Between 2007 and 2014 I lived in Leeds, having visited for years prior to chase gigs, friends, and notorious clubnights. The common denominator attraction was always that dark legacy of goth, which had its ascendancy in the 80s as the sound and scene developed for the very first time. I strive to celebrate this fact at every opportunity, even as we acknowledge the equally vital and contemporaneous contribution of the Batcave in London – because it’s nice to have a worldwide cultural phenomena that actually began in the North of England!
Someone who also understands that is Mark Silver, the Leeds Nomad. A gifted and curious storyteller with an interest in the undiscovered tales that lurk in the fringes, it was inevitable he’d stumble into the haunted forest that is the goth scene. He’s now launched the ambitious Leeds Goth QR Code Challenge, that allows participants to learn about the history of this eclectic subculture as they explore the city. He kindly answered a few questions for the blog now the challenge is live!
Could you introduce the Leeds Goth QR Code challenge for us? How does it work, and how can people take part?
The challenge is a scavenger hunt across Leeds City Centre designed to tell the story of the birth of Goth culture in Leeds. Eight key locations are hosting QR code signs, which, when scanned, link to a short film about the location and how it fits into the wider story.
It’s designed to be simple to do and modular, so people can do it in bits – perhaps in their lunch break – or in one go, which plenty of people have already done. I considered running a few guided Leeds Goth walks, which I regularly schedule, but it felt a bit limiting. This way, the number of people able to take part is effectively unlimited. Anyone can join in at their own convenience.
The challenge is free and open every day during the national Heritage Open Days festival, backed by funding from Leeds Civic Trust.
What inspired you to create this project? I understand you’re not a goth yourself, so how did you become aware of and involved in Leeds Goth history?
I always felt Leeds was missing a headline cultural moment. Not that it needs one, especially, but it seemed strange that most major cities seem to be known for something quite ground-breaking.
It turns out we do have them, and this is one – a hugely influential culture that has spread worldwide. Leeds isn’t entirely responsible for it, of course, but it’s a story about identity, not just music. The identity is the thing that was first adopted here, and the identity is the most powerful aspect of Goth culture. After all, how do you truly decide which bands are Goth bands – especially when so many quite understandably reject the label?
I’ve always loved the music, but could never carry off the look, but I do think there’s a good percentage of Goth in me, despite appearances! What I’ve enjoyed most about this journey is meeting and being welcomed by so many people in the thriving alternative and Goth scenes here. I have some wonderful new friends who I’m very excited to be collaborating with on future projects. Elizabeth, who runs the Alternative Festival of Gothica, is a big inspiration to me.
The frequent Alternative Days bring together many of the major aspects of the thriving scene, including Feral at Wharf Chambers, Leodis Requiem, Goth City, Carpe Noctum and the regular Le Phono reunion.
I’m only one of the more recent people trying to make this story more well-known. There are some wonderfully creative people here who have been working on it for years. I love working with others, and we have some great collaborative projects in the pipeline.
Could you elaborate on how you mean bands rejecting the label ‘goth’? It’s such a fascinating, core issue that so many bands reject the association, so I’m keen to get your take on it!
On the label thing, my take is that bands shouldn’t feel typecast. They might feel restricted by a label they might not have given themselves. If Eldritch, for example, wanted to try a new direction, then it might be frustrating if a label he never chose seemed to get in the way of musical experimentation.
Thanks, and agreed! I can imagine the frustration artists like Eldritch, Siouxsie or Robert Smith might have with ‘definitions’ slapped on them by music journos who want to box in artists that might have a broader range than one look or sound of the week! Next, could you please elaborate on the more general work Leeds Nomad does?
Leeds Nomad started as an Instagram account five years ago when I moved back to Leeds after six years away. It has evolved into an umbrella heritage account which combines my passions of walking, exploring, discovery and sharing. I’m particularly interested in stories that are not well-known or understood and assume that if they interest and excite me, then plenty of other people would be interested to know more.
That does seem to be the case, and it’s a great way to meet like-minded people who share those passions. I’ve recently launched LeedsNomad.com as a place to tell those stories in a richer way.
There is so much to explore in Leeds, and so much still to discover.
I’m always keen to find out people’s perspective on ‘legitimacy’, and what makes a ‘true’ goth. From the outside looking in, what does it seem like to you? The goths of the 80s in Leeds were probably the most ‘real’ goths ever (ymmv), so how does it look today?
I actually think anyone should be able to wear the badge if that’s how they identify. I love seeing how things have evolved and the creativity involved in that, and it’s important to keep things moving and evolving.
Of course, I love the traditional style and aesthetics. There’s also something about Leeds at that time that meant the culture developed in such a distinct way. I find that fascinating.
When I’m asked if I’m a Goth myself, I tend to say it’s a certain percentage, perhaps 27% today! It rubs off on you. And being someone who has come into the scene from a different place, I’m struck by how welcomed I’ve been made to feel. The most enthusiasm I’ve had when promoting the event has been from young people and students. Everyone seems to know or live with a flatmate who’s a Goth!
I think it’s something about ethos also. There’s a hugely strong sense of inclusivity and care that runs through all different aspects of Leeds’ alternative culture. You really get the sense everyone looks after one another. Being able to be who you are feels most important to me.
You have a unique perspective on the scene, observing and creating something about it without being as embedded as someone like myself, for example. Do you have any advice for people getting into goth for the first time?
I’ve always felt at home among the alternative community, despite not always seemingly looking the part. So, I suppose, it’s always been in me and I’m not a complete outsider. This project has brought me closer to a community I’d lost touch with and provided an opportunity to make new connections and friendships.
I’d say, if you were entirely new to it, then there’s everything to gain by just talking to people and asking about the things that interest you and have brought you there in the first place. People are lovely and there’s no judgment. I find it very welcoming.
I recently met a lovely elderly man who bought a Leeds Goth tote bag. He’d apparently been so fascinated by the alternative market, and the wonderful, interesting traders and customers, that he kept coming back every time it was running.
Finally, did you find out anything surprising when you were researching the project?
The discovery of the Leeds Other Paper is one. You can find all the editions in Leeds Central Library. It’s a fascinating snapshot of Leeds from the late 70s through to the early 90s, generally written and edited through a lens of leftwing politics. It’s full of fascinating snippets, and I can waste hours leafing through the many volumes.
I’m also a big fan of music tech, so the various incarnations of Doktor Avalanche are especially interesting!
I’ve also been struck by how few people know how important Leeds has been in the story of the emergence of Goth culture. Almost no one knows about it. Some assume it started in Whitby, which is understandable. The Batcave gets mentioned a lot in articles I’ve read, yet very few mention Leeds. People get very excited when they learn about it, and I think it’s time that we firmly embed this part of our heritage into our city’s own story.
Thanks for talking with us, Mark! Whilst the challenge is only running for a brief time, I encourage everyone who can to take part. The locations will still be there even after the QR codes have disappeared, so you can carry out your own exploration of Leeds Goth whenever you want. Let us know in the comments what you find!
The Blogging Goth is proudly supported by its Patrons – I couldn’t do this without your generous support. To find out more about keeping The Bloggin Goth ad-free, and what unique benefits you get as a Patron, please visit my page!
Vaughan Allen
Claire Victoria, Mark Chisman
