New Wave

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Posted by r2d2 03/19/2009 @ 04:14

Tags : new wave, artists, music, entertainment

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New Wave music

New Wave is a rock genre originated in the late 1970s and continued in the 1980s. It emerged from punk rock as a reaction against the popular music of the 1970s. New Wave was basically the reinvention of rock 'n' roll of the 1960s but it also incorporated various influences as well as aspects of mod subculture, electronic music, disco, and funk.

The term New Wave itself is a source of much confusion. It was introduced in 1976 in Great Britain by Sex Pistols manager Malcolm McLaren as an alternative label for what was also being called "punk". The term referenced the avant-garde, stylish French New Wave film movement of the 1960s. The label was soon picked up by British punk fanzines such as Sniffin' Glue and then the professional music press. Thus, the term "New Wave" was initially interchangeable with "punk".

In the United States, Seymour Stein, the head of Sire Records, needed a term by which he could market his newly signed bands, who had frequently played the club CBGB. Because radio consultants in the U.S. had advised their clients that punk rock was a fad (and because many stations that had embraced disco had been hurt by the backlash), Stein settled on the term "New Wave". Like those film makers, his new artists, such as Ramones and Talking Heads, were anti-corporate, experimental, and from a generation that had grown up as critical consumers of the art they now practiced.

The Rats didn’t conform precisely to the notional orthodoxies of punk, but then neither did many other bands at the forefront of what those who were scared of the uncompromising term 'punk' later bowdlerized to New Wave. You weren’t allowed to have long hair! The Ramones did. Guitar solos verboten! The defence calls Television. Facial hair a capital offence! Two members of The Stranglers are in mortal danger. Age police on the prowl for wrinklies on the run! Cells await Ian Dury, Knox from The Vibrators and most of The Stranglers. Pedal steel guitars and country music too inextricably linked with Laurel Canyon coke-hippies and snooze-inducing Mellow Mafia singer/songwriterismo. Elvis Costello, you’re busted.

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, was 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; acts associated with the New York club CBGBs, such as Television, Patti Smith, Mink DeVille and Blondie; and singer-songwriters who were noted for their barbed lyrical wit, such as Elvis Costello, Tom Robinson and Joe Jackson. 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.

Later still, "New Wave" came to imply a less noisy, more pop sound, and to include acts manufactured by record labels, while the term post-punk was coined to describe the darker, less pop-influenced groups, such as Siouxsie & the Banshees, The Cure, and The Psychedelic Furs. 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.

The term fell out of favour in The United Kingdom during the early 1980s because its usage had become too general.

The music had strayed far from New Wave's punk roots. Stating in this period and continuing until around 1988, the term "New Wave" was used in America to describe nearly every new pop or pop rock artist that largely used synthesizers or who did not have long hair. New Wave is still used today to describe these acts. Fans and artists would rebel against this catchall definition by inventing dozens of genre names. Synthpop became the broadest of these sub genres with Ultravox, Orchestral Manoevers in the Dark, Depeche Mode, The Human League, Howard Jones, a-ha, New Order, Soft Cell, and Pet Shop Boys seeing time in the spotlight. The period saw a number of one hit wonders. "New Wave" soundtracks were used in Brat Pack films such as Valley Girl, Sixteen Candles and The Breakfast Club. Critics would describe the MTV acts as shallow or vapid but the music's danceability and the quirky fashion sense associated with New Wave appealed to audiences.

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 college rock and grunge/alternative rock in the latter half of the 1980s and 1990s.

During the 1990s, in the aftermath of grunge rock, the British Music press launched a campaign to promote New wave of new wave. This campaign involved overtly punk and new wave influenced acts such as Elastica and Smash. This movement would be eclipsed by Britpop.

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New Wave music in Yugoslavia

New Wave in Yugoslavia (Slovene, Croatian and Bosnian: Novi val; Serbian: Нови талас, Novi talas; Macedonian: Нов бран, transl.: Nov bran; all meaning "New wave") was the New Wave music scene of the Socialist Federal Republic of Yugoslavia. As its counterparts, The British and the US New Wave, from which the main influences came from, the Yugoslav scene was also closely related to Punk rock, Ska, Reggae, Two Tone, Power pop, Mod Revival etc. Some of its acts are also counted as belonging to the Yugoslav Punk scene which already existed prior to the New Wave. Such artists were labeled as both punk rock and new wave (the term "new wave" was initially interchangeable with "punk").

The Non-Aligned socialist Yugoslavia was never part of the Eastern Bloc and it was opened to western influences (the West to some extent even supported Yugoslavia as a "buffer zone" to the Warsaw Pact). The New Wave scene in Yugoslavia emerged in the late 1970s and had a significant impact on the Yugoslav culture. The Yugoslav rock scene in general, including the freshly arrived New Wave music, was socially accepted, well developed and covered in the media. The New Wave was especially advocated by the magazines Polet from Zagreb and Džuboks from Belgrade, as well by the TV show Rokenroler, which was famous for its artistic music videos.

