We Love to Hate Nickelback (and Lulu)

Two recent bad decisions—one in Detroit, one on an album—bring out the knives

Last week, the NFL put out a defensive-sounding press release that had nothing to do with the conduct of its players or the outcome of a game. Instead, it was about the halftime show at the Thanksgiving Day tilt between the Detroit Lions and the Green Bay Packers, and it opened with these words: "Nickelback will take the stage for the 2011 United Way Thanksgiving Halftime Show."

In most cases, the announcement of a halftime-show performer might be met with smiles, mental notes to set a DVR, or the immediate forgetting of said news. But Nickelback is no ordinary band, despite its steady output of music sounding like a carefully calibrated recipe for "Modern Rock." The Canadian post-grunge outfit became a lightning rod as soon as they were announced as the game's entertainment earlier this month, which inspired a lot of grumbling and an online petition against their appearance that garnered more than 50,000 co-signers. (The fact that their name is a football reference did not, apparently, placate the masses.) "Detroit is home to so many great musicians and they chose Nickelback?!?!?!" the plea read. "The Lions ought to think about their fans before choosing such an awful band to play at halftime," it concluded.

The pop-cultural position held by Nickelback is a particularly curious one. Nickelback is one of the few remaining rock bands that can have the adjective "popular" credibly used to describe it; Dark Horse (Roadrunner), the band's last album, came out in 2008 and went triple-platinum in a time when few records came close to hitting the seven-figure sales mark. Its 2001 breakthrough single "How You Remind Me" still has enough heat to return on occasion to the Hot Digital Songs chart (which tracks purchases on iTunes and other online-music services) some 10 years after its release.

Yet if you were to conduct a person-on-the-street interview about Nickelback, you'd probably find popular sentiment running about two-to-one against the band, with the occasional "who?" thrown in until you belted out the chorus of "Remind." "Nickelback" has become shorthand for "shitty corporate rock," and that usage has become even more stark as the genre has all but receded from the pop charts, and the number of stations given over to it has steadily declined.

What is it about Nickelback that makes people seethe? Is it the band's utter willingness to color inside the lines presented to them by the Radio-Ready Rock Coloring Book? Is it Chad Kroeger's voice, which sounds like the vocal of Pearl Jam's Eddie Vedder, only copied at 150 percent on a malfunctioning Xerox? Is it the icky ogling of tracks like "Something In Your Mouth"? It could be any or all of those factors, but then again, there are other bands—Staind, Seether, the list goes on—that commit the same litany of sins but escape the widespread ire of the commenting masses.

Could Nickelback be penalized for being the big gun, for wildly succeeding at their cynical appropriation of rock's most tired? It probably speaks to the motivations of the Nickelback decriers that the guy who came up with the petition didn't want to replace the Canadians with Kid Rock, arguably Detroit's biggest non-Eminem pop star and the artist probably closer in spirit to Nickelback than any of his Motor City–born brethren; instead, he was wishing for a White Stripes reunion. Real rock, indeed.

Which leads to Lulu, the collaboration between downtown icon Lou Reed and thrash pioneers Metallica that landed in record stores earlier this month. The album is conceptually based on the plays of German writer Frank Wedekind; his titular character went from being a bright young thing to dying at the hands of Jack the Ripper. In interviews, both Reed and the members of Metallica sound thrilled to be working with one another. "This is what I call a great thing," Reed told the New York Times.

Many did not agree, thanks to the pronounced clash between Reed's nasal intonation of graphic lyrics (taken from Wedekind's work as well as Reed's own mind) and the chugging, sometimes rote metal backing it. If any of the petition-signers wanted to hear a record that was antithetical to Nickelback's parade of verses, choruses, verses, and bluster, Lulu is it: It gleefully dispenses with coherence in favor of chaos, ending with a nine-minute drone that seems designed to serve as a comedown, a pause for the listener to think about what happened during the preceding 80 minutes of grinding and groaning.

More importantly, Lulu seems designed to go against every grain of the current age, when people feel comfortable making snap judgments on full albums after hearing little more than a 30-second snippet. In the weeks leading up to Lulu's release, music trickled out bit by bit: first 30 seconds of the growling "The View," then the full five-minute song, then the whole album. The taste prepared people to dislike what was to come (my first impression involved a heat-warped Pantera cassette and the rantings of a man who felt inspired to unleash his wrath on anyone within earshot), and dislike they did. More than a few "worst album of the year, if not ever" judgments rained down upon Lulu almost immediately after it leaked, even though the time elapsed between its hitting the Internet and those proclamations being made could barely have fit in a spin and a half of the album.

