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The goth subculture is a subculture that began in England during the early 1980s, where it developed from the audience of gothic rock, an offshoot of the post-punk genre. The name, goth subculture, was derived directly from the music genre. Notable post-punk groups that presaged that genre and helped develop and shape the subculture, include Siouxsie and the Banshees, Joy Division, Bauhaus and The Cure. The goth subculture has survived much longer than others of the same era, and has continued to diversify and spread throughout the world. Its imagery and cultural proclivities indicate influences from 19th-century Gothic literature and gothic horror films. The scene is centered on music festivals, nightclubs and organized meetings, especially in Western Europe. The goth subculture has associated tastes in music, aesthetics, and fashion. The music preferred by the goth subculture includes a number of different styles, e.g. gothic rock, death rock, post-punk, cold wave, dark wave, and ethereal wave.[1] Styles of dress within the subculture draw on punk, new wave and new romantic fashion[2] as well as fashion of earlier periods such
as the Victorian and Edwardian eras (Belle Époque), or combinations of the above. The style usually includes dark attire (often black), dark makeup and black hair. The subculture continues to draw interest from a large audience decades after its emergence. Contents 1 Music 1.1 Origins and development 1.2 Gothic genre 2 Art, historical and cultural influences 2.1 18th and 19th centuries 2.1.1 Visual art influences 2.2 20th century influences 2.3 21st century 3 Characteristics of the scene 3.1 Icons 3.2 Fashion 3.2.1 Influences 3.2.2 Styling 3.2.3 Reciprocity 3.2.4 Critique 3.3 Films 3.4 Books and magazines 3.5 Graphic art 3.6 Events 3.7 Interior design 4 Sociology 4.1 Gender and sexuality 4.2 Identity 4.3 Media and academic commentary 4.4 A Perception on non-violence 4.4.1 School shootings 4.5 Prejudice and violence directed at goths 4.6 Self-harm study 5 See also 6 References 6.1 Citations 6.2 Bibliography 7 Further reading Music Main article: Gothic rock Origins and development Siouxsie Sioux of Siouxsie and the Banshees in 1980 The term "gothic rock" was coined in 1967, by music critic John Stickney to describe a meeting he had with Jim Morrison in a dimly lit wine-cellar which he called "the perfect room to honor the Gothic rock of the Doors".[3] That same year, Velvet Underground with a track like "All Tomorrow's Parties", created a kind of "mesmerizing gothic-rock masterpiece" according to music historian Kurt Loder.[4] In 1977, the F Club night in Leeds began, which would be foundational to the development of the goth subculture, due to it leading to the formation of gothic rock band the Sisters of Mercy.[5] In the late 1970s, the "gothic" adjective was used to describe the atmosphere of post-punk bands like Siouxsie and the Banshees, Magazine, and Joy Division. In a live review about a Siouxsie and the Banshees' concert in July 1978, critic Nick Kent wrote that concerning their music, "parallels and comparisons can now be drawn with gothic rock architects like the Doors



certainly, early Velvet Underground".[6] In March 1979, in his review of Magazine's second album Secondhand Daylight, Kent noted that there was "a new austere sense of authority" in the music, with a "dank neo-Gothic sound".[7] Later that year, the term was also used by Joy Division's manager, Tony Wilson on 15 September in an interview for the BBC TV programme's Something Else. Wilson described Joy Division as "gothic" compared to the pop mainstream, right before a live performance of the band.[8] The term was later applied to "newer bands such as Bauhaus who had arrived in the wake of Joy Division and Siouxsie and the Banshees".[9] Bauhaus's first single issued in 1979, "Bela Lugosi's Dead", is generally credited as the starting point of the gothic rock genre.[10] In 1979, Sounds described Joy Division as "Gothic" and "theatrical".[11] In February 1980, Melody Maker qualified the same band as "masters of this Gothic gloom".[12] Critic Jon Savage would later say that their singer Ian Curtis wrote "the definitive Northern Gothic statement".[13] However, it was not until the early-1980s that gothic rock became a coherent music subgenre within post-punk, and that followers of these bands started to come together as a distinctly recognizable movement. They may have taken the "goth" mantle from a 1981 article published in UK rock weekly Sounds: "The face of Punk Gothique",[14] written by Steve Keaton. In a text about the audience of UK Decay, Keaton asked: "Could this be the coming of Punk Gothique? With Bauhaus flying in on similar wings could it be the next big thing?"