Editing New wave music (section)

==History==
===Forerunners===
[[The Velvet Underground]] have also been heralded for their influence on new wave, [[post-punk]] and [[alternative rock]].<ref>{{Cite web |date=2 March 2020 |title=Punk'd: The Velvet Underground – The Velvet Underground & Nico |url=https://acrn.com/2020/03/02/punkd-the-velvet-underground-the-velvet-underground-nico/ |access-date=23 April 2023 |website=Acrn.com |language=en}}</ref><ref>{{Cite web |last=Jones |first=Chris |title=BBC – Music – Review of The Velvet Underground – The Velvet Underground & Nico (Deluxe Edition) |url=https://www.bbc.co.uk/music/reviews/fq4h/ |access-date=23 April 2023 |website=Bbc.co.uk |language=en-GB}}</ref> [[Roxy Music]] were also influential to the genre as well as the works of [[David Bowie]], [[Iggy Pop]]<ref>{{Cite web |last=Peacock |first=Tim |date=21 April 2023 |title=Best Iggy Pop Songs: 20 Tracks With An Insatiable Lust For Life |url=https://www.udiscovermusic.com/stories/best-iggy-pop-songs/ |access-date=3 May 2023 |website=uDiscover Music |language=en-US}}</ref> and [[Brian Eno]].<ref>{{Cite web |last=James |first=Mark |date=28 February 2023 |title=What is New Wave Music? 9 Examples & History |url=https://www.musicindustryhowto.com/what-is-new-wave-music/ |access-date=29 April 2023 |website=Music Industry How To |language=en-US}}</ref>

===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''.<ref name=page11>{{cite book|url=https://books.google.com/books?id=-MVrM3zKrHQC&pg=PA11|page=11|title=Are We Not New Wave?: Modern Pop at the Turn of the 1980s|author=Theo Cateforis|publisher=University of Michigan Press|date= 7 June 2011|isbn=978-0472034703}}</ref> It originated as a catch-all for the music that emerged after [[punk rock]], including punk itself,<ref name="allmusic.com"/> in Britain. Scholar Theo Cateforis said that the term was used to commercialize punk groups in the media:

{{blockquote|text=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.<ref name="QA Theo Cateforis">{{cite web |last1=Cateforis |first1=Theo |title=Q&A with Theo Cateforis, author of Are We Not New Wave? |url=https://blog.press.umich.edu/2011/05/interview-theo-cateforis-author/ |website=University of Michigan Press Blog |date=4 May 2011 |publisher=Michigan Publishing |access-date=19 March 2022 |ref=none |archive-date=26 May 2022 |archive-url=https://web.archive.org/web/20220526211701/http://blog.press.umich.edu/2011/05/interview-theo-cateforis-author/ |url-status=dead }}</ref>}}

[[File:Talking Heads band1.jpg|thumb|left|[[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]].{{sfn|Cateforis|2011|p=20}} 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 (band)|Blondie]]),<ref name=EncyclopediaofContemporaryBritishCulture /> as well as the [[proto-punk]] scene in Ohio, which included [[Devo]], [[Electric Eels (band)|the Electric Eels]], [[Rocket from the Tombs]], and [[Pere Ubu]].<ref>{{Cite news|url=https://www.theguardian.com/music/2013/nov/14/clevelands-early-punk-pioneers-ohio|title=Cleveland's early punk pioneers: from cultural vacuum to creative explosion|last=Savage|first=Jon|date=14 November 2013|work=The Guardian|access-date=6 October 2019|language=en-GB|issn=0261-3077}}</ref><ref>{{Cite web|url=https://www.robertchristgau.com/xg/rock/ohio-78.php|title=Robert Christgau: A Real New Wave Rolls Out of Ohio|website=Robertchristgau.com|access-date=6 October 2019}}</ref> Some important bands, such as [[Suicide (band)|Suicide]] and [[the Modern Lovers]] debuted even earlier.<ref>{{Cite book|url=https://books.google.com/books?id=i76oAwAAQBAJ&pg=PA27 |title=The Ramones' Ramones|last=Rombes|first=Nicholas|date=18 February 2005|publisher=Bloomsbury Publishing USA|isbn=9781441103703|language=en}}</ref> CBGB owner [[Hilly Kristal]], referring to the first show by [[Television (band)|Television]] at his club in March 1974, said; "I think of that as the beginning of new wave".<ref>Clinton Heylin, ''Babylon's Burning'' (Conongate, 2007), p. 17.</ref> 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 (compilation album)|New Wave]]'') includes American bands [[Dead Boys]], [[Ramones]], [[Talking Heads]], and [[the Runaways]].<ref name="EncyclopediaofContemporaryBritishCulture">{{cite book |author1=Peter Childs |url=https://archive.org/details/encyclopediaofco0000unse_l1e7 |title=Encyclopedia of Contemporary British Culture |author2=Mike Storry |publisher=Taylor & Francis |year=1999 |isbn=978-0-415-14726-2 |page=365 |url-access=registration}}</ref><ref name=Savage>Savage, Jon. (1991) ''England's Dreaming'', Faber & Faber</ref>

