New wave music: Difference between revisions
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[[File:Franz-ferdinand-live-2006-tag.jpg|thumb|right|200px|Franz Ferdinand performing in 2006.]] In 1991 retro futurist acts such as [[Stereolab]] and [[Saint Etienne (band)|Saint Etienne]] mixed New Wave and kitschy 1960s pop.<ref>[http://www.scaruffi.com/history/cpt511.html The History of Rock Music: 1989-1994] by [[Piero Scaruffi]]</ref> In the aftermath of grunge, the British music press launched a campaign to promote the [[New Wave of New Wave]]. This campaign involved overtly punk and New Wave influenced acts such as [[Elastica]] and [[Smash]] but was eclipsed by [[Britpop]].<ref name=EncyclopediaofContemporaryBritishCulture/> Other acts of note during the 1990s included [[No Doubt]], [[Six Finger Satellite]], and [[Brainiac (band)|Brainiac]].<ref name=Revival>[{{Allmusic|class=explore|id=style/d13761|pure_url=yes}} New Wave/Post Punk Revival Allmusic]</ref><ref>[http://query.nytimes.com/gst/fullpage.html?res=9E02E4DC1E39F93BA25757C0A960958260 POP REVIEW; "Knowing Just How Hard It Is to Be a Teen-Ager," ''New York Times'', April 18, 1996]</ref> During that decade the synthesizer heavy dance sounds British and European New Wave acts influenced various incarnations of [[Eurodisco]] and [[trance music|trance]].<ref name=decade/><ref name=StJames/> [[Chris Martin]] was inspired to start [[Coldplay]] by [[a-ha]].<ref>http://www.spinner.com/2009/11/24/coldplay-a-ha-mew-form-apparatjik/</ref> |
[[File:Franz-ferdinand-live-2006-tag.jpg|thumb|right|200px|Franz Ferdinand performing in 2006.]] In 1991 retro futurist acts such as [[Stereolab]] and [[Saint Etienne (band)|Saint Etienne]] mixed New Wave and kitschy 1960s pop.<ref>[http://www.scaruffi.com/history/cpt511.html The History of Rock Music: 1989-1994] by [[Piero Scaruffi]]</ref> In the aftermath of grunge, the British music press launched a campaign to promote the [[New Wave of New Wave]]. This campaign involved overtly punk and New Wave influenced acts such as [[Elastica]] and [[Smash]] but was eclipsed by [[Britpop]].<ref name=EncyclopediaofContemporaryBritishCulture/> Other acts of note during the 1990s included [[No Doubt]], [[Six Finger Satellite]], and [[Brainiac (band)|Brainiac]].<ref name=Revival>[{{Allmusic|class=explore|id=style/d13761|pure_url=yes}} New Wave/Post Punk Revival Allmusic]</ref><ref>[http://query.nytimes.com/gst/fullpage.html?res=9E02E4DC1E39F93BA25757C0A960958260 POP REVIEW; "Knowing Just How Hard It Is to Be a Teen-Ager," ''New York Times'', April 18, 1996]</ref> During that decade the synthesizer heavy dance sounds British and European New Wave acts influenced various incarnations of [[Eurodisco]] and [[trance music|trance]].<ref name=decade/><ref name=StJames/> [[Chris Martin]] was inspired to start [[Coldplay]] by [[a-ha]].<ref>http://www.spinner.com/2009/11/24/coldplay-a-ha-mew-form-apparatjik/</ref> |
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During the 2000s a number of acts emerged that mined from a diversity of New Wave and post-punk influences. Among these were [[The Strokes]], [[Interpol (band)|Interpol]], [[Franz Ferdinand (band)|Franz Ferdinand]], [[The Epoxies]], [[Bloc Party]], [[Foals (band)|Foals]], [[Kaiser Chiefs]], |
