disappear - partly for hygienic reasons and partly as a reaction against Victorian values by the RoaringTwenties. Since then only older or working-class men tended to have any facial hair other than pencil-thin mustaches, and things remained that way until about 1970, when the hippie counterculture went mainstream. Thus began another golden age for the mustache, which lasted until about 1990 (by which point the Baby Boomers were seen as unhip). It's yet to return in full force, although it's still quite common among certain ethnic groups (Blacks and [[MagnificentMoustachesOfMexico Latinos]], to give two obvious examples) and in various Central European, Mediterranean and Arab countries where facial hair is still considered manly and/or sophisticated.
* Like facial hair, long hair on men cycles in and out of fashion. It was shocking at first in TheSixties, with Music/TheBeatles and the rise of the counterculture. In TheSeventies, long hair was ''de rigeur''. Even a middle-aged businessman's haircut would frequently [[SeventiesHair extend below the ears]]. The PunkRock and [[NewWaveMusic New Wave]] subcultures heralded a return to shorter hairstyles through TheEighties. HairMetal brought long hair back, albeit heavily styled. Unadorned long hair came back into fashion in TheNineties with the rise of {{Grunge}}, but short hairstyles were popular as well. TheOughts continued the trend, taken to extreme levels by Black and Latino cultures in terms of short hair while the {{Emo}} subculture popularized the much-derided style of the [[PeekABangs bangs covering the eyes]]. Music/JustinBieber and Music/OneDirection popularized slightly longer hairstyles for teenage males into the early 2010s, although the pendulum has swung back towards shorter hair.
* Men's underwear seems to go through this cycle. The BVD underwear company introduced briefs for men in the 1930s - which caused a sensation, as they were skimpier than most women's panties at the time. This gradually brought about a change in men's intimate and leisurely fashions, with short underpants replacing the jockey shorts and long johns previously popular and male swimmers, bodybuilders and surfers wearing skimpy trunks instead of the one-piece swimsuits from the 1920s. By the 1970s and even the early '80s, wearing midthigh-length shorts as underwear was thought to be hopelessly old-fashioned, with only older men daring to be caught in them. Then the pendulum swung back: in the late 1980s and TheNineties, [[WildMassGuessing perhaps as a backlash against the burgeoning gay culture or maybe due to inspiration from the ultra-manly, proletarian fashion sense of Seattle grunge rock]], jockey shorts (especially plaid ones) became cool again, so that now wearing briefs is often thought of as effeminate. Eventually, though, at least for some men, the two sides met in the middle, so that now you can easily find in most department stores "boxer-briefs", which have elastic waistbands and legbands but cover everything above the mid-thigh. When it comes to ProfessionalWrestling, however, [[UnderwearOfPower this trope has always been inoperative]].
* Two-piece swimsuits have balanced between conservative high-waisted models and skimpy bikinis: The former ones were the predominant ones between TheRoaringTwenties and TheFifties (thus being retroactively known as "pin-ups"). Bikinis took over during TheSixties and TheSeventies[[note]]They have been around since the 40s, but in the English-speaking world it only became prominent in the mid-to-late 60s[[/note]], showing more and more skin as time passed. "Pin-ups" returned with a vengeance in TheEighties, while the pendulum swung back towards bikinis and thongs in TheNineties and TheOughts. TheNewTens' "conservative revolution" however, brought a trend of showing as little skin as possible, leading to a resurgence of the high-waisted "pin-up". One-pieced swimsuits tend to vary their front cleavage influenced by how much skin two-piece suits show.
* Heavy cosmetics for women, such as lipstick and eyeshadow, have faded in and out of popularity over the course of the century, literally altering the face of Western womanhood. It became standard for women in TheRoaringTwenties and continued throughout TheGreatDepression, TheForties and TheFifties, until it reached the point at which pictures of women from the mid-20th century can sometimes [[UncannyValleyMakeup look clownish]]. A more barefaced look was popularized by female folk singers (Music/JoanBaez, most famously) beginning in TheSixties, and then ''that'' has become the standard. Heavy makeup returned with a vengeance late in TheSeventies and TheEighties. [[UnkemptBeauty Barefaced]] and [[ButNotTooWhite tanned]] looks returned to popularity in TheNineties and TheOughts, while TheNewTens have gradually reverted to heavy makeup once again. In spite of all this though, [[ZigZaggingTrope the line has not been a completely straight one]] and there are always exceptions.
