By Theodore Cateforis
In Are We now not New Wave? Theo Cateforis presents the 1st musical and cultural historical past of the hot wave circulate, charting its upward thrust out of mid-1970s punk to its ubiquitous early Nineteen Eighties MTV presence and downfall within the mid-1980s. The booklet additionally explores the meanings in the back of the music's distinct traits-its attribute whiteness and anxiousness; its playful irony, digital melodies, and crossover experimentations. Cateforis strains new wave's sleek sensibilities again to the space-age purchaser tradition of the past due 1950s/early Nineteen Sixties. Theo Cateforis is Assistant Professor of track heritage and tradition within the division of paintings and song Histories at Syracuse collage.
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Additional info for Are We Not New Wave?: Modern Pop at the Turn of the 1980s (Tracking Pop)
30 As such, the post-punk movement brought a strong musical stylistic resemblance to bear on punk’s relationship with the nouvelle vague. By 1978 yet another splinter had materialized, this time populated by a second wave of punk bands such as Sham 69 and the Angelic Upstarts who Tracking the Tide 27 had dedicated themselves to keeping alive the music’s substance and subcultural rituals. 31 To them, punk’s turn toward a commercial new wave represented a traitorous betrayal of the music’s idealistic values.
A return to that sound is all that’s going on now, so don’t give me any of this New Wave—using a Far‹sa organ because it’s so hip. . 64 Others, like seasoned art rockers Peter Gabriel and Pete Townshend, were less sheepish or defensive about their admiration for the new music and their solo albums (Gabriel’s third eponymous album, Peter Gabriel, and Townshend’s Empty Glass) willfully embraced the movement’s more progressive and experimental tendencies. Likewise, veteran British groups like King Crimson and Yes overhauled their sound, exploring the meeting ground between progressive rock’s virtuosic complexities and new wave’s layered minimalist textures and synthesized tones.
King Crimson’s new front man, Adrian Belew, had spent time recording and touring with the Talking Heads, while Yes replaced departed vocalist Jon Anderson and keyboardist Rick Wakeman with Trevor Horn and Geoffrey Downes of the Buggles. Tracking the Tide 41 By the close of 1980, the emergent new wave formation had become seamlessly integrated with the dominant rock formation. Creem magazine acknowledged as much when it dispensed with the separate new wave categories in their year’s end reader’s poll with the justi‹cation that the music had ‹nally assimilated itself into the mainstream.