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** The crops of country hitmakers in UsefulNotes/TheNewTens are usually rock-influenced acts (often known as “bro-country”) like Music/LukeBryan, Music/JasonAldean, Music/BrantleyGilbert, and Music/FloridaGeorgiaLine, who are all criticized for their heavy rock influence, over-reliance on party jams, and Bryan’s preference of sex appeal over musical integrity. Despite heavy criticism, their albums and singles are among the bestselling in the genre.
** Other acts are criticized for singing way too many songs about being a country boy. Doesn’t stop them from constantly hitting the Top 10.

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** The crops of country hitmakers in UsefulNotes/TheNewTens are were usually rock-influenced acts (often known as “bro-country”) like Music/LukeBryan, Music/JasonAldean, Music/BrantleyGilbert, and Music/FloridaGeorgiaLine, who are all criticized for their heavy rock influence, over-reliance on party jams, and Bryan’s preference of sex appeal over musical integrity. Despite heavy criticism, their albums and singles are among the bestselling in the genre.
** Other acts are criticized for singing way too many songs about
genre. This ultimately ended up being a country boy. Doesn’t stop them from constantly hitting subverted as "bro-country" overstayed its welcome, with the Top 10.ensuing backlash causing most of the aforementioned artists to shift to a more ballad-focused sound without losing their momentum.


* King’s X are regularly named as one of the best rock groups of the ’90s and have a very strong fanbase of seemingly just a few hundred people.

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* King’s X Music/KingsX are regularly named as one of the best rock groups of the ’90s and have a very strong fanbase of seemingly just a few hundred people.


* Music/HootieAndTheBlowfish released three platinum-selling albums in TheNineties, with their 1994 debut ''Cracked Rear View'' going 21x platinum and becoming one of the biggest albums of the decade, and frontman Music/DariusRucker would later go on to solo success in CountryMusic. At the same time, however, they were a near-constant whipping boy for AlternativeRock fans, critics, and musicians alike. Their brand of folksy, down-home roots rock was seen as mushy pablum meant to serve as the soundtrack to pubs and frat houses, a symbol of the record labels reasserting their dominance and snuffing out the alternative revolution after Music/KurtCobain's death and the ensuing collapse of {{grunge}} -- a strange assessment, given that, at the time, [[https://observer.com/2016/07/my-life-in-the-bush-of-hootie-how-i-signed-the-biggest-band-of-1995/ nobody wanted to sign them]] given that their music was [[AndYouThoughtItWouldFail so far outside what had become the rock mainstream]]. Admitting to being a Hootie fan was a good way to get exiled from critical circles in the age of the Alternative Nation. [[https://www.nytimes.com/2019/06/06/arts/music/hootie-and-the-blowfish-cracked-rear-view.html This article]] by Jon Caramanica for ''The New York Times'' goes into detail on the hate they received at the time and how critics missed some of the genuine radicalism in their lyrics, noting that "in the 1990s, when [[CoolPeopleRebelAgainstAuthority subculture was brand]], Hootie's evident (but misleading) plainness was a team no one wanted to bat for."

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* Music/HootieAndTheBlowfish released three platinum-selling albums in TheNineties, with their 1994 debut ''Cracked Rear View'' going 21x platinum and becoming one of the biggest albums of the decade, and frontman Music/DariusRucker would later go on to solo success in CountryMusic. At the same time, however, they were a near-constant whipping boy for AlternativeRock fans, critics, and musicians alike. Their brand of folksy, down-home roots rock was seen as mushy pablum meant to serve as the soundtrack to pubs and frat houses, a symbol of the record labels reasserting their dominance and snuffing out the alternative revolution after Music/KurtCobain's death and the ensuing collapse of {{grunge}} -- a strange assessment, given that, at the time, [[https://observer.com/2016/07/my-life-in-the-bush-of-hootie-how-i-signed-the-biggest-band-of-1995/ nobody wanted to sign them]] given that their music was [[AndYouThoughtItWouldFail so far outside what had become the rock mainstream]]. Admitting to being a Hootie fan was a good way to get exiled from critical circles in the age of the Alternative Nation.Nation, and by the end of the decade, the critics' opinion had trickled down to the average listeners, with "Hootie Sucks" shirts becoming a common sight. [[https://www.nytimes.com/2019/06/06/arts/music/hootie-and-the-blowfish-cracked-rear-view.html This article]] by Jon Caramanica for ''The New York Times'' goes into detail on the hate they received at the time and how critics missed some of the genuine radicalism in their lyrics, noting that "in the 1990s, when [[CoolPeopleRebelAgainstAuthority subculture was brand]], Hootie's evident (but misleading) plainness was a team no one wanted to bat for."


* Music/HootieAndTheBlowfish released three platinum-selling albums in TheNineties, with their 1994 debut ''Cracked Rear View'' going 21x platinum and becoming one of the biggest albums of the decade. At the same time, however, they were a near-constant whipping boy for AlternativeRock fans, critics, and musicians alike. Their brand of folksy, down-home roots rock was seen as mushy pablum meant to serve as the soundtrack to pubs and frat houses, a symbol of the record labels reasserting their dominance and snuffing out the alternative revolution after Music/KurtCobain's death and the ensuing collapse of {{grunge}} -- a strange assessment, given that, at the time, [[https://observer.com/2016/07/my-life-in-the-bush-of-hootie-how-i-signed-the-biggest-band-of-1995/ nobody wanted to sign them]] given that their music was [[AndYouThoughtItWouldFail so far outside what had become the rock mainstream]]. "Hootie sucks" shirts were a common sight late in the decade, and admitting to being a Hootie fan was a good way to get exiled from critical circles in the age of the Alternative Nation. [[https://www.nytimes.com/2019/06/06/arts/music/hootie-and-the-blowfish-cracked-rear-view.html This article]] by Jon Caramanica for ''The New York Times'' goes into detail on the hate they received at the time and how critics missed some of the genuine radicalism in their lyrics, noting that "in the 1990s, when [[CoolPeopleRebelAgainstAuthority subculture was brand]], Hootie's evident (but misleading) plainness was a team no one wanted to bat for."