* Suntanning, while made fashionable by Chanel in the '20s, didn't become mainstream until TheSixties. It has been most popular in moments when make-up is more out than in and viceversa.
* Women's hairstyles have also varied in many forms since TheRoaringTwenties, when the TwentiesBobHaircut broke with the centuries-old standard of long hair, but also sparked a trend for more elaborate hairstyles, coming to a head in TheFifties with the "beehive". In the late 60s and for most of the '70s, however, long and unadorned hair became the norm, but the feathered haircut led to the [[EightiesHair overproduced hairstyles of]] TheEighties, before reverting to simpler hair in the 90s and most of the 00s. As of TheNewTens, '80s-inspired hairstyles have made a return.
* {{Revolvers|AreJustBetter}} experienced this in TheNineties, at least in the American civilian market. TheEighties saw the rise of so-called "[[CoolGuns Wonder Nines]]," 9 millimeter handguns that held [[MoreDakka 15 rounds or more]], vastly outstripping the six-round capacity of most revolvers. Police forces switched over immediately, and civilians took to the new guns almost as quickly. In 1994, however, [[AmericanGunPolitics the Assault Weapons Ban]] was passed, heavily restricting, among other things, the sale of guns with magazines that held more than ten rounds. This stripped the Wonder Nines of [[MoreDakka their chief advantage]], allowing revolvers to retake market share. Even after the ban expired in 2004, this trope remained in effect in those states that still had their own laws on the books -- revolvers are noticeably more popular in, say, New York than they are in Florida. Note that this doesn't apply to police departments -- their weapons choices weren't affected by the ban, and [[EagleLand the greater magazine capacity is incredibly useful for their work.]]
* At the dawn of TheNineties, most observers in the computer world had given up UsefulNotes/{{Unix}} for dead, due to the fragmentation among vendors and the GNU Project's [[DevelopmentHell slowness in developing a free replacement]]. Then a Finnish grad student by the name of Linus Torvalds released the Linux kernel to the Internet. It was rapidly adopted by GNU and various Linux distributions (though Richard Stallman [[InsistentTerminology prefers you call it "GNU/Linux", thank you very much]]), have provided a viable alternative to Windows and Mac operating systems. Open source systems based on BSD also popped up in the early '90s (Mac OS X is based in part on [=FreeBSD=].) They're most successful as servers and in high-powered applications such as animation rendering and supercomputers.
* The programming language Lisp had been considered dead ever since the "[[http://en.wikipedia.org/wiki/AI_Winter AI Winter]]" caused all the funds for artificial intelligence research (which was the field most Lisp programmers worked in) to dry up. The language has seen a revival of interest, however, in The TurnOfTheMillennium and TheNewTens largely thanks to Paul Graham.
* Baby names. There are some names that never go out of style, but others run in 60- to 100-year cycles - in TheThirties "Shirley" was a little girl and "Zack" was a grizzled old prospector. Today Shirley's collecting Social Security and Zack's a young man in his teens or twenties. Such "time capsule names" tend to be popular for about 20 years and then become indelibly linked to the generation born when they were popular, until they're rediscovered a few decades after that generation dies off and then they become indelibly linked to the new one. One major reason for this is the tendency to name children after grandparents and great-grandparents. This is something for fiction writers to watch out for - one of the easiest ways to provoke outrage over sloppy research is to have an entire cast of 20- and 30-somethings with names that are popular baby names ''now'' but weren't between the '30s and '80s; or to have a period-set story where characters' names are typical of the generations that are that age today rather than the cohort the characters are supposed to belong to. An outlier or two is fine, but [[http://www.babynamewizard.com/archives/2009/3/sorry-what-was-that-i-couldnt-hear-you-over-your-name too many can be overwhelming.]]
* After [[TheGreatPoliticsMessUp the fall of the Iron Curtain]], socialism was considered as good as dead in the United States. After the 2007-08 financial crisis, people started to think that perhaps equitable distribution of resources might be a good idea. As seen in the Occupy movement, socialism is coming back as a viable political theory (although the word remains a taboo in mainstream US politics). Socialism hasn't had a chance in U.S. electoral politics at anything beyond the state level (and for that matter only in the smaller states, most notably Vermont) since the 1920s and 30s, partly because of the "first red scare" that followed WWI and that the New Deal was thought to turn socialism obsolete. But it was the early 1950s' RedScare that killed off American socialism, especially once the "Red hunters" were able to stir up class resentment against "left-wing intellectuals", giving us the current BourgeoisBohemian trope. Liberalism has since made a comeback, of course, but it is a bourgeois, ''cultural'' liberalism that most old-school socialists find obscene.