During the 2000s a number of acts emerged that mined from a diversity of New Wave and post-punk influences. Among these were [[The Strokes]], [[Interpol (band)|Interpol]], [[Franz Ferdinand (band)|Franz Ferdinand]], [[The Epoxies]], [[Bloc Party]], [[Foals (band)|Foals]], [[Kaiser Chiefs]], and [[The Killers]] . These acts were sometimes labeled "New New Wave". By 2004 these acts were described as "hot".<ref name=msnbc/> New Wave became revived during the late 2000s with acts such as [[The Sounds]], [[The Ting Tings]], [[The Birthday Massacre]],<ref>[http://www.allmusic.com/cg/amg.dll The Birthday Massacre Allmusic Overview]</ref> [[Tegan and Sara]], [[Hot Chip]],<ref>[http://www.nytimes.com/2010/02/08/arts/music/08chip.html A British Band’s Cerebral Electronics New York Times February 7, 2010]</ref> [[Cut Copy]],<ref>[http://www.thestar.com/entertainment/article/422252 Cut Copy: Way more than New Order warmed over Toronto Star May 8, 2008]</ref><ref>[http://www.smh.com.au/news/music/cut-copy-show-true-colours/2008/04/06/1207420189511.html Cut Copy show true colours Sydney Morning Herald April 7, 2008]</ref> [[MGMT]],<ref>[http://query.nytimes.com/gst/fullpage.html?res=9906E0DF1031F934A15754C0A96E9C8B63&scp=66&sq=july+27%2C+2008&st=nyt The Week Ahead The New York Times July 27, 2008]</ref> [[Passion Pit]],<ref>http://blogs.tampabay.com/tbt/2010/06/review-setlist-passion-pit-turn-up-the-heat-at-the-ritz-ybor-in-tampa.html</ref>, [[Pleasure Mob]], [[The Presets]],<ref>[http://www.smh.com.au/news/gig-reviews/modular-christmas-party/2006/11/30/1164777708371.html Modular Christmas Party Sydney Morning Herald December 1, 2006]"the "new new wave" of the Presets"</ref> [[La Roux]], [[Shiny Toy Guns]],<ref>[{{Allmusic|class=artist|id=p720237/biography|pure_url=yes}} Shiny Toy Guns Allmusic bio]</ref> [[Santogold]], [[Hockey (band)|Hockey]],<ref>[{{Allmusic|class=artist|id=p1114981|pure_url=yes}} Hockey Allmusic bio]</ref> [[Gwen Stefani]], [[Ladyhawke (musician)|Ladyhawke]] and [[Marina and the Diamonds]].<ref name=Revival/><ref name=msnbc>[http://www.msnbc.msn.com/id/6031887/ "New wave is back — in hot new bands," MSNBC September 17, 2004]</ref><ref>[http://www.mtv.com/music/artist/stefani_gwen/artist.jhtml Gwen Stefani MTV biography]</ref><ref>[http://www.people.com/people/article/0,,20160455,00.html "Gwen Stefani's New Video Hits YouTube," ''People'', November 15, 2007]</ref><ref>[http://www.dailygazette.com/news/2009/jul/23/0723_bravery/ Indie-rock band The Bravery records all the time and everywhere Schnectady Daily Gazette July 23, 2009]</ref><ref>[http://network.nationalpost.com/np/blogs/theampersand/archive/2008/06/17/daily-disc-the-ting-tings-we-started-nothing.aspx "Daily Disc: The Ting Tings, We Started Nothing," CanWest New Service June 17, 2008]</ref><ref>[http://www.startribune.com/entertainment/music/19583179.html?location_refer=Entertainment "Download this: Ting Tings," ''Minneapolis Star Tribune,'' June 7, 2008]</ref><ref>[http://www.nytimes.com/2008/04/28/arts/music/28choi.html?pagewanted=print "Critics’ Choice New CDs," ''New York Times'' April 28, 2008]</ref><ref>[http://www.smh.com.au/news/entertainment/music/feathers-fly-over-ladyhawkes-origins/2009/11/05/1257247690143.html Feathers fly over Ladyhawke's origins Sydney Morning Herald November 6, 2009]</ref><ref>[http://www.guardian.co.uk/music/2008/sep/23/marina.and.the.diamonds No 395: Marina and the Diamonds The Guardian 23 September 2008]</ref><ref>[http://www.spin.com/reviews/marina-diamonds-family-jewels-chop-shopatlantic Marina & the Diamonds, 'The Family Jewels' Spin 19 May 2010]</ref> While some journalists and fans regarded this as a revival, others argue that the phenomenon is a continuation of the original movements.<ref name=Revival/><ref>[[Simon Reynolds|Reynolds, Simon]]. ''Rip It Up and Start Again: Postpunk 1978-1984'' p. 398</ref><ref>{{Citation |
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Revision as of 11:31, 18 January 2011
| New Wave | |
|---|---|
| Stylistic origins | Punk rock, garage rock,[1] glam rock, pub rock, ska, funk, electronic music, bubblegum,[2][3] disco[4][5][6] |
| Cultural origins | Mid to late 1970s, United Kingdom and United States |
| Typical instruments | Electric guitar – bass guitar – drums – synthesizers – vocals |
| Derivative forms | Neue Deutsche Welle – Suomi-Rock[7] – New Romanticism – Synthpop – Mod revival – Chillwave[8] |
