New Wave is a genre of rock and pop music that emerged in in the middle 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 and 1960's pop music, as well as much of the original punk rock sound and ethos, such as an emphasis on short and punchy songs.^[1][2] In the 1980s in the United States New Wave became a catch-all term that applied to new music acts in general and synthpop and British acts in particular. The 1990s and 2000s have seen revivals, and a number of acts that have been influenced by a variety of New Wave styles.

[edit] Overview

The term "New Wave" itself has been a source of much confusion and controversy. Sex Pistols manager Malcolm McLaren used the term to compare punk rock with the 1960s French Situationist movement.^{[3][not specific enough to verify]} It was used in 1976 in the UK by British punk fanzines such as Sniffin' Glue and then by the professional music press.^[4] In a November 1976 article in Melody Maker, Caroline Coon used McLaren's term "New Wave" to designate music by bands not exactly punk, but related and part of the same musical scene.^[5] For a period of time in 1976 and 1977 the two terms were interchangeable.^[6][7] By the end of 1977, "New Wave" had replaced "Punk" as the definition for new underground music in the UK.^[4]

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 those film makers, 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.^[4]

Music historian Vernon Joynson states that new wave emerged in the U.K. in late 1976, when many bands began disassociating themselves from punk.^[8] 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;^[9] and later on singer-songwriters who were noted for their barbed lyrical wit, such as Elvis Costello, Tom Robinson and Joe Jackson. In the U.S., the first New Wavers were the not-so-punk acts associated with the New York club CBGBs, such as Patti Smith, Television, Talking Heads, Mink DeVille^[10] and Blondie. 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][11] 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."^[12]

The Talking Heads set the template for the New Wave sound of this era. This sound represented a break from the black smooth oriented blues and rock and roll sounds of late 1960s to mid 1970's rock music. According to music journalist Simon Reynolds the music had a twitchy agitated feel to it. New Wave musicians who often played choppy rhythm guitars with fast tempos. Keyboards were common as was stop and start song structures and melodies. Reynolds noted that New Wave vocalists sounded high pitched, geeky and suburban.^[2]

Later still, "New Wave" came to imply a less noisy, often synthesizer-based, pop sound. The term post-punk was coined to describe the darker, less pop-influenced groups, such as Gang of Four, Joy Division, the Cure, and Siouxsie & the Banshees.^[13][14] 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.^[15]

Helped by the success of the The Knack skinny ties became fashionable among New Wave musicians.^[7]

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.^[7]

[edit] Reception in The United States

In the summer of 1977 both Time^[16] and Newsweek magazines wrote favorable lead stories on the "punk/new wave" movement. 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 ^[4] as arena rock and disco dominated the charts.^[17]

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.^[7][17] My Sharona a power pop single from the The Knack was top selling single in 1979. The success of "My Sharona" caused record companies to rush out and sign New Wave groups.^[7] New Wave music scenes developed in Ohio^[17] and Athens, Georgia.^[18] 1980 saw brief forays into New Wave styled music by non new wave artists Billy Joel, Linda Ronstadt and Robert Palmer.^[7] 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.^[17] Success was short lived as second albums by artists who had successful debut albums and the newly signed artists both failed to sell forcing radio to pull New Wave programming.^[7]

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.^[17][19] 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".^[19][20]

14% of teenagers answering a December 1982 Gallup Poll rated New Wave music as their favorite genre, making it the third most popular genre. 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.^[21] 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.^[22][23][24]

Fans, music journalists, and artists would rebel against this catchall definition by inventing dozens of genre names.^[7][17] Synthpop which filled a void left by disco ^[25] was a broad subgenre that saw groups such as The Human League, Depeche Mode, a-ha, Orchestral Manoeuvres in the Dark and the Pet Shop Boys chart.^[17]

The period saw a number of one hit wonders, and New Wave soundtracks were used in Brat Pack films such as Valley Girl, Sixteen Candles and The Breakfast Club.^[17] Critics would describe the MTV acts as shallow or vapid,^[17][19] but the danceable quality of the music and quirky fashion sense associated with New Wave artists appealed to audiences.^[17]

The use of synthesizers by New Wave acts influenced the development of the 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.^[17] New Wave is considered part of Alternative Rock today.^[23]

[edit] Post-1980s influence

During the 1990s, 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.^[26][27] During that decade the synthesizer heavy dance sounds English and European New Wave acts influenced various incarnations of Eurodisco and trance.^[17][25]

During the early 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 and The Killers. These acts were sometimes labeled "New New Wave". New Wave continued to be influential through the rest of the decade with acts such as Gwen Stefani, The Sounds, The Ting Tings, Santogold and Ladyhawke.^{[26][28][29][30][31][32][33][34][35]} While some journalists and fans regarded this as a revival, others argued that the phenomenon was a continuation of the original movements.^{[26][36][37][38]}

In 2009 Indie music acts were regularly citing various 1980's New Wave Acts as their influences.^[25]

[edit] Parallel movements

• Coldwave
• Dark Wave
• Neue Deutsche Welle
• No Wave

[edit] See also

• List of New Wave bands and artists

[edit] References

[edit] 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