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Subcultures, according to the criminologist Albert Cohen, are made up of individuals who came together to resolve social status problems by developing new values, based on shared characteristics. To be part of the subculture, one must first be labeled as such and must be excluded from dominant society (e.g., an outcast). Those within the subculture then rely more and more on each other for social interaction and validation of their way of life and shared beliefs. Paul Hodkinson argues that a subculture should include four criteria: identity, commitment, autonomy, and consistent distinctiveness. These four criteria are not definitive elements of subcultures but are contributing factors and, when taken together, assist in determining what should be considered a subculture. Based on these characteristics, Goth should be considered a type of subculture rather than a more fleeting youth movement concerning fashion, style, and music. With Goth, there is a sense of shared identity and music, adherence to identifiable styles, preferences, consumption practices, production of subculture-specific magazines and blogs (e.g., Gothic Beauty Magazine), participation in specialist events and social scenes (i.e., Goth clubs, Gothic Weekends, World Goth Day), and use of Goth slang (e.g., babybat, mundanes). All these reflect various social interaction and ways to validate the lifestyle and shared beliefs of the subculture. Goth subculture has been around for more than 30 years and can be found in almost every part of the world, sustaining itself much longer than similar subcultures arising around the same time, while also continuing to evolve.

However, Goth subculture remains elusive and still largely an underground movement/culture, where those involved prefer to avoid publicity. Despite mainstream culture attempting to appropriate bits and pieces of Goth fashion and style (e.g., fashion designers incorporating Goth elements into clothing lines), Goth characters in popular TV and films and/or “Goth-friendly” TV/movies (e.g., Abby Scuito on NCIS, The Matrix [1999], Lost Girl [2012]), the mainstream has not seriously capitalized on Goth. Goth continues to be, and most likely will remain, a marginal subculture composed of outsiders alienated by the status quo, intentionally nonconformist, misunderstood, considered evil or violent, and prejudiced against and sometimes even abused.

History

Goth subculture emerged in the United Kingdom near the end of the 1970s as an offshoot of the punk rock subculture. Punk subculture arose from rebellious and defiant fans of punk rock music becoming popular during the 1970s. During the end of that decade, there emerged new bands—Bauhaus, Joy Division, The Cure, and Siouxsie and the Banshees—on the punk rock scene, originally deemed “post-punk,” who had a darker edge to their music, complemented with a sense of mystery and eeriness. These new bands wore theatrical costumes and makeup complementing their new sound. The release of the song “Bela Lugosi's Dead” by Bauhaus in 1979 is most often referred to as the origin of Goth subculture. By 1981, Goth rock was its own subgenre of post-punk, and followers of these bands coalesced into a visible movement. In 1982, the Batcave, a nightclub in London, opened and soon became a prominent fixture within the subculture, serving as venue for these new bands to play and a meeting place for their fans (i.e., Goths). It remains unknown who named this post-punk music (and its followers) Goth/Gothic, but many attribute the use of the label to the British music press to describe these emerging bands based on their spooky makeup and attire. It has also been attributed to an interview given by the manager of Joy Division who described the band's sound as “Goth dance music.” Either way, the term Goth stuck and has been used since to refer not only to the musical genre but also to the subculture that evolved and those within it. In the United States, Goth emerged around the same time from the punk rock scene in California, but independent of the British movement. Many consider the height of Goth music and subculture to have occurred in the 1980s, and though the music and subculture survived, many who experienced Goth during this time believe that Goth is dead because it has changed and evolved since its beginnings.

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