| Fusion genres | |
| Synthpunk - 2 Tone - Electroclash - Nu Rave | |
| Regional scenes | |
| Belgium – Finland – France – Germany – Italy - Spain - United Kingdom - United States - Yugoslavia | |
| Other topics | |
| Post-punk - Alternative rock | |
New Wave is a subgenre of rock music that emerged in the mid to late 1970s alongside punk rock. The term at first generally was synonymous with punk rock before being considered a genre in its own right that incorporated aspects of electronic and experimental music, mod subculture, and disco, rock and 1960s pop music. While it incorporated much of the original punk rock sound and ethos, such as an emphasis on short and punchy songs,[5][12] it was characterized by greater complexity in both music and lyrics. The 1990s and 2000s have seen revivals. Acts influenced by New Wave music had become popular by 2004, and the genre is currently influential on the indie rock movement.[10][11][13][14][15][16]
Overview
The term "New Wave" itself has been a source of much confusion and controversy. It was used in 1976 in the UK by punk fanzines such as Sniffin' Glue, and then by the professional music press.[17] In a November 1976 article in Melody Maker, Caroline Coon used Malcolm McLaren's term "New Wave" to designate music by bands not exactly punk, but related to, and part of the same musical scene;[18] the term was also used in that sense by music journalist Charles Shaar Murray, while writing about The Boomtown Rats.[19] For a period of time in 1976 and 1977 the two terms were interchangeable.[9][20] By the end of 1977, "New Wave" had replaced "Punk" as the definition for new underground music in the UK.[17]
In the United States, Sire Records needed a term by which it could market its newly signed bands, who had frequently played the club CBGB. Because radio consultants in the United States had advised their clients that punk rock was a fad, they settled on the term "New Wave". Like the filmmakers of the French New Wave movement whom the genre was named after, its new artists, such as the Ramones and Talking Heads, were anti-corporate and experimental. At first most American writers exclusively used the term "New Wave" to describe British punk acts. 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 starting with British acts, and later appropriating it to acts associated with the CBGB scene.[17]
Music historian Vernon Joynson states that New Wave emerged in the UK in late 1976, when many bands began disassociating themselves from punk.[21] Music that followed the anarchic garage band ethos of the Sex Pistols was distinguished as "punk", while music that tended toward experimentation, lyrical complexity, or more polished production, came to be categorized as "New Wave". This came to include musicians who had come to prominence in the British pub rock scene of the mid-1970s, such as Ian Dury, Nick Lowe, Eddie and the Hot Rods and Dr. Feelgood;[22] and according to Allmusic "angry, intelligent" singer-songwriters who "approached pop music with the sardonic attitude and tense, aggressive energy of punk" such as Elvis Costello, Joe Jackson, and Graham Parker.[23] In the U.S., the first New Wavers were the not-so-punk acts associated with the New York club CBGB, such as Talking Heads, Mink DeVille and Blondie.[10] CBGB owner Hilly Kristal, referring to the first show of the band Television at his club in March 1974, said, "I think of that as the beginning of new wave."[24] Furthermore, many artists 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) features US artists including the Dead Boys, Ramones, Talking Heads and The Runaways.[10][25]