Strangely, this anti-establishment movement was even supported, although moderately, by the Communist authorities, particularly by the Communist youth organisation which often organized concerts, festivals, parties, exhibitions, and other cultural events. The lyrics that were criticizing and satirizing the flaws of the Yugoslav socialism were considered by the authorities as a "useful and friendly critique" and were often tolerated with certain cases of censorship. Especially the Zagreb-based cult band Azra is known for its political and social criticism in their songs. The Yugoslav New Wave scene also cooperated with various conceptual or artistic movements related to Pop-Art, Avant-garde etc.

Important bands of the Yugoslav New wave were: Šarlo Akrobata; Idoli (famous for their song Maljčiki and its respective video in which they ridiculed the soviet soc-realism); Prljavo Kazalište (started as a punk unit; the title of their second album Crno bijeli svijet which means "Black and white world" holds a reference to the Two Tone movement); Električni orgazam (punk at the beginning, they moved towards post-punk and psychedelia later and were described as "The Punk Doors"); Haustor (mostly reggae, ska and similar influences, but with a more poetic and intellectual approach comparing to some danceable bands); Buldožer; Laboratorija zvuka; Film (one of the first Yugoslav New Wave groups); Lačni Franz and many others. Some of them genuinely started as New wave bands, while others previously adhered other styles (for example the members of Azra were previously into somewhat hippie style prior to becoming a New Wave band).

With the decreasing popularity of the 1970s hard rock and progressive rock among the youths after the expansion of Punk and New Wave, even the cult rock band Bijelo Dugme decided to change its rural folkish hard rock style and to jump on the New Wave bandwagon. They adopted the "Two tone" style for a short period of time while it was fashionable on their album Doživjeti stotu which featured the ska theme "Ha, ha, ha". The refrain lyrics were used as a title for the compilation album Svi marš na ples!.

Cult symbols of the Yugoslav New Wave era are the compilation albums Paket aranžman, Novi Punk Val, Artistička Radna Akcija and especially the movie Dečko koji obećava.

As the New Wave perished in the beginning of the 1980s, some of the bands split or took different musical directions. The period around 1982 is considered especially crucial concerning the decline of the New Wave in Yugoslavia. There were several other reasons why the Yugoslav New Wave started to fade beside the notable general decline of the New Wave around the world: the economical crisis in Yugoslavia in the first half of the 1980s (see: Economy of the Socialist Federal Republic of Yugoslavia) and the political instability, especially in the Socialist Autonomous Province of Kosovo in 1981 after Tito's death. Also, the musical genres such as post-punk, darkwave and gothic rock, as well as New Romantic and synth-pop already saw a great expansion around the world, including Yugoslavia too.

Šarlo Akrobata changed from its initial ska and reggae-inspired period, embracing a deeper post-punk sound. They were also a support act of Gang of Four in Zagreb, before they finally split in 1981. Milan Mladenović, its notable vocalist and guitar player in 1982 formed the cult band Ekatarina Velika which was noted for its dark poetic post-punk style and intellectual attitude. In the same year, his bandmate Dušan Kojić-Koja formed the group Disciplina kičme, a band influenced by variety of music styles, which later rose to international prominence.

Idoli, Prljavo Kazalište and Film (the latter under the moniker Jura Stublić i Film) later became pop or pop-rock and all of them respectively achieved great mainstream success; During the 1980s Azra gradually moved to a more conventional rock with occasional use of folk rock elements. Johnny Štulić's poetic trademarks were still notable throughout their lyrics; Električni orgazam soon became a successful mainstream rock band inspired mostly by the 1960s including artists such as the Rolling Stones.

The Yugoslav New Wave period is still considered the "Golden Age" of pop and rock music in the countries that emerged after the breakup of Yugoslavia. The Yugoslav New wave scene gave birth to some of the most important Yugoslav acts ever and it was acclaimed by the Western media (notably by Melody Maker) for its quality and originality as well.

In 2004 Igor Mirković made a film named Sretno dijete ("Happy Child") named after a song by Prljavo kazalište. The movie covers the events in the former Yugoslav New Wave scene.

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New Wave (competition)

New Wave (Russian: Новая волна, Novaya volna, Latvian: Jaunais Vilnis) is an international contest for new stars, which usually lasts for six days: 3 contest days, 2 special event days and, at the end, the day where the contest's results are announced followed by an ending concert.

New Wave is a contest for young performers of popular music which was founded by a Russian composer Igor Krutoy and by Latvian pianist and composer Raimonds Pauls in 2002 and later enhanced by a very famous Russian super-star Alla Pugacheva. New wave is being held in the Latvian costal city of Jūrmala (Dzintari). Although meant to popularize new stars from all over Europe, the countries of the former USSR and USA, many present and former superstars play an important, if not the most important, role in it.

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Source : Wikipedia