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* Music/HootieAndTheBlowfish released three platinum-selling albums in TheNineties, with their 1994 debut ''Cracked Rear View'' going 21x platinum and becoming one of the biggest albums of the decade.decade, and frontman Music/DariusRucker would later go on to solo success in CountryMusic. At the same time, however, they were a near-constant whipping boy for AlternativeRock fans, critics, and musicians alike. Their brand of folksy, down-home roots rock was seen as mushy pablum meant to serve as the soundtrack to pubs and frat houses, a symbol of the record labels reasserting their dominance and snuffing out the alternative revolution after Music/KurtCobain's death and the ensuing collapse of {{grunge}} -- a strange assessment, given that, at the time, [[https://observer.com/2016/07/my-life-in-the-bush-of-hootie-how-i-signed-the-biggest-band-of-1995/ nobody wanted to sign them]] given that their music was [[AndYouThoughtItWouldFail so far outside what had become the rock mainstream]]. "Hootie sucks" shirts were a common sight late in the decade, and admitting Admitting to being a Hootie fan was a good way to get exiled from critical circles in the age of the Alternative Nation. [[https://www.nytimes.com/2019/06/06/arts/music/hootie-and-the-blowfish-cracked-rear-view.html This article]] by Jon Caramanica for ''The New York Times'' goes into detail on the hate they received at the time and how critics missed some of the genuine radicalism in their lyrics, noting that "in the 1990s, when [[CoolPeopleRebelAgainstAuthority subculture was brand]], Hootie's evident (but misleading) plainness was a team no one wanted to bat for."

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* Music/HootieAndTheBlowfish released three platinum-selling albums in TheNineties, with their 1994 debut ''Cracked Rear View'' going 21x platinum and becoming one of the biggest albums of the decade. At the same time, however, they were a near-constant whipping boy for AlternativeRock fans, critics, and musicians alike. Their brand of folksy, down-home roots rock was seen as mushy pablum meant to serve as the soundtrack to pubs and frat houses, a symbol of the record labels reasserting their dominance and snuffing out the alternative revolution after Music/KurtCobain's death and the ensuing collapse of {{grunge}} -- a strange assessment, given that, at the time, [[https://observer.com/2016/07/my-life-in-the-bush-of-hootie-how-i-signed-the-biggest-band-of-1995/ nobody wanted to sign them]] given that their music was [[AndYouThoughtItWouldFail so far outside what had become the rock mainstream]]. "Hootie sucks" shirts were a common sight late in the decade, and admitting to being a Hootie fan was a good way to get exiled from critical circles in the age of the Alternative Nation. [[https://www.nytimes.com/2019/06/06/arts/music/hootie-and-the-blowfish-cracked-rear-view.html This article]] by Jon Caramanica for ''The New York Times'' goes into detail on the hate they received at the time and how critics missed some of the genuine radicalism in their lyrics, noting that "in the 1990s, when [[CoolPeopleRebelAgainstAuthority subculture was brand]], Hootie's evident (but misleading) plainness was a team no one wanted to bat for."


* ClassicalMusic and {{Jazz}} tend to be more praised by critics, intellectuals and the like for being beautiful works of artistic expression. To most plain folks it’s just a nice tune to play in the background, but not too long before they put on a pop music record again.

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* ClassicalMusic and {{Jazz}} tend to be more praised by critics, intellectuals and the like for being beautiful works of artistic expression. To most plain folks folks, it’s just a nice tune to play in the background, background but not too long before they put on a pop music record again.



* CountryMusic is a weird example of this, with the dissonance being within the general public. Outside of the American Midwest and South, country music isn’t very popular. In fact, UsefulNotes/NewYorkCity, the largest radio market in the US, has only one country music radio station (WNSH-FM 94.7, which only came on the air in 2013[[note]]Between 2002 and 2013, there were ''zero'' country stations anywhere in the New York market.[[/note]]), and it struggles in the local ratings and serves more as the flagship for Cumulus Media's Nash FM radio network than anything. In the Northeast, liking country music (other than alternative groups, crossover pop artists, or legends) is seen as akin to liking UsefulNotes/{{NASCAR}}, and will get you called a hillbilly or redneck (or racist). It doesn’t help that the majority of people who listen to country music ''only'' listen to country music, thus [[PopCultureIsolation limiting interaction with fans of other genres]] (other than maybe classic rock). However, simply based on numbers country music could be considered the most popular genre of music in America. And within the genre itself …

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* CountryMusic is a weird example of this, with the dissonance being within the general public. Outside of the American Midwest and South, country music isn’t very popular. In fact, UsefulNotes/NewYorkCity, the largest radio market in the US, has only one country music radio station (WNSH-FM 94.7, which only came on the air in 2013[[note]]Between 2002 and 2013, there were ''zero'' country stations anywhere in the New York market.[[/note]]), and it struggles in the local ratings and serves more as the flagship for Cumulus Media's Nash FM radio network than anything. In the Northeast, liking country music (other than alternative groups, crossover pop artists, or legends) is seen as akin to liking UsefulNotes/{{NASCAR}}, and will get you called a hillbilly or redneck (or racist). It doesn’t help that the majority of people who listen to country music ''only'' listen to country music, thus [[PopCultureIsolation limiting interaction with fans of other genres]] (other than maybe classic rock). However, simply based on numbers numbers, country music could be considered the most popular genre of music in America. And within the genre itself …itself...



