Goth Diluted

It seems every goth vlogging these days is hellbent on pushing a cultural norm that if you're truly goth in your heart then you're goth and nobody can tell you otherwise. 

[I'm going to qualify my statements by acknowledging that this seems to be primarily an American phenomenon, and that I'm unaware of how or even if this kind of thing happens in other nations]

I applaud their open-mindedness.  I truly do, and appreciate that this is the direction that American minds seem to be heading in.  But being goth is not the same as being American, or being liberal.  Goths do in fact tend to be individualists, and this would suggest that they're less concerned than the norm with what others choose to do with their lives.  I have found this suggestion to be true as well.  But at the heart of gothic nature is an individualism born of being outside the mainstream.  As much as it defines what kind of person we are, it also defines what kind of person we are not.  The latter is the purpose and psychological backdrop for goths defining what (and who) goth is... and isn't.

Many of us are outcasts of some sort, from the mainstream.  We may have been ridiculed by popular people and because of that discovered that the goth culture existed and that we could be accepted there.  We may have simply always found ourselves attracted to things of a morbid nature, things "normal" people had a strong disdain for.  We may possess a dark artistic urge compelling us to spread the understanding of that urge to others.  There may be myriad of other ways this may have come about, but all led to us being perceived in some way as an outsider.  In many ways this is a good thing!  And has played a tremendous part in forming the intensely strong (yet flexible) structure that underlies our culture.  But simply being an outsider from society does not make one goth.  If it did, our history would go back farther by thousands of years than the 1970's and involve whole nations and races of people back to the stone age.  So we need more qualifiers, more definition.

It really should be accepted that goth must in some way, great or small, incorporate a flavor of morbidity.  This could be based on an attitude, such as dark mania, comedy and sarcasm, mournful romance and writing sorrowful poetry; it could be expressed primarily in clothing with mourning shrouds and veils, tattered burial suits, or death-mused face paint or makeup; it could encompass a habit like sleeping in a coffin, driving a hearse or keeping one's house at all times chilly; or any combination of these and related aspects.  But regardless of what face any of these take it has always been, and must always be understood that it is a face made visible to the mainstream around us.  That expression of strength from within the position of being outcast is essential to the gothic soul. The courage it takes to don the guise of the ultimate winner in the game of life - to look death in the eye and take style notes rather than piss oneself - that courage is essential to being goth.  If one does not exhibit some sort of dark nature to those around us and find comfort in it, then one simply cannot empathize with what goth is.

I'm sure many expect me to now unleash a roll-call requirement of goth bands real goths must listen to or feel the wrath of all of the truebloods.  Not at all.  In fact, in one of my other blog posts I explain that I don't believe there are any goth bands, only goth songs, goth music.  If a piece of music impresses ones emotions in a way similar to what I've described previously, if it provides a goth with strength against the oppressor mainstream or makes your mood somber it is goth.  If a goth envisions worlds of foggy dusk or moonlit mountain crags, a voodoun-rich bayou or frost-held crypt, a raucous Dea de los Muertos crowd or darkened vampire bar when hearing a song, then it is gothic.  But take note that I include a stipulation here: it must be a goths perception that defines music as goth or not.  For none other than a goth can truly empathize with our state of mind and soul in hearing such music.  It is the shared experiences of the aforementioned that "tunes" our ears to know it when we hear it.

Only be defining goth by qualifiers like the ones I mentioned can we even begin any useful discussion about anything being goth.  Acknowledging everyone who makes a claim to gothdom as goth dilutes the very meaning of the word and of the culture. If someone wears nothing but pink and yellow clothes and claims to be goth, they include me (and likely most people who will ever read this) in the perceptions of anyone listening to them.  How is this more righteous than my stating that they are not goth?  Both are equally discriminating and both can have a great impact on how the mainstream views goth.  But while my claim comes from within our culture (with visual evidence to back it up) and strengthens our cohesiveness and shared identity, the other claimant's does not.  All it can hope to achieve is to confuse those in the mainstream, or make our solidarity appear fractured. 

No, we aren't going to always wear black clothes at all times.  My wardrobe is only about half black or dark "gothic" tones.  And life brings us to many times when there simply isn't time or propriety to allow for makeup.  But I will never make a claim to being a goth when dressed in khaki.  I will never discuss goth fashion with someone in my car with Deadmau5 playing on my stereo.  Assuming that by making any of the previous statements I am suggesting that outwardly displaying ones gothic nature must be perpetual, unceasing and life engulfing is paramount to members of the mainstream assuming we're all violent because we're goth, or that we must like Marilyn Manson because we're goth.  Don't downplay my intelligence or yours by making such rash assumptions.

We all know that regardless of where goth began, regardless of the musical scene from whence it sprouted, goth culture has become something so much more substantial than simple a musical genre.  We all know that it's more than just wearing black.  But for that to continue, the definitions of what it is must be upheld.  If there is no definition of goth, and if we don't implement that definition in our own minds at least, if not out into the world, then the definition and culture of goth itself ceases to exist.

