Goth subculture

This article is about the late 20th century Goth subculture. For the Germanic tribes, see Goths . For other uses of Gothic, see Gothic (disambiguation).

New York City goth band The Naked and the Dead (1985).

Goth is a contemporary subculture prevalent in many countries. It began in the United Kingdom during the late 1970s to early 1980s in the gothic rock scene, an offshoot of the post-punk genre. The goth subculture has survived much longer than others of the same era. Its imagery and cultural proclivities indicate influences from nineteenth century Gothic literature, mainly through horror movies.

The goth subculture has associated "gothic" tastes in music and fashion. Gothic music encompasses a number of different styles. Common to all is a tendency towards a "dark" sound and outlook. Styles of dress within the subculture range from death rock, punk, Victorian, androgynous, some Renaissance style clothes, or combinations of the above, most often with black attire, makeup and hair.

Origins and development

Siouxsie and the Banshees were a major contributor to the style of Goth early on.

By the late 1970s, there were a few post-punk bands in the United Kingdom labeled "gothic." However, it was not until the early 1980s that gothic rock became its own subgenre within post-punk, and that followers of these bands started to come together as a distinctly recognizable movement. The opening of the Batcave in London's Soho in July 1982 provided a prominent meeting point for the emerging scene, which had briefly been labeled positive punk by the New Musical Express. Batcave club history Scathe.demon.co.uk. URL Accessed April 23, 2006. The term "Batcaver" was later used to describe old-school goths.

Independent of the British scene, the late 1970s and early 1980s saw death rock branch off from American punk. Archived Interview with Ms. Dinah Cancer Alicebag.com. URL Accessed April 23, 2006. In 1980s and early 1990s, members of the emerging goth subculture in Germany were called Grufties (engl. "vault creatures" or "tomb creatures"). They generally represented a fusion of the goth subculture and the New wave movement, and formed the early part of the "dark culture."

Goth after post-punk

After the demise of post-punk, goth continued to evolve, both musically and visually. This caused variations in style ("types" of goth). Local scenes also contributed to this variation. By the 1990s, Victorian fashion saw a renewed popularity in the goth scene, drawing on the mid-19th century gothic revival and the more morbid aspects of Victorian culture.

Current subcultural boundaries

By the 1990s, the term "goth" and the boundaries of the associated subculture had become more contentious. New youth subcultures emerged, or became more popular, some of them being conflated with the goth subculture by the general public and the popular media. This conflation was primarily owing to similarities of appearance, and the fashions of the subcultures, rather than the musical genres of the bands associated with them. As time went on, the term was extended further in popular usage, sometimes to define groups that had neither musical nor fashion similarities to the original gothic subculture.

This has led to the introduction of slang terms that some goths and others use to sort and label associated trends and members of loosely related subcultures. These include mallgoths or Neo-Goths in the US, Cuervos in Spain, Dark In Latin America, gogans in Australia, and spooky kids, moshers or mini moshers in the UK. More positive terms, such as mini-goths or baby bats, are also used by some older goths to refer to youths whom they see as exhibiting potential for growth into older goths later on.

The response of these younger groups to the older subculture varies. Some, being secure in a separate subcultural identity, express offense at being called "goths" in the first place, while others choose to join the existing subculture on its own terms. Still others have simply ignored its existence, and decided to appropriate the term "goth" themselves, and redefine the idea in their own image. Even within the original subculture, changing trends have added to the complexity of attempting to define precise boundaries.

Gothic music

Bauhaus widely recognised as the first Goth band.

The bands that began the gothic rock and death rock scene were limited in number, and included Bauhaus, Siouxsie & the Banshees, Southern Death Cult, Sex Gang Children, 45 Grave, UK Decay, The Virgin Prunes, Alien Sex Fiend and Christian Death. Joy Division and Killing Joke have also been linked, but there is debate over their influence.

By the mid-eighties, the number of bands began proliferating and became increasingly popular, including The Sisters of Mercy, The Mission UK, Xmal Deutschland, The Bolshoi and Fields of the Nephilim. The nineties saw the further growth of eighties bands and emergence of many new bands. Factory Records, 4AD Records, and Beggars Banquet Records released much of this music in Europe, while Cleopatra Records amongst others released much of this music in the United States, where the subculture grew especially in New York, Los Angeles, & Orange County, California, with many nightclubs featuring "gothic/industrial" nights. The popularity of 4AD bands resulted in the creation of a similar US label called Projekt Records. This produces what is colloquially termed Ethereal Wave, a subgenre of Darkwave music.