* The use of "Frisco" by natives of UsefulNotes/SanFrancisco, as explained in [[http://www.sfgate.com/entertainment/article/Frisco-that-once-verboten-term-for-the-city-by-2582886.php this]] ''Chronicle'' article.
* TV antennas have made a comeback with "cord cutters," people who watch online video using services like {{Creator/Netflix}} exclusively without signing up for cable and satellite services. When they do want to watch live TV, antennas work just fine. Since all terrestrial TV broadcasting in the U.S. is digital, there's none of the snow or ghosting associated with traditional TV antennas.
* Mime. Yes, mime. It was considered a great source of entertainment about a century ago, when it contributed so much of the humor in vaudeville, the circus, and (of course) silent movies. Then "talkies" came along in the late 1920s, and suddenly mime comedy was DeaderThanDisco (as depicted in ''Film/SinginInTheRain'' and elsewhere). There were a few holdouts, of course - Creator/CharlieChaplin, [[Creator/MarxBrothers Harpo Marx]], cartoon characters like WesternAnimation/{{Pluto|ThePup}} who couldn't talk - but they were the exception, as most people in the 1930s and '40s preferred to be entertained by characters who said funny things rather than acting out funny things. Then Marcel Marceau came along in the 1950s and breathed new life into the art form, even elevating it to the level of high culture...which unfortunately ultimately backfired, as Marceau inspired [[FollowTheLeader a glut of amateurish imitators]] in the decades immediately following who once again cheapened the image of mime, even giving us the current EveryoneHatesMimes trope. Yet mime has never truly died: Countless performers who are not even often thought of as mimes, such as Creator/RowanAtkinson (as ''Series/MrBean''), John Belushi, and Creator/JimCarrey, have proudly carried the tradition into the late twentieth century and beyond. Circus companies such as Ringling Bros. and Barnum & Bailey and the Big Apple Circus also have given miming and clowning more attention in the following decades (in part a side effect of wild animal-based acts falling out of favor with modern audiences), and Creator/CirqueDuSoleil and other "contemporary circus" companies pivot upon performers who can engage audiences with few or no words at all.
* With the rise of coffeehouse culture in the U.S. in UsefulNotes/TheNineties, drip coffee was seen as something for old people or the terminally clueless by serious coffee afficionados. ''Real'' coffee came from espresso machines or a French press. But with the rise of "third wave" coffee culture, coffee lovers have rediscovered manual pour-over drip coffee makers. Ironically, it tends to be popular in the Pacific Northwest, the region responsible for popularizing espresso in the U.S.
* American cars:
** Those from TheFifties are beloved today, with their huge tailfins and large amounts of chrome. However, when they went out of style in TheSixties, they went out ''hard''. Back then, few people who could afford it would be caught dead driving around in a '57 Bel Air. It didn't help that a lot of that stylish chrome decoration had a tendency to fall off after a few years due to rust. It was only with the rise of 50s-era nostalgia in general in TheSeventies and especially TheEighties that cars from that decade started to be more appreciated.
** The 1980s themselves have been considered to be the last era of "true car design" in both the US and Europe as oil was no longer a concern and automakers now focused on innovative designs, leading to the spacecraft-like cars of the late 80s such as the Ford Taurus and the Citroen XM. However, TheNineties brought a focus on environmentalism and [[PoliticalCorrectnessGoneMad "blander" designs]] (as a result of the consolidation between American and European companies) that in the long run stripped cars from their personality. These claims became really popular by the second half of the 2000s (with the oil crisis and the car industry downturn) as these became relics of a better time for automobiles..
** The lifecycle of a car design has stretched considerably since the 1990s as well: Until 1990-92, companies changed their ''entire'' lineup every 2 or 3 years (overhauling everything every 4 or 5 years) before the First Gulf War and the 1989-93 depression shook things up. Today, a new car can be exhibited at major shows almost a year before it hits the market; then comes a 5-7 year production cycle and upwards of a 20-year period before examples of a discontinued model that was popular when new are rare enough not to be an everyday sight. Expect at least another ten or even 15 years after ''that'' for them to start showing up at classic-car events.
