Editing Goth subculture (section)

===Origins and development===
[[File:Sioux-edinburgh80.jpg|thumb|upright|[[Siouxsie Sioux]] of [[Siouxsie and the Banshees]] in 1980]]
The term ''[[gothic rock]]'' was coined by music critic John Stickney in 1967 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]]".<ref>{{cite news |newspaper=The Williams Record |date=24 October 1967 |author=John Stickney |title=Four Doors to the Future: Gothic Rock Is Their Thing}} Posted at {{cite web|url=http://mildequator.com/performancehistory/articlesreviews1967.html |title=The Doors : Articles & Reviews Year 1967 |work=Mildequator.com |access-date=3 October 2012 |quote="The Doors are not pleasant, amusing hippies proffering a grin and a flower; they wield a knife with a cold and terrifying edge. The Doors are closely akin to the national taste for violence, and the power of their music forces each listener to realize what violence is in himself".... "The Doors met New York for better or for worse at a press conference in the gloomy vaulted wine cellar of the Delmonico hotel, the perfect room to honor the Gothic rock of the Doors". |url-status=dead |archive-url=https://web.archive.org/web/20130504231130/http://mildequator.com/performancehistory/articlesreviews1967.html |archive-date=4 May 2013}}</ref> That same year, the [[Velvet Underground]] song "[[All Tomorrow's Parties]]" created a kind of "mesmerizing gothic-rock masterpiece" according to music critic and TV personality [[Kurt Loder]].<ref>{{cite book |last=Loder |first=Kurt |date=December 1984 |title=V.U. |publisher=Verve Records |type=album liner notes|title-link=VU (album) }}</ref> In the late 1970s, the ''gothic'' adjective was used to describe the atmosphere of [[post-punk]] bands such as [[Siouxsie and the Banshees]], [[Magazine (band)|Magazine]], and [[Joy Division]]. In a live review about a Siouxsie and the Banshees' concert in July 1978, critic [[Nick Kent]] wrote, concerning their music, "[P]arallels and comparisons can now be drawn with gothic rock architects like the Doors and, certainly, early Velvet Underground".<ref name="Nick Kent">{{cite magazine|last=Kent|first=Nick|title= Banshees make the Breakthrough live review – London the Roundhouse 23 July 1978 |magazine=[[NME]] |date=29 July 1978}}</ref> In March 1979, in his review of Magazine's second album ''[[Secondhand Daylight]]'', Kent noted there was "a new austere sense of authority" in the music, with a "dank neo-Gothic sound".<ref name=magazine>{{cite magazine|last=Kent|first=Nick|title=Magazine's Mad Minstrels Gains Momentum (Album review) |magazine=[[NME]]|date=31 March 1979|page= 31}}</ref> 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 (UK TV series)|Something Else]]''. Wilson described Joy Division as "gothic" compared to the pop mainstream, right before a live performance of the band.<ref>{{cite web |title=Something Else [featuring Joy Division] |url=https://www.youtube.com/watch?v=QMRZROGtm1Q | archive-url=https://ghostarchive.org/varchive/youtube/20211211/QMRZROGtm1Q| archive-date=2021-12-11 | url-status=live|publisher=BBC television [archive added on youtube] |date=15 September 1979 |quote=Because it is unsettling, it is like sinister and gothic, it won't be played. [interview of Joy Division's manager Tony Wilson next to Joy Division's drummer Stephen Morris from 3:31]}}{{cbignore}}</ref> The term was later applied to "newer bands such as [[Bauhaus (band)|Bauhaus]] who had arrived in the wake of Joy Division and Siouxsie and the Banshees".{{sfn|Reynolds|2005|p=352}} Bauhaus's first single issued in 1979, "[[Bela Lugosi's Dead]]", is generally credited as the starting point of the gothic rock genre.{{sfn|Reynolds|2005|p=432}}