After listening to Lulu repeatedly—quite the undertaking in a world on fast-forward—I softened, somewhat, to the charms lurking underneath its prickly exterior, and found hooks here and there and appreciated the spry basslines of Robert Trujillo. (The occasional bleats by James Hetfield and the "edgy" modifications to Wedekind's text spewed out by Reed, not so much.) But by the time I'd come to that realization, the chatter had moved on; Lulu had come out to lackluster first-week sales, closing the book on it until, say, five years from now, when some intrepid critic will try to herald it as a lost classic. The speed of the cycle is, on one level, understandable—there's so much stuff out there that it's easier to mobilize discourse around disliked cultural products, as opposed to things people have enjoyed, or even sat on a bit and had a generally mixed reaction to. But it's a shame that it's difficult to imagine what would happen if, instead of an anti-Nickelback petition, the frustrated Detroit folks had tried to come to a pro-anyone consensus, and if Lulu had been more harmonious, it might not have acquired half the ink it did, despite the pedigrees of its principals.

mjohnston@villagevoice.com

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19 comments
Burnalltheliars
Burnalltheliars

<img border="0" height="0" src="http://c.gigcount.com/wildfire/IMP/CXNID=2000002.0NXC/bT*xJmx*PTEzMjE1NTUzNTIyMzImcHQ9MTMyMTU1NTY4OTcwMiZwPTI3MDgxJmQ9cHJvX3BsYXllcl9maXJzdF9nZW4mZz*xJm89/YTkzMmU5OWJjYzhhNDhkOWEyY2JmMDRjOGVmYjU1Nzcmb2Y9MA==.gif" style="visibility:hidden;width:0px;height:0px;" width="0"><object classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" height="200" width="262"><param name="movie" value="http://cache.reverbnation.com/widgets/swf/40/pro_widget.swf?id=artist_1516780&posted_by=&skin_id=PWAS1003&background_color=EEEEEE&border_color=000000&auto_play=false&shuffle=false"><param name="allowscriptaccess" value="always"><param name="allowNetworking" value="all"><param name="allowfullscreen" value="true"><param name="wmode" value="opaque"><param name="quality" value="best"><embed allowfullscreen="true" allownetworking="all" allowscriptaccess="always" height="200" quality="best" src="http://cache.reverbnation.com/widgets/swf/40/pro_widget.swf?id=artist_1516780&posted_by=&skin_id=PWAS1003&background_color=EEEEEE&border_color=000000&auto_play=false&shuffle=false" type="application/x-shockwave-flash" width="262" wmode="opaque"></object><img border="0" height="0" src="http://www.reverbnation.com/widgets/trk/40/artist_1516780//t.gif" style="visibility:hidden;width:0px;height:0px;" width="0"><img alt="ComScore" border="0" height="1" src="http://b.scorecardresearch.com/p?c1=2&c2=10349858&cv=2.0&cj=1" style="display: none" width="1">

ghostoflectricity
ghostoflectricity

I left out Cracker. But if I listed every '90s band I hated, I'd run out of bandwidth.

ghostoflectricity
ghostoflectricity

Nickelback's first album came out in 2008? It seems like they've been around forever...

Other bands/artists I hate, in no particular chronological or stylistic order: Styx, Foreigner, Kansas, AC/DC, Coldplay, Limp Bizkit, Billy Squier, The Firm, John "Cougar" Mellencamp, Meat Loaf, Courtney Love/Hole, Pat Benatar, Journey, Cheap Trick, Radiohead, Animal Collective, Madonna. Ones I used to like but would be just as glad never to hear again: Bad Company, Bob Seger (can still listen to his old Bob Seger System albums, but the Silver Bullet Band needs a stake driven through its kitschy, power-ballad heart, to mix werewolf and vampire metaphors), Bruce Springsteen.

Burnalltheliars
Burnalltheliars

People like to hate Nickleback, because people hate what sucks. NICKLEBACK SUCKS!!! Simple as that. The "People love to hate us, so that's an invalid view and you should really like us campaign was started by the band. http://www.reverbnation.com/pl...

Brenda/Lysana/either
Brenda/Lysana/either

I like Nickelback. I will never argue they are brilliant, but I also don't argue that fast food is haute cuisine. And yes, I eat both (the latter when I can afford it). I also listen to classical music. I have noticed that popularity is a guaranteed road to hate. Ever witness the rage thrown at Lady Gaga's music? I've talked to someone who insisted she was no-talent even after being informed she was accepted into Julliard only to turn them down. Hating what's popular is, ironically, popular.

As for Lulu, I can't get past the first song myself. It sounds like a high school rock band whose drummer's father insists on singing lead and writing the lyrics in exchange for permitting the band to use the garage. To be honest, I stopped liking Metallica shortly after Enter Sandman. But I like Lou Reed and always have. He couldn't rescue it for me.