[14] In July 1982, the opening of the Batcave[15] in London's Soho provided a prominent meeting point for the emerging scene, which would be briefly labelled "positive punk" by the NME in a special issue with a front cover in early 1983.[16] The term "Batcaver" was then used to describe old-school goths. Bauhaus—Live in concert, 3 February 2006 Independent from the British scene, in the late 1970s and early 1980s in California, deathrock developed as a distinct branch of American punk rock, with acts such as Christian Death and 45 Grave.[17] Gothic genre The bands that defined and embraced the gothic rock genre included Bauhaus, [18] early Adam and the Ants,[19] the Cure,[20] The Birthday Party,[21] Southern Death Cult, Specimen, Sex Gang Children, UK Decay, Virgin Prunes, Killing Joke, and the Damned.[22] Near the peak of this first generation of the gothic scene in 1983, The Face's Paul Rambali recalled that there were "several strong Gothic characteristics" in the music of Joy Division.[23] In 1984, Joy Division's bassist Peter Hook named Play Dead as one of their heirs: "If you listen to a band like Play Dead, who I really like, Joy Division played the same stuff that Play Dead are playing. They're similar."[24] Lead singer and guitarist Robert Smith of The Cure By the mid-1980s, bands began proliferating and became increasingly popular, including the Sisters of Mercy, the Mission, Alien Sex Fiend, the March Violets, Xmal Deutschland, the Membranes, and Fields of the Nephilim. Record labels like Factory, 4AD and Beggars Banquet released much of this music in Europe, and through a vibrant import music market in the US, the subculture grew, especially in New York and Los Angeles, California, where many nightclubs featured "gothic/industrial" nights. The popularity of 4AD bands resulted in the creation of a similar US label, Projekt, which produces what was colloquially termed ethereal wave, a subgenre of dark wave music. The 1990s saw further growth for some 1980s bands and the emergence of many new acts, as well as new goth-centric U.S. record labels such as Cleopatra Records, among others. According to Dave Simpson of The Guardian, "in the 90s, goths all but disappeared as dance music became the dominant youth cult".[25] As a result, the goth "movement went underground and mistaken for cyber goth, Shock rock, Industrial metal, Gothic metal, Medieval folk metal and the latest subgenre, horror punk".[25] Marilyn Manson was seen as a "goth-shock icon" by Spin.[26] Art, historical and cultural influences The Goth subculture of the 1980s drew inspiration from a variety of sources. Some of them were modern or contemporary, others were centuries-old or ancient. Michael Bibby and Lauren M. E. Goodlad liken the subculture to a bricolage.[27] Among the music subcultures that influenced it were Punk, New wave, and Glam.[27] But it also drew inspiration from B movies, Gothic literature, horror films, vampire cults and traditional mythology. Among the mythologies that proved influential in Goth were Celtic mythology, Christian mythology, Egyptian mythology, and various traditions of Paganism.[27] The figures that the movement counted among its historic canon of ancestors were equally diverse. They included the Pre-Raphaelite Brotherhood, Friedrich Nietzsche (1844?1900), Comte de Lautréamont (1846?1870), Salvador Dalí (1904?1989) and Jean-Paul Sartre (1905?1980).[27] Writers that have had a significant influence on the movement also represent a diverse canon. They include Ann Radcliffe (1764?1823), John William Polidori (1795?1821), Edgar Allan Poe (1809?1849), Sheridan Le Fanu (1814-1873), Bram Stoker (1847?1912), Oscar Wilde (1854?1900), H. P. Lovecraft (1890?1937), Anne Rice (1941?), William Gibson (1948?), Ian McEwan (1948?), Storm Constantine (1956?), and Poppy Z. Brite (1967?).[27] 18th and 19th centuries Mary Shelley's Frankenstein; or, the Modern Prometheus (1818) has come to define Gothic fiction in the Romantic period. Frontispiece to 1831 edition shown. Gothic literature is a genre of fiction that combines romance and dark elements to produce mystery, suspense, terror, horror and the supernatural. According to David H. Richter, settings were framed to take place at "…ruinous castles, gloomy churchyards, claustrophobic monasteries, and lonely mountain roads". Typical characters consisted of the cruel parent, sinister priest, courageous victor, and the helpless heroine, along with supernatural figures such as demons, vampires, ghosts, and monsters. Often, the plot focused on characters ill-fated, internally conflicted, and innocently victimized by harassing malicious figures. In addition to the dismal plot focuses, the literary tradition of the gothic was to also focus on individual characters that were gradually going insane.