"Improvisational jazz banjoists are shot on sight!"
A genre that critics hate on principle
. If a work or creator is from one of the forbidden genres, it is automatically bad, no matter what the creator or work makes. A critic who actually likes any of this stuff has to bend over backward, apologizing that these works are Guilty Pleasures
and they know they shouldn't like the stuff
. Some critics seem unable to write a review of works they like without an obligatory kick to the dead horse — "this is so much better than that other crap!" Times when these genres were popular are declared to be the Dork Age
Amateur critics on the Web aren't quite as dogmatic as the professionals, because the amateurs aren't part of an establishment that declares who is hot and who is not. But since anybody with an internet connection and library can be a critic, amateurs often have their own personal Dead Horse Genre
, which they flog as hard as the professionals do with theirs.
Of course, a lot of these genres really are full of rubbish. But so are genres that the critics like — Sturgeon's Law
strictly applies. If you're a fan of this stuff and you want reviews, you may have to go to a specialized web site that only covers that one genre.
So why kick a genre until it's a dead horse? Because critics regard what they do as Serious Business
. They're trying to calculate the canon of Great Works here, and there's no room for anything less. They seem to think that if enough people consume good works
, people will start giving out flowers and candy and overthrow The Man
and cure cancer, but if they consume bad works, people will have their souls crushed and vote to establish fascism. Some music critics with strong political beliefs go further — some are still angry that the decline of music in the late 60s prevented the revolution that was so, so close at hand! (They seem to forget, or never even realized, that so many of these works were brought to us - and perhaps never would have been - without corporate entities
Another reason for this is that entire genres have been created by taking a style the creators hate, and then doing the exact opposite. Critics who like these rebel genres have to pan the ones they rebelled against. Maybe both genres have something to offer? Don't be silly! This is art
, and there's only one way to do things
Sometimes, a genre turns into a dead horse through a mix of Hype Backlash
and It's Popular, Now It Sucks
; the work hit a peak level of popularity where it appears to be everywhere, and both the public and the critics get sick of it.
Most of these genres have one or two exceptions, the creators that the critics like in spite of it all. Of course, the critics usually spend their time trying to explain that no, these bands aren't really part of the hated genre at all.
For those people who haven't figured it out yet, most music criticism is very close to Fan Dumb
and Hate Dumb
. See also Sci Fi Ghetto
Note that the list doesn't include very old nearly-forgotten genres like motet.
The Big List of Dead Horse Genres:
There ain't no respect for 1970s bands who made songs specifically for arena spectacles, like Foreigner
and REO Speedwagon
. Critics regard them as pompous, fake, and not real music because their songs aren't really played — they're performed. Especially to fans of Three Chords and the Truth
, this is unacceptable. And since arena rockers usually wrote straightforward lyrics, those who feel that True Art Is Angsty
A sub-type of heavy metal from the 1980s, bands like Poison, Bon Jovi
, and Mötley Crüe
inspire a lot of hate, even from people who love other kinds of heavy metal. Amateur critics dismiss it as nothing but make-up, big hair, fancy costumes, and videos, with no room for actual music in there. (Wilson & Alroy, the first big amateur music reviewers on the web, refuse to review hair metal albums for any reason.) Among professional critics, hair metal had the misfortune of being too tied to the 1980s rock "establishment," especially MTV. 1990s Grunge music
was a rebellion against hair metal, like Punk
was a rebellion against Prog Rock
, so when grunge became the critical darling of MTV, there was soon no place for hair metal among the pros.
Rock critics don't usually like (or know much about) music that isn't rock, but they're wary of attacking genres that they know they don't understand. So they leave Classical, Blues, Jazz, and "World" alone. But Broadway show tunes don't have the mystique that makes those other genres so scary. If it was sung in a theater, rock critics dismiss it as sappy, soulless stuff for lame fifty-something white people in 1955. One of the stock funny anecdotes among music critics is that Marvin Gaye
, the master of suave Motown love ballads with soul, originally wanted to sing showtunes.
Incidentally, musical theater fans have their own Dead Horse Genres: Jukebox Musicals
, European pop operas such as the output of Andrew Lloyd Webber
, Disney musicals, etc. The hate for those is similar to the hate others have for Manufactured Bands (see below).
