Jump to content

New wave music

Page semi-protected
From Wikipedia, the free encyclopedia
(Redirected from New wave rock)

This article is about the 1970s–1980s music genre. For other New Wave artistic movements, see List of New Wave movements.
Not to be confused with New-age music or Wave music.

New wave
Stylistic origins
Cultural originsMid-to-late 1970s
Derivative forms
Subgenres
Fusion genres
Two-tone[24]
Regional scenes
Other topics

New wave is a music genre that encompasses pop-oriented styles from the 1970s through the 1980s. It is considered a lighter and more melodic "broadening of punk culture".[4] It was originally used as a catch-all for the various styles of music that emerged after punk rock.[29][30] Later, critical consensus favored "new wave" as an umbrella term involving many contemporary popular music styles, including synth-pop, alternative dance and post-punk.[14][31][30] The main new wave movement coincided with late 1970s punk and continued into the early 1980s.[31]

The common characteristics of new wave music include a humorous or quirky pop approach, angular guitar riffs, jerky rhythms, the use of electronics, and a distinctive visual style in fashion.[30][5] In the early 1980s, virtually every new pop and rock act – and particularly those that employed synthesizers – were tagged as "new wave" in the United States.[30] Although new wave shares punk's do-it-yourself philosophy, the musicians were more influenced by the styles of the 1950s along with the lighter strains of 1960s pop and were opposed to the generally abrasive, political bents of punk rock, as well as what was considered to be creatively stagnant "corporate rock".[5]

New wave commercially peaked from the late 1970s into the early 1980s with numerous major musicians and an abundance of one-hit wonders. MTV, which was launched in 1981, heavily promoted new-wave acts, boosting the genre's popularity in the United States.[30] In the UK, new wave faded at the beginning of the 1980s with the emergence of the New Romantic movement.[31] In the US, new wave continued into the mid-1980s but declined with the popularity of the New Romantic, new pop, and new music genres.[32][33] Since the 1990s, new wave resurged several times with the growing nostalgia for several new-wave-influenced musicians.[34][35][36]

Characteristics

New wave music encompassed a wide variety of styles that shared a quirky, lighthearted, and humorous tone[37] that were popular in the late 1970s and early 1980s.[4] New wave includes several pop-oriented styles from this time period.[4] Common characteristics of new wave music include a humorous or quirky pop approach, the use of electronic sounds, and a distinctive visual style in music videos and fashion.[30] According to Simon Reynolds, new wave music had a twitchy, agitated feel. New wave musicians often played choppy rhythm guitars with fast tempos; keyboards, and stop-start song structures and melodies are common. Reynolds noted new-wave vocalists sound high-pitched, geeky, and suburban.[38]

As new wave originated in Britain, many of the first new wave artists were British.[39] These bands became popular in America, in part, because of channels like MTV, which would play British new wave music videos because most American hit records did not have music videos to play. British videos, according to head of S-Curve Records and music producer Steve Greenberg, "were easy to come by since they'd been a staple of UK pop music TV programs like Top of the Pops since the mid-70s."[40] This rise in technology made the visual style of new wave musicians important for their success.

A nervous, nerdy persona was a common characteristic of new wave fans, and acts such as Talking Heads, Devo, and Elvis Costello.[41] This took the forms of robotic dancing, jittery high-pitched vocals, and clothing fashions that hid the body such as suits and big glasses.[42] This seemed radical to audiences accustomed to post-counterculture genres such as disco dancing and macho "cock rock" that emphasized a "hang loose" philosophy, open sexuality, and sexual bravado.[43]

Blondie, 1976. L–R: Gary Valentine, Clem Burke, Deborah Harry, Chris Stein and Jimmy Destri.

New wave may be seen as an attempt to reconcile "the energy and rebellious attitude of punk" with traditional forms of pop songwriting, as seen in the rockabilly riffs and classic craftsmanship of Elvis Costello and the 1960s mod influences of the Jam.[44][31] Paul Weller, who called new wave "the pop music of the Seventies",[45] explained to Chas de Whalley in 1977:

It's just pop music and that's why I like it. It's all about hooks and guitar riffs. That's what the new wave is all about. It's not heavy and negative like all that Iggy and New York stuff. The new wave is today's pop music for today's kids, it's as simple as that. And you can count the bands that do it well and are going to last on one hand. The Pistols, The Damned, The Clash, The Ramones – and The Jam.[46]

Although new wave shares punk's do-it-yourself artistic philosophy, the musicians were more influenced by the light strains of 1960s pop while opposed to mainstream "corporate" rock, which they considered creatively stagnant, and the generally abrasive and political bents of punk rock.[5] In the early 1980s, particularly in the United States, notable new wave acts embraced a crossover of pop and rock music with African and African-American styles. Adam and the Ants and Bow Wow Wow, both acts with ties to former Sex Pistols manager Malcolm McLaren, used Burundi-style drumming.[47] Talking Heads' album Remain in Light was marketed and positively reviewed as a breakthrough melding of new wave and African styles, although drummer Chris Frantz said he found out about this supposed African influence after the fact.[48] As the decade continued, new wave elements would be adopted by African-American musicians such as Grace Jones, Janet Jackson, and Prince,[49] who in particular used new wave influences to lay the groundwork for the Minneapolis sound.[50]