[28] English author Horace Walpole, with his 1764 novel The Castle of Otranto is one of the first writers who explored this genre. The American Revolutionary War-era "American Gothic" story of the Headless Horseman, immortalized in "The Legend of Sleepy Hollow" (published in 1820) by Washington Irving, marked the arrival in the New World of dark, romantic storytelling. The tale was composed by Irving while he was living in England, and was based on popular tales told by colonial Dutch settlers of the Hudson Valley, New York. The story would be adapted to film in 1922,[29] in 1949 as the animated The Adventures of Ichabod and Mr. Toad,[30] and again in 1999.[31] Throughout the evolution of the goth subculture, classic romantic, Gothic and horror literature has played a significant role. E. T. A. Hoffmann (1776–1822), Edgar Allan Poe[32] (1809–1849), Charles Baudelaire (1821–1867),[32] H. P. Lovecraft (1890–1937), and other tragic and romantic writers have become as emblematic of the subculture[33] as the use of dark eyeliner or dressing in black. Baudelaire, in fact, in his preface to Les Fleurs du mal (Flowers of Evil) penned lines that could serve as a sort of goth malediction:[34] C'est l'Ennui! —l'œil chargé d'un pleur involontaire, Il rêve d'échafauds en fumant son houka. Tu le connais, lecteur, ce monstre délicat, —Hypocrite lecteur,—mon semblable,—mon frère! It is Boredom! — an eye brimming with an involuntary tear, He dreams of the gallows while smoking his water-pipe. You know him, reader, this delicate monster, —Hypocrite reader,—my twin,—my brother! Visual art influences Ophelia (1851) by John Everett Millais The gothic subculture has influenced different artists—not only musicians—but also painters and photographers. In particular their work is based on mystic, morbid and romantic motifs. In photography and painting the spectrum varies from erotic artwork to romantic images of vampires or ghosts. There is a marked preference for dark colours and sentiments, similar to Gothic fiction. At the end of the 19th century, painters like John Everett Millais and John Ruskin invented a new kind of Gothic.[35] 20th century influences [icon] This section needs expansion. You can help by adding to it. (October 2017) Some people credit Jalacy "Screamin' Jay" Hawkins, perhaps best known for his 1956 song "I Put A Spell On You," as a foundation of modern goth style and music.[36] Some people credit the band Bauhaus' first single "Bela Lugosi's Dead", released in August 1979, with the start of goth subculture.[10] 21st century [icon] This section needs expansion. You can help by adding to it. (October 2017) The British sitcom, The IT Crowd featured a recurring goth character named Richmond Avenal, played by Noel Fielding. Fielding said in an interview that he himself had been a goth at age fifteen and that he had a series of goth girlfriends. This was the first time he dabbled in makeup. Fielding said that he loved his girlfriends dressing him up.[37] Characteristics of the scene Icons Notable examples of goth icons include several bandleaders: Siouxsie Sioux, of Siouxsie and the Banshees; Robert Smith, of The Cure; Peter Murphy, of Bauhaus; Rozz Williams, of Christian Death; Olli Wisdom, leader of the band Specimen[38] and keyboardist Jonathan Melton aka Jonny Slut, who both evolved the Batcave style);[39] Ian Curtis, of Joy Division; and Dave Vanian, of The Damned. Some members of Bauhaus were, themselves, fine art students or active artists. Nick Cave was dubbed as "the grand lord of gothic lushness".[40] Nico is also a notable icon of goth fashion and music, with pioneering records like The Marble Index and Desertshore and the persona she adopted after their release. Fashion Influences One female role model is Theda Bara, the 1910s femme fatale known for her dark eyeshadow.[41][42] In 1977, Karl Lagerfeld hosted the Soirée Moratoire Noir party, specifying "tenue tragique noire absolument obligatoire" (black tragic dress absolutely required).[43] The event included elements associated with leatherman style.[43] African and Caribbean influences on gothic style are often missing from conversations: Jalacy "Screamin' Jay" Hawkins used voodoo imagery mixed with "spooky theatrics" to create a unique style, positioning him as one of the first goths.