My call to action then is this: do not begin psychologically and emotionally preying on those who don't meet these qualifications yet still claim to be goth.  Instead simply cease to acknowledge them.  Cease telling everyone that if they're goth in their heart then they're goth and no one can tell them otherwise.  You don't need to berate or ridicule them for making the claim.  Simply stop harboring their misunderstandings about what goth is.  Feel free to guide them!  I believe this tendency is strong in the hearts of many goths (particularly but not exclusively the women), and I don't feel that should be cast aside.  But don't acknowledge their claim until they have come to understand what goth is.  Others will perceive that this is going on, and may ask what's going on.  Simply explain that they haven't quite found their gothic soul just yet, but that they're on their way.  This is the truth, and should not be taken as a slight by anyone who will find joy in our culture in the future.

I wish to thank everyone willing and able to read through this entire post.  You possess the patience of the dead, I'm sure.  I don't intend for this to be the be-all-and-end-all modus operandi of gothdom to the corners of the earth; instead I hope it will prove a basis that many in our culture find useful in orchestrating our dealings with others within our culture and without.

Why goth?

Probably more important than the question of, “what is goth,” is the question, “Why are goth’s goth?" What’s the psychology behind the culture?

One of the primary underlying concepts behind the culture was that following the technological advancements and breakthroughs of the 1970’s and 80’s it seemed as if science had become capable of explaining everything.  This brought to a close much of the mystery and magic those who would become goth experienced in their childhood and wanted to maintain.  Our souls cried out for a continuation of those things of wonder and mystery.  We didn’t want to see that pass away. 

Goths sought for that wonder in things science did not yet (and in many ways still does not) have an explanation for: psychology and death.  If there are no monsters under our beds, then we would manifest the appearance of creepy beasts in the real world by wearing those guises ourselves.  We became that mystery, that magic.  One may be able to debate against the existence of vampires and like creatures, but it is practically impossible to argue against the psychology of someone who willingly takes on the traits of those dark creatures.  Often gothic themes walked the razors edge of insanity, happily providing that as cause for our indulgences; this was more often suggested to our friends rather than those in a position to do something rash about it, such as institutionalization.  This served to keep the subculture in a realm of dark mystery, untouchable and powerful.  

In my opinion, actions in contrast to these things are the most un-goth acts one may undertake.  Normalizing goth culture, trying to incorporate banal things into what is considered goth, these things disqualify someone from the title of goth. 

Reverence for, or at least preoccupation with death set us apart from all but the most fringe occupational groups.  For a community looking to distance itself from a society that had wholeheartedly accepted a more plain and mechanical paradigm, the ultimate unknown is an easy direction in which to turn.  If one were to look at the death many goths interest themselves with one discovers a very romanticized view.  Many goths portray death as a peaceful eternal state, for the most part untouched by many of the less seemly aspects of rot and maggot-breeding that accompanies the mortal passing.  The emotional catharsis brought on by those remaining after a loved one sloughs off this mortal coil was brought to the forefront while often the manner of death was sublimated.  The death goths pay attention to, contemplate and write poetry about doesn’t usually include window washers falling from heights or usually even old age or cancer.  It centers on romanticized imaginings borrowed from Edgar Allan Poe and Baudelaire.  For goth purposes, this works perfectly though, as non-goths rarely make this distinction and just assume that goths are off their rocker; obsessed with one of the most taboo subjects of our time. 

Association with mythical beings, particularly vampires, was another natural extension of the Gothic embrace of things beyond science.  The internet provided us with access to concepts we’d had to have gone far out of our way to research. We began to latch onto ideas like “psychic” vampires, shapeshifters and occult religions.  Some experimented with and acquired a taste for drinking blood, an act that normative society would innately have difficulty accepting.  Much as many goths in the 2000’s claim they have nothing to do with vampires, the association is unmistakable.  Modern fiction, theater and cinema had by the 70's and 80's already romanticized the very idea of the vampire, had made them beautiful and powerful.  Adoption of these ideals was natural for goths, and made the subculture stronger. Not all goths adopt supernatural themes, but all goths should acknowledge the part that has played in constructing gothic culture - in the same way that while I haven't enjoyed a single Joy Division song I've ever heard, I willingly acknowledge and applaud them for laying the foundation for our culture.

Another aspect I've never seen anyone discuss but likely has a huge impact on the growth of the culture was the turning of the century.  Particularly during "major" date changes humans of all cultures have entered a seemingly universal apocalyptic mood.  With this acting on the human consciousness, making the leap to goth was easy, particularly in the 90's when we arguably saw the majority of growth.

All of these events and processes have culminated to create a culture that is more than just fashion or music, is one of the strongest conglomerations of individuals outside of whole nations, and will last longer than anyone will imagine.