By the mid-1990s, styles of music that were heard in venues that goths attended ranged from gothic rock, death rock, Industrial music, EBM, ambient, experimental, synthpop, shoegazing, punk rock, 1970s glam rock (not to be confused with later glam rock), indie rock, to 1980s dance music. This variety was a result of a need to maximize attendance from everyone across the alternative music scene, particularly in smaller towns, and due to the eclectic tastes of the members of the subculture; but it also signaled new shifts in attitude.

Gothic rock was originally clearly differentiated from industrial and heavy metal by older participants in the alternative scene, but newcomers and media misconceptions blurred the boundaries in the nineties as gothic rock became significantly less popular in the US and UK. Thus while Industrial metal-influenced or heavy metal bands such as Marilyn Manson, Jack Off Jill, Type O Negative, Lacuna Coil, Dimmu Borgir, Cradle of Filth and Slipknot were often labeled as "goth" by the media, this categorization was strongly resisted by longstanding goths. Even more confusion was added with the rise of gothic metal, with such bands consciously using gothic imagery from the dark ages in their own music and appearance and started even following fashion trends indistinguishable from older goth ones. Arguments about which music is and is not goth became an ever more significant part of how the subculture tried to define itself.

The other significant development of the nineties was the popularity of electronic dance bands such as VNV Nation, Covenant, and Wisteria Losenge in the goth scene. The rise of what has been called cybergoth music and style, which has much in common with techno/synthpop, caused bitter divisions between its fans and those firmly attached to the analog and/or guitar based sound of gothic rock. Bands with a darkwave sound or those such as The Crüxshadows, which combine an electronic and gothic rock sound, appeal to both sides to some extent.

Darkwave band The Crüxshadows.

Recent years have seen a resurgence in the early positive punk and death rock sound, in reaction to the EBM, futurepop, and synthpop, which had taken over many goth clubs. Bands with an earlier goth sound like Cinema Strange, Bloody Dead And Sexy, Black Ice, and Antiworld are becoming very popular. Nights like Ghoul School and Release The Bats promote death rock heavily, and the Drop Dead Festival brings in death rock fans from all over the world.

Today, the goth music scene thrives most actively in Western Europe, especially Germany, with large festivals such as Wave-Gotik-Treffen, Zillo (which ceased to be active after 2004), Mera Luna and others drawing tens of thousands of fans from all over the world.

Historical and cultural influences

Term origins

The original Goths were an Eastern Germanic tribe who played an important role in the fall of the western Roman Empire. In some circles, the name "goth" later became pejorative: synonymous with "barbarian" and the uncultured due to the then-contemporary view of the fall of Rome and historically inaccurate depictions of the pagan Gothic tribes during and after the process of Christianization of Europe. During the Renaissance period in Europe, medieval architecture was retroactively labeled gothic architecture, and was considered unfashionable in contrast to the then-modern lines of classical architecture.

In the United Kingdom, by the late 1700s, however, nostalgia for the medieval period led people to become fascinated with medieval gothic ruins. This fascination was often combined with an interest in medieval romances, Roman Catholic religion and the supernatural. Enthusiasts for gothic revival architecture in the United Kingdom were led by Horace Walpole, and were sometimes nicknamed "goths", the first positive use of the term in the modern period.

The gothic novel of the late eighteenth century, a genre founded by Horace Walpole with the 1764 publication of The Castle of Otranto, was responsible for the more modern connotations of the term gothic. Henceforth, the term was associated with a mood of horror, morbidity, darkness and the supernatural. The gothic novel established much of the iconography of later horror literature and cinema, such as graveyards, ruined castles or churches, ghosts, vampires, nightmares, cursed families, being buried alive and melodramatic plots. Another notable element was the brooding figure of the gothic villain, which developed into the Byronic hero. The most famous gothic villain is the vampire, Dracula, originally depicted in a novel by Bram Stoker, then made more famous through the medium of horror movies.

The powerful imagery of horror movies began in German expressionist cinema in the twenties then passed onto the Universal Studios films of the thirties, then to camp horror B films such as Plan 9 From Outer Space and then to Hammer Horror films. By the 1960s, TV series, such as The Addams Family and The Munsters, used these stereotypes for camp comedy.

Certain elements in the dark, atmospheric music and dress of the post punk scene were clearly gothic in this sense. The use of gothic as an adjective in describing this music and its followers led to the term goth.

20th century influences

Classic horror film actress Theda Bara.

