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New wave is a music genre[31][32][33] that encompasses pop-oriented styles from the late 1970s through the 1980s. It is considered a lighter and more melodic "broadening of punk culture".[4] It was originally used as a catch-all for the various styles of music that emerged after punk rock,[34] including punk itself.[33] Later, critical consensus favored "new wave" as an umbrella term involving many popular music styles of the era, including power pop, synth-pop, alternative dance, and specific forms of punk that were less abrasive.[15] It may also be viewed as a more accessible counterpart of post-punk.[33]

New wave commercially peaked from the late 1970s into the early 1980s with numerous major musicians and an abundance of one-hit wonders. MTV, which was launched in 1981, heavily promoted new-wave acts, boosting the genre's popularity.[33] In the mid-1980s, new wave declined with the emergence of the New Romantic, New Pop, and New Music genres.[35] Since the 1990s, new wave resurged several times with the growing nostalgia for several new-wave-influenced musicians.[36][37][38]

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New wave music encompassed a wide variety of styles that shared a quirky, lighthearted, and humorous tone[39] that were very popular in the late 1970s and 1980s.[4] New wave includes several pop-oriented styles from this time period.[4] Common characteristics of new wave music include a humorous or quirky pop approach, the use of electronic sounds, and a distinctive visual style in music videos and fashion.[33] According to Simon Reynolds, new wave music had a twitchy, agitated feel. New wave musicians often played choppy rhythm guitars with fast tempos; keyboards, and stop-start song structures and melodies are common. Reynolds noted new-wave vocalists sound high-pitched, geeky, and suburban.[40]

As new wave originated in Britain, many of the first new wave artists were British.[41] These bands became popular in America, in part, because of channels like MTV, which would play British new wave music videos because most American hit records did not have music videos to play. British videos, according to head of S-Curve Records and music producer Steve Greenberg, "were easy to come by since they'd been a staple of UK pop music TV programs like "Top of the Pops" since the mid-70s."[42] This rise in technology made the visual style of new wave musicians important for their success.

The majority of American, male, new wave acts of the late 1970s were from white, middle-class backgrounds. Scholar Theo Cateforis said these acts intentionally presented these exaggerated, nerdy tendencies associated with their "whiteness" to criticize it and to reflect their identity.[43] A nervous, nerdy persona was a common characteristic of new wave fans, and acts such as Talking Heads, Devo, and Elvis Costello.[44] This took the forms of robotic dancing, jittery high-pitched vocals, and clothing fashions that hid the body such as suits and big glasses.[45] This seemed radical to audiences accustomed to post-counterculture genres such as disco dancing and macho "cock rock" that emphasized a "hang loose" philosophy, open sexuality, and sexual bravado.[43]

Although new wave shares punk's do-it-yourself artistic philosophy, the musicians were more influenced by the light strains of 1960s pop while opposed to mainstream "corporate" rock, which they considered creatively stagnant, and the generally abrasive and political bents of punk rock.[5] In the early 1980s, particularly in the United States, notable new wave acts embraced a crossover of pop and rock music with African and African-American styles. Adam and the Ants and Bow Wow Wow, both acts with ties to former Sex Pistols manager Malcolm McLaren, used Burundi-style drumming.[46] Talking Heads' album Remain in Light was marketed and positively reviewed as a breakthrough melding of new wave and African styles, although drummer Chris Frantz said he found out about this supposed African influence after the fact.[47] As the decade continued, new wave elements would be adopted by African-American musicians such as Grace Jones, Janet Jackson, and Prince,[48] who in particular used new wave influences to lay the groundwork for the Minneapolis sound.[49]

The Velvet Underground have also been heralded for their influence on new wave, post-punk and alternative rock.[50][51] Roxy Music were also influential to the genre as well as the works of David Bowie, Iggy Pop[52] and Brian Eno.[53]

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.[32] It originated as a catch-all for the music that emerged after punk rock, including punk itself,[33] in Britain. Scholar Theo Cateforis said that the term was used to commercialize punk groups in the media:

Between 1976 and 1977, the terms "new wave" and "punk" were used somewhat interchangeably.[35][61] Music historian Vernon Joynson said new wave emerged in the UK in late 1976, when many bands began disassociating themselves from punk.[9] That year, the term gained currency when it appeared in UK punk fanzines such as Sniffin' Glue, and music weeklies such as Melody Maker and New Musical Express.[62] In November 1976, Caroline Coon used Malcolm McLaren's term "new wave" to designate music by bands that were not exactly punk but were related to the punk-music scene.[63] The mid-1970s British 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.[64]

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".[65] 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 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.[66] 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.[62] 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.[67][page needed]

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?] Some of these groups later adopted synthesizers.[68] 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.[67]

By the end of 1977, "new wave" had replaced "punk" as the term for new underground music in the UK.[62] 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 ... 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."[69] According to Stuart Borthwick and Ron Moy, authors of Popular Music Genres: an Introduction, the "height of popularity for new wave" coincided with the election of Margaret Thatcher in spring 1979.[70]

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 to Duran Duran to, finally, Wham!".[71] 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."[72]

In 2005, 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.[77] 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 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 Weller."[78]

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.[79]

Illustrating the divergent history of the popular understanding of "new wave" in the UK and the US, English author Andrew Collins recounted how growing up in the 1970s he considered The Photos, who released one top 5 album (in the UK) 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."[77] 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.[15] In the UK, some post-punk music developments became mainstream.[80] According to Music critic David Smay writing in 2001: ff782bc1db