The New Wave sound of this era represented a break from the smooth-oriented blues and rock & roll sounds of late 1960s to mid 1970s rock music. According to music journalist Simon Reynolds, the music had a twitchy, agitated feel to it. New Wave musicians often played choppy rhythm guitars with fast tempos. Keyboards were common as were stop-and-start song structures and melodies. Reynolds noted that New Wave vocalists sounded high-pitched, geeky and suburban.[12]
Power pop, a genre that started before punk at the very beginning of the 1970s, became associated with New Wave at the end of the decade because their brief catchy songs fit into the mood of the era. The Romantics, The Records, The Motors,[10] Cheap Trick, and 20/20 were groups that had success playing this style.[26] Helped by the success of power pop groups such as The Knack, skinny ties became fashionable among New Wave musicians.[9]
A revival of ska music led by The Specials, Madness and the English Beat added humor and a strong dance beat to New Wave.[1]
Later still, "New Wave" came to imply a less noisy, often synthesizer-based, pop sound. The term post-punk was coined to describe groups such as Gang of Four, Joy Division, The Cure, and Siouxsie and the Banshees that were initially considered part of the New Wave but were more ambitious, serious and challenging, darker, and less pop oriented. Some of these groups would later adopt synths.[27][28] Although distinct, punk, New Wave, and post-punk all shared common ground: an energetic reaction to the supposedly overproduced, uninspired popular music of the 1970s.[29]
"The New York Dolls arrived and galvanised the entire scene. Real glam trash. Beautiful. They proved it was possible to be trashy and good at the same time. Kicked everyone into action at a desperate moment. They saved us all. At that moment, I was drawing lines into New York and the Velvets, European avant garde and electronic music, previous generation's Brit Psychedelia plus a ragged sort of insulting glam. I guess this was the start of the New Wave. By the way, whoever coined that New Wave byline is my hero. Because a New Wave is precisely what it was - and precisely what was needed at that moment."
Allmusic explained that New Wave's stylistic diversity occurred because New Wave "retained the fresh vigor and irreverence of punk music, as well as a fascination with electronics, style, and art". This diversity extended to the numerous one hit wonders that came out of the genre.[31][32]
The term fell out of favour in the United Kingdom during the early 1980s because its usage had become too general.[10] Conventional wisdom holds that the genre "died" in the middle of the 1980s. Theo Cateforis, Assistant Professor of Music History and Cultures at Syracuse University, contends New Wave "receded" during this period when advances in synthesizer technology caused New Wave groups and mainstream pop and rock groups to sound more alike.[9]
In Finland in the wake of Punk and New Wave the Suomi-Rock phenomenon occurred. Eppu Normaali were the seminal act of this phenomenon.[7]
Reception in the United States
In the summer of 1977 both Time[33] and Newsweek magazines wrote favorable lead stories on the "punk/new wave" movement.[31] Rock critics had mixed opinions. 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,[17] as arena rock and disco dominated the charts.[32]
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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. Blondie, Talking Heads and The Cars would chart during this period.[9][32] "My Sharona", a single from The Knack, was Billboard magazine's number one single of 1979. The success of "My Sharona" prompted record companies to rush out and sign New Wave groups.[9] New Wave music scenes developed in Ohio[32] and Athens, Georgia.[34] 1980 saw brief forays into New Wave-styled music by non-New Wave artists Billy Joel and Linda Ronstadt.[9] The release during this period of Gary Numan's album The Pleasure Principle would be the pop chart breakthrough for gender-bending synthpop acts with a cool, detached stage presence.[32]
