Let’s mention music that makes “true fans” descent into rages.

The last two days were about Goth and Pop. Let’s combine this.
What does come out when you combine Goth and Pop in the 90s?

H.I.M.

1997 was a great year to see “True” Goths frenzy like blood-starved vampires at the mere mention of Ville Vallo’s band. And I have to admit that I showed some stupidly reasonless disdain, too. But I got better fast and started enjoying their music with 1999’s “Razorblade Romance“. That album still holds some wonderful tracks that are relevant if you want to set a darkly romantic mood without hunting down some precious, 250-times pressed on vinyl, rare Apocalyptic Folk release. (Yes, such shit makes me angry.)

But I think I’ll try to leave the 1999 albums for December. While they were the distilled essence of the 90s, they didn’t really have any effect ON them. That’s why I have less problems with songs fro, 1990. While they were distilled 80s songs, they had great effect on the 90s. It’s all shades and gradients with me. (Yes, that was an attempt at dry humour. I’m not really that pretentious. … Not all the time, at least.)

So, let me show you some 1997 HIM in a playback situation. Mostly because I couldn’t find the proper music video for this.

HIM – Your Sweet Six Six Six [Greatest Love Songs Vol. 666] | 1997 | Goth-Pop

Looking back, I don’t get what made people so damn angry. I guess it was the rapid and sudden success, and that this bred resentment in fans of other bands. People probably thought that “their” band deserved that money and fame more than H.I.M. did. And with that came the accusations and the slander and the bad, insulting jokes and the ostracism of H.I.M. fans at Goth “functions” (clubs, discos, parties, festivals, bars).

Proxy-jealousy.

Which is paradoxical in many ways, the greatest being: The people mostly opposed to H.I.M.’s success are also the ones who got angry and loud when “their” band DID attain more mainstream success and who then left in droves because those bands weren’t “true” any more.

What drives people to think that the best thing to happen to the bands they love is peemanent obscurity I don’t know. But it’s there in every fandom and every niche. I still remember angry X-Files nerds “quitting the show” when it got mainstream-popular.

I get stopping being a fan of something if the success is due to a change in style and focus (see Unheilig). But most of the time it seems that people just love being able to “love” something that’s obscure and thus keeping some fake sense of elitism alive.

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