The influence of the gothic novel on the goth subculture can be seen in numerous examples of the subculture's poetry and music, though this influence sometimes came second hand, through the popular imagery of horror films and television. The Byronic hero, in particular, was a key precursor to the male goth image, while Dracula's iconic portrayal by Bela Lugosi appealed powerfully to early goths. They were attracted by Lugosi's aura of camp menace, elegance and mystique. Some people even credit the band Bauhaus' first single "Bela Lugosi's Dead", with the start of the goth subculture, though many prior art house movements also influenced gothic fashion and style. A notable early example was Siouxsie Sioux, of the musical group Siouxsie and the Banshees. Some members of Bauhaus were, themselves, fine art students and/or active artists.

The concept of the femme fatale, which appeared in Romantic literature, film noir, as well as in the gothic novel, went on to become a vital image for female goths. In cinema, the femme fatale style adopted by silent movie actress Theda Bara exerted a lasting influence. Bara was nicknamed the vamp, and her first name was an anagram for "death". She established the look for pale predatory women in later films, which ultimately influenced the goth subculture.

Film poster for The Hunger, a key influence in the early days of the goth subculture.

Some of the early gothic rock and death rock artists adopted traditional horror movie images, and also drew on horror movie soundtracks for inspiration. Their audiences responded in kind by further adopting appropriate dress and props. Use of standard horror film props like swirling smoke, rubber bats, and cobwebs were used as gothic club décor from the beginning in The Batcave. Such references in their music and image were originally tongue-in-cheek, but as time went on, bands and members of the subculture took the connection more seriously. As a result, morbid, supernatural, and occult themes became a more noticeably serious element in the subculture. The interconnection between horror and goth was highlighted in its early days by The Hunger, a 1983 vampire film, which starred David Bowie, Catherine Deneuve, and Susan Sarandon. The movie featured gothic rock group Bauhaus performing "Bela Lugosi's Dead" in a nightclub. In 1993, Whitby became the location for what became the UK's biggest goth festival as a direct result of being featured in Bram Stoker's Dracula.

Throughout the evolution of the goth subculture, familiarity with gothic literature became significant for many goths. Poe, Lovecraft, Shelley, Dante and the other classical writers became just as symbolic of the subculture as dressing all in black.

A newer literary influence on the gothic scene was Anne Rice's re-imagining of the idea of the vampire. Rice's characters were depicted as struggling with eternity and loneliness, this with their ambivalent or tragic sexuality had deep attractions for many goth readers, making her works very popular in the eighties through the nineties. Movies based on her books have been filmed in recent years - notably Interview with the Vampire, which starred Brad Pitt, and the more recent Queen of the Damned, in which goths appear directly and indirectly. The first film, in particular, helped further encourage the spread of Victorian style fashions in the subculture (although period inspired clothing has been a recurrent trend in the gothic subculture).

Later media influences

Winona Ryder portrays goth Lydia in Beetlejuice.

As the subculture became well-established the connection between goth and horror fiction became almost a cliché, with goths quite likely to appear as characters in horror novels and film. For example, The Crow drew directly on goth music and style. The movies of Tim Burton are all significant for their presentation of goth or goth-inspired characters, especially Beetlejuice, which features Lydia, a goth teen, Edward Scissorhands, The Nightmare Before Christmas, Sleepy Hollow and Corpse Bride. In turn, such movies drew new people into the gothic scene. Anne Rice's book series "The Vampire Chronicles" and the popular World of Darkness roleplaying games, especially Vampire: The Masquerade, also referred directly to gothic music and culture and encouraged an interest in the scene. Influences from anime as well as cyberpunk fiction such as The Matrix, and Shadowrun have found their way into the goth scene, which helped give rise to a new subculture and a new label, Cyber subculture, or the Industrial/goth offshoot, cybergoth; they also added to the popularity of Industrial music.

Of note is the recent positive portrayal of a recurring goth character on the American television series NCIS. Abby Sciuto played by Pauley Perrette is uniquely goth, but works firmly on the side of the protagonists as a highly skilled forensic scientist.

Gothic ideology

Defining an ideology of the gothic subculture is difficult for several reasons. First is the overwhelming importance of mood for those involved. This is, in part, inspired by romanticism and neoromanticism. The allure for goths of dark, mysterious, and morbid imagery and mood lies in the same tradition. The rise of Romanticism's gothic novel during the 19th century saw feelings of horror being commercially exploited as a form of mass entertainment, a process continued in the modern horror film. Balancing this emphasis on mood, the other central element of the subculture is a conscious sense of camp theatricality or self-dramatization.