Early in 1980 highly 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 over here (in America). As a movement, we don't expect it to have much influence." Lee Ferguson, a consultant to KWST interviewed at the time, said Los Angeles radio stations were banning disc jockeys from using the term and noted that "Most of the people who call music New Wave are the ones looking for a way not to play it."[35] Second albums by artists who had successful debut albums, along with the newly signed artists, both failed to sell and radio pulled most New Wave programming.[9]
The arrival of MTV in 1981 would usher in New Wave's most successful era. British artists, unlike many of their American counterparts, had learned how to use the music video early on.[32][36] Several British acts signed to independent labels were able to outmarket and outsell American artists that were signed with major labels. Journalists labeled this phenomenon a "Second British Invasion".[36][37] MTV continued its heavy rotation of videos by New Wave-oriented acts until 1987, when it changed to a heavy metal and rock dominated format.[38]
In a December 1982 Gallup poll, 14% of teenagers rated New Wave music as their favorite type of music, making it the third most popular. 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. [39] Urban Contemporary radio stations were the first to play dance-oriented New Wave artists such as the B-52's, Culture Club, Duran Duran and ABC.[40] By this period the definition of New Wave music in the United States had changed from the less rebellious, more commercial version of punk that it had been described as a few years earlier. For most of the remainder of the 1980s the term "New Wave" was used in America to describe nearly every new pop or pop rock artist that largely used synthesizers. New Wave is still used today to describe these acts, as well as late 1970s and 1980s post-punk and alternative acts.[1][41][42]
Fans, music journalists, and artists would rebel against this catch-all definition by inventing dozens of genre names.[9][32] Synthpop, which filled a void left by disco,[15] was a broad subgenre that included groups such as The Human League, Depeche Mode, Soft Cell, a-ha, New Order, Orchestral Manoeuvres In The Dark, Ultravox and the Pet Shop Boys.[32]
New Wave soundtracks were used in mainstream "Brat Pack" films such as Valley Girl, Sixteen Candles, Pretty In Pink, and The Breakfast Club.[32][43] John Hughes a director of several of these films was enthralled with British New Wave Music and put music from acts such The Psychedelic Furs, Simple Minds, and Echo and The Bunnymen into his films helping put New Wave into the mainstream. Several of these songs remain standards of the era.[44] Critics would describe the MTV acts as shallow or vapid,[32][36] but the danceable quality of the music and quirky fashion sense associated with New Wave artists appealed to audiences.[32] The use of synthesizers by New Wave acts influenced the development of house music in Chicago and techno in Detroit. New Wave’s indie spirit would be crucial to the development of college rock and grunge/alternative rock in the latter half of the 1980s and beyond.[32] New Wave is considered part of alternative rock today.[1]
Post-1980s revivals and influence
In 1991 retro futurist acts such as Stereolab and Saint Etienne mixed New Wave and kitschy 1960s pop.[45] In the aftermath of grunge, the British music press launched a campaign to promote the New Wave of New Wave. This campaign involved overtly punk and New Wave influenced acts such as Elastica and Smash but was eclipsed by Britpop.[10] Other acts of note during the 1990s included No Doubt, Six Finger Satellite, and Brainiac.[11][46] During that decade the synthesizer heavy dance sounds British and European New Wave acts influenced various incarnations of Eurodisco and trance.[15][32] Chris Martin was inspired to start Coldplay by a-ha.[47]
