Two musicians most often credited as the "Grandfather" and "Grandmother" of Goth: Peter Murphy (formerly of Bauhaus, now doing solo work) and Siouxsie Sioux (formerly of Siouxsie and the Banshees, now with The Creatures). Bauhaus released their first single in 1979. Siouxsie and the Banshees first formed in a haphazard fashion in 1976 and released their first single in 1978. The statement is often made that Sioux was the one who coined the term "gothic" when she mentioned it was the new direction the band was taking. Entranced: the Siouxsie and the Banshees Story suggests that the music press, not Sioux, were the ones who tagged Siouxsie and the Banshees with the label "gothic."
The date of origin is usually placed in 1979 when Bauhaus released the song "Bela Lugosi's Dead." The band originally intended the song to be tongue-in-cheek; however, many young fans latched onto this mysterious, eerie sound as inspiration for the budding gothic subculture. The first generation of the gothic movement emerged mostly in the UK in the late seventies and early eighties as a splinter from the punk movement. Punk music was breathing its last breath as this gloomy, introspective mutation gained momentum. Bands like The Damned, Bauhaus, and Siouxsie and the Banshees characterize the first generation. These bands were called Gothic later on, but most did not consider themselves Gothic at the time. There is a great deal of uncertainty about who coined the term "gothic" and how it got attached to this dark music. The British music press seems to be most responsible for making the label stick.
In the early 1980s, the gothic movement thrived with bands like the Sisters of Mercy at the forefront. However, by the mid to late 1980s, the movement was waning. In the late eighties and early nineties, a new, second generation of gothic bands emerged to breathe new life into the scene. They distinguished themselves by being the first to regularly call themselves Gothic. Examples would include The Shroud, Rosetta Stone, and London After Midnight. This time period is when the US Goth movement grew significantly, and Gothic became recognized as a distinct subculture. Through this period, gothic music and culture grew and branched out into various subsets, pushing the boundaries of what had previously been considered gothic.
Recently, widespread mainstream interest in the gothic subculture is apparent. Many gothic cultural quirks have filtered into mainstream culture, such as an interest in the supernatural and dark aesthetics. Historically, a dark leaning is prevalent towards the end of a century. That leaning has been more pronounced due to the close of a millennium.
As the second generation now ages into their mid to late 20's, they usually become less interested in participating in the gothic social scene. A distinct third generation emerged in the late 90's to shape the future progression of the gothic movement. The third generation represents an explosion in the number of people referring to themselves as gothic. Many of them have learned about gothic culture because of the present widespread commercial availability. The huge popularity of "shock rock" act Marilyn Manson has thrown the spotlight onto this subculture. Marilyn Manson is far more similar to the heavy metal theatricality of Alice Cooper than the mysterious desolation of Bauhaus. Many Goths wish to disassociate themselves from the younger, over-ardent followers of Manson who seem to dress and act like him purely for rebellious shock value. The term often used for these youths is "spooky kids."
First and second generation Goths look suspiciously upon the new generation, doubting their authenticity and disliking the exposure they give to a subculture which would prefer to remain underground. The new generation is not presently well received by their elders, but time may prove otherwise. It would be difficult to predict what the future holds for the Gothic movement. After over 20 years, it continues to change, grow, mutate and adapt, making it one of the longest surviving youth subcultures in existence.
Two musicians most often credited as the "Grandfather" and "Grandmother" of Goth: Peter Murphy (formerly of Bauhaus, now doing solo work) and Siouxsie Sioux (formerly of Siouxsie and the Banshees, now with The Creatures). Bauhaus released their first single in 1979. Siouxsie and the Banshees first formed in a haphazard fashion in 1976 and released their first single in 1978. The statement is often made that Sioux was the one who coined the term "gothic" when she mentioned it was the new direction the band was taking. Entranced: the Siouxsie and the Banshees Story suggests that the music press, not Sioux, were the ones who tagged Siouxsie and the Banshees with the label "gothic."
The date of origin is usually placed in 1979 when Bauhaus released the song "Bela Lugosi's Dead." The band originally intended the song to be tongue-in-cheek; however, many young fans latched onto this mysterious, eerie sound as inspiration for the budding gothic subculture. The first generation of the gothic movement emerged mostly in the UK in the late seventies and early eighties as a splinter from the punk movement. Punk music was breathing its last breath as this gloomy, introspective mutation gained momentum. Bands like The Damned, Bauhaus, and Siouxsie and the Banshees characterize the first generation. These bands were called Gothic later on, but most did not consider themselves Gothic at the time. There is a great deal of uncertainty about who coined the term "gothic" and how it got attached to this dark music. The British music press seems to be most responsible for making the label stick.
In the early 1980s, the gothic movement thrived with bands like the Sisters of Mercy at the forefront. However, by the mid to late 1980s, the movement was waning. In the late eighties and early nineties, a new, second generation of gothic bands emerged to breathe new life into the scene. They distinguished themselves by being the first to regularly call themselves Gothic. Examples would include The Shroud, Rosetta Stone, and London After Midnight. This time period is when the US Goth movement grew significantly, and Gothic became recognized as a distinct subculture. Through this period, gothic music and culture grew and branched out into various subsets, pushing the boundaries of what had previously been considered gothic.
Recently, widespread mainstream interest in the gothic subculture is apparent. Many gothic cultural quirks have filtered into mainstream culture, such as an interest in the supernatural and dark aesthetics. Historically, a dark leaning is prevalent towards the end of a century. That leaning has been more pronounced due to the close of a millennium.
As the second generation now ages into their mid to late 20's, they usually become less interested in participating in the gothic social scene. A distinct third generation emerged in the late 90's to shape the future progression of the gothic movement. The third generation represents an explosion in the number of people referring to themselves as gothic. Many of them have learned about gothic culture because of the present widespread commercial availability. The huge popularity of "shock rock" act Marilyn Manson has thrown the spotlight onto this subculture. Marilyn Manson is far more similar to the heavy metal theatricality of Alice Cooper than the mysterious desolation of Bauhaus. Many Goths wish to disassociate themselves from the younger, over-ardent followers of Manson who seem to dress and act like him purely for rebellious shock value. The term often used for these youths is "spooky kids."
First and second generation Goths look suspiciously upon the new generation, doubting their authenticity and disliking the exposure they give to a subculture which would prefer to remain underground. The new generation is not presently well received by their elders, but time may prove otherwise. It would be difficult to predict what the future holds for the Gothic movement. After over 20 years, it continues to change, grow, mutate and adapt, making it one of the longest surviving youth subcultures in existence.
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