Definition and Acceptance

“What is goth?”  More often than not I find that goths who answer this question are out to prove that goths don’t consider themselves vampires (untrue in some claims), aren’t depressed (untrue in many cases), and just want to be accepted for who they are (untrue in probably most cases, if they were to consider it without bias). Romanticized depression and ennui (Thank you Neil Gaiman for dusting off this word for us in your first Death comic series) have been on the forefront of all things goth almost as long as the subculture has existed, and this makes sense in the same way a professed preoccupation with death and insanity find their place.  Normative society already had decided that these things were unusual, often unhealthy.  Embracing them made for an easy passive-aggressive rebellion.  Of course goths aren’t really always depressed, of course they’re not all suicidal; the culture would not have lasted long if we were and anyone believing such moronic drivel simply isn't worth our time.

More recent goths are likely now fighting this self-imposed presumption that we want acceptance in order to, once again, have something to passive-aggressively rebel against.  Essentially, the easiest way to be an individual within the goth community is to profess something un-gothic in nature but which doesn't disinclude oneself from all the other aspects of being goth.  Seeking acceptance appears to be the easiest way to go about this. The idea that goths wish to be “accepted” for just being who they are is laughable.  Acceptance would mean that goths would blend into the mainstream and that’s a direct contradiction to the subculture’s desire to remove itself from the very same mainstream.  Acceptance would mean that goths weren’t special, unknowable or magical in any way.  Anyone with even just a basic understanding of the underlying psychology of the goth culture knows that acceptance from greater society can never be a successful end goal.  Those speaking the mantras of acceptance are either likely out of touch with what goth is, making excuses for themselves for liking gothic things, doing a lousy job of justifying their choices to non-goth friends or family, or they’re looking for something to rebel against within the culture. The latter typically spend their time trying to convince other goths that the culture should want acceptance rather than the society beyond ours. 

What is almost never examined is the idea that definition of anything social must be based on generalities.  Sports fans have vastly different favorite players, teams and sports.  Artists have wide ranging and differing preferences in medium, subject matter and purpose.  Yet we use the loose terms “artist” and “sports fan” with an easy assumption of their definition and implied meaning.  Because of this many generalities must be made about goth culture in order for such a discussion to even take place: that many participants wear black, that they like supernatural things, that they’re pre-occupied with death, that they’re Satanist or at least unorthodox in their approach to religion, that they listen to dark music… the list goes on.  By nature (wishing to be undefined and, intrinsically undefinable) goths tend to deny the generalities because of our extremely strong sense of individuality, but this denial should be placed into its proper context, and not be assumed to define what goth is or is not. 
When a goth is denying  that goths are different from other people, the denial alone should stand as an example of their individuality - their goth nature - rather than as evidence that goths are actually the same as everyone else.  We're not.

Anyone who rants on about how Goth can’t be defined because one or two goths (usually themselves) don’t conform in some way to the generalities is doing a disservice to what being goth is all about. That time and attention from the mainstream should instead be spent cultivating how outsiders view us in a manner befitting our culture. When someone says goths love Marilyn Manson, simply smile and ask, “do we?” And leave it at that. When you’re asked for the 1000^th time if you own any clothes that aren’t black, answer, “it wouldn’t be any fun if I did.” Answering in these ways will actually help undefined us in the eyes of those outside our culture, and that’s a glorious achievement.  Only by enhancing the mystery surrounding us, only by darkening our shadows can we become closer what the soul of goth is.

Goth Music

I don't believe in goth bands. I've never found a band I can consider goth. I DO believe in goth songs, and there are some bands that have a lot more goth songs under their belt than others.

So, is Marilyn Manson goth? No more or less so than Sisters of Mercy, Fields of the Nephilim, The Cure, etc. Does Marilyn Manson have some gothic songs? I'd say absolutely yes. Many of their songs incorporate dark subject matter; their dress has fallen into many different styles of goth fashion; they may be popular, but they're still outside the mainstream. I've never heard anyone in the band describing themselves as goth, so for everyone with a hard on for bands so goth they deny that they're goth (cough-Sisters of Mercy-cough-The Cure-cough), Marilyn Manson fits into that too. I've seen it suggested that if a band doesn't claim to be goth they can't be posers... so I guess they're not posers either. I personally think it's nothing more than Manson's popularity that drives people to deny they have anything to do with goth. And I think that's ridiculous in the extreme. Leave the "sell out" propaganda for the punks that goth derived from decades ago.

Based on "Friday I'm in Love," could you really call The Cure goth? "Peek A Boo" from Siouxsie & the Banshees? "Somebody Put Something In My Drink" from Nosferatu? "Spirit" by Bauhaus? These songs are practically bereft of any gothic sentiment or ornament. I cannot bring myself to consider them goth. Many other songs from these bands I do consider goth. This leads me to the only conclusion that can make sense to me: there are no goth bands, but there is goth music.