Marilyn Manson is Not Goth: Memorial Struggle and the Rhetoric of Subcultural Identity

Abstract

The author argues that subcultural identity is a process informed by memorial struggles, or contests over what counts as a “history” and a “memory.” More specific, this article suggests that popular, mainstream representations of subcultures often provide subcultural adherents with a discursive space in which to redefine and negotiate subcultural identities, histories, and memories. To this end, the representation of “gothic subculture” by both the press and “goths” themselves is examined to illustrate points of contest and negative redefinition. The article concludes by suggesting that a better, shared understanding of subcultural discourse demands some degree of ethnographic research.

Soundtrack of the School Shootings

“…Although both artists use elements from Goth culture in their music and performances, their place in Goth subculture has been problematic. Marilyn Manson, for example, represents the image of a Goth for everyone else except those who belong to Goth subculture (Gunn, 1999).…”

Authenticating Subcultural Identities

“…Mass media, such as tabloids, legitimize and authenticate youth cultures through disapproving and derogatory coverage. As Thornton points out, "Youth resent approving mass mediation of their culture but relish the attention conferred by media condemnation" (p. 129; see also Gunn, 1999). Micromedia, such as flyers, fanzines, pirate radio, and word of mouth, represent the subculture, bring the crowd together, and mediate within it.…”

Goth and Industrial Cultures: Differential Interpretations

“…Historically, the term “Gothic” was most commonly used to characterize the pointed arches and flying buttress styles of medieval barbaric architecture (Germann 1972:181‐182; Gunn 1999; Robinson 2003) and a literary genre of late eighteenth‐ and early nineteenth‐century fiction featuring themes of sinister darkness, gloom, and horror (Botting 1996; Gunn 1999). The modern Goth culture had its beginning in the United Kingdom in the late 1970s as it emerged from the rebellious punk rock scene (Porter 2002; Robinson 2003).…”

“…Along with the successes of bands such as Bauhaus, Joy Division, and Siouxsie and the Banshees, the Gothic label became popular with music fans and the artists. Self‐identified Goths lay claim as well to more contemporary bands such as Autumn, Lycia, and Christian Death (Gunn 1999). The music is generally dark, ambient, melancholy, haunting, angst‐ridden, and often contains depressing lyrics (Gunn 1999; Hodkinson 2002; Porter 2002).…”

“…Following the Columbine High School tragedy, news media widely reported the teenage gunmen to be adherents to the Gothic and Industrial cultures (GIC) (Arciaga 1999; Brooke 1999; Dority 1999; Purdum 1999). The members of these cultures are often stereotyped as prone to depression, violence, and Satan worship (Gunn 1999; Porter 2003; Robinson 2003). More recently, in Southern California, a teenage girl was killed by her friends who were later described as “Goth teen killers” (KCAL 2004) and were believed to be in a deadly “Goth love triangle” (Reitman 2004:62).…”