===Mid- to late 1970s===
Between 1976 and 1977, the terms "new wave" and "punk" were used somewhat interchangeably.<ref name="dissertation" /><ref>{{Cite book|title= Up Yours! A Guide to UK Punk, New Wave & Early Post Punk |last= Joynson|first= Vernon|year= 2001|publisher=Borderline Publications|location= Wolverhampton|isbn= 1-899855-13-0|page= 12|quote= <!--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.-->}}</ref> 
Music historian Vernon Joynson said new wave emerged in the UK in late 1976, when many bands began disassociating themselves from punk.<ref name="Joynson 2001 11" /> That year, the term gained currency when it appeared in UK punk [[fanzine]]s such as ''[[Sniffin' Glue]]'', and music weeklies such as ''[[Melody Maker]]'' and ''[[New Musical Express]]''.<ref name=Gendron>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.</ref> In November 1976, [[Caroline Coon]] used Malcolm McLaren's term "new wave" to designate music by bands that were not exactly [[punk rock|punk]] but were related to the punk-music scene.<ref>Clinton Heylin, ''Babylon's Burning'' (Conongate, 2007), pp. 140, 172.</ref> The mid-1970s British [[Pub rock (United Kingdom)|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 (band)|Dr. Feelgood]].<ref name="Bomp">Adams, Bobby. "Nick Lowe: A Candid Interview", ''Bomp'' magazine, January 1979, reproduced at [http://powerpop.blogspot.com/2005/12/pppda-nick-lowe-interview-from-1979.html]. Retrieved 21 January 2007.</ref>

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".{{sfn|Cateforis|2011|p=25}} 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|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.<ref>''The Grove Dictionary of American Music'', 2nd edition New 3 September 2014</ref> 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.<ref name=Gendron /> 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.<ref name="Cateforis, Theo 2014">Cateforis, Theo. "New Wave." ''The Grove Dictionary of American Music'', 2nd ed., Oxford University Press. 2014.</ref>{{page needed|date=May 2022}}

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|date=January 2021}} Some of these groups later adopted synthesizers.<ref>{{cite book|author=Greil Marcus|title=Ranters and Crowd Pleasers|page=109|publisher=Anchor Books|year= 1994}}</ref> 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.<ref name="Cateforis, Theo 2014" />

By the end of 1977, "new wave" had replaced "punk" as the term for new [[underground music]] in the UK.<ref name="Gendron" /> 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&nbsp;... 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."<ref>{{cite web|last1=Bernhardt|first1=Todd|last2=Partridge|first2=Andy|author-link2=Andy Partridge|title=Andy discusses "This Is Pop"|url=http://chalkhills.org/articles/XTCFans20071111.html|website=Chalkhills|date=11 November 2007}}</ref> According to Stuart Borthwick and Ron Moy, authors of ''Popular Music Genres: an Introduction'', the "height of popularity for new wave" coincided with the [[1979_United_Kingdom_general_election|election of Margaret Thatcher]] in spring 1979.<ref name=Borthwick/> 