* The trend towards environmentalism and energy efficiency in the cultural consciousness has done this for a lot of seemingly "outdated" technologies and vehicles:
** The post-war American car market has constantly cycled between demand for larger, roomier, more powerful automobiles and smaller, more efficient ones. In TheFifties and TheSixties, the trend was toward "bigger is better" with land-yachts and muscle cars to show off the newfound wealth of America's middle class. Then, the Arab oil embargo caused demand to shift towards compact and midsize cars and, later, minivans for most of TheSeventies and the first half of TheEighties. As a new generation came of age with little memory of the energy crises, large vehicles came back into style in the late 80s and 90s (except for a brief period around 1991 with the Gulf War) and up to TheOughts, this time in the form of [[HummerDinger large SUVs]]. Now, thanks to the spikes in gas prices of 2005 (post-Hurricane Katrina) and 2008, compounded with the economic recession in-between, [=SUVs=] are out, and crossovers, hybrids and compacts are in, as well as...
** Minivans. As mentioned, they were huge in TheEighties as a fuel-efficient alternative to land-yacht station wagons (the fuel crises of TheSeventies still fresh in everyone's mind), but faded away in the late '90s, thanks to [=SUVs=], the perception that the average minivan owner was a boring "soccer mom" suburbanite, and the fact that the styling was getting blander -- compare, say, the [[http://en.wikipedia.org/wiki/File:1994-1996_Chevrolet_Lumina_APV.jpg Chevy Lumina]] and the [[http://en.wikipedia.org/wiki/File:1996-2000_Toyota_Tarago_(TCR10R)_GLi_van_02.jpg Toyota Previa]] to the [[http://en.wikipedia.org/wiki/File:2004-2007_Ford_Freestar.jpg Ford Freestar]]. While they haven't shaken their uncool reputation, minivans have seen a small resurgence after the decline of the [=SUV=] market, due to their similar capacity and greater fuel efficiency.
** Small "econo-box" autos and hatchbacks. During the height of the last "Bigger is Better" craze during late in TheNineties and early in the TurnOfTheMillennium, it seemed as though the only choices for new car owners were [[FateWorseThanDeath four-door sedans and body-on-frame SUVs]]. After 2005, though, vehicles like the new Mini Cooper and various hybrids began selling so fast that it took years before the automakers could meet demand, and older models such as the Geo Metro and Volkswagen Beetle can sell for up to triple their Blue Book value on the used car market on the basis of fuel economy alone. The American automakers have even started importing some of their compact European models to meet this new demand, ending decades of NoExportForYou -- to such success that it has been cited as one of the reasons for the revitalization of Detroit's "Big Three" after decades of seemingly interminable decline.
** Up until TheSeventies, bicycles were seen primarily as transportation, and were built with full fenders and used either single speed or 3-speed internal gear hubs. Once the health craze launched a cycling boom in the early 80s, many people started switching to racing bikes, which strove to add more gears and lighter materials. Older cruisers, "English" 3-speeds, and even the steel 10-speeds made at the start of the biking boom came to be seen as extremely dorky. But later a shift back to the use of bikes for transportation led to the return of internal gear hubs, single speeds, and even fixed-gear bikes, with specialty makers building custom steel frames instead of aluminum or carbon fiber. The racing bikes, by contrast, are now the ones that are seen as dorky, while the once-cool lycra riding uniforms associated with them are now viewed as symbols of the nadir of [[TheEighties '80s]] fashion.
** Motor scooters: The Vespa was all the rage in TheFifties and TheSixties, becoming a symbol of the "mod" and "beat" subcultures and an emblem of the Swinging London era. After falling off the radar in TheSeventies (the decade when a relatively huge Harley would be considered ''tiny''), there were minor revivals across TheEighties (the "New Wave" era) and, to a lesser extent, in the second half of TheNineties (when metro areas began repopulating with younger people influenced by the "Cool Britannia" spirit). After TheOughts' fascination with chopper-building realities, TheNewTens came with another scooter craze.
** City centers. After UsefulNotes/WorldWarII, when the G.I. Bill[[note]]Short version -- a law passed near the end of the war that gave veterans access to higher education, as well as loans to buy homes and to start businesses.[[/note]], cheap gas, cheap land, the new Interstate Highway System, and the postwar baby boom created an enormous demand for housing that couldn't be met by the cities alone. As a result, this led to a massive boom in {{Suburbia}} and cities began to expand outward rather than upward leading to a phenomenon known as "white flight" in which middle-class white families moved out to the suburbs fleeing the late 1960s race riots, taking their tax dollars with them and leaving the cities behind to decay ''hard''. However, since as early as TheNineties, city centers have seen a resurgence in popularity especially among younger folk due to factors such as better public transit and walkability, proximity to work and cultural attractions, and frustration with suburban life and automobile gridlock. The 2005 oil crisis and economic downturn and the 2008 housing collapse left many "Sun Belt" cities almost empty.
