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Broken Base / Music

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  • Hip-Hop is divided between pure Hip-Hop fans, Alternative Rap fans, Gangsta Rap fans, Political Rap fans, Hardcore Hip Hop fans, Conscious Hip Hop fans vs. fans of overtly mainstream poppish "bling bling" styled "Glam Rap" and arguably Swag Rapnote . But to simplify it, it generally boils down to divisions mainly between the normally underground/gutter/gangsta/anti-establishment/grimy/Alternative and conscious hip hop heads and the fans of artists that rhymed about material wealth, capitalism and the like. The former groups don't get a long that much either, but has some form of respect towards one another and tends to crosspolinate, and seem to be united againt the latter group of fans. Don't even get started on the regionalism though, we'll be here all day.
    • The narrowing of the urban radio format, and song selection, and exclusivity (including music video blocks during the 00's) has exacerbated this problem. As they tend to favor Glam Rap type songs and videos because they are seen as "Safe". Which causes a lot of bitter resentment. So the argument isn't necessarily about whether or not Soulja Boy is real hip-hop, (Or alternativly Stop Having Fun, Guys), But about the marginalization of everything else in favor of SOLELY supporting rappers like Soulja Boy or generic club anthem rap songs.
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    • Speaking of gangster rap, there's a debate going on about whether or not the genre is dead. Fans of the first wave of gangsta rappers (the anti-authoritarian, anti-establishment, and politically conscious era) felt that it died along time ago. Other, more cynical hip-hop fans (usually indie/alt-rap fans) feels that the current rap is no different from the earlier form, despite the fact that its more Lighter and Softer.
    • The hip-hop fan division appears to also have subtle shades of classism in addition to regionalism, as the aforementioned urban sub-genres appeal to rap fans of two very different socioeconomic backgrounds (albeit probably unintentionally). Rap that deals with "urban, inner city issues" tends to appeal to middle- and lower- income blue-collar fans, while glamorous club-oriented stuff appeals to upper middle-class suburban fans. Causing all kinds of flame wars over content.
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    • Yet another point of contention within the Hip-Hop community is whether or not the state of current Hip-Hop is natural progression or is astro turfed thanks to The Powers That BeExecutive Meddling and due to the fact that Music Is Politics.
    • To that end it gets more complicated if you believe the mainstream media and white America is the one that's driving hip-hop now instead of the inner city/urban culture, blacks and Latinos. Some even believe young urban black culture is being marginalized, or, more ominously, phased out within Hip-Hop culture.
      • Discussed in this Spin article. Basically, people are saying hip hop is being gentrified.
    • There's also those who judge artists on "relevance" rather than talent and credentials. This also further divides fans. But this isn't just unique to the Hip-hop genre though.
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    • When and where did The Golden Age of Hip Hop begin and end? Some say it's around the late 80's to early to mid 90's. A few hardliners say it's just the early to mid 80's only. Believers of the latter constitute a Vocal Minority.

  • Within the dubstep fandom, fans of the more bass-driven, minimalistic sounds of Burial or Skream and fans of the more aggressive "Brostep" such as Flux Pavilion or Rusko get into flame wars that you wouldn't believe. There is no middle ground.
  • AFI seem to have a solid divide between fans of their hardcore punk period of 1994-2000 and their goth-influenced works from 2003 on, with rather ugly flamewars raging to this day. Neither side seems to like Crash Love much, however.
  • The rap group Bone Thugs-n-Harmony has such a varied and diverse style that they ended up creating a varied and diverse fanbase. This diverse fan base always ends up in heated flame wars over what direction the group should take musically. The debates (or arguments) range from style, subject matter and whether or not to have guest features. The group even has a problem maintaining the small but loyal Broken Base that they do have, due to the fact there are more fans of certain individual members than the actual group as a whole. There's also a very contentious debate regarding what caused the group to lose popularity. Some say it's because their music changed. While others say it's because of changing trends in the Hip-Hop industry, and the music industry over all. Quite a few say all of the above. The beef with Migos has kinda unified most of the fanbase, but there's still some dissent in regards to the beef as some Bone fans are apparently Migos fans.
  • This happened to the British indie band The Horrors. The songs on their first album and their singles were fast, short bursts of goth-influenced garage punk often not lasting more than two minutes. Then in early 2009 came the video for "Sea Within A Sea", the first single from their second album. It was slower, more atmospheric and Joy Division-sounding and most troubling to fans, eight minutes long. Some fans cried bloody murder. Other fans welcomed the new sound with open arms and praised their new tighter sound. Needless to say, any forum discussing the band has degraded down to two dozen active flame wars about the subject between the two sides.
  • In Flames' older albums are often praised for being melodic death metal masterpieces, but when they changed their sound in 2002 with Reroute to Remain it caused a bitter flame war between "old" and "new" In Flames fans that still hasn't ceased; if you look on a comments section involving In Flames anywhere, it's very likely there'll be a debate (or flamewar) over new vs. old In Flames.
  • Fall Out Boy has been experiencing this for more than a decade. While they have always been willing to experiment with pop sounds (ever since Infinity on High in 2006), their releases post-hiatus have taken this Up to Eleven, especially American Beauty/American Psycho and MANIA. The lead single on every new album nowadays is an introduction to whatever sound they’re trying out, and they always invoke a passionate and polarized response from the fandom.
  • Panic! at the Disco's first two albums are a notable example in that the creative difference the fandom broke over quite literally broke up the band itself. A Fever You Can’t Sweat Out has complicated, baroque instrumentations with a dance-pop sound, with Ryan Ross’s verbose lyrics. Pretty. Odd. takes a lot of inspiration from Sgt. Pepper’s Lonely Hearts Club Band-era Beatles and folk rock. After Pretty. Odd.’s release, Ryan Ross and Jon Walker departed and formed The Young Veins, a band very similar in style to Pretty. Odd.-era Panic, while Brendon Urie and Spencer Smith went back to a pop-punk sound with Vices & Virtues.
  • My Chemical Romance’s base is pretty toxic and broken in just about every respect, but let’s focus on the music. Their first two albums (I Brought You My Bullets, You Brought Me Your Love and Three Cheers for Sweet Revenge) are rougher, louder, and much more Hardcore Punk and Post-Hardcore. The Black Parade is a theatrical, operatic concept album influenced by 70s progressive and glam rock, while Danger Days: The True Lives of the Fabulous Killjoys is another concept album with a garage rock and dance-rock vibe. Some fans prefer the harder-edged sound of the first two albums, and you’ll find arguments in the fandom about which one is the best even now, 5 years after MCR’s disbandment.
  • Steven Wilson:
    • "Normal" or "Sentimental". Both songs share the same chorus and many of the same lyrics, with the former being more acoustic and focusing on vocal harmonies, and the latter focusing more on ambience and generally being more ... sentimental.
    • To the Bone, Wilson’s latest solo album, almost split the fanbase in two: One half being his old fans who wanted more rock, and the other being mostly new fans who like or may even prefer his new classic pop directon.
  • Twenty One Pilots. Their major-label debut Vessel (2013) is widely considered their best album and 2015’s Blurryface was a huge, Grammy-winning pop success. Most fans agree they are excellent albums in their own right, but some miss the less polished production and less poppy sound of their self-titled album and Regional at Best, both of which were self-released.
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