During the 2000s a number of acts emerged that mined from a diversity of New Wave and post-punk influences. Among these were The Strokes, Interpol, Franz Ferdinand, The Epoxies, Bloc Party, Foals, Kaiser Chiefs, and The Killers . These acts were sometimes labeled "New New Wave". By 2004 these acts were described as "hot".[13] New Wave became revived during the late 2000s with acts such as The Sounds, The Ting Tings, The Birthday Massacre,[48] Tegan and Sara, Hot Chip,[49] Cut Copy,[50][51] MGMT,[52] Passion Pit,[53], Pleasure Mob, The Presets,[54] La Roux, Shiny Toy Guns,[55] Santogold, Hockey,[56] Gwen Stefani, Ladyhawke and Marina and the Diamonds.[11][13][57][58][59][60][61][62][63][64][65] While some journalists and fans regarded this as a revival, others argue that the phenomenon is a continuation of the original movements.[11][66][67][68]
The Drums or are an example of the current trend in the United States indie pop scene that mines both the sounds and attitudes of the British New Wave Era. British group La Roux who had a number 8 single on the Billboard's Hot 100 is an example on the influence New Wave is having on indie dance.[14][15][16][69] In addition, in the late 2000s a New Wave influenced genre called Chillwave developed, and notable artists are Neon Indian, Twin Shadow and Washed Out.[70][71]
Parallel movements
See also
References
- ^ a b c d Essay about New Wave's definition and list of essential New Wave Records from allmusic
- ^ Allmusic New Wave Essay by Stephen Thomas Erlewine
- ^ 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"/
- ^ Keyboard Magazine, June 1982
- ^ a b Disco inferno The Independent December 11, 2004
- ^ Bernard Edwards, 43, Musician In Disco Band and Pop Producer The New York Times April 22, 1996 "As disco waned in the late 70's, 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"
- ^ a b Born in 1959: The last happy generation Helsingin Sanomat November 10, 2010
- ^ Is Chillwave the Next Big Music Trend? Wall Street Journal March 13, 2010
- ^ a b c d e f g h i The Death of New Wave Theo Cateforis Assistant Professor of Music History and Cultures in the Department of Art and Music Histories at Syracuse University 2009
- ^ a b c d e f g Encyclopedia of Contemporary British Culture Page 365
- ^ a b c d e New Wave/Post Punk Revival Allmusic
- ^ a b Reynolds, Simon "Rip It Up and Start Again PostPunk 1978-1984" p160
- ^ a b c "New wave is back — in hot new bands," MSNBC September 17, 2004
- ^ a b Album: The Drums, The Drums The Independent June 4, 2010
- ^ a b c d The decade that never dies Still ’80s Fetishizing in ’09 Yale Daily News October 23, 2009
- ^ a b Indie singers storm the scene with style and spectacle USA Today September 2, 2010
- ^ 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.
- ^ Clinton Heylin, Babylon's Burning (Conongate, 2007), pp. 140, 172.
- ^ Murray, Charles Shaar. Sleevenotes to CD reissue of The Boomtown Rats, reproduced at [1]. Retrieved on 2007-01-21.
- ^ 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.
For a while in 1976 and 1977 the terms punk and new wave were largely interchangeable. By 1978, things were beginning to change, although the dividing line between punk and new wave was never very clear.
- ^ 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.
- ^ Adams, Bobby. "Nick Lowe: A Candid Interview", Bomp magazine, January 1979, reproduced at [2]. Accessed January 21, 2007.
- ^ Album Review Look Sharp
- ^ Clinton Heylin, Babylon's Burning (Conongate, 2007), p. 17.
- ^ Savage, Jon. (1991) England's Dreaming, Faber & Faber
- ^ Power Pop genre Allmusic
- ^ Post-Punk Allmusic
- ^ Greil Marcus, Ranters and Crowd Pleasers, p. 109.