** Averted with metropolitan UsefulNotes/LosAngeles. During the '70s and '80s, the city had a relatively peaceful image thanks to its fair balance between the city and suburbs, specially compared with the [[WretchedHive "Rust Belt" Northeast]], where places such as UsefulNotes/NewYorkCity and UsefulNotes/{{Chicago}} [[TheBigRottenApple had hair-raising crime rates]] while UsefulNotes/WashingtonDC was noted for its screwed-up council (one mayor was caught smoking crack [[ControversyProofImage but got re-elected anyway]]). However, the underlying tension suddenly exploded with the Rodney King riots in 1992, which resulted in LA becoming what it had avoided in the past decades (or rather, revealing that it had always been like that under its clean surface). This helped many ailing Atlantic cities (especially the Giuliani-era New York) as businesses left LA.
** Streetcars (or Trams for the British). After UsefulNotes/WorldWarII, a combination of cheap gas and the growing popularity of buses (and, according to {{conspiracy theorist}}s, some [[http://en.wikipedia.org/wiki/Great_American_streetcar_scandal underhanded tactics]] by the auto industry) led to many streetcar lines falling out of use and eventually being dismantled. The few surviving ones in the West (in East Germany and most other Warsaw Pact nations this was not the case for complex reasons, among them the [[TheAllegedCar Trabbi]].), such as those in UsefulNotes/SanFrancisco and UsefulNotes/NewOrleans, persisted more for their historical and tourism value than anything else. When cities ''did'' invest in mass transit, it would often be in the form of buses and subways that wouldn't threaten the flow of automobile traffic on the streets. In TheNineties and the TurnOfTheMillennium, however, the green movement and later on fears over rising gas prices led several cities to build or expand tram lines or "light rail" systems, which are essentially streetcars with decades worth of new technology, but also their alleged "flaws" have become their biggest assets, including bigger vehicles compared to buses (making for more capacity), their above ground running (eliminating some of the problems of dark muggy subway stations) and their overhead electric traction, more efficient than gas or third rails (all the rage in the era of renewable energy).
** First class rail travel. Yes, you heard that correctly. You see, back in the days when rail travel was invented, there were (at least) three classes. [[ValuesDissonance Just like in society]]. However, beginning in TheRoaringTwenties, rich people started having alternatives to rail travel, namely planes and automobiles. By the 1950s the European railways (now state-owned) decided to gut first class as a cost-saving measure. But of course having a second and third class but no first would not sell well. So in a clever bit of marketing they simply uptitled the existing lower two classes while doing some cosmetic fixes to third class (e.g. getting rid of the wooden seats with no padding in third class). The only exception to this was Britain, where some law said there always had to be third class (though there [[AintNoRule wasn't anything keeping anybody from abolishing ''second'' class]]). In the 1980s, rising prices of gas as well as the introduction of high speed rail once more expanded the market for rail travel and suddenly new "premium" services for high speed rail started being offered. Nowadays, you can get "business" class, "club" class, "preferente" or whatever the marketing department comes up with. On the Acela (Boston - New York - Washington) you can chose between Business and First - no Coach Class for you (also something that last happened on a large scale in the 1950s). So in essence First Class rail travel was abolished and second class was retitled first class, only for "real" first class to make a comeback half a century later.
** In the 2000s "carpooling" was seen to be an attitude of the 90s that no one wanted to remember (and something only gen-Xers would admit to do). However, the increasing difficulty of driving downtown has led to the rise of "share-ride" services like Uber and Cabify, now touted as the new face of public transportation. This has also led to fewer 20- and 30-somethings (even 40-somethings) looking for cars of their own.
* Art deco was seen as groundbreaking in TheRoaringTwenties as it embraced technology rather than nature, but by TheGreatDepression and UsefulNotes/WorldWarII it became regarded as "expensive nonsense". However, since TheFifties, this style has been practically the most influential over modern architecture.