* In the late 1970s and early 1980s, most music critics dismissed the entire HeavyMetal genre as being loud, stupid, monotone and offensive. Mainstream publications like ''Magazine/RollingStone'' ignored metal entirely. But within a few years Heavy Metal would become one of the biggest music genres on the planet, with metal bands selling millions of albums and filling arenas. And it’s still this way for the most part.

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* In the late 1970s and early 1980s, most music critics dismissed the entire HeavyMetal genre as being loud, stupid, monotone and offensive. Mainstream publications like ''Magazine/RollingStone'' ignored metal entirely. But within a few years years, Heavy Metal would become one of the biggest music genres on the planet, with metal bands selling millions of albums and filling arenas. And it’s still this way for the most part.



* {{Exotica}}, bubblegum pop, novelty music, easy listening music, SpaceRock, Muzak are still seen as the lowest of the lowest music, but did get a bit more serious interest in the 1990s.

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* {{Exotica}}, bubblegum pop, novelty music, easy listening music, SpaceRock, Muzak are still seen as the lowest of the lowest music, music but did get a bit more serious interest in the 1990s.



* Music videos. For many young people they are the major reason to like and buy a song, album or a certain artist. But most critics seldom discuss or hail the merits of these videos whom they dismiss as cheap publicity tools that distract attention away from the actual music by focusing more on cool dance moves, fashions, hairstyles, special effects and storylines. Sometimes inverted, such as is the case with [[Music/MichaelJackson the music video for Thriller]], which gets critical acclaim for its horror allusions, but which sometimes gets dismissed by the general public for being NightmareFuel.

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* Music videos. For many young people people, they are the major reason to like and buy a song, album or a certain artist. But most critics seldom discuss or hail the merits of these videos whom they dismiss as cheap publicity tools that distract attention away from the actual music by focusing more on cool dance moves, fashions, hairstyles, special effects effects, and storylines. Sometimes inverted, such as is the case with [[Music/MichaelJackson the music video for Thriller]], which gets critical acclaim for its horror allusions, but which sometimes gets dismissed by the general public for being NightmareFuel.



* Music/BillyJoel may be the TropeCodifier. Throughout his career he has received mostly unfavorable or mediocre reviews from several critics. Try telling that to the fans who bought all of his multiple Gold and Platinum records.

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* Music/BillyJoel may be the TropeCodifier. Throughout his career career, he has received mostly unfavorable or mediocre reviews from several critics. Try telling that to the fans who bought all of his multiple Gold and Platinum records.



** Nonetheless, the HypeBacklash from their terrible Super Bowl performance effectively destroyed their popularity and ended their career; in a period of six months, they went from being one of the biggest bands in America to having to fight off rumors that they are breaking up.
* Music/BlackVeilBrides receive far, far more respect from critics than their frequent derision will lead you to believe. Most serious music fans (''especially'' metal fans) view their music as a mediocre and uninspired GuiltyPleasure at best and an abomination to music at worst. That being said, their albums receive good reviews (save for their debut, which even the critics didn’t like that much), they have a large fandom worldwide, and are one of the biggest new bands in the metal scene as well as the most popular band in the HairMetal revival movement.

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** Nonetheless, the HypeBacklash from their terrible Super Bowl performance effectively destroyed their popularity and ended their career; in a period of six months, they went from being one of the biggest bands in America to having to fight fighting off rumors that they are breaking up.
* Music/BlackVeilBrides receive far, far more respect from critics than their frequent derision will lead you to believe. Most serious music fans (''especially'' metal fans) view their music as a mediocre and uninspired GuiltyPleasure at best and an abomination to music at worst. That being said, their albums receive good reviews (save for their debut, which even the critics didn’t like that much), they have a large fandom worldwide, worldwide and are one of the biggest new bands in the metal scene as well as the most popular band in the HairMetal revival movement.



* Alternative rap group Digable Planets Sophomore album ''Blowout Comb'' received massive praise and was considered far beyond their debut. But the album more or less bombed when released. Some music critics believe that the Afrocentric militant tone of the second album made it less accessible and off-putting to white listeners, which was believed to be their primary listeners of their first album.
* Dirty Vegas’ sophomore album, ''One'', was outright slammed by critics. It became however greatly popular amongst the fans, and spawned some of their better known hits barring “Days Go By” (that comes from their self-titled debut album), such as “Human Love” and “Walk into the Sun.” Hell, one song from this album, “A Million Ways,” appears in ''VideoGame/ProjectGothamRacing 3''. Their first post-breakup album, ''Electric Love'', received an overall enthusiastic reception in the other hand.

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* Alternative rap group Digable Planets Sophomore album ''Blowout Comb'' received massive praise and was considered far beyond their debut. But the album more or less bombed when released. Some music critics believe that the Afrocentric militant tone of the second album made it less accessible and off-putting to white listeners, which was believed to be their the primary listeners of their first album.
* Dirty Vegas’ sophomore album, ''One'', was outright slammed by critics. It became however greatly popular amongst the fans, and spawned some of their better known better-known hits barring “Days Go By” (that comes from their self-titled debut album), such as “Human Love” and “Walk into the Sun.” Hell, one song from this album, “A Million Ways,” appears in ''VideoGame/ProjectGothamRacing 3''. Their first post-breakup album, ''Electric Love'', received an overall enthusiastic reception in the other hand.



* Dionne Farris’ debut album, ''Wild Seed—Wild Flower'', received rave reviews but measly sales, and produced her only hit, “I Know.”

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* Dionne Farris’ debut album, ''Wild Seed—Wild Seed - Wild Flower'', received rave reviews but measly sales, and produced her only hit, “I Know.”



* Music/JustinBieber has had some favorable reviews by critics and has a large fanbase, but to say he’s unpopular on the Internet in general is a ''massive understatement''. In fact, some tried actively to destroy his career (as opposed to simply ignoring him) -- hence the "free pass" that Music/OneDirection got for potentially being the savior the people needed from him. By 2013, even the mainstream media was against him after he TookALevelInJerkass. While he regained his popularity by 2015, his reputation on the internet was still as abysmal as ever.