Albums by the likes of Fleetwood Mac
— which seem to consist of the same song repeated for seven tracks or more — send a shiver down the spine of every amateur critic. After all, it's produced by The Man
, who is the root of all evil (but not that one
); and it probably got played due to payola anyway. The fact that lots of people love it is only proof that it's bad — what do the proles know, anyway? Also currently applies to bands such as Nickelback
which have the "sold 10 million albums but I don't know anyone who owns one" type of fanbase.
Probably more of a target for amateur critics than professionals, this genre is also the one that most non-critics who start getting interested in music will hate the most. From Fabian and The Monkees
to N Sync
and Britney Spears
, performers who serve as faces for a faceless team of composers are viewed as outright traitors to music. They are the monster, the roots of the evil corporate machine that suppresses true music. They perform catchy but empty pop designed to hypnotize teenagers into becoming shopping-obsessed zombies. They... well, you know the drill. The average critic cares a lot about sincerity, so singers who only sing (instead of writing their own material) are unacceptable (depending on how long ago the artist came to prominence — no one's criticising Nat King Cole or Frank Sinatra
for not writing their own tunes...) Professional critics have to (publicly) give 'equal time' to modern manufactured bands for obvious reasons, but are free to trash selected out-of-date whipping boys (like the Monkees) with gusto. And don't even mention the words "Milli Vanilli" around them.
The older bands suffer the same fate as hair metal — manufactured bands prospered most between Elvis getting drafted and the Beatles arriving, so they are seen as the horror which the Beatles saved music from. Speaking of "older", note that in recent years manufactured bands and their intended demographic are getting younger
- Miley Cyrus, The Jonas Brothers
and The Naked Brothers Band
are presumably marketed to kids whose parents think they're too young to go on the Internet
. Interestingly, manufactured bands targeted toward girls get far, far, far
more criticism than those targeted toward boys even if their music is of the exact same quality
. Manufactured bands targeted at girls almost always acquire the Periphery Hatedom
of their generation.
In Britain, much of the ire for manufactured bands is specifically directed at contestants from The X Factor
or Britain's Got Talent
who actually started musical careers. While some manage to acquire mainstream acceptance, many are derided for appealing to the Lowest Common Denominator
and existing solely to "steal" the Christmas Number One single spot with a cover version to validate the existence of the programme (with the back cover of several Pop Stars: The Rivals
VHS tapes actually implying the the Christmas number one was the prize for winning the programme). The backlash against this seems to have culminated with the successful 2009 Facebook campaign to put "Killing In the Name
" at the top of the Christmas singles chart. Generally, the ire isn't really
directed at the singer themselves
- evidenced by the success of Leona Lewis and the praise for JLS attempting to be original with their material - but at the system which got them into the position (and Simon Cowell
As noted above, many critics generally don't hate manufactured artists as much as one would think. Britney Spears
? Oops!... I Did It Again
, In The Zone
have all averaged around three stars or more in reviews. The Monkees
have also been somewhat Vindicated by History
lately. Justin Bieber
and The Jonas Brothers
also don't receive, for the most part, overly negative reviews on their albums. Indifference moreso than dislike is probably the most common critical reaction.
Viewpoints about the Sex Pistols
vary: they started as a band manufactured by Malcolm McLaren, but with the addition of John Lydon his influence over them was heavily diminished. Subsequently they initiated the first wave of British punk, with bands like the Clash and the Buzzcocks citing them as the direct reason they formed. After Lydon left, McLaren tried to keep the band going, resulting in disasters such as The Great Rock and Roll Swindle
In some cases, if a manufactured band breaks up then regroups a few years later when they're a bit older and wiser, there's sometimes a good chance that they will manage to win the favour of critics and the public. Take That
is a pretty good example.
Also, starting in The New Tens
there is a small boy band resurgence in the Britain (Like One Direction
and The Wanted
) but girl groups are still out of the question as groups like Girlicous and Pussycat Dolls
fell by the wayside.
Finally, outright parody bands such as Spinal Tap
may get a bye on the basis that they were really attacking the sort of band they pretend to be.