History

Forerunners

The Velvet Underground have also been heralded for their influence on new wave, post-punk and alternative rock.[51][52] Roxy Music were also influential to the genre as well as the works of David Bowie, Iggy Pop[53] and Brian Eno.[54]

Early 1970s

The term "new wave" is regarded as so loose and wide-ranging as to be "virtually meaningless", according to the New Rolling Stone Encyclopedia of Rock.[55] It originated as a catch-all for the music that emerged after punk rock, including punk itself,[30] in Britain. Scholar Theo Cateforis said that the term was used to commercialize punk groups in the media:

Punk rock or new wave bands overwhelmingly expressed their dissatisfaction with the prevailing rock trends of the day. They viewed bombastic progressive rock groups like Emerson Lake and Palmer and Pink Floyd with disdain, and instead channeled their energies into a more stripped back sound… The media, however, portrayed punk groups like the Sex Pistols and their fans as violent and unruly, and eventually punk acquired a stigma—especially in the United States—that made the music virtually unmarketable. At the same time, a number of bands, such as the Cars, the Police and Elvis Costello and the Attractions, soon emerged who combined the energy and rebellious attitude of punk with a more accessible and sophisticated radio-friendly sound. These groups were lumped together and marketed exclusively under the label of new wave.[44]

Talking Heads performing in Toronto in 1978

As early as 1973, critics including Nick Kent and Dave Marsh were using the term "new wave" to classify New York–based groups such as the Velvet Underground and New York Dolls.[56] In the US, many of the first new wave groups were the not-so-punk acts associated with CBGB (e.g. Talking Heads, Mink DeVille and Blondie),[34] as well as the proto-punk scene in Ohio, which included Devo, the Electric Eels, Rocket from the Tombs, and Pere Ubu.[57][58] Some important bands, such as Suicide and the Modern Lovers debuted even earlier.[59] CBGB owner Hilly Kristal, referring to the first show by Television at his club in March 1974, said; "I think of that as the beginning of new wave".[60] Many musicians who would have originally been classified as punk were also termed new wave. A 1977 Phonogram Records compilation album of the same name (New Wave) includes American bands Dead Boys, Ramones, Talking Heads, and the Runaways.[34][61]

Mid- to late-1970s

Between 1976 and 1977, the terms "new wave" and "punk" were used somewhat interchangeably.[33][62] Music historian Vernon Joynson said new wave emerged in the UK in late 1976, when many bands began disassociating themselves from punk.[9] That year, the term gained currency when it appeared in UK punk fanzines such as Sniffin' Glue, and music weeklies such as Melody Maker and New Musical Express.[63] In November 1976, Caroline Coon used Malcolm McLaren's term "new wave" to designate music by bands that were not exactly punk but were related to the punk-music scene.[64] The mid-1970s British pub rock scene was the source of many of the most-commercially-successful new wave acts, such as Ian Dury, Nick Lowe, Eddie and the Hot Rods, and Dr. Feelgood.[65]

In the US, Sire Records chairman Seymour Stein, believing the term "punk" would mean poor sales for Sire's acts who had frequently played the New York club CBGB, launched a "Don't Call It Punk" campaign designed to replace the term with "new wave".[66] Because radio consultants in the US had advised their clients punk rock was a fad, they settled on the new term. Like the filmmakers of the French New Wave movement, after whom the genre was named, new wave bands such as Ramones and Talking Heads were anti-corporate and experimental. At first, most American writers used the term "new wave" exclusively in reference to British punk acts.[67] Starting in December 1976, The New York Rocker, which was suspicious of the term "punk", became the first American journal to enthusiastically use the term, at first for British acts and later for acts associated with the CBGB scene.[63] The music's stripped-back style and upbeat tempos, which Stein and others viewed as a much-needed return to the energetic rush of rock and roll and 1960s rock that had dwindled in the 1970s with progressive rock and stadium spectacles, attracted them to new wave.[68][page needed]

The term "post-punk" was coined to describe groups who were initially considered part of new wave but were more ambitious, serious, challenging, darker, and less pop-oriented.[according to whom?] Some of these groups later adopted synthesizers.[69] While punk rock wielded a major influence on the popular music scene in the UK, in the US it remained a fixture of the underground.[68]

By the end of 1977, "new wave" had replaced "punk" as the term for new underground music in the UK.[63] In early 1978, XTC released the single "This Is Pop" as a direct response to tags such as "new wave". Songwriter Andy Partridge later stated of bands such as themselves who were given those labels; "Let's be honest about this. This is pop, what we're playing ... don't try to give it any fancy new names, or any words that you've made up, because it's blatantly just pop music. We were a new pop group. That's all."[70] According to Stuart Borthwick and Ron Moy, authors of Popular Music Genres: an Introduction, the "height of popularity for new wave" coincided with the election of Margaret Thatcher in spring 1979.[71]