===1980s===
<section begin="overview"/>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 (band)|Squeeze]] to [[Duran Duran]] to, finally, [[Wham!]]".{{sfn|Cateforis|2011|p=63}} 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."<ref>{{cite book|last=Christgau|first=Robert|author-link=Robert Christgau|year=1990|title=Christgau's Record Guide: The '80s|publisher=[[Pantheon Books]]|isbn=0-679-73015-X|url=https://www.robertchristgau.com/xg/bk-cg80/glossary.php}}</ref>

[[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."<ref>{{cite web |url = http://www.furious.com/perfect/lesterbangs2.html |first = Jim |last = DeRogatis |title = A Final Chat with Lester Bangs |work = Perfect Sound Forever |date = November 1999 }}</ref> Starting around 1983, the US music industry preferred the more generic term "[[New Music (music industry)|new music]]", which it used to categorize new movements like [[new pop]] and [[New Romantic]]ism.{{sfn|Cateforis|2011|pp=12, 56}} 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."<ref name="Anglomania: The Second British Invasion">{{cite magazine |last1=Puterbaugh |first1=Parke |title=Anglomania: The Second British Invasion |url=https://www.rollingstone.com/music/music-news/new-wave-1980s-second-british-invasion-52016/ |access-date=18 March 2022 |magazine=Rolling Stone |publisher=Penske Media Corporation |date=10 November 1983 |quote=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. |archive-url=https://web.archive.org/web/20220310140313/https://www.rollingstone.com/music/music-news/new-wave-1980s-second-british-invasion-52016/ |archive-date=10 March 2022 |url-status=dead}}</ref> [[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."<ref>{{cite magazine|magazine=[[Los Angeles Review of Books]]|title=The Writer's Jukebox: An Interview with Chuck Eddy|last=Matos|first=Michaelangelo|url=https://lareviewofbooks.org/article/the-writers-jukebox-an-interview-with-chuck-eddy/|date=29 September 2011|access-date=21 December 2023}}</ref> Similarly in Britain, journalists and music critics largely abandoned the term "new wave" with the rise of synth-pop.{{sfn|Cateforis|2011|p=254}} 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]]".<ref name=Borthwick>{{citation|title=Popular Music Genres: an Introduction|author1=S. Borthwick  |author2=R. Moy  |name-list-style=amp |year=2004 |isbn=978-0-7486-1745-6 |chapter=Synthpop: into the digital age |publisher=Routledge |url=https://books.google.com/books?id=FGPdDwAAQBAJ}}</ref> 

In 2005, [[Andrew Collins (broadcaster)|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.<ref name="Collins">{{cite news |url=https://www.theguardian.com/music/2005/mar/19/popandrock |title=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 |author-link=Andrew Collins (broadcaster) |first=Andrew |last=Collins |newspaper=The Guardian |date=18 March 2005 |access-date=18 May 2020 }}</ref> 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 music|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 [[Paul Weller|Weller]]."<ref>{{cite web|website=[[The Guardian]]|url=https://www.theguardian.com/lifeandstyle/2002/apr/26/shopping.artsfeatures|title=That was the modern world|last=Sweeting|first=Adam|date=25 April 2002}}</ref> Scholar Russ Bestley noted that while punk, new wave, and post-punk songs had featured on the [[Top of the Pops (record series)|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 (original UK album)|Now That's What I Call Music!]]'' compilation in 1983 punk and new wave was "largely dead and buried as a commercial force".<ref name=ual>{{cite web|first=Russ|last=Bestley| title=The Top of the Poppers sing and play punk|year=2019|website=[[University of the Arts London]]|url=https://ualresearchonline.arts.ac.uk/id/eprint/14980/1/TOTP%20Article%20.pdf|access-date=20 March 2024}}</ref><section end="overview"/>

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.{{sfn|Cateforis|2011|pp=46–47, 62}} 

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."<ref name="Collins"/> 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.<ref name="bubgum"/> In the UK, some post-punk music developments became mainstream.{{sfn|Cateforis|2011|pp=46–47}} According to music critic David Smay writing in 2001:

{{blockquote|quote=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".<ref name="bubgum"/>}}