The second impediment to defining a gothic ideology is goth's sometimes apolitical nature. While individual defiance of social norms was a very risky business in the nineteenth century, today it is far less socially radical. Thus, the significance of goth's subcultural rebellion is limited, and it draws on imagery at the heart of Western culture. Unlike the hippy or punk movements, the goth subculture has no pronounced political messages or cries for social activism. The subculture is marked by its emphasis on individualism, tolerance for (sexual) diversity, a strong emphasis on creativity, a dislike of social conservatism and a strong tendency towards cynicism, but even these ideas are not common to all goths. Goth ideology is based far more on aesthetics than ethics or politics.

However, goths may have political leanings ranging from left-liberal to anarchist or libertarian, but do not show them as part of a cultural identity. Instead, political affiliation is seen as a matter of personal conscience. Unlike punk, there are few clashes with political affiliation and being "goth".

An example of the silent film era's influence on gothic makeup.

For the individual goth, joining the subculture can be extremely valuable and personally fulfilling, especially in creative terms. However, it also can be risky, especially for the young, because of the negative attention it can attract. The value that young people find in the movement is evidenced by its continuing existence after other subcultures of the eighties such as the New Romantics have long since died out. Paul Hodkinson's book, Goth: Identity, Style and Subculture, explores how the Western cult of individualism, usually expressed via consumerism, is drawn on by goths and other subcultural groups. Many who are drawn to the culture have already failed to conform to the norms of existing society, and for its participants the gothic subculture provides an important way of experiencing a sense of community and validation not found in the outside world. Hodkinson shows how inside the gothic subculture status can be gained via enthusiastic participation and creativity, in creating a band, DJ-ing, making clothes, designing, creating art, or writing a fanzine. He suggests that the self-conscious artificiality of a subculture is a valid alternative choice in a post-modern world, compared to submitting to the invisible manipulations of popular consumerism and the mass media.

Religious elements

Spiritual, supernatural, and religious imagery has frequently played an important part in gothic fashion, song lyrics, and visual art. Aesthetic elements of Catholicism especially play a major role in goth culture.

However, the goth subculture contains a great diversity of religious and secularist beliefs. Many goths seek to free themselves from what they perceive as the limitations of traditional systems of religious belief, and express a belief in secularism, or New Age approaches to spirituality. A large number of goths adhere to atheism or agnosticism, not wanting to commit to organized religion. An interest in Neopaganism, spiritualism and the occult among goths appears to be greater than among the general population. However, many goths also follow world religions such as Christianity, Judaism, Hinduism, Taoism and Buddhism.

Compare with punk ideology.

Types of goths

As the subculture has grown, so to has the level of diversity within it. While some concepts and terms associated with certain types of goths are relegated to specific regions, others are considered more universal for the subculture, usually developing online. The subculture, over time, has developed its own goth slang that distinguishes between these types.

Baby bats

Baby bats are junior members of the subculture.

Elder goths

An elder goth is a senior member of the goth subculture, usually between the ages of 29 and 40. Elder goths are generally longtime veterans of the scene, perhaps going back to the Batcave era.

Elder goths are more likely to draw upon the artistic aspects of the scene, in contrast to their younger counterparts who are sometimes motivated to act for shock value. Older goths may regard those who act in this way as poseurs. An elder goth may refuse to acknowledge them as fellow goths. In contrast to the stereotypical image of a goth as a maladjusted outcast loner, some elders are married with families, and most have close knit ties with other members of the subculture.

Corporate goths

Though some goths gravitate toward workplaces that allow a great deal of personal expression, or simply do not care what employees look like, others work in the corporate sector where certain dresscodes are enforced. They usually add a gothic twist to their ensembles; some would say they wear corporate gothwear, which satisfies gothic tastes in fashion without alienating more mainstream and conservative co-workers, as well as keeping with management policies. Corporate gothwear varies based on individual taste, though a David Bowie influence is often prevalent, as well as 1920s through 1960s styles. Examples include, but are not limited to, a black pinstripe suit and burgundy shirt for men and a black turtleneck and skirt or suit with silver jewelry for women.

A recent study by Sussex University suggests that goths are likely to grow up to be doctors, lawyers or architects, and that goths are usually intelligent, refined and sensitive, and keen on poetry and books.[1]

Popular criticism and media characterizations

Like many other music based subcultures, goths have faced differing levels of social intolerance due mostly to outward stylistic appearances. Social intolerance ranges from looks of indignation and verbal taunts to physical violence. A preoccupation with themes of death, romance, the supernatural, darkness, the archaic, and the generally macabre have occasionally raised public concerns regarding the emotional well-being of, mainly, young goths and general fears of cultic indoctrination. Such conceptions are often reinforced by popular media, as exemplified in the Columbine High School Massacre, which was carried out by two troubled students inaccurately linked to the gothic subculture. The Columbine massacre caused a widespread public backlash against the goth scene in America; however, investigators of the incident later denied that any such link between the students and the goth scene, in fact, existed [2].