1980s

In the early 1980s, new wave gradually lost its associations with punk in popular perception among some Americans. Writing in 1989, music critic Bill Flanagan said; "Bit by bit the last traces of Punk were drained from New Wave, as New Wave went from meaning Talking Heads to meaning the Cars to Squeeze to Duran Duran to, finally, Wham!".[72] Among many critics, however, new wave remained tied to the punk/new wave period of the late 1970s. Writing in 1990, the "Dean of American Rock Critics" Robert Christgau, who gave punk and new wave bands major coverage in his column for The Village Voice in the late 1970s, defined "new wave" as "a polite term devised to reassure people who were scared by punk, it enjoyed a two- or three-year run but was falling from favor as the '80s began."[73]

Lester Bangs, another critical promoter of punk and new wave in the 1970s, when asked if new wave was "still going on" in 1982, stated that "The only trouble with New Wave is that nobody followed up on it ... But it was really an exciting burst there for like a year, year and a half."[74] Starting around 1983, the US music industry preferred the more generic term "new music", which it used to categorize new movements like new pop and New Romanticism.[75] In 1983, music journalist Parke Puterbaugh wrote that new music "does not so much describe a single style as it draws a line in time, distinguishing what came before from what has come after."[39] Chuck Eddy, who wrote for The Village Voice in the 1980s, said in a 2011 interview that by the time of British new pop acts' popularity on MTV, "New Wave had already been over by then. New wave was not synth music; it wasn't even this sort of funny-haircut music. It was the guy in the Boomtown Rats wearing pajamas."[76] Similarly in Britain, journalists and music critics largely abandoned the term "new wave" with the rise of synth-pop.[77] According to authors Stuart Borthwick and Ron Moy, "After the monochrome blacks and greys of punk/new wave, synth-pop was promoted by a youth media interested in people who wanted to be pop stars, such as Boy George and Adam Ant".[71]

In 2005, Andrew Collins of The Guardian offered the breakup of the Jam, and the formation of Duran Duran, as two possible dates marking the "death" of new wave.[78] British rock critic Adam Sweeting, who described the Jam as "British New Wave at its most quintessential and successful", remarked that the band broke up "just as British pop was being overrun by the preposterous leisurewear and over-budgeted videos of Culture Club, Duran Duran and ABC, all of which were anathema to the puritanical Weller."[79] Scholar Russ Bestley noted that while punk, new wave, and post-punk songs had featured on the Top of the Pops album series between mid-1977 and early 1982, by the time of the first Now That's What I Call Music! compilation in 1983 punk and new wave was "largely dead and buried as a commercial force".[80]

New wave was closely tied to punk, and came and went more quickly in the UK and Western Europe than in the US. At the time punk began, it was a major phenomenon in the UK and a minor one in the US. When new wave acts started being noticed in the US, the term "punk" meant little to mainstream audiences, and it was common for rock clubs and discos to play British dance mixes and videos between live sets by American guitar acts.[81]

Illustrating the varied meanings of "new wave" in the UK and the US, Collins recalled how growing up in the 1970s he considered the Photos, who released one album in 1980 before splitting up a year later, as the most "truly definitive new wave band". In the same article, reviewing the American book This Ain't No Disco: New Wave Album Covers, Collins noted that the book's inclusion of such artists as Big Country, Roxy Music, Wham!, and Bronski Beat "strikes an Englishman as patently ridiculous", but that the term means "all things to all cultural commentators."[78] By the 2000s, critical consensus favored "new wave" to be an umbrella term that encompasses power pop, synth-pop, ska revival, and the soft strains of punk rock.[14] In the UK, some post-punk music developments became mainstream.[82] According to music critic David Smay writing in 2001:

Current critical thought discredits new wave as a genre, deriding it as a marketing ploy to soft-sell punk, a meaningless umbrella term covering bands too diverse to be considered alike. Powerpop, synth-pop, ska revival, art school novelties and rebranded pub rockers were all sold as "New Wave".[14]

Popularity in the United States (1970s–1980s)

Painting of a Devo energy dome hat

1970s

In mid-1977, Time[83] and Newsweek wrote favorable lead stories on the punk/new wave movement.[84] Acts associated with the movement received little or no radio airplay, or music industry support. Small scenes developed in major cities. Continuing into the next year, public support remained limited to select elements of the artistic, bohemian, and intellectual population[63] as arena rock and disco dominated the charts.[85] In early 1979, Eve Zibart of The Washington Post noted the contrast between "the American audience's lack of interest in New Wave music" compared to critics, with a "stunning two-thirds of the Top 30 acts" in the 1978 Pazz & Jop poll falling into the "New Wave-to-rock 'n' roll revivalist spectrum".[86] A month later, the same columnist called Elvis Costello the "Best Shot of the New Wave" in America, speculating that "If New Wave is to take hold here, it will be through the efforts of those furthest from the punk center" due to "inevitable" American middle class resistance to the "jarring rawness of New Wave and its working-class angst."[87]

