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4″ X 3″ embroidered Patch – New Wave Music – Alternative 80s – Synth Pop – Devo – Wax BackingAre We Not Men?Whip It New wave is a broad music genre that encompasses numerous pop-oriented styles from the late 1970s and the 1980s. It was originally used as a catch-all for the music that emerged after punk rock, including punk itself, but may be viewed retrospectively as a more accessible counterpart of post-punk. Although new wave shared punk’s DIY philosophy, the artists were more influenced by the lighter strains of 1960s pop while being opposed to the generally abrasive and political bents of punk rock and what was considered to be creatively stagnant “corporate” rock. Common characteristics of new wave music include a humorous or quirky pop approach, the use of electronic sounds, and a distinctive visual style featured in music videos and fashion. In the early 1980s, virtually every new pop/rock act – and particularly those that featured synthesizers in their sound – were tagged as “new wave”. By the 2000s, critical consensus favored “new wave” to be an umbrella term that encompassed power pop, synth-pop, ska revival, and the softer strains of punk rock. New wave peaked commercially in the late 1970s and the early 1980s with numerous major artists and an abundance of one-hit wonders. After MTV was launched in 1981, the network promoted new wave acts heavily on the channel, which gave the genre a boost in popularity. In the mid-1980s, new wave declined with the emergence of several “new” labels: New Romantic, New Pop, and New Music. Since the 1990s, new wave has enjoyed some resurgences after a rising nostalgia for several new wave-influenced artists. New wave encompasses numerous pop-oriented styles from the late 1970s and the 1980s. It originally represented a break from the blues and rock & roll sounds of late-1960s to mid-1970s music. Common characteristics of new wave music include a humorous or quirky pop approach, the use of electronic sounds, and a distinctive visual style featured in music videos and fashion. According to Simon Reynolds, the music had a twitchy, agitated feel. New wave musicians often played choppy rhythm guitars with fast tempos, and keyboards were common, as were stop-start song structures and melodies. Reynolds noted that new wave vocalists sounded high-pitched, geeky and suburban. Although new wave shared punk’s DIY artistic philosophy, the artists were more influenced by the lighter 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. In the early 1980s, new wave acts embraced a crossover of 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. 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 that he found out about this supposed African influence after the fact. Second British Invasion acts were influenced by funk and disco. Blondie, 1976. L–R: Gary Valentine, Clem Burke, Deborah Harry, Chris Stein and Jimmy Destri.The majority of American male new wave acts of the late 1970s were from Caucasian middle-class backgrounds. Scholar Theo Cateforis theorized that these acts intentionally presented these exaggerated nerdy tendencies associated with their “whiteness” to criticize it and/or to reflect their identity. A nervous, nerdy persona was a common characteristic of new wave fans as well as acts such as Talking Heads, Devo, and Elvis Costello. This took the forms of robotic dancing, jittery high-pitched vocals, and clothing fashions such as suits and big glasses that hid the body. This seemed radical to audiences accustomed to post-counterculture forms such as disco dancing and macho “cock rock” that had emphasized a “hang loose” philosophy, open sexuality and sexual bravado. The “new wave” term is regarded as so loose and wide-ranging as to be “virtually meaningless”, according to the New Rolling Stone Encyclopedia of Rock. It was originally used as a catch-all for the music that emerged after punk rock, including punk itself. The 1985 discography Who’s New Wave in Music listed artists in over 130 separate categories. Reflecting its British origins, the 2004 study Popular Music Genres: An Introduction had one paragraph dedicated to 1970s new wave artists in its punk chapter in contrast to a 20-page chapter on early 1980s synth-pop. AllMusic offers that the term may be viewed retrospectively as a more accessible counterpart of post-punk. Talking Heads performing in Toronto in 1978As early as 1973, critics including Nick Kent and Dave Marsh were using the “new wave” tag to classify such New York-based groups as the Velvet Underground and New York Dolls. 