* "Googie" architecture went out of style soon after the 1950's but discovered a resurgence in the 80's that continues to this day thanks to its nostalgic style emblematic of the decade. The rocket-like tailfins, starbursts, and odd geometric shapes are still a staple of bowling alleys, hamburger restaurants, auto repair shops, and other businesses popular in the 50's, as well as signs for cities that became popular in that decade, most notably Las Vegas. There exist societies dedicated to preserving Googie buildings that escaped the mass demolitions in the 60's and 70's due to their perceived old-fashionedness during then, making it a case of DeaderThanDisco during disco's own time.
* Gentrification is essentially this with regards to both architectural styles and parts of a city. Take Berlin-Kreuzberg for instance: Back when most of the houses there were built (the latter half of the 19th century, aka the ''Gründerzeit'') they were obviously deemed modern and aesthetically pleasing and the area was reasonably popular being close to the city center. After the wall was built and encircled Kreuzberg (which was in West-Berlin) on three sides, it became an undesirable location due to said encirclement. Furthermore the architectural style was seen as bad and most apartments were in dire need of renovation and lacked such conveniences as central heating or warm water. Of course the newly built housing units made of prefabricated slabs (known by the charming word ''Plattenbau'' in German, which roughly means slab building) had those conveniences and thus were widely more popular. The only people who would voluntarily live in old houses in areas like Kreuzberg were immigrants, notorious malcontents and cheapskates like students, leftists and leftist students. Many of those houses should also be torn down, so there were issues with squatters. Once the wall came down, Kreuzberg suddenly found itself in the center of Berlin's attention once more and the students and "alternative" people had started their own clubs, bars and other venues and suddenly Kreuzberg became ''the'' place to live in. The ''Plattenbauten'' meanwhile have suffered greatly both in perception and in technical state (being forty or fifty years old does not help), but - you guessed it - in some cities even they show signs of being gentrified.
* In Germany, train stations in major cities and the area surrounding them are this. Back in the 19th century when most cities were first connected to rail lines, train stations were impressive and expensive buildings in the center of town or the best neighborhoods. However, with the decline of rail travel, they entered a serious DorkAge and became associated with drug dealers, the homeless, urban blight and just general decay. Part of the reason for that also was that the state owned railway company did not care enough and/or lacked the resources to do something about that. But eventually, major train stations (e.g. Leipzig, Berlin, Hamburg) have once again become places where people spend a lot of time because they ''want'' to, not because they have to. Train stations now contain a lot of shops (which, due to some quirks in the law can open on Sundays which normal stores usually can't) and they are actually a huge money source for UsefulNotes/DeutscheBahn. One of the cities where the neighborhood around the train station is undergoing serious gentrification is Frankfurt. Once upon a time Frankfurt Bahnhofsviertel was synonymous with drugs, prostitution and crime. Now, it is one of the fastest gentrifying places in Germany. The prostitution still isn't gone however. Many young people don't even remember that train stations used to have a negative image. However, the situation for marginal stations in the countryside and minor cities is still dire and many have been replaced by nothing more than shacks.
* Franchise/{{Lego}}, popular plastic building blocks created in the 1930s. The toys have always been relatively popular, but in the late '90s/early 2000s, the Lego Company decided to start licensing popular franchises such as ''Franchise/StarWars''. Lego suddenly boomed in popularity with video games, fan-made stop motion videos, and in 2014 a [[WesternAnimation/TheLegoMovie highly successful movie]].
* {{Pinball}} has seen its ups and downs in popularity. It was the dominant type of arcade game until the 1970's, when video games became inexpensive enough to manufacture for arcade owners, and intensified through the first half of the 80's with hits like ''VideoGame/PacMan'' and ''VideoGame/DonkeyKong''. Pinball then became popular again with ''Pinball/SpaceShuttle'' leading the charge, which featured an accurate scale model of a space shuttle inside, an impression no video game at the time could replicate. With nothing like it to follow up, however, pinball soon lost ground to video games again in the late 80's as video game technology became more advanced, allowing for more diverse gameplay and visuals where pinball, by nature, is stuck with a static image. This changed with ''Pinball/TheAddamsFamily'' in 1992, whose many modes and deep theme integration allowed pinball to once again compete on even terms with video games at arcades. By the end of the 90's, however, arcades in North America were becoming unpopular as console video gaming allowed people to play within their homes as much as they wanted, with this new environment providing even more complex video gaming. Pinball became DeaderThanDisco for many years until 2012: Ironically, whereas mobile gaming has cut huge chunks into console gaming, mobile gaming has brought awareness back to pinball, with numerous virtual pinball apps sparking new interest in the medium and prompting people to either find machines in public to play to see how they're like in person or, if one could afford it, buy pinball machines for home use outright. Pinball has also been riding on the back of the RetroGaming craze. The effect of this upswing has been a 300% increase in sales for Creator/{{Stern}} between 2012 and 2014.