Starting in late 1978 and continuing into 1979, acts associated with punk and acts that mixed punk with other genres began to make chart appearances and receive airplay on rock stations and rock discos.[88] Blondie, Talking Heads, the Police, and the Cars charted during this period.[33][85] "My Sharona", a single from the Knack, was Billboard magazine's number-one single of 1979; its success, combined with new wave albums being much cheaper to produce during the music industry's worst slump in decades,[88] prompted record companies to sign new wave groups.[33] At the end of 1979, Dave Marsh wrote in Time that the Knack's success confirmed rather than began the new wave movement's commercial rise, which had been signaled in 1978 by hits for the Cars and Talking Heads.[89] In 1980, there were brief forays into new wave-style music by non-new wave artists Billy Joel (Glass Houses), Donna Summer (The Wanderer), and Linda Ronstadt (Mad Love).[33]

1980s

Early in 1980, influential radio consultant Lee Abrams wrote a memo saying with a few exceptions, "we're not going to be seeing many of the new wave circuit acts happening very big [in the US]. As a movement, we don't expect it to have much influence."[90][30] A year earlier, Bart Mills of The Washington Post asked "Is England's New Wave All Washed Up?", writing that "The New Wave joined the Establishment, buying a few hits at the price of its anarchism. Not a single punk band broke through big in America, and in Britain John Travolta sold more albums than the entire New Wave."[91] Lee Ferguson, a consultant to KWST, said in an interview Los Angeles radio stations were banning disc jockeys from using the term and noted; "Most of the people who call music new wave are the ones looking for a way not to play it".[92] Second albums by new wave musicians who had successful debut albums, along with newly signed musicians, failed to sell and stations pulled most new wave programming,[33] such as Devo's socially critical but widely misunderstood song "Whip It".[93]

In 1981, the start of MTV began new wave's most successful era in the US.[citation needed] British musicians, unlike many of their American counterparts, had learned how to use the music video early on.[85][94] Several British acts on independent labels were able to outmarket and outsell American musicians on major labels, a phenomenon journalists labeled the "Second British Invasion" of "new music", which included many artists of the New Romantic movement.[94][95] In 1981, Rolling Stone contrasted the movement with the previous new wave era, writing that "the natty Anglo-dandies of Japan", having been "reviled in the New Wave era", seemed "made to order for the age of the clothes-conscious New Romantic bands."[96] MTV continued its heavy rotation of videos by "post-New Wave pop" acts "with a British orientation" until 1987, when it changed to a heavy metal and rock-dominated format.[97]

In a December 1982 Gallup poll, 14% of teenagers rated new wave as their favorite type of music, making it the third-most-popular genre.[98] New wave had its greatest popularity on the West Coast. Unlike other genres, race was not a factor in the popularity of new wave music, according to the poll.[98] Urban contemporary radio stations were the first to play dance-oriented new wave bands such as the B-52's, Culture Club, Duran Duran, and ABC.[99]

New wave soundtracks were used in mainstream Brat Pack films such as Sixteen Candles, Pretty in Pink, and The Breakfast Club, as well as in the low-budget hit Valley Girl.[85][100] John Hughes, the director of several of these films, was enthralled with British new wave music, and placed songs from acts such as the Psychedelic Furs, Simple Minds, Orchestral Manoeuvres in the Dark, and Echo and the Bunnymen in his films, helping to keep new wave in the mainstream.[citation needed] Several of these songs remain standards of the era.[101] Critics described the MTV acts of the period as shallow or vapid.[85][94] Homophobic slurs were used to describe some of the new wave musicians.[102] Despite the criticism, the danceable quality of the music and the quirky fashion sense associated with new wave musicians appealed to audiences.[85] Peter Ivers, who started his career in the late 1960s, went on to become the host for the television program New Wave Theatre that showcased rising acts in the underground new wave scene. He has been described by NTS Radio as "a virtuosic songwriter and musician whose antics bridged not just 60s counterculture and New Wave music but also film, theater, and music television."[103][104]

In September 1988, Billboard launched its Modern Rock chart, the acts on which reflected a wide variety of stylistic influences. New wave's legacy remained in the large influx of acts from the UK, and acts that were popular in rock discos, as well as the chart's name, which reflects the way new wave was marketed as "modern".[105] According to Steve Graves, new wave's indie spirit was crucial to the development of college rock and grunge/alternative rock in the latter half of the 1980s and onward.[85] Conversely, according to Robert Christgau, "in America, the original New Wave was a blip commercially, barely touching the nascent alt-rock counterculture of the '80s."[106]