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* Music/JustinBieber has had some favorable reviews by critics and has a large fanbase, but to say he’s unpopular on the Internet Internet, in general general, is a ''massive understatement''. In fact, some tried actively to destroy his career (as opposed to simply ignoring him) -- hence the "free pass" that Music/OneDirection got for potentially being the savior the people needed from him. By 2013, even the mainstream media was against him after he TookALevelInJerkass. While he regained his popularity by 2015, his reputation on the internet was still as abysmal as ever.



“That division has now evolved into a clearly defined mass taste and a clearly defined elitist taste. Critics may write pages and pages about elitist favorite Captain Beefheart, but it was sons of Grand Funk — namely Black Sabbath — who were the first new band in months to sell out the Fillmore East in advance […] Critics write paeans to Van Morrison and ''New Morning'', but these days it is Stephen Stills who sells the records — in far greater quantity (on a per album basis) than Dylan and Morrison.”

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“That division has now evolved into a clearly defined mass taste and a clearly defined elitist taste. Critics may write pages and pages about elitist favorite Captain Beefheart, but it was sons of Grand Funk — namely Black Sabbath — who were was the first new band in months to sell out the Fillmore East in advance […] Critics write paeans to Van Morrison and ''New Morning'', but these days it is Stephen Stills who sells the records — in far greater quantity (on a per album basis) than Dylan and Morrison.”



* Music/LimpBizkit were absolutely hated by critics for a long time, but their albums all sold like gangbusters, even their most negatively reviewed album ''Results May Vary'' managed to go platinum. Though once the band released their comeback album ''Golden Cobra'' both fans and critics alike seemed to enjoy it.

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* Music/LimpBizkit were was absolutely hated by critics for a long time, but their albums all sold like gangbusters, even their most negatively reviewed album ''Results May Vary'' managed to go platinum. Though once the band released their comeback album ''Golden Cobra'' both fans and critics alike seemed to enjoy it.



* Experimental BlackMetal band Music/{{Liturgy}} have received much acclaim from mainstream music critics for their bizarre, avant-garde sound, but many black metal fans see them as being pretentious and unlistenable.

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* Experimental BlackMetal band Music/{{Liturgy}} have has received much acclaim from mainstream music critics for their bizarre, avant-garde sound, but many black metal fans see them as being pretentious and unlistenable.



* Music/OneDirection have generally gotten mediocre reviews for all of their albums, and general audiences show little interest in their work. That didn’t stop them from becoming an enormously successful teen phenomenon and remaining nowhere near as reviled as Justin Bieber (in fact, they miraculously dodged those that chose to continue hating on Bieber. They still have one, but they instead choose to ignore them than actively work against them like they do to Bieber).
* Music/{{Opeth}}’s 2011 album ''Heritage'' got very positive reviews from critics, averaging a 72 on Metacritic. However, at the very least half the fanbase doesn’t like it at all, mainly because they are afraid the band won’t make another album in their SignatureStyle, as frontman Mikael Akerfeldt said he was “bored with metal”.
* Believe it or not The Pharcyde’s debut and sophomore album got lukewarm to mixed reviews from critics. But high critical acclaim from hip-hop fans. They would later become VindicatedByHistory.

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* Music/OneDirection have generally gotten mediocre reviews for all of their albums, and general audiences show little interest in their work. That didn’t stop them from becoming an enormously successful teen phenomenon and remaining nowhere near as reviled as Justin Bieber (in fact, they miraculously dodged those that chose to continue hating on Bieber. They still have one, but they instead choose to ignore them than actively work against them like as they do to Bieber).
* Music/{{Opeth}}’s 2011 album ''Heritage'' got very positive reviews from critics, averaging a 72 on Metacritic. However, at the very least half of the fanbase doesn’t like it at all, mainly because they are afraid the band won’t make another album in their SignatureStyle, as frontman Mikael Akerfeldt said he was “bored with metal”.
* Believe it or not not, The Pharcyde’s debut and sophomore album got lukewarm to mixed reviews from critics. But high critical acclaim from hip-hop fans. They would later become VindicatedByHistory.



* Michigan-based post grunge band Pop Evil are one of the biggest names on rock radio in the 2010s. Much like Nickelback and Grand Funk, however, they're largely seen by critics as another bland and mediocre "corporate rock" band.
* Music/{{Queen}} suffered from negative press in the 1970s and 1980s, even though they were hugely successful (especially in the UK) and are now considered to be one of the greatest rock bands of all time. Indeed, [[https://www.youtube.com/watch?v=e63sQ8Jz57s upon being inducted into the Rock Hall of Fame in 2001]], their drummer, Roger Taylor, cheekily said of the honour, “It means actually more than all the Grammys we never got.”

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* Michigan-based post grunge post-grunge band Pop Evil are is one of the biggest names on rock radio in the 2010s. Much like Nickelback and Grand Funk, however, they're largely seen by critics as another bland and mediocre "corporate rock" band.
* Music/{{Queen}} suffered from negative press in the 1970s and 1980s, even though they were hugely successful (especially in the UK) and are now considered to be one of the greatest rock bands of all time. Indeed, [[https://www.youtube.com/watch?v=e63sQ8Jz57s upon being inducted into the Rock Hall of Fame in 2001]], their drummer, drummer Roger Taylor, Taylor cheekily said of the honour, “It means actually more than all the Grammys we never got.”



* While the average person knows and respects Music/LouReed, it’s usually more for ''Music/{{Transformer}}'' and the LiveAlbum ''Rock ’N’ Roll Animal'', not his later, more experimental stuff. Nevertheless most rock critics praise him as one of the most important innovators in his field.