In 1979, ''Sounds'' described Joy Division as "Gothic" and "theatrical".<ref>{{cite journal |author=Des Moines |journal=Sounds |title=Live review by Des Moines (Joy Division Leeds) |date=26 October 1979 |quote=Curtis may project like an ambidextrous barman puging his physical hang-ups, but the 'Gothic dance music' he orchestrates is well-understood by those who recognise their New Wave frontiersmen and know how to dance the Joy Division! A theatrical sense of timing, controlled improvisation...}}</ref> In February 1980, ''[[Melody Maker]]'' qualified the same band as "masters of this Gothic gloom".<ref>{{cite journal |author=Bohn, Chris |title=Northern gloom: 2 Southern stomp: 1. (Joy Division: University of London Union – Live Review) |journal=Melody Maker |issue=16 February 1980 |quote=Joy Division are masters of this Gothic gloom}}</ref> Critic [[Jon Savage]] would later say that their singer [[Ian Curtis]] wrote "the definitive Northern Gothic statement".<ref>{{cite magazine |author=Savage, Jon|author-link=Jon Savage |url=http://www.rocksbackpages.com/article.html?ArticleID=3124 |title=Joy Division: Someone Take These Dreams Away |magazine=[[Mojo (magazine)|Mojo]] via [[Rock's Backpages]] (subscription required) |date=July 1994 |access-date=10 July 2014 |quote=a definitive Northern Gothic statement: guilt-ridden, romantic, claustrophobic}}</ref> However, it was not until the early 1980s that gothic rock became a coherent [[music subgenre]] within post-punk, and 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 (magazine)|Sounds]]'': "The face of Punk Gothique",<ref name=keat>{{cite journal |first=Steve|last= Keaton |title=The Face of Punk Gothique |journal= Sounds |date= 21 February 1981}}</ref> 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?"<ref name=keat/> The [[F Club]] night in [[Leeds]] in Northern England, which had opened in 1977 firstly as a punk club, became instrumental to the development of the goth subculture in the 1980s.<ref name="Evolution of Goth Culture">{{cite book |last1=Spracklen |first1=Karl |last2=Spracklen |first2=Beverley |title=The Evolution of Goth Culture: The Origins and Deeds of the New Goths |publisher=Emerald Publishing |year=2018 |pages=46 |quote="The F-Club and the Futurama festival, both set up and run by Leeds promoter, John Keenan, have become entrenched in the shared memory of post-punks and goths as spaces where goth rock was born in the form it is now known."}}<br />{{cite web |last1=Stewart |first1=Ethan |title=How Leeds Led Goth |url=https://www.popmatters.com/leeds-goth-2649733682.html |website=[[PopMatters]] |date=13 January 2021 |access-date=3 June 2021 }}<br />{{cite web |last1=Deboick |first1=Sophia |title=A City in Music – Leeds: Goth ground zero |url=https://www.theneweuropean.co.uk/brexit-news/city-in-music-leeds-68820 |website=[[The New European]] |date=17 September 2020 |access-date=3 June 2021 |archive-date=22 January 2021 |archive-url=https://web.archive.org/web/20210122232818/https://www.theneweuropean.co.uk/brexit-news/city-in-music-leeds-68820 |url-status=dead }}</ref> In July 1982, the opening of the [[Batcave (club)|Batcave]]<ref name="Johnson1983">{{cite news|last=Johnson|first=David|date=February 1983|title=69 Dean Street: The Making of Club Culture|page=26|work=The Face|issue=34|url=https://shapersofthe80s.com/clubbing/69-dean-street-and-the-making-of-uk-club-culture/|access-date=2018-04-07}}</ref> 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.<ref name=north>{{cite magazine |author=North, Richard |title=Punk Warriors |magazine=[[NME]] |date= 19 February 1983}}</ref> The term ''Batcaver'' was then used to describe old-school goths.
[[File:Bauhaus concert.jpg|thumb|[[Bauhaus (band)|Bauhaus]]—live in concert, 3 February 2006]]

Outside the British scene, [[deathrock]] developed in [[California]] during the late 1970s and early 1980s as a distinct branch of American [[punk rock]], with acts such as [[Christian Death]], [[Kommunity FK]] and [[45 Grave]] at the forefront.<ref>{{cite news |first=Liz |last=Ohanesian |title=The LA Deathrock Starter Guide |newspaper=LA Weekly |date=4 November 2009 |url=http://www.laweekly.com/westcoastsound/2009/11/04/the-la-deathrock-starter-guide |access-date=10 July 2014 |archive-date=14 July 2014 |archive-url=https://web.archive.org/web/20140714221207/http://www.laweekly.com/westcoastsound/2009/11/04/the-la-deathrock-starter-guide |url-status=dead }}</ref>