By Theodore Cateforis
“Are We no longer New Wave? is destined to develop into the definitive examine of latest wave music.”
—Mark Spicer, coeditor of Sounding Out Pop
New wave emerged on the flip of the Eighties as a pop track circulation forged within the photo of punk rock’s sneering demeanor, but rendered extra available and complicated. Artists equivalent to the vehicles, Devo, the speaking Heads, and the Human League leapt into the pinnacle forty with a singular sound that broke with the staid rock clichés of the Nineteen Seventies and pointed how you can a extra glossy pop style.
In Are We now not New Wave? Theo Cateforis offers the 1st musical and cultural heritage of the recent wave stream, charting its upward push out of mid-1970s punk to its ubiquitous early Eighties MTV presence and downfall within the mid-1980s. The e-book additionally explores the meanings in the back of the music’s particular traits—its attribute whiteness and anxiety; its playful irony, digital melodies, and crossover experimentations. Cateforis lines new wave’s sleek sensibilities again to the space-age patron tradition of the overdue 1950s/early 1960s.
Three a long time after its upward push and fall, new wave’s impact looms huge over the modern pop scene, recycled and celebrated not just in reunion excursions, VH1 nostalgia specials, and “80s evening” dance golf equipment yet within the song of artists as diversified as Rihanna, girl Gaga, Miley Cyrus, and the Killers.
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Extra info for Are We Not New Wave?: Modern Pop at the Turn of the 1980s
Blondie had broken into the Top 100, and the Ramones were stalled just on the outskirts. But outside of these meager advances there was little indication that new wave would threaten the chart positions of such soft rock artists as Pablo Cruise or Barry Manilow. In August, however, there was a hint that the new wave’s fortunes might be changing. The Cars’ debut single, “Just What I Needed,” became the ‹rst song speci‹cally marketed as new wave to crack the Top 40 singles chart, a rare feat for a genre whose most serious inroads had thus far been on the AOR radio format.
3 The focus on the “new” was accelerated, and as to be expected a parade of emergent genres—each of them evocative to some extent of the stylistic freedom that British punk had originally promised but then seemingly betrayed—soon marched forth from the music press pages. A ›edgling mod revival, a Two Tone ska revival, a rockabilly revival, neopsychedelia, and a steady stream of innovative independent label releases from the likes of Factory, Rough Trade, and Cherry Red records kept the covers of the weeklies revolving at a fast clip throughout 1979 and 1980.
Danny Fields, co-manager of the Ramones, speaking at a 1978 National Academy of Recording Arts and Sciences seminar on new wave9 To locate the exact ‹rst usages of the label new wave as part of the mid-1970s punk explosion is a near impossible task. 10 In 1975, toward the end of the Dolls’ volatile and short-lived career, the band enlisted Malcolm McLaren, the owner of a British fetish fashion store called SEX, to act as its de facto manager. ”11 The band soon fell apart, however, and McLaren returned to England to manage his shop, where his attention Tracking the Tide 21 soon turned to the formation of a new group that he would manage under the moniker of the Sex Pistols.
Are We Not New Wave?: Modern Pop at the Turn of the 1980s by Theodore Cateforis