And it's become integrated as part of "the sound" of some genres.
I do seem to value really good extended and rich yet clean low end on recordings more and more as I get older. I think whether the low end correction we end up making is a high-pass hack off or a more nuanced sculpting, and more subtly, the shape of that corrective curve, is strongly tied to how accurate the low end of the monitoring happens to be when making the decision. It's tough to get just right, but is a big part of the magical juju of live music.