Post-1980s revivals and influence

Indie and alternative rock

See also: Post-punk revival
Franz Ferdinand performing in 2006

In the US, new wave continued into the mid-1980s but declined with the popularity of the New Romantic, new pop, and new music genres.[32][33] Some new wave acts, particularly R.E.M., maintained new wave's indie label orientation through most of the 1980s, rejecting potentially more lucrative careers from signing to a major label.[85] In the UK, new wave "survived through the post-punk years, but after the turn of the decade found itself overwhelmed by the more outrageous style of the New Romantics."[31] In response, many British indie bands adopted "the kind of jangling guitar work that had typified New Wave music",[107] with the arrival of the Smiths characterised by the music press as a "reaction against the opulence/corpulence of nouveau rich New Pop"[108] and "part of the move back to guitar-driven music after the keyboard washes of the New Romantics".[109] In the aftermath of grunge, the British music press launched a campaign to promote the new wave of new wave that involved overtly punk and new-wave-influenced acts such as Elastica, but it was eclipsed by Britpop, which took influences from both 1960s rock and 1970s punk and new wave.[34][110]

During the 2000s, a number of acts that exploited a diversity of new wave and post-punk influences emerged. These acts were sometimes labeled "New New Wave".[111][112] According to British music journalist Chris Nickson, Scottish band Franz Ferdinand revived both Britpop and the music of the late 1970s "with their New Wave influenced sound".[113] AllMusic notes the emergence of these acts "led journalists and music fans to talk about a post-punk/new wave revival" while arguing it was "really more analogous to a continuum, one that could be traced back as early as the mid-'80s".[35]