Kevin
Kevin

"It sounds like a high school rock band whose drummer's father insists on singing lead and writing the lyrics in exchange for permitting the band to use the garage."

Brenda, what does Lou Reed's age have to do with anything, and also, I seriously doubt any band in your high school could have pulled off "Mistress Dread". You just proved my point. You don't know what you're talking about, and you just regurgitated the same hack metaphor every other "critic" and commenter has already used. What is your POINT? You like Nickelback, and you don't like LuLu. Thanks for sharing! That was incredibly insightful.

Red_Eye_Girl_4434
Red_Eye_Girl_4434

........Тhis is сrаzу...Мy friеnd`s sistеr mакеs 78/hr оn thе intеrnеt. Shе hаs bееn unеmрlоуеd fоr 11 mоnths but lаst mоnth hеr incоmе wаs 7985$ јust wоrкing оn thе РС fоr а fеw hоurs. Gо tо this wеb sitе .......http://alturl.com/cdknk

Kevin
Kevin

We live in a country where George W. Bush can be president (twice!) and The Black Eyed Peas sell millions of downloads. The fact that a band as awful as Nickleback can also be popular should come as no surprise, and seeing how terrible EVERY SINGLE HALF TIME show is (Prince's being the very rare and notable exception), these idiots signing a petition should be happy that their favorite band ISN'T playing, and perhaps spend their time focusing on more important matters. As far as Loutallica is concerned, it's not bad at all, and that recent live footage from Germany is actually pretty decent. Certainly nothing to get all exclamatory about if it's not your cup of tea. Lou and the boys aren't creeping into your bedroom to steal your Pinkerton cds, kids, so calm down. I'd like to lock all these anti-Lulu whiners in a room and force them to listen to a Jandek record on ten. People born in the 80s by boomer parents who told them how special they were (the majority of "rock critics" currently pontificating online) love to share their ill-informed opinions on a wide range of subjects that they know absolutely nothing about. The reviews of LuLu bear this out in the most painfully obvious manner. Besides you, Chris Weingarten, Sasha Frere-Jones, and Tom Breihan, "music criticism" in this day and age is a fucking wasteland filled with half wits. A 1.0 from Pitchfork is no surprise. Actually, I would have fallen out of my chair if it was a measured review. Also, the Superbowl - corporate advertising briefly interrupted by boring running plays - who has time for that shit?

Suzinne
Suzinne

I'm so enjoying that everyone is trashing this. For the record, Pitchfork mag gives it a 1 out of 10!

Lou, more than ever, YOU SUCK!

Epac
Epac

Correction - "ending with a nineTEEN-minute drone"...:-)

As bad as Nickleback are, can you imagine Metallica + Uncle Lou at the superbowl?? "I AM THE TABLE!!!" (crowd stunned into silence)

Leonard
Leonard

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Leonard
Leonard

my friends mom makes $73 every hour on the internet. She has been unemployed for 8 months but last month her check was $7650 just working on the internet for a few hours. Read about it on this web site CashHard.com

Leonard
Leonard

my friends mom makes $73 every hour on the internet. She has been unemployed for 8 months but last month her check was $7650 just working on the internet for a few hours. Read about it on this web site CashHard.com

Kelly P
Kelly P

Lou Reed and Metallica? Really??

Jakob Ross
Jakob Ross

Nickelback isn't a football reference (on purpose, anyway). And I am one of the 3 people that actually enjoyed Lulu. If Loutallica played the game I would watch. But Nickelback is just a punishment. I would rather Insane Clown Posse (an actual Detroit group) play the show.

Bryan
Bryan

(The fact that their name is a football reference did not, apparently, placate the masses.)

This was a cute touch, but the football reference is totally incidental.

"Its name originates from the nickel in change that band member Mike Kroeger gave customers at his job at Starbucks; he would frequently say, 'Here's your nickel back.'"

radioworldpeace
radioworldpeace

"The speed of the cycle is, on one level, understandable—there's so much stuff out there that it's easier to mobilize discourse around disliked cultural products, as opposed to things people have enjoyed, or even sat on a bit and had a generally mixed reaction to. But it's a shame that it's difficult to imagine what would happen if, instead of an anti-Nickelback petition, the frustrated Detroit folks had tried to come to a pro-anyone consensus, and if Lulu had been more harmonious, it might not have acquired half the ink it did, despite the pedigrees of its principals."

There really is a massive amount of music out in the internet. Making the vast library available to a mass audience is a challenge itself.

Why didn't the Throne get to play at the game? i feel like that would be a win win for everyone.

 

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