It's a Tuesday, near midnight, and things at Roderick's Chamber are just getting started. A lady in a burgundy taffeta ballgown is swirling dramatically, lip synching to the operatic refrains of Die Form's "Cantique 1." Five minutes later a hard-edged industrial rhythm draws men in black velvet trousers reeling to the dance floor.

Hundreds of Bay Area goths flock to clubs like Roderick's to dance, make merry and bedeck themselves in dark finery. Currently, San Francisco has one of the most active gothic scenes in the country -- so active, some outsiders are calling it a resurgence. "Goth is so alive here that you cannot help but percieve it as being on the rise," says DJ Damion Tidd.

Lately, images of models in black makeup, lace and velvet -- even corsets -- are inescapable. The winter lines of designers Anna Sui and Yeohlee have been referred to as gothic. One can't help but blame a very popular -- and controversial -- band: Marilyn Manson.

"I think that it's cool Marilyn Manson is at the level they're at, because they have been able to expose the general public... to this really intense scene visually," says Susan Wallace of Switchblade Symphony. According to Tidd, Manson's success has brought goth into the public eye, but hasn't affected the local scene, which thrives regardless of trends.

"Almost every night you can go to a venue. This is very healthy," says Kim X, who oversees COP International Records. The current batch of gothic clubs and bands began in the pre-industrial soup of 1991, when Bay Area labels like COP International, 21st Circuitry, and Reconstriction began signing local groups like Battery and Xorcist.

At the same time, other bands, wary of major labels, began self-publishing their music, creating a DIY atmosphere which defines the local scene. "There's so much creativity and artistry [here]," says Wallace. "And people outside of that have no idea."

Gothic folks are often misread by outsiders. Tackling one common misconception, scenester Ben Newman explains, "Most of us think being obsessed with vampires is really stupid." In addition, "Some people think gothics are all depressed... The gothics in this area are very happy and hug each other and have a good time," says Don Blanchard of 21st Circuitry Records.

San Franciscans swear by the local scene. "People will not hate you for not conforming to the 'goth standard.' Real individualism has a chance here," says scenester Kevin Kaos. Likewise, X applauds the willingness of clubs to play both gothic and industrial music in a single night, something unheard of in Los Angeles.

"San Francisco has always been very liberal and... more willing to accept freaks," explains scenester Chris Reynolds. In fact, bondage fashions have become part and parcel of the local scene, adding a local flavor to traditional gothic attire. X comments, "The fetish thing is making people more open-minded."

Local bands love the scene, too, because of its supportive and flexible atmosphere. "I'd say it's pretty close-knit," says Maria Azevedo of Battery. "It's hard to keep clubs together for any length of time, but the people who are in it are so into it."

Although another local band, Wench, doesn't consider itself a direct part of the scene, "those are the clubs that we play in because they've been really receptive to what we're doing. We definitely feel connected to it," says singer Katreece Montgomery.

Unfortunately for Switchblade Symphony, the gothic label has become a double-edged sword. While locals flock to Switchblade's shows, the band hasn't been able to join larger tours because of public misconceptions. "It's not so much our problem as it is everybody's problem," Wallace explains. "They see this one asshole who's shooting his mouth off... projecting this really nasty image. The wrong thing [is] being accented."

Another issue is a lack of live venues. "Even though people are willing to dance to the music, they're not willing to go see bands.," X says. "When you talk to club owners, they don't want to rent a PA because they won't make any money."

In addition, there is a high turnover rate for local clubs. Sometimes political infighting between DJs, scenesters and bands can destroy a venue. Blanchard, who co-owned the legendary House of Usher, split with his gothic partners over differing opinions. "To this day, people are angry at me because of my gothic partners... where both sides are to blame," he says.

However, most locals are glad for the thriving scene. Blanchard sees the movement as a rollercoaster, adjusting as trends change. But one thing seems constant among San Francisco goths: "it's pretty easy to be who you want here," Wallce says. "There's nothing holding you back except for yourself."

This article was originally published in BAM magazine.