- ^ Punk Rock Brings out a New Wave Associated Press October 29, 1977
- ^ John Foxx Interviewed - The Quiet Man Speaks, The Quietus, November 7, 2008
- ^ a b Genre Punk/New Wave Allmusic
- ^ a b c d e f g h i j k l m St. James encyclopedia of Pop Culture
- ^ Anthems of the Blank Generation Time Magazine July 11, 1977 issue
- ^ American Punk Rock Allmusic
- ^ Is New-Wave Rock on the Way Out? Los Angeles Times February 16, 1980 posted by "The Daily Mirror" a Los Angeles Times blog February 16, 2010
- ^ a b c Rip It Up and Start Again Postpunk 1978-1984 by Simon Reynolds Pages 340,342-343
- ^ 1986 Knight Ridder news article
- ^ The Pop Life The New York Times June 15, 1988
- ^ Rock Still Favorite Teen-Age music Gainesville Sun April 13, 1983
- ^ Crossover: Pop Music thrives on black-white blend Knight Ridder News Service September 4, 1986
- ^ Where Are They Now: '80s New Wave Musicians ABC News 29 November 2007
- ^ Goth styles and new wave tunes at weekly '80s night Newsday September 9, 2009
- ^ But what does it all mean? How to decode the John Hughes high school movies The Guardian September 26, 2008
- ^ Why John Hughes Still Matters MTV May 7, 2010
- ^ The History of Rock Music: 1989-1994 by Piero Scaruffi
- ^ POP REVIEW; "Knowing Just How Hard It Is to Be a Teen-Ager," New York Times, April 18, 1996
- ^ http://www.spinner.com/2009/11/24/coldplay-a-ha-mew-form-apparatjik/
- ^ The Birthday Massacre Allmusic Overview
- ^ A British Band’s Cerebral Electronics New York Times February 7, 2010
- ^ Cut Copy: Way more than New Order warmed over Toronto Star May 8, 2008
- ^ Cut Copy show true colours Sydney Morning Herald April 7, 2008
- ^ The Week Ahead The New York Times July 27, 2008
- ^ http://blogs.tampabay.com/tbt/2010/06/review-setlist-passion-pit-turn-up-the-heat-at-the-ritz-ybor-in-tampa.html
- ^ Modular Christmas Party Sydney Morning Herald December 1, 2006"the "new new wave" of the Presets"
- ^ Shiny Toy Guns Allmusic bio
- ^ Hockey Allmusic bio
- ^ Gwen Stefani MTV biography
- ^ "Gwen Stefani's New Video Hits YouTube," People, November 15, 2007
- ^ Indie-rock band The Bravery records all the time and everywhere Schnectady Daily Gazette July 23, 2009
- ^ "Daily Disc: The Ting Tings, We Started Nothing," CanWest New Service June 17, 2008
- ^ "Download this: Ting Tings," Minneapolis Star Tribune, June 7, 2008
- ^ "Critics’ Choice New CDs," New York Times April 28, 2008
- ^ Feathers fly over Ladyhawke's origins Sydney Morning Herald November 6, 2009
- ^ No 395: Marina and the Diamonds The Guardian 23 September 2008
- ^ Marina & the Diamonds, 'The Family Jewels' Spin 19 May 2010
- ^ Reynolds, Simon. Rip It Up and Start Again: Postpunk 1978-1984 p. 398
- ^ Tudor, Silke (11 September 2002), House of Tudor, retrieved 2007-06-25
- ^ MTV Artist biography The Sounds
- ^ Music review: Shy La Roux still brings the party to 9:30 Club Washington Post November 12, 2010
- ^ Pirnia, Garin (March 13, 2010). "Is Chillwave the Next Big Music Trend?". The Wall Street Journal.
- ^ http://www.allmusic.com/album/forget-r1954448/review
External links
- About.com Profile of the New Wave Genre
- Encyclopedia Britannica Definition
- St. James Encyclopedia of Pop Culture Article
- Punk 2 New Wave Top 100 list and short reviews
- Rolling Stone Magazine's Rock and Roll Daily blog Favorite 1980s New Wave Lists Reporters, Readers
- A Real New Wave Rolls Out of Ohio Robert Christgau for The Village Voice April 17, 1978
- 1997 Interview with Brat Pack Film Director John Hughes Published MTV August 7, 2009
- Walking on the Moon: The Untold Story of the Police and the Rise of New Wave book by Chris Campion previewed by Google Books
- Rock Against the Bloc A look back at the Punk/New Wave movement in Poland by the Krakow Post 1 February 2010
- Drowning In My Nostalgia Philippine Inquirer September 7, 2002 A critic looks back at her teenage fan days in The Philippines and Los Angeles