D.o.S. wrote:Uh I think the hate for me is that they were posited/hyped as a 'revolutionary/genre-expanding' black metal band by people who, and I think this is sort of the point of contention, don't actually listen to black metal... when they're actually just putting rehashed explosions in the sky leads over third-rate tremolo-picked riffs. It seems to be pretty transparent trend hopping (at least, to me) and it's also just not very, uh, good, but it also made it safe for the trend sailors to 'invade' black metal, if you will.
Now, you can say it's judgemental and sanctimonious and bullshit to complain about that, but it feels (again, to me) like there was definitely a reason why your average aspiring art student/journalist didn't give a shit about black metal until 'cool people' made it safe for them to like it. That shit bothers the hell out of me?
I get it. Culture vultures. Before 1998 hiphop wasn't "pop" and I rarely saw girls around school with rap in the walkman or car stereo. Esp JAP type girls. This was also in the NYC market, at a time when Hot 97 still regularly played records from its then 15-years-strong rap legacy. Street music.
Then
Ghetto Superstar made it "OK" and suddenly the same preppy girls who might've called me
wigger for drawing WU-TANG logos on....everything....were trying to talk to me about 2pac and Biggie. Because it became fashionable. Safe. TRL-approved.
It's not a case of the hipstery tude "I was into [it] before it was cool"
It's "oh so now it's cool because you're (superficially) all about [it] and therefore you've actually been cool all along, and 2cool4me but I'm no longer looked-at weird for liking music that
*wasn't made for me*"
Rap had already been on mainstream radio & tv for 5+ years since
Nuttin But A G Thang, but it took a big budget collaborative create-a-pop-song-for-a-movie-soundtrack with packaged r&b hook to fetishize a genre for mass (female) consumption. And that's precisely when it seemed to get canned & corny, homogenous.