Mar 6, 2016 08:37 PM
(This post was last modified: Mar 6, 2016 08:57 PM by Magical Realist.)
I fancy that if I had been born 10 years later, I would've been a goth kid, with dyed black hair and mascera. As it was, I was an avid monster and horror fan as a kid, fan to every Hollywood creature from Frankenstein to Freddy Krueger. I liked Alice Cooper too. I had an old used paperback of the Dunwich Horror. Maybe in my next life I will be a goth author or musician.
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"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".[1] 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.[2] 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 and, certainly, early Velvet Underground".[3] 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".[4] 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.[5] 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".[6] Bauhaus's first single issued in 1979, "Bela Lugosi's Dead", is generally credited as the starting point of the gothic rock genre.[7]
In 1979, Sounds described Joy Division as "Gothic" and "theatrical".[8] In February 1980, Melody Maker qualified the same band as "masters of this Gothic gloom".[9] Critic Jon Savage would later say that their singer Ian Curtis wrote "the definitive Northern Gothic statement".[10] 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 recognisable movement. They may have taken the "goth" mantle from a 1981 article published in UK rock weekly Sounds: "The face of Punk Gothique",[11] 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?".[11] In July 1982, the opening of the Batcave 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.[12] The term "Batcaver" was then used to describe old-school goths.
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.[13] Another genre which had gothic rock's "dark, morbid, and otherworldly leanings" was horror punk, exemplified by the Misfits,[14] a band formed in New Jersey in 1977.
Lauren M. E. Goodlad and Michael Bibby, two professors of English who have studied the Goth subculture, trace the origin of the genre to the situation of the United Kingdom in the late 1970s. The country was undergoing a socioeconomic decline and Thatcherism had emerged in the political scene.[15] The Punk subculture had already developed, drawing influences from several older subcultures and art movements such as Dada and garage rock. Punk had a considerable influence in the youth culture. It had introduced a DIY ethic towards music, its own distinct fashion, and an active contempt for "mainstream", mass-marketed music. Goth music was one of several new genres and subgenres to emerge from the Punk music and culture, and inherited aspects of its ancestor. But it also differed from punk in several ways.[15]
Punk music embraced "crass and trashy" as part of their aesthetic, though there were aspects of Romanticism in the movement. Goth embraced Romanticism itself. It drew from it a preference for the dreadful and the macabre.[15] Siouxsie Sioux popularized a look based on "deathly pallor", "dark makeup", influences from the so-called decadence of the Weimar Republic, and from Nazi chic.[15] Punk embraced anarchy with a militant passion. Goth instead focused on "death, darkness and perverse sexuality".[15] The ideal male figure for Punk was often rigid, while for Goth it was androgynous."===https://en.wikipedia.org/wiki/Goth_subculture
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"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".[1] 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.[2] 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 and, certainly, early Velvet Underground".[3] 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".[4] 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.[5] 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".[6] Bauhaus's first single issued in 1979, "Bela Lugosi's Dead", is generally credited as the starting point of the gothic rock genre.[7]
In 1979, Sounds described Joy Division as "Gothic" and "theatrical".[8] In February 1980, Melody Maker qualified the same band as "masters of this Gothic gloom".[9] Critic Jon Savage would later say that their singer Ian Curtis wrote "the definitive Northern Gothic statement".[10] 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 recognisable movement. They may have taken the "goth" mantle from a 1981 article published in UK rock weekly Sounds: "The face of Punk Gothique",[11] 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?".[11] In July 1982, the opening of the Batcave 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.[12] The term "Batcaver" was then used to describe old-school goths.
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.[13] Another genre which had gothic rock's "dark, morbid, and otherworldly leanings" was horror punk, exemplified by the Misfits,[14] a band formed in New Jersey in 1977.
Lauren M. E. Goodlad and Michael Bibby, two professors of English who have studied the Goth subculture, trace the origin of the genre to the situation of the United Kingdom in the late 1970s. The country was undergoing a socioeconomic decline and Thatcherism had emerged in the political scene.[15] The Punk subculture had already developed, drawing influences from several older subcultures and art movements such as Dada and garage rock. Punk had a considerable influence in the youth culture. It had introduced a DIY ethic towards music, its own distinct fashion, and an active contempt for "mainstream", mass-marketed music. Goth music was one of several new genres and subgenres to emerge from the Punk music and culture, and inherited aspects of its ancestor. But it also differed from punk in several ways.[15]
Punk music embraced "crass and trashy" as part of their aesthetic, though there were aspects of Romanticism in the movement. Goth embraced Romanticism itself. It drew from it a preference for the dreadful and the macabre.[15] Siouxsie Sioux popularized a look based on "deathly pallor", "dark makeup", influences from the so-called decadence of the Weimar Republic, and from Nazi chic.[15] Punk embraced anarchy with a militant passion. Goth instead focused on "death, darkness and perverse sexuality".[15] The ideal male figure for Punk was often rigid, while for Goth it was androgynous."===https://en.wikipedia.org/wiki/Goth_subculture