[36] He would often use onstage props that reflected his goth and voodoo style, such as skulls, staffs, candles, tombstones, and bones. Siouxsie Sioux was particularly influential on the dress style of the Gothic rock scene; Paul Morley of NME described Siouxsie and the Banshees' 1980 gig at Futurama: "[Siouxsie was] modeling her newest outfit, the one that will influence how all the girls dress over the next few months. About half the girls at Leeds had used Sioux as a basis for their appearance, hair to ankle."[44] Robert Smith,[45] Musidora, Bela Lugosi,[46] Bettie Page, Vampira, Morticia Addams,[42] Nico, Rozz Williams, David Bowie,[47] Lux Interior,[47] Dave Vanian,[48] are also style icons. The 1980s established designers such as Drew Bernstein of Lip Service, while the 1990s saw a surge of US-based gothic fashion designers, many of whom continue to evolve the style through the current day. Style magazines such as Gothic Beauty have given repeat features to a select few gothic fashion designers who began their labels in the 1990s, such as Kambriel, Rose Mortem, and Tyler Ondine of Heavy Red.[49] Styling A male trad-Goth wearing Batcave style clothing. Gothic fashion is marked by conspicuously dark, antiquated and homogeneous features. It is stereotyped as eerie, mysterious, complex and exotic.[50] A dark, sometimes morbid fashion and style of dress,[47] typical gothic fashion includes colored black hair and black period-styled clothing.[47] Both male and female goths can wear dark eyeliner and dark fingernail polish, most especially black. Styles are often borrowed from punk fashion and - more currently - from the Victorian and Elizabethan periods.[47] It also frequently expresses pagan, occult or other religious imagery.[51] Gothic fashion and styling may also feature silver jewelry and piercings. Gothic model Lady Amaranth Ted Polhemus described goth fashion as a "profusion of black velvets, lace, fishnets and leather tinged with scarlet or purple, accessorized with tightly laced corsets, gloves, precarious stilettos and silver jewelry depicting religious or occult themes".[52] Of the male "goth look", goth historian Pete Scathe draws a distinction between the Sid Vicious archetype of black spiky hair and black leather jacket, in contrast to the gender-ambiguous guys wearing makeup. The first is the early goth gig-going look, which was essentially punk, whereas the second is what evolved into the Batcave nightclub look. Early goth gigs were often very hectic affairs, and the audience dressed accordingly. In contrast to the LARP-based Victorian and Elizabethan pomposity of the 2000s, the more Romantic side of 1980s trad-goth - mainly represented by women - was characterized by new wave/post-punk-oriented hairstyles (both long and short, partly shaved and teased) and street-compliant clothing, including black frill blouses, midi dresses or tea-length skirts, and floral lace tights, Dr. Martens, spike heels (pumps), and pointed toe buckle boots (winklepickers), sometimes supplemented with accessories such as bracelets, chokers and bib necklaces. This style, retroactively referred to as Ethergoth, took its inspiration from Siouxsie Sioux and mid-1980s protagonists from the 4AD roster like Liz Fraser and Lisa Gerrard.[53] The New York Times noted: "The costumes and ornaments are a glamorous cover for the genre's somber themes. In the world of Goth, nature itself lurks as a malign protagonist, causing flesh to rot, rivers to flood, monuments to crumble and women to turn into slatterns, their hair streaming and lipstick askew".[50] Cintra Wilson declares that the origins of the dark romantic style are found in the "Victorian cult of mourning."[54] Valerie Steele is an expert in the history of the style.[54] Reciprocity Goth fashion has a reciprocal relationship with the fashion world. In the later part of the first decade of the 21st century, designers such as Alexander McQueen,[54][55][56] Anna Sui,[57] Rick Owens,[56] Gareth Pugh, Ann Demeulemeester, Philipp Plein, Hedi Slimane, John Richmond, John Galliano,[54][55][56] Olivier Theyskens[56][58] and Yohji Yamamoto[56] brought elements of goth to runways.[54] This was described as "Haute Goth" by Cintra Wilson in the New York Times.[54] Thierry Mugler, Claude Montana, Jean Paul Gaultier[50] and Christian Lacroix have also been associated with the fashion trend.[54][55] In Spring 2004, Riccardo Tisci, Jean Paul Gaultier, Raf Simons and Stefano Pilati dressed their models as "glamorous ghouls dressed in form-fitting suits and coal-tinted cocktail dresses".