In Asia, there appears to be somewhat less resistance in accepting Boy Bands/Girl Bands; groups like Big Bang and the Hello! Project
still sell in Korea and Japan. It likely helps that they're generally willing to mock themselves relentlessly. Furthermore, J-Pop singers often have other people write and/or compose their songs (Yoko Kanno
partnering with Maaya Sakamoto
on numerous albums, for example). It's not really a negative, nor is it decried as "manufactured" (at least not over and above what American critics think of the dancy, peppy J-pop genre as it is).
Nu-Metal is an umbrella term coined in the mid-1990s to refer to music that blends heavy metal elements with other styles, typically Industrial
and Alternative Metal
. Nu-metal is hated by many metalheads, who stereotype it as commercial and musically simple. In fact, there are many that argue nu-metal isn't even a subgenre of metal, although some music critics argue that it is an experimental and diverse genre.
Many think the genre died in the late 90's (Dr. Dre himself thinks so as well). But this is somewhat contested because some think it's still the popular hip hop genre. The problem with this is that a lot of hip hop that didn't fall into the indie, pop, or alternative banner was automatically placed under the gangsta rap umbrella term...unfairly or not. Usually by cynical alt/indie rap fans. Also the grittier type 1 variants are dead, while a glossier Lighter and Softer
version exists in it's place.
Most rappers who get on their soap box are considered preachy, pretentious and irrelevant now. In general there's a backlash towards rap music like this (including the aforementioned Gangsta Rap, and alt rap) from the mainstream rap fans. Likely because of the resentment from the fans of those particular genres that's usually aimed at pure mainstream rap fans. So in essence its a backlash against the Critical Backlash
....If that makes any sense. So a lot of mainstream rap fans, and mainstream rap outlets (including BET, and apparently MTV) dismiss them as irrelevant. Basically any hip-hop that isn't club-oriented, trendy, safe, and radio-friendly is considered "played out" or not cool to like. Or it could all just be a defense mechanism for mainstream fans to justify their taste in current pure mainstream hip-hop.
After floating around in the outer reaches of the record industry for decades, the success of African-American musical genres like jazz, blues, soul and funk in the 1960s finally brought it to the forefront by the beginning of the 1970s. However, many objected to the glitzy, camped-out
commercialism, claiming it "sucked all of the soul" out of the music. Disco came under a backlash from two sides - white rock fans despised the genre due to its ubiquity
and perceived threat to Rock & Roll
's dominance, while black Funk
fans trashed the genre as soulless, vapid and stupid, angry over how it pushed their heroes (James Brown
, George Clinton
et al.) and hard-edged funk out of the charts. When the hammer fell on the genre, it fell hard
, and practically no one will now admit
to having come within a billion miles of it at its height. "X was into disco in the 70s" jokes are practically a staple of the Sitcom
genre. It tried to resurrect itself in disguise as 80's High-Energy, but could not reclaim its once-lofty position.
Lounge Music/Easy Listening
Lounge Music has always earned the loathing of critics even in heyday of the mid-1960s and early 1970s, being typified as the musical equivalent of Valium. 'Easy Listening' derivatives of Jazz especially earn the enmity of rock critics — even those unfamiliar with jazz in general — because it is seen as a neutered form of a real genre. Popular acts such as Barry Manilow in the 1970s and Kenny G. in the 1990s are especially reviled for being both banal and successful — Manilow especially for admitting to doing the most soulless of music before turning to pop: commercial jingles
. New Age/Worldbeat music, like Yanni or Enigma's output, is usually lumped into this category.
In Europe, everything and everyone that has anything to do with the Eurovision Song Contest
is reviled by critics. This includes such acts as ABBA
Some say Neo-Soul is dead. Considering in the early 2000s it was getting A LOT of mainstream buzz (Mostly because of Alicia Keys). With singers like Maxwell, D'Angelo, Erykah Badu, Jill Scott
, Angie Stone, Lina, India.Arie, Music Soulchild Et Cetera. But by the mid 2000s interest faded away.
In the words of P!nk (whose first album was R&B) "Nobody wants to hear a love song that you don't mean"
. Not just the genre itself but arguably the love and romance of Contemporary R&B is dead. Replaced by songs dealing with trashy soap opera, Jerry Springer topics. With more vocal gymnastics and some vague, treacly high-pitched sound in the background. The fusion of modern R&B to hip-hop tends to dilute both these Genres. Interestingly enough Contemporary R&B pushed soul music off the charts.