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* While the average person knows and respects Music/LouReed, it’s usually more for ''Music/{{Transformer}}'' and the LiveAlbum ''Rock ’N’ Roll Animal'', not his later, more experimental stuff. Nevertheless Nevertheless, most rock critics praise him as one of the most important innovators in his field.



* Of course, we can’t forget the treatment the album ''Music/{{Pinkerton}}'' by Music/{{Weezer}} originally got. Critics reacted so negatively to an album widely considered Weezer’s most personal that lead singer/songwriter Rivers Cuomo had a legitimate CreatorBreakdown, calling himself a “shitty songwriter” and saying it was a “hideous record […] a hugely painful mistake that […] just won’t go away”. Needless to say, the fans considered it (and still do) Weezer’s best album to date, and a masterpiece on the part of Cuomo. Luckily, all these years later, Cuomo as well as the critics have changed their tune and tend to agree. It might be the TropeMaker for VindicatedByHistory, as the album currently has a solid '''100''' rating on Metacritic.

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* Of course, we can’t forget the treatment the album ''Music/{{Pinkerton}}'' by Music/{{Weezer}} originally got. Critics reacted so negatively to an album widely considered Weezer’s most personal that lead singer/songwriter Rivers Cuomo had a legitimate CreatorBreakdown, calling himself a “shitty songwriter” and saying it was a “hideous record […] a hugely painful mistake that […] just won’t go away”. Needless to say, the fans considered it (and still do) Weezer’s best album to date, date and a masterpiece on the part of Cuomo. Luckily, all these years later, Cuomo as well as the critics have changed their tune and tend to agree. It might be the TropeMaker for VindicatedByHistory, as the album currently has a solid '''100''' rating on Metacritic.



** Critics claimed that the unassuming neo-psychedelia act The Mooney Suzuki were supposed to be the band that changed AlternativeRock in the 2000s. Then Music/TheStrokes and Music/TheWhiteStripes happened. Critics later turned their backs on the group, as their last two albums were received poorly, despite the fact that the title track from their third album (''Alive & Amplified'') finally became the minor hit that had long eluded them.

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** Critics claimed that the unassuming neo-psychedelia act The Mooney Suzuki were was supposed to be the band that changed AlternativeRock in the 2000s. Then Music/TheStrokes and Music/TheWhiteStripes happened. Critics later turned their backs on the group, as their last two albums were received poorly, despite the fact that the title track from their third album (''Alive & Amplified'') finally became the minor hit that had long eluded them.



*** Many of BET’s ''Next'' artists didn’t pan out either — so much so they don’t even attempt to break buzzworthy artists anymore. In fact they ignore them and stick to the more accessible artists.

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*** Many of BET’s ''Next'' artists didn’t pan out either — so much so they don’t even attempt to break buzzworthy artists anymore. In fact fact, they ignore them and stick to the more accessible artists.



** Before Res but after Davina there was also Amel Larrieux. A critical darling who got rave reviews but was shunned by both the public and music networks.

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** Before Res but after Davina Davina, there was also Amel Larrieux. A critical darling who got rave reviews but was shunned by both the public and music networks.



* Music/{{Enya}} got her first three albums released to massive critical acclaim, then critics got cold, with the other albums getting mixed reviews. Of course, being that she's known worldwide and the first name that pops into people's heads when they think of celtic/relaxing music, every album she's ever released has been a massive success among the listeners.
* Music/HueyLewisAndTheNews 5th album ''Small World'' was a critical darling, but a pop chart dud when it was released.

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* Music/{{Enya}} got her first three albums released to massive critical acclaim, then critics got cold, with the other albums getting mixed reviews. Of course, being that she's known worldwide and the first name that pops into people's heads when they think of celtic/relaxing Celtic/relaxing music, every album she's ever released has been a massive success among the listeners.
* Music/HueyLewisAndTheNews Music/HueyLewisAndTheNews' 5th album ''Small World'' was a critical darling, but a pop chart dud when it was released.


* CountryMusic is a weird example of this, with the dissonance being within the general public. Outside of the American Midwest and South, country music isn’t very popular. In fact, UsefulNotes/NewYorkCity, the largest radio market in the US, has only one country music radio station (WNSH-FM 94.7, which only came on the air in 2013[[note]]Between 2002 and 2013, there were ''zero'' country stations anywhere in the New York market.[[/note]]), and it struggles in the local ratings and serves more as the flagship for Cumulus Media's Nash FM radio network than anything. In the Northeast, liking country music (other than alternative groups, crossover pop artists, or legends) is seen as akin to liking UsefulNotes/{{NASCAR}}, and will get you called a hillbilly or redneck (or racist). It doesn’t help that the majority of people who listen to country music ''only'' listen to country music, thus limiting interaction with fans of other genres (other than maybe classic rock). However, simply based on numbers country music could be considered the most popular genre of music in America. And within the genre itself …

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* CountryMusic is a weird example of this, with the dissonance being within the general public. Outside of the American Midwest and South, country music isn’t very popular. In fact, UsefulNotes/NewYorkCity, the largest radio market in the US, has only one country music radio station (WNSH-FM 94.7, which only came on the air in 2013[[note]]Between 2002 and 2013, there were ''zero'' country stations anywhere in the New York market.[[/note]]), and it struggles in the local ratings and serves more as the flagship for Cumulus Media's Nash FM radio network than anything. In the Northeast, liking country music (other than alternative groups, crossover pop artists, or legends) is seen as akin to liking UsefulNotes/{{NASCAR}}, and will get you called a hillbilly or redneck (or racist). It doesn’t help that the majority of people who listen to country music ''only'' listen to country music, thus [[PopCultureIsolation limiting interaction with fans of other genres genres]] (other than maybe classic rock). However, simply based on numbers country music could be considered the most popular genre of music in America. And within the genre itself …


