Title: Goth subculture - Wikipedia
Headings: Goth subculture
Goth subculture
Contents
Music
Origins and development
Gothic genre
Art, historical and cultural influences
18th and 19th centuries
Visual art influences
20th century influences
21st century
Characteristics of the scene
Icons
Fashion
Influences
Styling
Reciprocity
Critique
Films
Books and magazines
Graphic art
Events
Interior design
Sociology
Gender and sexuality
Identity
Media and academic commentary
Perception on nonviolence
School shootings
Prejudice and violence directed at goths
Self-harm study
See also
References
Citations
Bibliography
Further reading

Content: Near the peak of this first generation of the gothic scene in 1983, The Face 's Paul Rambali recalled that there were "several strong Gothic characteristics" in the music of Joy Division. In 1984, Joy Division's bassist Peter Hook named Play Dead as one of their heirs: " If you listen to a band like Play Dead, who I really like, Joy Division played the same stuff that Play Dead are playing. They're similar." Lead singer and guitarist Robert Smith of the Cure
By the mid-1980s, bands began proliferating and became increasingly popular, including the Sisters of Mercy, the Mission, Alien Sex Fiend, the March Violets, Xmal Deutschland, the Membranes, and Fields of the Nephilim. The Damned enjoyed their greatest goth years in 1985–86, releasing the album Phantasmagoria followed by the independent single " Eloise ". Record labels like Factory, 4AD and Beggars Banquet released much of this music in Europe, and through a vibrant import music market in the US, the subculture grew, especially in New York and Los Angeles, California, where many nightclubs featured "gothic/industrial" nights. The popularity of 4AD bands resulted in the creation of a similar US label, Projekt, which produces what was colloquially termed ethereal wave, a subgenre of dark wave music. The 1990s saw further growth for some 1980s bands and the emergence of many new acts, as well as new goth-centric U.S. record labels such as Cleopatra Records, among others. According to Dave Simpson of The Guardian, " [I]n the 90s, goths all but disappeared as dance music became the dominant youth cult".