New Jack Swing
Ironically the genre that pushed Contemporary R&B off the charts is also deader than a door nail.
Traditional Anime Theme Songs
Back in the 70's most animes had their own catchy theme songs. However during the 80's it was slowly phased out for J-pop or J-Rock tracks which are easy to license and seem more normal for listening. Good luck finding a theme song for anything past kids shows nowadays. Even Kamen Rider
is a bit more unconventional with its newer openings and end theme songs than say Super Sentai
. This was heavily lampshaded in Kampfer
as Kaede speaks of anime openings being normal compared to say cartoon opening
A fusion of Metalcore
and Death Metal
, deathcore has become the Spiritual Successor
to Nu Metal
for similar reasons. It has become hated largely due to the "scene" kids and wigger meatheads associated with the fanbase, bands' usage of MySpace
to gain popularity, overall lack of technicality and excessive usage of breakdowns, poorly-written, highly misogynistic lyrics, and Oli Sykes
. Also like Nu Metal
, many metal fans argue that it is not a subgenre of metal and is instead more closely related to modern Hardcore Punk
(such as Hatebreed). While the genre still has fans and some popularity, it has seen a decline recently, as evidenced by many of the most popular bands changing their sound or abandoning the genre altogether.
Kenny G and all that. It's often the only jazz you'll hear on the radio unless you listen to NPR at 1:00 AM Saturday morning, or as non-offensive background music for the local forecast on The Weather Channel (which has actually issued compilations of smooth jazz in the past). It's also the one form of jazz critics feel free to trash. It probably doesn't help that most porn now uses smooth Jazz for the "action" scenes.
It's been produced for more than 20 years, but it looks like its number is almost up, it's fallen out of popularity even in its main market, Japan. Para Para dancing, its raison d'etre, has also mostly gone out of style and is largely considered a passing fad. Dave Rodgers (Giancarlo Pasquini), one of the founding fathers of the genre, is himself abandoning Eurobeat and moving to other styles. There's no sense in Eurobeating a dead horse
As in Mainstream Radio above, these bands are often accused of being repetitive and banal - if not outright bashed, there's a good chance that they'll be described as "middle-of-the-road, comfort food rock". These bands tend to fall in the sold millions of albums but nobody seems to actually like them
trap. It's also unpopular among fans of the original grunge bands, who see it as a watered-down, mainstream-baiting response to an "authentic" rock movement.
Similar to the criticisms of Arena Rock
: these bands offend critical sensibilities, which tend sharply toward Three Chords and the Truth
. Not only do they do extremely long songs
, they tend to write incomprehensible lyrics
to go with them.
For about two years between the start of 1996 and the end of 1997, third wave ska was pretty big in America, propelled into the charts by multi-platinum albums like Tragic Kingdom
. However, after it's brief time in the limgelight third wave ska basically disappeared, and many bands (including No Doubt
and The Aquabats!
) changed their sound.
As far as the fandom went, ska punk occupied an uncomfortable position; it was simultaneously seen as geekish (many ska groups were former band geeks, and there's a curious tendency towards ska musicians being One of Us
) and fratboyish
(due to the party anthems many groups became known for and the inclusion of ska songs in late nineties comedy movie soundtracks). Further, third wave ska was often criticised for straying too far from the original Jamaican style (and even the British revivalists who'd been popular in the eighties), hence the derogatory "punk with horns" nickname.
This is mostly a case of an album being released that was so good - namely My Bloody Valentine
- that no other shoegaze act could possibly hope to live up to it, so critics took to panning the overwhelming number of shoegaze records that were released after that point just on principle. It doesn't help that My Bloody Valentine themselves took twenty-two years
to release the record's follow-up. In The Noughties
the genre did undergo something of a revival, but most of the acts are still negatively compared to MBV.
A form of Japanese rock/folk music hybrid popular in the early to late 60s pioneered by bands such as The Tigers, The Spiders and The Tempters, it died a rather quick death immediately upon the introduction of guitar feedback into music, due to the rather large orchestral arrangements popular with Group Sounds bands being largely found impractical and laughably overwrought upon the introduction of heavier guitar playing into Japanese music, thus leading to the New Rock genre replacing GS largely as the biggest form of J-Rock in the 70s.