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), as well as the proto-punk scene in Ohio, which included Devo, the electric eels, Rocket from the Tombs and Pere Ubu. Some important bands, such as Suicide and the Modern Lovers, debuted even earlier. CBGB owner Hilly Kristal, referring to the first show of the band Television at his club in March 1974, said, “I think of that as the beginning of new wave.” 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 American artists including the Dead Boys, Ramones, Talking Heads and the Runaways. Between 1976 and 1977, the terms “new wave” and “punk” were somewhat interchangeable. Music historian Vernon Joynson claimed that new wave emerged in the UK in late 1976, when many bands began disassociating themselves from punk. That year, the term gained currency when it appeared in UK punk fanzines such as Sniffin’ Glue and newsagent music weeklies such as Melody Maker and New Musical Express. In November 1976, Caroline Coon used Malcolm McLaren’s term “new wave” to designate music by bands not exactly punk, but related to the same musical scene. The mid-1970s British pub rock scene was ultimately 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. In the US, Sire Records chairman Seymour Stein, believing that 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”. As radio consultants in the US had advised their clients that 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 artists were anti-corporate and experimental (e.g. Ramones and Talking Heads). At first, most American writers used the term “new wave” exclusively in reference to British punk acts. 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, starting with British acts and later appropriating it to acts associated with the CBGB scene. Part of what attracted Stein and others to new wave was the music’s stripped-back style and upbeat tempos, which they viewed as a much-needed return to the energetic rush of rock and roll and 1960s rock that had dwindled in the 1970s with the ascendance of overblown progressive rock and stadium spectacles. “Post-punk” was coined to describe groups who were initially considered part of new wave but were more ambitious, serious and challenging, as well as being darker and less pop-oriented. Some of these groups would later adopt synths. 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. In the UK, some post-punk music developments became mainstream. 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.” By the end of 1977, “new wave” had replaced “punk” as the definition for new underground music in the UK. 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.” In the early 1980s, new wave gradually lost its associations to punk in popular perception. 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!” Virtually every new pop/rock act – and particularly those that featured synthesizers in their sound – were tagged as “new wave” during this time. Starting around 1983, the US music industry preferred the more generic term “New Music”, used to categorize “new” movements like New Pop and New Romanticism. In Britain, journalists and music critics largely abandoned “new wave” and “new music” in favor of subgenre terms such as “synth-pop”. New wave was much more closely tied to punk, and came and went more quickly in the UK (and in the rest of 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. Thus when new wave acts started getting noticed in the US, punk meant little to the mainstream audience and it was common for rock clubs and discos to play British dance mixes and videos between live sets by American guitar acts. By the 2000s, critical consensus favored “new wave” to be an umbrella term that encompassed power pop, synth-pop, ska revival, and the softer strains of punk rock. In the summer of 1977 both Time and Newsweek wrote favorable lead stories on the “punk/new wave” movement. Acts associated with the movement received little or no radio airplay or music industry support. Small scenes developed in major cities. Continuing into the next year, public support remained limited to select elements of the artistic, bohemian and intellectual population, as arena rock and disco dominated the charts. Starting in late 1978 and continuing into 1979, acts associated with punk and acts that mixed punk with other genres began to make chart appearances and receive airplay on rock stations and rock discos. Blondie, Talking Heads, the Police, and the Cars charted during this period. “My Sharona”, a single from the Knack, was Billboard magazine’s number one single of 1979. The success of “My Sharona”, combined with the fact that new wave albums were much cheaper to produce during a time when the music industry was in its worst slump in decades, prompted record companies to sign new wave groups. New wave music scenes developed in Ohio and the college town of Athens, Georgia, with iconic bands such as the