References

  1. ^ "What is New Wave Music? 9 Examples & History". musicindustryhowto.com. 28 February 2023.
  2. ^ "33 Best New Wave Songs In The World". musicindustryhowto.com. 12 April 2022.
  3. ^ a b Larson, Thomas E. (2014). History of Rock and Roll (4 ed.). Lincoln, Nebraska: Kendall Hunt. p. 269. ISBN 978-1-4652-3886-3.
  4. ^ a b c d e f g Erlewine, Stephen Thomas. "New Wave". AllMusic. Rovi Corporation. Archived from the original on 25 October 2010. Retrieved 4 May 2014.
  5. ^ a b c d e Seddon, Stephen. "New wave". Encyclopedia Britannica. Retrieved 26 May 2020.
  6. ^ Lynch, Joe (14 January 2016). "David Bowie Influenced More Musical Genres Than Any Other Rock Star". Billboard. Retrieved 20 October 2016.
  7. ^ a b "What Is Art Pop? A Guide To The Music Genre". walnutcreekband.org. 4 October 2022.
  8. ^ Cateforis 2011, pp. 9–12.
  9. ^ a b Joynson, Vernon (2001). Up Yours! A Guide to UK Punk, New Wave & Early Post Punk. Wolverhampton: Borderline Publications. p. 11. ISBN 1-899855-13-0.
  10. ^ "New Wave Music: The History and Bands of New Wave Music". masterclass.com. 8 June 2021.
  11. ^ "A Guide to Progressive Pop". tidal.com. 20 November 2019.
  12. ^ "The New Synthesizer Rock". Keyboard. June 1982. Retrieved 15 May 2011.
  13. ^ "Bernard Edwards, 43, Musician In Disco Band and Pop Producer". The New York Times. 22 April 1996. As disco waned in the late 70s, so did Chic's album sales. But its influence lingered on as new wave, rap and dance-pop bands found inspiration in Chic's club anthems
  14. ^ a b c d Cooper, Kim, Smay, David, Bubblegum Music is the Naked Truth (2001), page 248 "Nobody took the bubblegum ethos to heart like the new wave bands"/
  15. ^ "A Guide to Progressive Pop". tidal.com. 20 November 2019.
  16. ^ Brian McNair, Striptease Culture: Sex, Media and the Democratization of Desire (London: Routledge, 2002), ISBN 0-415-23734-3, p. 136.
  17. ^ Pirnia, Garin (13 March 2010). "Is Chillwave the Next Big Music Trend?". The Wall Street Journal. Retrieved 15 May 2011.
  18. ^ a b Gordon, Claire (23 October 2009). "The decade that never dies". Yale Daily News. Archived from the original on 13 February 2010. Retrieved 15 May 2011.
  19. ^ Synth Pop at AllMusic
  20. ^ Shaw, Greg (14 January 1978). "New Trends of the New Wave". Billboard. Retrieved 23 November 2015.
  21. ^ "25 Essential Sophisti-Pop Songs". Westwoodhorizon.com.
  22. ^ Ogiba, Jeff (11 July 2012). "A Brief History Of Musical Waves From NEW To NEXT". Vice.
  23. ^ Ogiba, Jeff (11 July 2012). "A Brief History Of Musical Waves From NEW To NEXT". Vice.
  24. ^ "Ska Revival". AllMusic.
  25. ^ Filipinojournal.com Archived 12 June 2014 at the Wayback Machine A Tribute to the '80s Philippine New Wave Scene
  26. ^ Božilović, Jelena (2013). "New Wave in Yugoslavia-Socio-Political Context" (PDF). Facta Universitatis. Philosophy, Sociology, Psychology and History. 12 (1): 69–83.
  27. ^ Petridis, Alexis (16 September 2019). "Ric Ocasek: Cars frontman who drove new wave into the mainstream". TheGuardian.com.
  28. ^ Sullivan, Jim (16 September 2019). "The Cars Frontman Ric Ocasek Paved Path From Boston Punk To Mainstream New Wave". Wbur.org.
  29. ^ Graham Thompson,American Culture in the 1980s, Edinburgh University Press, 2007, p. 163
  30. ^ a b c d e f g h "New Wave Music Genre Overview". AllMusic.
  31. ^ a b c d e Nickson, Chris (25 September 2012). "New Wave Music in The 70s". ministryofrock.co.uk. Retrieved 16 February 2024.
  32. ^ a b Collins, Andrew (18 March 2005). "And then came the wave...: When he was growing up in 1970s Northampton, Andrew Collins would have killed anyone who'd called his favourite bands new wave". The Guardian. Retrieved 16 February 2024. Costello, new wave's patron saint, was smart enough to put its musical licks behind him by 1980. In the US, of course, it flourished for years after, with bands as sappy as the Bangles and Huey Lewis & The News rocking the look into 1986 and beyond.
  33. ^ a b c d e f g Cateforis, Theo (2009). The Death of New Wave (PDF). IASPM US. San Diego. Archived from the original (PDF) on 5 February 2013.
  34. ^ a b c d Peter Childs; Mike Storry (1999). Encyclopedia of Contemporary British Culture. Taylor & Francis. p. 365. ISBN 978-0-415-14726-2.
  35. ^ a b New Wave/Post Punk Revival AllMusic
  36. ^ "Q&A with Theo Cateforis, author of Are We Not New Wave? Modern Pop at the Turn of the 1980s" (PDF). University of Michigan Press. 2011.
  37. ^ "new wave". Encyclopedia Britannica. Archived from the original on 8 March 2022.
  38. ^ Reynolds, Simon Rip It Up and Start Again PostPunk 1978–1984 p.160
  39. ^ a b Puterbaugh, Parke (10 November 1983). "Anglomania: The Second British Invasion". Rolling Stone. Penske Media Corporation. Archived from the original on 10 March 2022. Retrieved 18 March 2022. New music betokens a kind of pop modernism with a British bias, without getting too specific. It can be said to have originated in the U.K. around 1977 with the noisy, infidel insurrections of the Clash, the Sex Pistols and the Jam, and it continues—in a broken line and through all manner of phases and stages—to the present day, with such bands as Culture Club, Duran Duran and Big Country.
