Despite some backlash, Auto-Tune continued to thrive, and really blossom as more unique methods of utilizing it became popular. Lil Wayne had previously used it on songs like 2007’s “Prostitute Flange” with “…an uglier approach to Auto-Tune, which lent itself to a certain type of emotional vulnerability. Used this way, the plug-in almost became a new instrument” (Kramer), and he continued with it on songs like “Lollipop” in 2008. Songs like The Black Eyed Peas’ “Boom Boom Pow” in 2009 proved that, despite what Jay-Z had to say, Auto-Tune in its old “Cher” use was certainly sticking around. Kanye West continued to make new creative strides with the software, like on 2010’s “Runaway” to simulate a guitar solo using only his voice (Friedman). Despite all of this, Auto-Tune’s reputation continued to be quite controversial. Critics did not seem to appreciate the Peas’ take on the software, saying, “Amidst this bonanza of retro-future clichés, Auto-Tune felt less like the true sound of the new millennium, and more like a marginal twist on the vocoder” (Reynolds). In the television world, fans protested the use of Auto-Tune on shows like Glee and Season 7 of the UK’s X-Factor (Anderson). While Auto-Tune’s obvious uses were becoming more and more of mainstays in hip-hop, listeners were still divided on whether that was a good thing.