I know what you mean. I’m in the industry and lots of wannabes out there. Sometimes I just have to pick a spot to secretly roll my eyes, lol. Fortunately, they are the major source of income.
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I hear you. Even a towel under the head and clothespins on the bridge do not bring it down enough 
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Jazz is always being blamed for things people don’t like 
but
don’t blame jazz, most metal is in phrygian mode, a lot of pop and rock is dorian. May be I get my ass kicked by band mates @Al1885 but if someone calls ‘c-major- phrygian’ you know you play the standard metal (E-minor) scale with a flattened second. Nothing wrong with that…
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I blame reactors.
There’s a lot of musical teachers/composers reacting to music on the interweb listening to metal, and they whip out a piano and say “ah this is Phrygian mode” like they’re Beato, and sends everyone scrambling to find out what a mode is.
Got it first search
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Lol. That’s good. The bands I’ve in, we usually work on songs separately, each have our jobs to do till rehearsal, by then it’s just working out the kinks.
We may have disagreed on chords but never modes, lol. I guess none of us wanted to be called a nerd, lol. Fast forward 25 years they are a cool things I guess.
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But that’s only half the story. Modes have their own sound so using a mode in this way is just using a different scale than maj/min but it’s not the same way that jazz generally uses modes to improvise.
If a piece is “in” a mode, you really don’t need to care about it that much other than to know it’s a major or minor and if it has accidentals. Then you can argue if D dorian should have a key signature of C major/A minor or if it should be F major/ D minor 
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No I get that, I’m just saying people come across modes from popular music. I don’t think so many listen to Jazz.
Take Japanese music. When people say it sounds very anime, they mean it’s in Hiro Joshi mode. A lot of metal is in Phrygian. I think people come at it from that direction these days.
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The Phrygian dominant scale (5th mode of the harmonic minor scale) is Phrygian #3 aka gypsy scale aka the jewish scale aka mixolydian ♭9 ♭13 chord scale is also very popular, esp in spanish, middle eastern and central asian music
Man, names in music are confusing 
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People say this a lot but I think it is exaggerated. Sure, there’s a number of examples, but I don’t think it is dominant by any stretch.
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Nice music humour there 
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I was hoping someone would notice then I saw you used it just before I posted
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@sshoihet
Usually when a new topic comes up on the forum, that I may be interested in, that has a video in the OP, I watch it and go from there. For some unknown reason I did not do that in this topic and it was a huge mistake.
I found this site phenomenal in the no BS material that is on it.
What interested me the most was his videos on recording yourself into Reaper and adding additional instruments, and making backing tracks. He explains everything in easy to follow terms.
So @sshoihet THANK YOU! THANK YOU! THANK YOU! 
Now back to our regularly scheduled thread topic 
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I think modes in jazz are more a fusion thing……my love is playing the old jazz standards in which I’m thinking chordally and connecting with passing notes that are either in the key being played or chromatic. Key centers may, and often do, change in a jazz standard modulating from back to the original key, so notes outside the original key will most assuredly be played. So, I guess people would look at that as playing modes??? I guess I am playing modes if I’m in the key of Bb playing through scale tones for a Cm7 up to F7 then up to Bbmaj……Dorian-mixolydian-Ionian……but I’ve never actually thought about it while playing…….I just know I’m in the key of Bb major. When I solo, I’m working through the progressions chordally, but using a lot of substitutions to take it outside and be creative. Again, I may be playing a mode to get from one part of my solo to the next, but I never think about it…….I just play. Modes just seem to be something musicians like to talk about when they aren’t playing.
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Modal jazz started with George Russell in the 50s, and the pioneers of the style are of course Miles and Coltrane, long before fusion was yet a thing, no?
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Not so. Modal melodies have been used in compositions for centuries. They also appear frequently in contemporary melodic lines by piano, horn, string and guitar soloists.
Changing key is modal modulation, borrowing chords from a parallel key is modal interchange. You can also use modes to solo over a chord independent of the key eg mixolydian over a V7 or dorian over a minor chord.
Modes have a long history in jazz, being extremely popular in the 50s and 60s… but probably nothing has had such a significant impact on jazz as Miles Davis’ album “kind of blue” which was a significant departure from bebop.
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Don’t forget Bill Evans
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Sure. You would know better than I.
More so for melodies, not walking bass lines? I guess I’m not smart about that. I just play my bass lines.