  40. ^ Greenberg, Steve. "From Comiskey Park To 'Thriller' (How The Pop Music Audience Was Torn Apart, And Then Put Back Together)". S-Curve Records. S-Curve Records. Retrieved 18 March 2022. Why did MTV choose to play videos of songs that weren't on the radio, rather than concentrating on the biggest pop hits? Quite simply, music videos for most of the American hit records of the day did not exist. Desperate to fill a round-the-clock schedule with videos, MTV's initial playlists were chock full of clips by British new wave acts unfamiliar to American radio audiences. British videos were easy to come by since they'd been a staple of UK pop music TV programs like "Top of the Pops" since the mid-70s.
  41. ^ Theo Cateforis (7 June 2011). Are We Not New Wave?: Modern Pop at the Turn of the 1980s. University of Michigan Press. p. 75. ISBN 978-0472034703.
  42. ^ Theo Cateforis (7 June 2011). Are We Not New Wave?: Modern Pop at the Turn of the 1980s. University of Michigan Press. p. 84. ISBN 978-0472034703.
  43. ^ Cateforis 2011, pp. 71–94.
  44. ^ a b Cateforis, Theo (4 May 2011). "Q&A with Theo Cateforis, author of Are We Not New Wave?". University of Michigan Press Blog. Michigan Publishing. Archived from the original on 26 May 2022. Retrieved 19 March 2022.
  45. ^ Reed, John (1996). Paul Weller: My Ever Changing Moods. Omnibus Press. ISBN 9780857120496. In half a year, the Jam sound had evolved considerably - and for that alone, the LP was an achievement. Weller once spoke of the album as their attempt to "cross over" into new wave - "the pop music of the Seventies," as he called it. They were patently keen to progress beyond the punk mould of In the City, as evidenced by the melodic rush of Paul's slower, more contemplative songs and the cover photo by legendary Sixties photographer Gered Mankowitz.
  46. ^ de Whalley, Chas (17 October 2007). "When you're young". Record Collector.
  47. ^ Cateforis 2011, pp. 185–201.
  48. ^ Cateforis 2011, pp. 203–211.
  49. ^ Berlatsky, Noah (11 May 2021). "New Wave is Defined By Whiteness". Splice Today. Retrieved 3 May 2023.
  50. ^ Campbell, Michael (2009). Popular music in America : the beat goes on (3rd ed.). Boston: Schirmer Cengage Learning. ISBN 978-0-495-50530-3. OCLC 310962465.
  51. ^ "Punk'd: The Velvet Underground – The Velvet Underground & Nico". Acrn.com. 2 March 2020. Retrieved 23 April 2023.
  52. ^ Jones, Chris. "BBC – Music – Review of The Velvet Underground – The Velvet Underground & Nico (Deluxe Edition)". Bbc.co.uk. Retrieved 23 April 2023.
  53. ^ Peacock, Tim (21 April 2023). "Best Iggy Pop Songs: 20 Tracks With An Insatiable Lust For Life". uDiscover Music. Retrieved 3 May 2023.
  54. ^ James, Mark (28 February 2023). "What is New Wave Music? 9 Examples & History". Music Industry How To. Retrieved 29 April 2023.
  55. ^ Theo Cateforis (7 June 2011). Are We Not New Wave?: Modern Pop at the Turn of the 1980s. University of Michigan Press. p. 11. ISBN 978-0472034703.
  56. ^ Cateforis 2011, p. 20.
  57. ^ Savage, Jon (14 November 2013). "Cleveland's early punk pioneers: from cultural vacuum to creative explosion". The Guardian. ISSN 0261-3077. Retrieved 6 October 2019.
  58. ^ "Robert Christgau: A Real New Wave Rolls Out of Ohio". Robertchristgau.com. Retrieved 6 October 2019.
  59. ^ Rombes, Nicholas (18 February 2005). The Ramones' Ramones. Bloomsbury Publishing USA. ISBN 9781441103703.
  60. ^ Clinton Heylin, Babylon's Burning (Conongate, 2007), p. 17.
  61. ^ Savage, Jon. (1991) England's Dreaming, Faber & Faber
  62. ^ Joynson, Vernon (2001). Up Yours! A Guide to UK Punk, New Wave & Early Post Punk. Wolverhampton: Borderline Publications. p. 12. ISBN 1-899855-13-0.
  63. ^ a b c d Gendron, Bernard (2002). Between Montmartre and the Mudd Club: Popular Music and the Avant-Garde (Chicago and London: University of Chicago Press), pp. 269–270.
  64. ^ Clinton Heylin, Babylon's Burning (Conongate, 2007), pp. 140, 172.
  65. ^ Adams, Bobby. "Nick Lowe: A Candid Interview", Bomp magazine, January 1979, reproduced at [1]. Retrieved 21 January 2007.
  66. ^ Cateforis 2011, p. 25.
  67. ^ The Grove Dictionary of American Music, 2nd edition New 3 September 2014
  68. ^ a b Cateforis, Theo. "New Wave." The Grove Dictionary of American Music, 2nd ed., Oxford University Press. 2014.
  69. ^ Greil Marcus (1994). Ranters and Crowd Pleasers. Anchor Books. p. 109.
  70. ^ Bernhardt, Todd; Partridge, Andy (11 November 2007). "Andy discusses "This Is Pop"". Chalkhills.
  71. ^ a b S. Borthwick & R. Moy (2004), "Synthpop: into the digital age", Popular Music Genres: an Introduction, Routledge, ISBN 978-0-7486-1745-6
  72. ^ Cateforis 2011, p. 63.
  73. ^ Christgau, Robert (1990). Christgau's Record Guide: The '80s. Pantheon Books. ISBN 0-679-73015-X.
  74. ^ DeRogatis, Jim (November 1999). "A Final Chat with Lester Bangs". Perfect Sound Forever.