* Music/GrandFunkRailroad could effectively be described as the Nickelback (see below) of TheSeventies. The gulf between critics and listeners was so vast, it’s even mentioned in the opening paragraph of [[http://en.wikipedia.org/wiki/Grand_Funk_Railroad their Wikipedia page]]. As explained in [[http://starling.rinet.ru/music/gfr.htm this article]], much of both the critics’ unbridled hate for GFR and the public’s love of them had to do with how they were playing [[ThreeChordsAndTheTruth simple, energetic, populist roots-rock with straightforward lyrics]] in an era where ProgressiveRock bands with elaborate instrumentation and multilayered lyrical themes -- i.e. the sort of music that [[GoodOlBoy ‘down home’ rock fans]] tend to view as [[TrueArtIsBoring pretentious, nerdy, and hard to 'rock out' to]] -- were critical darlings. Ironically, however, their very last album before their breakup, ''Good Singin', Good Playin[='=]'' in 1976[[note]]After their reunion, they recorded two more albums, ''Grand Funk Lives'' in 1981 and ''What's Funk?'' in 1983, before breaking up again. Both albums, however, were made under a new lineup that was missing half of the original members, and this first reunion is generally considered to be a DorkAge by fans.[[/note]], was done in collaboration with none other than Frank Zappa (see below). [[note]]Though Zappa's tangible influence was minimal, and the track to which he contributed the most, "Rubberneck", got cut from the album and wasn't released to the public until 2001.[[/note]]

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* Music/GrandFunkRailroad could effectively be described as the Nickelback (see below) of TheSeventies. The gulf between critics and listeners was so vast, it’s even mentioned in the opening paragraph of [[http://en.wikipedia.org/wiki/Grand_Funk_Railroad their Wikipedia page]]. As explained in [[http://starling.rinet.ru/music/gfr.htm this article]], much of both the critics’ unbridled hate for GFR and the public’s love of them had to do with how they were playing [[ThreeChordsAndTheTruth simple, energetic, populist roots-rock with straightforward lyrics]] in an era where ProgressiveRock rock bands with elaborate instrumentation and multilayered lyrical themes -- i.e. the sort of music that [[GoodOlBoy ‘down home’ rock fans]] tend to view as [[TrueArtIsBoring pretentious, nerdy, and hard to 'rock out' to]] -- were critical darlings. Ironically, however, their very last album before their breakup, ''Good Singin', Good Playin[='=]'' in 1976[[note]]After their reunion, they recorded two more albums, ''Grand Funk Lives'' in 1981 and ''What's Funk?'' in 1983, before breaking up again. Both albums, however, were made under a new lineup that was missing half of the original members, and this first reunion is generally considered to be a DorkAge by fans.[[/note]], was done in collaboration with none other than Frank Zappa (see below). [[note]]Though Zappa's tangible influence was minimal, and the track to which he contributed the most, "Rubberneck", got cut from the album and wasn't released to the public until 2001.[[/note]]


* Music/ImagineDragons’ first three albums were critically lukewarm, despite adoration from fans. Their fourth album was better-received by critics, but sometimes seen as a step down by fans.

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* Music/ImagineDragons’ Music/ImagineDragons.
** On the whole, critics and music nerds regularly use them as a symbol of everything wrong with [[IndiePop indie rock]] in the 2010s, describing them as the soundtrack to car commercials and blaming them for leading indie rock as a whole down a similar, sanitized mainstream path. [[Music/{{Slipknot}} Corey]] [[Music/StoneSour Taylor]] went so far as to unfavorably [[https://consequenceofsound.net/2019/02/corey-taylor-imagine-dragons-replaced-nickelback-most-hated-band/ compare them]] to Nickelback, saying that they had displaced that band as the leading punching bag within the rock world. And yet, like Nickelback in the 2000s, they're also one of the biggest rock bands of the '10s, their albums ''Night Visions'', ''Smoke + Mirrors'', and ''Evolve'' having all gone at least platinum.
** A microcosm also exists within the band's discography. Their
first three albums were critically lukewarm, despite adoration from fans. Their fans, while their fourth album was better-received by critics, but sometimes seen as a step down by fans.



* Music/{{Jewel}}, even during her heyday in the mid- to late ’90s, generally garnered lukewarm reviews from professional critics, with many deeming her music naïve and overly simple. Yet that didn’t stop her debut album ''Pieces of You'' from reaching Diamond certification in the U.S. (and, later, being listed by the Rock and Roll Hall of Fame as one of the “Definitive 200”). Her 1998 album ''Spirit'' also went on to achieve Triple Platinum status, despite an equally unenthusiastic critical reaction, and is seen as a defining pop album of the late ’90s.

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* Music/{{Jewel}}, even during her heyday in the mid- to late mid-late ’90s, generally garnered lukewarm reviews from professional critics, with many deeming her music naïve and overly simple. Yet that didn’t stop her debut album ''Pieces of You'' from reaching Diamond certification in the U.S. (and, later, being listed by the Rock and Roll Hall of Fame as one of the “Definitive 200”). Her 1998 album ''Spirit'' also went on to achieve Triple Platinum status, despite an equally unenthusiastic critical reaction, and is seen as a defining pop album of the late ’90s.



* Music/{{Nickelback}} are the kings of this trope in modern rock music, and a strange example of it going both ways. On one hand, admitting that you are a Nickelback fan on the Internet will get you told that you have no taste in music and are a part of what’s killing rock and roll — [[http://www.rollingstone.com/music/pictures/readers-poll-the-ten-worst-bands-of-the-nineties-20130509/2-nickelback-0196964 a poll]] by ''Rolling Stone'' named them the second worst band of the ’90s, behind only Music/{{Creed}}. On the other, every single album they made between ''Silver Side Up'' in 2001 and ''Dark Horse'' in 2008 went multi-platinum, so ''somebody'' out there is buying their music. You’d expect this polarizing reaction to extend to the critics … but they generally call Nickelback SoOkayItsAverage, formulaic but inoffensive. [[https://www.youtube.com/watch?v=QgFsrnyp2dQ This review]] by ''WebVideo/SpectrumPulse'' of their album ''No Fixed Address'' argues that much of Nickelback’s source of hatred came not from their music (which was hardly the worst to come out of the PostGrunge wave), but from [[ItsPopularNowItSucks their omnipresence on terrestrial radio]] during that time making their mediocrity that much more unbearable. Inversely, while their ninth album ''Feed the Machine'' got the same mediocre reviews as always, the listeners' reaction was more forgiving.