References

Books
* Baddeley, Gavin: Goth Chic: A Connoisseur's Guide to Dark Culture (Plexus, US, August 2002, ISBN 0859653080)
* Davenport-Hines, Richard: Gothic: Four Hundred Years of Excess, Horror, Evil and Ruin (1999: North Port Press. ISBN 0865475903 (trade paperback) - A voluminous, if somewhat patchy, chronological/aesthetic history of Gothic covering the spectrum from Gothic architecture to The Cure.
* Hodkinson, Paul: Goth: Identity, Style and Subculture (Dress, Body, Culture Series) 2002: Berg. ISBN 1859736009 (hardcover); ISBN 185973605X (softcover)
* Kilpatrick, Nancy: The goth Bible : A Compendium for the Darkly Inclined. 2004: St. Martin's Griffin. ISBN 0312306962
* Voltaire: What is Goth? (WeiserBooks, US, 2004; ISBN 1578633222) - a humorous and easy-to-read view of the goth subculture
* Andrew C. Zinn: The Truth Behind The Eyes (IUniverse, US, 2005; ISBN 0-595-37103-5) - Dark PoetryNotes

External links

General websites

* DarkSirenc.co.uk - Alternative & Gothic UK Fashion & Dreadlocks
* AlterNation Music - internetional alternative music community and magazine
* DarkLinks.com
* [3] Club Bizarre: New Zealand resource site.
* DarkNation International Goth Community
* Goth.net
* DarkFashionLinks - a community run listing of Gothic fashion sites
* Gothic Startheaven More gothic links
* ScatheWeb History of Goth
* Defining Goth
* http://darkpictures.c.la Many pictures about the Gothic subject, and other associated subjects.
* NY Decay Productions home of Drop Dead Festival and Magazine as well as Shows, Zine, Merch and other ghoulish stuff
* Goth Help Us Charity run by goths "serving humanity from the underground"
* Pictures from goth-events through Europe Non-commercial site by and for Goth-fans, a fine collection of ambiance-capturing photography.

Events

* The International Gothic Club Listing — Worldwide Goth club directory that is sorted by region. Content is contributed by visitors and usually consists of club specifics such as location, music type, cover charge, drinks, dress code, directions and other miscellaneous club information
* Drop Dead Festival Largest US Deathrock & Goth Festival
* GothicChicago.comChicago's Online Gothic/Industrial/Spooky Resource since Halloween 1996
* Netgoth UK based goth event listings
* Nightnews Scotland UK goth event listings
* NYC Gothic Events Concerts, festivals and weekly events in New York City
* Wave Gotik Treffen Annual Goth festival in Leipzig, Germany (English version)
* Bats Day AKA Bats Day in the Fun Park, Goth Day, Bats Day Out, Batsday (at Disneyland, Anaheim Ca, USA)
* Whitby Gothic Weekend (UK)
* Dark Arts Festival (USA)
* The Dark Skies Festival(U.S.A.)
* Convergence(varies)
* Black Sun Festival(New Haven, CT, U.S.A.)
* Dark Asia (Bangkok, Thailand; Asia)
* Kunigunda Lunaria (Vilnius, Lithuania)

Magazines and press

* Side-Line Music Magazine
* Subculture Magazine
* DarkNation Magazine
* Drop Dead Magazine US Goth and Deathrock Magazine
* Morbid Outlook
* "Undead Undead Undead" (Alternative Press November 1994 article by Dave Thompson and Jo-Ann Greene, with retrospective quotes from early 1980s post punk bands on the "goth" label.
* Religious tolerance.org: The Goth Culture: Its history, stereotypes, religious connections, etc.
*Eulogy for The Bank A History of the Infamous NYC Goth Club.
* Gothic Beauty Magazine Gothic lifestyle, beauty, and fashion magazine.
* NewScientist An article on benefits of the Goth subculture.
* Midnight Calling: Goth/Deathrock/Punk/Psychobilly music, culture, and fashion E-zine.
* Echo Immortalis: Printed Gothic / Punk magazine covering the midwest scene.

Goth subculture: Encyclopedia BETA

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