* Creator/CartoonNetwork; It was a revered channel for WesternAnimation in the late '90s, but suffered ''massive'' NetworkDecay in the mid 2000s, culminating in an overdose of Canadian imports and ''live-action shows''. Luckily, the success of ''WesternAnimation/AdventureTime'' and ''WesternAnimation/RegularShow'' has returned Cartoon Network to its former place.
* With the growth of social media and instant messaging, Internet Relay Chat looked poised to go the way of {{Usenet}} in the '00s, a place for pirates and Website/FourChan trolls to hang out in. Instead, nearly every open source project has an IRC channel (typically on Freenode), as well as many [[Website/{{Reddit}} subreddits]].
* Netbooks, small low-powered laptops designed for web surfing, were popular in the late '00s, but died off after Apple introduced the [=iPad=]. Chromebooks, powered by Google's Chrome OS, have become popular, particularly in schools, for their ease of use and low maintenance.
* The sinking of the UsefulNotes/RMSTitanic was one of the biggest and most well-known disasters of the early 20th century and was the source of multiple book and film adaptations about passengers on board. By the 70's and 80's people had more than enough of those stories (in theissue 4 of ''Les Aventures Extraordinaires d'Adèle Blanc-Sec'', part of the excitement is seeing whether or not she would get on board of the Titanic and die due to being unable to escape). No one would have expected that a movie adaptation in 1997 would end up becoming the second-highest grossing film of all time (not adjusted for inflation).
* Tea seems to be going this way in the U.S. after Americans switched to coffee after the [[UsefulNotes/TheAmericanRevolution Boston Tea Party]]. While coffee is still king, better quality teas are more readily available. Green tea is popular as a health food, particularly among women, and big box stores have a few electric kettles favored by the Brits (though far less powerful than the average U.K. models) in their kitchen appliance sections.
* The attitude towards recreational drugs has undergone several circles of both prohibition and legalization being more popular politically and with the population at large:
** Perhaps the most dramatic is the story of alcohol prohibition, which was tried out in several countries in the first third of the 20th century, most notably in the United States between 1920 and 1933[[note]]in a nationwide basis[[/note]]]. It backfired horribly however, and after its repeal alcohol became more popular. Although on recent decades, the profile of the average drinker has returned to be the blue-collar man that became the focus of the temperance movement of the 19th century.
** Smoking is nowadays associated with the poor and uneducated in much of the west and is banned in most indoor (and several outdoor) places - a stark contrast to days past when it was considered to be tasteful and stylish, and even UsefulNotes/TheHindenburg had a dedicated smoking room, despite being [[MadeOfExplodium filled with hydrogen]]. Not that it was always that way, before WWI, tobacco was associated with cowboys and others.
** Attitudes towards hemp as a plant and its use as a drug have also varied greatly. UsefulNotes/GeorgeWashington grew it on his farm[[note]] There is no record of him ''smoking'' the stuff, but farmers in those days were perfectly aware of that use of the plant[[/note]] and the Declaration of Independence was written on hemp paper. In the 20th century a scare campaign with many UnfortunateImplications - among them the renaming to "marijuana" to make it sound like a "Mexican" drug - succeeded in getting it banned and for a long time only TheStoner and hopeless left wing radicals ever argued in favor of legalizing the plant. Even the non-drug cultivation of hemp became increasingly difficult and was entirely ended by bureaucratic red tape in many places. However, after UsefulNotes/BillClinton stated that he "Did not inhale" weed, its acceptance began to rise once more and even people on the political right started to argue in favor of legalization with libertarian "get the government out of people's lives" arguments. By TheNewTens UsefulNotes/BarackObama was able to gleefully admit "Of course I inhaled, that was sort of the point" and several states have passed ballot measures or laws to legalize medicinal or recreational use with a lot of LoopholeAbuse going on with the former in some states. In fact Creator/BillMaher is able to more or less openly declare his "medical" marijuana he takes under California law has more to do with getting high than with any medical condition.