The Conservative Roots of Goth, Industrial, Punk, and Metal Subcultures
By Bobby Darvish
darvishintelligence.blogspot.com
As an Iranian-American ex-Muslim conservative Christian, I've seen how subcultures can express rebellion, identity, and sometimes even tradition in unexpected ways. Growing up immersed in the worlds of goth, industrial, punk, and metal music, I found that these seemingly rebellious genres have deeply conservative elements, despite what many might think. Ironically, these subcultures, once the outcasts of society, have become a refuge for those who reject the woke, rainbow-flag-waving liberalism that dominates the cultural conversation today. The more I see the bright colors and virtue signaling of the woke community, the more I embrace the simplicity of black — like Johnny Cash, Blutengel, Unheilig, bikers, Lord of the Lost, and Rammstein.
In the 70s and 80s, when these subcultures were in their infancy, they stood against the mainstream, but not necessarily for liberal ideals. They were about authenticity, freedom, and a rejection of conformism, whether that was the bubblegum pop or the corporate excesses of the time. These genres were driven by working-class values, where self-reliance, individualism, and a sense of community thrived—values that conservatives often champion today. For example, metal music has long celebrated strength and personal responsibility, themes that align with conservative ideals. Bands like Metallica and Iron Maiden often tell stories of struggle, war, and personal growth, grounded in a gritty realism that’s far from the sanitized world of woke politics.
Goth culture, in particular, may appear dark and brooding, but it's rooted in a fascination with history, literature, and the human condition—concepts that echo a deep conservatism. Gothic imagery is often tied to religious symbolism, much of which resonates with Christian traditions. Bands like Rammstein and Lord of the Lost may push boundaries in their stage performances, but underneath the theatricality is a rejection of politically correct modernity in favor of something more primal and ancient. Their music often explores the consequences of unchecked power and the pitfalls of modern society, mirroring conservative critiques of liberal governance and societal decay.
The industrial and punk scenes also have deep anti-establishment roots that were not necessarily progressive. While the punk movement rejected authority, it was often about rejecting corrupt authority—government overreach, censorship, and the oppression of the working class. This sense of rebellion against top-down control can be seen today in conservative movements that resist government mandates and value personal freedom over state intervention.
Ironically, the very people who claim to be "anti-establishment" in today's woke liberal circles are now part of the mainstream themselves. Woke culture has infiltrated every institution, from universities to media to corporations, and it’s those waving the rainbow flag who enforce conformity through cancel culture and censorship. This stands in stark contrast to the true subversive nature of the goth, punk, and metal subcultures, which reject not only the pop culture establishment but also any ideological imposition on personal freedom.
In fact, if you look closely at some of the biggest names in these genres, you'll find they’ve often stood against the modern liberal orthodoxy. Johnny Cash, known for his all-black attire, was a man of deep convictions and a symbol of conservative rebellion. Similarly, German bands like Blutengel and Unheilig may not overtly engage in political discourse, but their aesthetic and musical themes convey a sense of spiritual and cultural conservatism, emphasizing introspection, identity, and the preservation of heritage.
Today, wearing black in these subcultures is more than just a fashion statement; it’s a quiet defiance against the rainbow. It symbolizes a rejection of the bright, in-your-face identity politics that have overtaken much of the Western world. The allure of black is that it doesn't need to scream for attention. It’s subtle, dignified, and timeless, much like the conservative values that many in the goth, punk, and metal scenes hold dear.
The cultural shift toward liberal wokeism, with its constant policing of language and behavior, stands in stark opposition to the freedom of expression these subcultures once fought for. The goth, industrial, punk, and metal scenes are, at their core, about autonomy and rejecting imposed values. In a world that demands you wave the flag of every progressive cause, the simple act of wearing black becomes a symbol of resistance—a stand for individuality in an increasingly conformist world.
I see this tension every day. The more brightly colored the woke movement becomes, the more I cling to the values that drew me to these subcultures in the first place. In a sea of rainbow flags and political correctness, the world of dark, gritty authenticity in goth, industrial, punk, and metal is a sanctuary for those of us who cherish conservative values. These subcultures aren't just music and fashion; they're a way of life that stands against the tide of liberal conformity, advocating for the freedom to be true to yourself—just as we did decades ago.
Citations:
- Bennett, A. (2006). Punk’s Not Dead: The Continuing Significance of Punk Rock for an Older Generation of Fans. Sociology Compass. Retrieved from https://onlinelibrary.wiley.com
- Kahn-Harris, K. (2007). Extreme Metal: Music and Culture on the Edge. Oxford: Berg Publishers.
- Spracklen, K. (2015). The Evolution of Goth Subculture: From 1980s Origins to the Digital Age. Journal of Youth Studies, 18(5). DOI: 10.1080/13676261.2014.992326.
- Weinstein, D. (2000). Heavy Metal: The Music and its Culture. New York: Da Capo Press.
- Young, S. (2020). From Punk to Metal: Tracing the Anti-Liberal Roots of Modern Subcultures. Cultural Criticism Today. Retrieved from https://culturalcriticismtoday.com
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