  75. ^ Cateforis 2011, pp. 12, 56.
  76. ^ Matos, Michaelangelo (29 September 2011). "The Writer's Jukebox: An Interview with Chuck Eddy". Los Angeles Review of Books. Retrieved 21 December 2023.
  77. ^ Cateforis 2011, p. 254.
  78. ^ a b Collins, Andrew (18 March 2005). "And then came the wave...: When he was growing up in 1970s Northampton, Andrew Collins would have killed anyone who'd called his favourite bands new wave". The Guardian. Retrieved 18 May 2020.
  79. ^ Sweeting, Adam (25 April 2002). "That was the modern world". The Guardian.
  80. ^ Bestley, Russ (2019). "The Top of the Poppers sing and play punk" (PDF). University of the Arts London. Retrieved 20 March 2024.
  81. ^ Cateforis 2011, pp. 46–47, 62.
  82. ^ Cateforis 2011, pp. 46–47.
  83. ^ "Anthems of the Blank Generation". Time. 11 July 1977. Archived from the original on 24 January 2009. Retrieved 15 May 2011.
  84. ^ "Punk/New Wave". AllMusic. Archived from the original on 27 May 2022.
  85. ^ a b c d e f g h Graves, Steve. "New Wave Music". St. James Encyclopedia of Popular Culture. Retrieved 30 March 2019 – via Encyclopedia.com.
  86. ^ Zibart, Eve (30 January 1979). "Clash-Consciousness: The Latest Breaking of Britain's New Wave". The Washington Post. Retrieved 14 February 2024.
  87. ^ Zibart, Eve (8 February 1979). "Elvis Costello: Best Shot of the New Wave". The Washington Post. Retrieved 14 February 2024.
  88. ^ a b Cateforis 2011, p. 37.
  89. ^ Marsh, Dave (27 December 1979). "The Flip Sides of 1979". Rolling Stone. Retrieved 14 February 2024.
  90. ^ Abrams, Lee; Goldstein, Patrick (16 February 1980). "Is New-Wave Rock on the Way Out?" (Image). Retrieved 18 March 2022. With the exception of the Boomtown Rats, the Police and a few other bands, we're not going to be seeing many of the New Wave circuit acts happening very big over here (in America). As a movement, we don't expect it to have much influence.
  91. ^ "Is the New Wave All Washed Up?". The Washington Post. 13 January 1979. Retrieved 14 February 2024.
  92. ^ Goldstein, Patrick (16 February 2010). "Is New-Wave Rock on the Way Out?". Los Angeles Times. Archived from the original on 30 December 2011. Retrieved 15 May 2011.
  93. ^ AllMusic Whip It Review "But even though most of the listening public took "Whip It" as just a catchy bit of weirdness with nonsensical lyrics about a vaguely sexy topic, the song's actual purpose – like much of Devo's work – was social satire. Putting the somewhat abstract lyrics together, "Whip It" emerges as a sardonic portrait of a general, problematic aspect of the American psyche: the predilection for using force and violence to solve problems, vent frustration, and prove oneself to others"
  94. ^ a b c Rip It Up and Start Again Postpunk 1978–1984 by Simon Reynolds Pages 340, 342–343
  95. ^ "1986 Knight Ridder news article". Nl.newsbank.com. 3 October 1986. Retrieved 15 May 2011.
  96. ^ Loder, Kurt (17 July 1981). "Rolling Stone Random Notes". The Tuscaloosa News. Retrieved 14 February 2024 – via Google News Archive.
  97. ^ Holden, Stephen (15 June 1988). "The Pop Life". The New York Times. Retrieved 15 May 2011.
  98. ^ a b "Rock Still Favorite Teen-Age music". Gainesville Sun. 13 April 1983. Retrieved 15 May 2011.
  99. ^ "Crossover: Pop Music thrives on black-white blend". Knight Ridder News Service. 4 September 1986. Retrieved 15 May 2011.
  100. ^ "But what does it all mean? How to decode the John Hughes high school movies". The Guardian. UK. 26 September 2008. Retrieved 15 May 2011.
  101. ^ Gora, Susannah (7 March 2010). "Why John Hughes Still Matters". MTV. Archived from the original on 29 January 2013. Retrieved 15 May 2011.
  102. ^ Cateforis 2011, p. 233.
  103. ^ Radio, N. T. S. "In Focus: Peter Ivers 10th March 2020". NTS Radio. Retrieved 21 April 2023.
  104. ^ "New Wave Theater : The Waitresses and The Plimsouls : 1982 Los Angeles". Tvparty.com. Retrieved 21 April 2023.
  105. ^ Cateforis 2011, pp. 65–66.
  106. ^ Christgau, Robert (1996) "How to Beat the Law of Averages", from Details, 1996.
  107. ^ Nickson, Chris (25 September 2012). "Indie and the New Musical Express". ministryofrock.co.uk. Retrieved 13 February 2024.
  108. ^ Reynolds, Simon (26 September 1987). "The Smiths: A Eulogy". Bring the Noise: 20 Years of Writing About Hip Rock and Hip Hop. Catapult. ISBN 978-1-59376-460-9.
  109. ^ Nickson, Chris (31 July 2010). "The Smiths Were The Idols of Indie". ministryofrock.co.uk. Retrieved 13 February 2024.
  110. ^ Nickson, Chris (11 February 2015). "The History of Britpop". ministryofrock.co.uk. Retrieved 13 February 2024.
  111. ^ Paoletta, Michael (17 September 2004). "New wave is back – in hot new bands". Today.com. Retrieved 15 May 2011.
  112. ^ "Gwen Stefani MTV biography". Mtv. Archived from the original on 24 November 2005. Retrieved 15 May 2011.
  113. ^ Nickson, Chris (29 June 2013). "Britpop Revival". ministryofrock.co.uk. Retrieved 13 February 2024.

Bibliography

Further reading

Retrieved from "https://en.wikipedia.org/w/index.php?title=New_wave_music&oldid=1255027751"