[58] Swedish designer Helena Horstedt and jewelry artist Hanna Hedman also practice a goth aesthetic.[59] Critique Gothic styling often goes hand in hand with aesthetics, authenticity and expression, and is mostly considered to be an "artistical concept". Clothes are frequently self-designed. In recent times, especially in the course of commercialization of parts of the Goth subculture, many non-involved people developed an interest in dark fashion styles and started to adopt elements of Goth clothing (primarily mass-produced goods from malls) without being connected to subcultural basics, e.g. goth music and the history of the subculture. Within the Goth movement they have been regularly described as poseurs or mallgoths.[60] (see also section Identity). Films Main article: Gothic film This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources: "Goth subculture" – news · newspapers · books · scholar · JSTOR (June 2016) (Learn how and when to remove this template message) Film poster for The Hunger, an influence in the early days of the goth subculture[61] Some of the early gothic rock and deathrock artists adopted traditional horror film images and drew on horror film soundtracks for inspiration. Their audiences responded by adopting appropriate dress and props. Use of standard horror film props like swirling smoke, rubber bats, and cobwebs featured as gothic club décor from the beginning in The Batcave. Such references in bands' music and images 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 more noticeably serious in the subculture. The interconnection between horror and goth was highlighted in its early days by The Hunger, a 1983 vampire film starring David Bowie, Catherine Deneuve and Susan Sarandon. The film featured gothic rock group Bauhaus performing Bela Lugosi's Dead in a nightclub. Tim Burton created a storybook atmosphere filled with darkness and shadow in some of his films like Beetlejuice (1988), Batman (1989), Edward Scissorhands (1990), Batman Returns (1992) and the stop motion films The Nightmare Before Christmas (1993), which was produced/co-written by Burton, and Corpse Bride (2005), which he co-produced. The Nickelodeon cartoon Invader Zim is also based off the goth subculture. Tim Burton, known for his many gothic films 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 Craft, The Crow, The Matrix and Underworld film series drew directly on goth music and style. The dark comedies Beetlejuice, The Faculty, American Beauty, Wedding Crashers, and a few episodes of the animated TV show South Park portray or parody the goth subculture. In South Park, several of the fictional schoolchildren are depicted as goths. The goth kids on the show are depicted as finding it annoying to be confused with the Hot Topic "vampire" kids from the episode "The Ungroundable" in season 12,[62][63] and even more frustrating to be compared with emo kids. The goth kids are usually depicted listening to goth music, writing or reading Gothic poetry, drinking coffee, flipping their hair, and smoking. Morticia Addams from The Addams Family created by Charles Addams. Morticia is a fictional character and the mother in the Addams family. Morticia was played by Carolyn Jones in the 1964 television show The Addams Family, and then played by Anjelica Huston in the 1991 version.[64][65] Books and magazines Main article: Gothic fiction A prominent American literary influence on the gothic scene was provided by Anne Rice's re-imagining of the vampire in 1976. In The Vampire Chronicles, Rice's characters were depicted as self-tormentors who struggled with alienation, loneliness, and the human condition. Not only did the characters torment themselves, but they also depicted a surreal world that focused on uncovering its splendor. These Chronicles assumed goth attitudes, but they were not intentionally created to represent the gothic subculture. Their romance, beauty, and erotic appeal attracted many goth readers, making her works popular from the 1980s through the 1990s.[66] While Goth has embraced Vampire literature both in its 19th-century form and in its later incarnations, Rice's postmodern take on the vampire mythos has had a "special resonance" in the subculture. Her vampire novels feature intense emotions, period clothing, and "cultured decadence". Her vampires are socially alienated monsters, but they are also stunningly attractive. Rice's goth readers tend to envision themselves in much the same terms and view characters like Lestat de Lioncourt as role models.[27]


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