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* Music/{{Nickelback}} are the kings of this trope in modern rock music, and a strange example of it going both ways. On one hand, admitting that you are a Nickelback fan on the Internet will get you told that you have no taste in music and are a part of what’s killing rock and roll — roll. [[http://www.rollingstone.com/music/pictures/readers-poll-the-ten-worst-bands-of-the-nineties-20130509/2-nickelback-0196964 a A poll]] by ''Rolling Stone'' named them the second worst band of the ’90s, behind only Music/{{Creed}}.Music/{{Creed}}, and to this day, comparing a band to Nickelback is still a tried-and-true method of calling them soulless, commercial product made with MoneyDearBoy in mind. On the other, every single album they made between ''Silver Side Up'' in 2001 and ''Dark Horse'' in 2008 went multi-platinum, so ''somebody'' out there is buying their music. You’d expect this polarizing reaction to extend to the critics … but they generally call Nickelback SoOkayItsAverage, formulaic but inoffensive. [[https://www.youtube.com/watch?v=QgFsrnyp2dQ This review]] by ''WebVideo/SpectrumPulse'' of their album ''No Fixed Address'' argues that much of Nickelback’s source of hatred came not from their music (which was hardly the worst to come out of the PostGrunge wave), but from [[ItsPopularNowItSucks their omnipresence on terrestrial radio]] during that time making their mediocrity that much more unbearable. Inversely, while their ninth album ''Feed the Machine'' got the same mediocre reviews as always, the listeners' reaction was more forgiving.


* Music/{{Sepultura}}’s sixth album ''Music/{{Roots}}'' received almost unanimously positive reviews, and proved to be one of the most influential albums in the early-2000s NuMetal scene. Fans of the band, however, consider it to be their JumpingTheShark moment and don’t like it as much.

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* Music/{{Sepultura}}’s sixth album ''Music/{{Roots}}'' received almost unanimously positive reviews, and proved to be one of the most influential albums in the early-2000s NuMetal scene. Fans of the band, however, consider it to be their JumpingTheShark moment and don’t like it as much.


* Music/ImagineDragons’ albums are critically lukewarm, despite adoration from fans.

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* Music/ImagineDragons’ first three albums are were critically lukewarm, despite adoration from fans.fans. Their fourth album was better-received by critics, but sometimes seen as a step down by fans.


* Music/JustinBieber has had some favorable reviews by critics and has a large fanbase, but to say he’s unpopular on the Internet in general is a ''massive understatement''. In fact, his {{Hatedom}} tried actively to destroy his career (as opposed to simply ignoring him) -- hence the "free pass" that Music/OneDirection got for potentially being the savior the people needed from him. By 2013, even the mainstream media was against him after he TookALevelInJerkass. While he regained his popularity by 2015, his reputation on the internet was still as abysmal as ever.

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* Music/JustinBieber has had some favorable reviews by critics and has a large fanbase, but to say he’s unpopular on the Internet in general is a ''massive understatement''. In fact, his {{Hatedom}} some tried actively to destroy his career (as opposed to simply ignoring him) -- hence the "free pass" that Music/OneDirection got for potentially being the savior the people needed from him. By 2013, even the mainstream media was against him after he TookALevelInJerkass. While he regained his popularity by 2015, his reputation on the internet was still as abysmal as ever.



* Music/{{Nickelback}} are the kings of this trope in modern rock music, and a strange example of it going both ways. On one hand, admitting that you are a Nickelback fan on the Internet will get you told that [[{{Hatedom}} you have no taste in music]] and are a part of what’s killing rock and roll — [[http://www.rollingstone.com/music/pictures/readers-poll-the-ten-worst-bands-of-the-nineties-20130509/2-nickelback-0196964 a poll]] by ''Rolling Stone'' named them the second worst band of the ’90s, behind only Music/{{Creed}}. On the other, every single album they made between ''Silver Side Up'' in 2001 and ''Dark Horse'' in 2008 went multi-platinum, so ''somebody'' out there is buying their music. You’d expect this polarizing reaction to extend to the critics … but they generally call Nickelback SoOkayItsAverage, formulaic but inoffensive. [[https://www.youtube.com/watch?v=QgFsrnyp2dQ This review]] by ''WebVideo/SpectrumPulse'' of their album ''No Fixed Address'' argues that much of Nickelback’s hatedom came not from their music (which was hardly the worst to come out of the PostGrunge wave), but from [[ItsPopularNowItSucks their omnipresence on terrestrial radio]] during that time making their mediocrity that much more unbearable. Inversely, while their ninth album ''Feed the Machine'' got the same mediocre reviews as always, the listeners' reaction was more forgiving.

