The term Batcaver was then used to describe old-school goths. In July 1982, the opening of the Batcave 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. 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?" 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. They may have taken the "goth" mantle from a 1981 article published in UK rock weekly Sounds: "The face of Punk Gothique", written by Steve Keaton. However, it was not until the early 1980s that gothic rock became a coherent music subgenre within post-punk, and that followers of these bands started to come together as a distinctly recognizable movement. Critic Jon Savage would later say that their singer Ian Curtis wrote "the definitive Northern Gothic statement". In February 1980, Melody Maker qualified the same band as "masters of this Gothic gloom". In 1979, Sounds described Joy Division as "Gothic" and "theatrical". Bauhaus's first single issued in 1979, " Bela Lugosi's Dead", is generally credited as the starting point of the gothic rock genre.
The term was later applied to "newer bands such as Bauhaus who had arrived in the wake of Joy Division and Siouxsie and the Banshees". Wilson described Joy Division as "gothic" compared to the pop mainstream, right before a live performance of the band.
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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. In March 1979, in his review of Magazine's second album Secondhand Daylight, Kent noted that there was "a new austere sense of authority" in the music, with a "dank neo-Gothic sound". In a live review about a Siouxsie and the Banshees' concert in July 1978, critic Nick Kent wrote that, concerning their music, "arallels and comparisons can now be drawn with gothic rock architects like the Doors and, certainly, early Velvet Underground". In the late 1970s, the gothic adjective was used to describe the atmosphere of post-punk bands such as Siouxsie and the Banshees, Magazine, and Joy Division. That same year, the Velvet Underground song " All Tomorrow's Parties" created a kind of "mesmerizing gothic-rock masterpiece" according to music historian Kurt Loder. 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". Siouxsie Sioux of Siouxsie and the Banshees in 1980 The style most often includes dark (usually solid black) attire, dark makeup, and black hair. It also draws from the fashion of earlier periods such as the Victorian, Edwardian, and Belle Époque eras. Styles of dress within the subculture draw on punk, new wave, and New Romantic fashion. The music preferred by goths includes a number of styles such as gothic rock, death rock, cold wave, dark wave, and ethereal wave. The subculture has associated tastes in music, aesthetics, and fashion. The scene is centered on music festivals, nightclubs, and organized meetings, especially in Western Europe. Its imagery and cultural proclivities indicate influences from 19th-century Gothic fiction and from horror films.
The goth subculture has survived much longer than others of the same era, and has continued to diversify and spread throughout the world. Post-punk artists who presaged the gothic rock genre and helped develop and shape the subculture include Siouxsie and the Banshees, Bauhaus, the Cure, and Joy Division. It was developed by fans of gothic rock, an offshoot of the post-punk music genre. Goth is a music-based subculture that began in the United Kingdom during the early 1980s. A woman dressed in goth style in the 1980s
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