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* Music/{{Nickelback}} are the kings of this trope in modern rock music, and a strange example of it going both ways. On one hand, admitting that you are a Nickelback fan on the Internet will get you told that [[{{Hatedom}} you have no taste in music]] music and are a part of what’s killing rock and roll — [[http://www.rollingstone.com/music/pictures/readers-poll-the-ten-worst-bands-of-the-nineties-20130509/2-nickelback-0196964 a poll]] by ''Rolling Stone'' named them the second worst band of the ’90s, behind only Music/{{Creed}}. On the other, every single album they made between ''Silver Side Up'' in 2001 and ''Dark Horse'' in 2008 went multi-platinum, so ''somebody'' out there is buying their music. You’d expect this polarizing reaction to extend to the critics … but they generally call Nickelback SoOkayItsAverage, formulaic but inoffensive. [[https://www.youtube.com/watch?v=QgFsrnyp2dQ This review]] by ''WebVideo/SpectrumPulse'' of their album ''No Fixed Address'' argues that much of Nickelback’s hatedom source of hatred came not from their music (which was hardly the worst to come out of the PostGrunge wave), but from [[ItsPopularNowItSucks their omnipresence on terrestrial radio]] during that time making their mediocrity that much more unbearable. Inversely, while their ninth album ''Feed the Machine'' got the same mediocre reviews as always, the listeners' reaction was more forgiving.



* Music/OneDirection have generally gotten mediocre reviews for all of their albums, and general audiences show little interest in their work. That didn’t stop them from becoming an enormously successful teen phenomenon and remaining nowhere near as reviled as Justin Bieber (in fact, they miraculously dodged a PeripheryHatedom that chose to continue hating on Bieber. They still have one, but they instead choose to ignore them than actively work against them like they do to Bieber).

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* Music/OneDirection have generally gotten mediocre reviews for all of their albums, and general audiences show little interest in their work. That didn’t stop them from becoming an enormously successful teen phenomenon and remaining nowhere near as reviled as Justin Bieber (in fact, they miraculously dodged a PeripheryHatedom those that chose to continue hating on Bieber. They still have one, but they instead choose to ignore them than actively work against them like they do to Bieber).



* Theory of a Deadman have a very large hatedom amongst critics and fans of "pure" rock, as they are seen as an "X-rated post-grunge trash" act a la Hinder. That hasn't stopped them from dominating rock charts. Fortunately, their 2014 album ''Savages'' was praised as a move away from that sound (although songs like "Blow" still echo that sentiment of their past sound). It helps that they moved away from Kara [=DioGuardi=], who is primarily a pop songwriter.

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* Theory of a Deadman have a very large hatedom many detractors amongst critics and fans of "pure" rock, as they are seen as an "X-rated post-grunge trash" act a la Hinder. That hasn't stopped them from dominating rock charts. Fortunately, their 2014 album ''Savages'' was praised as a move away from that sound (although songs like "Blow" still echo that sentiment of their past sound). It helps that they moved away from Kara [=DioGuardi=], who is primarily a pop songwriter.


* Music/MichaelJackson’s first post-''Music/{{Thriller}}'' album, ''Music/{{Bad}}'', was acclaimed by critics and sold extremely well, but by the time ''Magazine/RollingStone''’s Readers’ Poll for 1988 was taken, there was enough of an audience backlash against Jackson that he swept the ‘Worst’ categories. Its reputation with ''both'' camps has improved with time. By comparison 1991’s ''Music/{{Dangerous}}'' was generally liked by both critics and general audiences. From ''Music/HistoryPastPresentAndFutureBookI'' onward both groups, at least in the U.S., gave up on him (his decision to center so much of ''[=HIStory=]'' around his ''highly'' alienating legal issues/personal life was, in hindsight, misguided); the best he could get from the former was SoOkayItsAverage notices, and only his diehard fanbase kept him selling [[DeadArtistsAreBetter until his death]]. Even his death hasn’t been able to boost the reputation of his post-''Dangerous'' work as yet.

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* Music/MichaelJackson’s first post-''Music/{{Thriller}}'' album, ''Music/{{Bad}}'', was acclaimed by critics and sold extremely well, but by the time ''Magazine/RollingStone''’s Readers’ Poll for 1988 was taken, there was enough of an audience backlash against Jackson that he swept the ‘Worst’ categories. Its reputation with ''both'' camps has improved with time. By comparison 1991’s ''Music/{{Dangerous}}'' was generally liked by both critics and general audiences. From ''Music/HistoryPastPresentAndFutureBookI'' onward both groups, at least in the U.S., gave up on him (his decision to center so much of ''[=HIStory=]'' around his ''highly'' alienating legal issues/personal life was, in hindsight, misguided); the best he could get from the former was SoOkayItsAverage notices, and only his diehard fanbase kept him selling [[DeadArtistsAreBetter until his death]]. Even his death hasn’t been able to boost the reputation of his post-''Dangerous'' work as yet.

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* [[Music/{{Carpenters}} Karen and Richard Carpenter]] were quite popular with listeners in their heyday of the '60s and '70s, and received three Grammies, but they were widely loathed by critics for their conservative, Middle American image, which bordered on the UncannyValley (needless to say, ContractualPurity was involved). Karen Carpenter's death at 32 from complications related to anorexia nervosa both shed some much-needed light on the disease and helped rehabilitate their critical image; nowadays, they've been VindicatedByHistory.


* “Achy Breaky Heart” by Billy Ray Cyrus was one of the most hated songs of all time in ''any'' genre, but the album was one of the top-selling of all time (not to mention one of the ''very'' few country-pop crossovers between the end of the ''Film/UrbanCowboy'' era and Music/ShaniaTwain’s breakthrough in 1995). Adding insult to injury was the fact that the song was a CoverVersion, and a BlackSheepHit that didn’t well represent Cyrus’ style or body of work. And much of his success was in the country charts; “ABH” was his only true pop crossover hit.

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* “Achy Breaky Heart” by Billy Ray Cyrus Music/BillyRayCyrus was one of the most hated songs of all time in ''any'' genre, but the album was one of the top-selling of all time (not to mention one of the ''very'' few country-pop crossovers between the end of the ''Film/UrbanCowboy'' era and Music/ShaniaTwain’s breakthrough in 1995). Adding insult to injury was the fact that the song was a CoverVersion, and a BlackSheepHit that didn’t well represent Cyrus’ style or body of work. And much of his success was in the country charts; “ABH” was his only true pop crossover hit.

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