B-52s and R.E.M.. 1980 saw brief forays into new wave-styled music by non-new wave artists Billy Joel, Donna Summer, and Linda Ronstadt. An African-American “new wave” of sorts also arose in the US in the late 1970s and early 1980s, driven, as AllMusic points out, by “drum machines, synthesizers and programming common studio tools.” Following the musically stripped-down approach of Stevie Wonder and Parliament-Funkadelic, post-disco explored a more electronic and experimental side of African-American music by incorporating an eclectic range of styles, e.g. Jamaican music, electronic art music, jazz, blues and, in the latter years, European and Japanese synthesizer music. Stretching the boundaries of disco music, post-disco took many forms, some entirely rhythm and blues-based (NYC boogie), some post-punk–based (alternative dance), underground club culture-centered (Chicago house with its own style of dance called jacking) and futurism–leaning (Detroit techno). Embracing new wave music (synth-pop) proper was proven to be influential, as Afrika Bambaataa (“Renegades of Funk”) and Arthur Baker point out, on both underground and mainstream black dance music (electro, dance-rock, Minneapolis sound). Early in 1980, influential radio consultant Lee Abrams wrote a memo saying that, with a few exceptions, “we’re not going to be seeing many of the new wave circuit acts happening very big over here (referring to America). As a movement, we don’t expect it to have much influence.” Lee Ferguson, a consultant to KWST, said in an interview that Los Angeles radio stations were banning disc jockeys from using the term and noted, “Most of the people who call music new wave are the ones looking for a way not to play it.” Despite the success of Devo’s socially critical but widely misperceived song “Whip It”, second albums by artists who had successful debut albums, along with newly signed artists, failed to sell, and radio pulled most new wave programming. The arrival of MTV in 1981 ushered in new wave’s most successful era in the US. British artists, unlike many of their American counterparts, had learned how to use the music video early on. Several British acts on independent labels were able to outmarket and outsell American artists on major labels. Journalists labeled this phenomenon a “Second British Invasion”. MTV continued its heavy rotation of videos by new wave-oriented acts until 1987, when it changed to a heavy metal and rock dominated format. Martha Davis of the Motels performs at Hollywood Park.In a December 1982 Gallup poll, 14% of teenagers rated new wave as their favorite type of music, making it the third most popular. New wave had its greatest popularity on the West Coast. Unlike other genres, race was not a factor in the popularity of new wave music, according to the poll. Urban contemporary radio stations were the first to play dance-oriented new wave artists such as the B-52’s, Culture Club, Duran Duran and ABC. New wave soundtracks were used in mainstream Brat Pack films such as Sixteen Candles, Pretty in Pink and The Breakfast Club, as well as in the low-budget hit Valley Girl. John Hughes, the director of several of these films, was enthralled with British new wave music and placed songs from acts such as the Psychedelic Furs, Simple Minds, Orchestral Manoeuvres in the Dark and Echo and the Bunnymen in his films, helping to keep new wave in the mainstream. Several of these songs remain standards of the era. Critics described the MTV acts of the period as shallow or vapid. Homophobic slurs were used to describe some of the new wave musicians. Despite the criticism, the danceable quality of the music and the quirky fashion sense associated with new wave artists appealed to audiences. As late as 1989, bands such as Love and Rockets debuted on the charts with a look and sound that would have landed them clearly within the new wave genre 10 years earlier, and the B-52’s reached their greatest success in 1990. In September 1988, Billboard launched its Modern Rock chart. While the acts on the chart reflected a wide variety of stylistic influences, new wave’s legacy remained in the large influx of acts from Great Britain and acts that were popular in rock discos, as well as the chart’s name, which reflected how new wave had been marketed as “modern”. New wave’s indie spirit would be crucial to the development of college rock and grunge/alternative rock in the latter half of the 1980s and beyond. DEVO (/ˈdiːvoʊ/, originally /diːˈvoʊ/) is an American rock band from Akron, Ohio, formed in 1973. Their classic lineup consisted of two sets of brothers, the Mothersbaughs (Mark and Bob) and the Casales (Gerald and Bob), along with Alan Myers. The band had a No. 14 Billboard chart hit in 1980 with the single “Whip It”, the song that gave the band mainstream popularity. DEVO music and stage shows mingle kitsch science fiction themes, deadpan surrealist humor and mordantly satirical social commentary. Their early, pre-Warner Bros. dissonant songs use synthetic instrumentation and time signatures proven influential on subsequent popular music, particularly new wave, industrial, and alternative rock artists. Devo (most enthusiastically Gerald Casale) was also a pioneer of the music video, creating clips for the LaserDisc format, with “Whip It” getting heavy airplay in the early days of MTV. 1973–1978: FormationThe name DEVO comes from the concept of “de-evolution” and the band’s related idea that instead of continuing to evolve, mankind had begun to regress, as evidenced by the dysfunction and herd mentality of American society. In the late 1960s, this idea was developed as a joke by Kent State University art students Gerald Casale and Bob Lewis, who created a number of satirical art pieces in a devolution vein. At this time, Casale had also performed with the local band 15-60-75 (The Numbers Band). They met Mark Mothersbaugh around 1970, a talented keyboardist who had been playing with the band Flossy Bobbitt. Mothersbaugh brought a more humorous feel to the band, introducing them to material like the pamphlet “Jocko Homo Heavenbound”, which includes an illustration of a winged devil labelled “D-EVOLUTION” and would later inspire the song “Jocko Homo”. The “joke” about de-evolution became serious following the Kent State shootings of May 4, 1970. This event would be cited multiple times as the impetus for forming the band Devo. Throughout the band’s career, they have often been considered a “joke band” by the music press. The first form of DEVO was the “Sextet Devo” which performed at the 1973 Kent State performing arts festival. It included Casale, Lewis and Mothersbaugh, as well as Gerald’s brother Bob Casale on guitar, and friends Rod Reisman and Fred Weber on drums and vocals, respectively. This performance was filmed and a part was included on the home video The Complete Truth About De-Evolution. This lineup performed only once. Devo returned to perform in the Student Governance Center (featured prominently in the film) at the 1974 Creative Arts Festival with a lineup including the Casale brothers, Bob Lewis, Mark Mothersbaugh, and Jim Mothersbaugh on drums. Front and back covers of Devo’s first release, the 45 rpm single “Mongoloid” backed with “Jocko Homo” (1977), released on the band’s Booji Boy RecordsThe band continued to perform, generally as a quartet, but with a fluid lineup including Mark’s brothers Bob Mothersbaugh and Jim Mothersbaugh. Bob played electric guitar, and Jim provided percussion using a set of home-made electronic drums. Their first two music videos, “Secret Agent Man” and “Jocko Homo” featured on The Truth About De-Evolution, were filmed in Akron, and Cuyahoga Falls, Ohio, the hometown of most members. This lineup of Devo lasted until late 1975 when Jim left the band. Bob Lewis would sometimes play guitar during this period, but mainly stayed in a managerial role. In concert, Devo would often perform in the guise of theatrical characters, such as Booji Boy and the Chinaman. Live concerts from this period were often confrontational, and would remain so until 1977. A recording of an early Devo performance from 1975 with the quartet lineup appears on DEVO Live: The Mongoloid Years, ending with the promoters unplugging Devo’s equipment. Following Jim Mothersbaugh’s departure, Bob Mothersbaugh found a new drummer, Alan Myers, who played on a conventional, acoustic drum kit. Casale re-recruited his brother Bob Casale, and the lineup of Devo remained the same for nearly ten years. Devo gained some fame in 1976 when the short film The Truth About De-Evolution directed by Chuck Statler won a prize at the Ann Arbor Film Festival. This attracted the attention of David Bowie, who began work to get the band a recording contract with Warner Music Group. In 1977, Devo were asked by Neil Young to participate in the making of his film Human Highway. Released in 1982, the film featured the band as “nuclear garbagemen”. The band members were asked to write their own parts and Mark Mothersbaugh scored and recorded much of the soundtrack, his first of many. In March 1977, Devo released their first single “Mongoloid” backed with “Jocko Homo”, the B-side of which came from the soundtrack to The Truth About De-Evolution, on their independent label Booji Boy. This was followed by a cover of the Rolling Stones’ “(I Can’t Get No) Satisfaction”. In 1978, the B Stiff EP was released by British independent label Stiff, which included the single “Be Stiff” plus two previous Booji Boy releases. “Mechanical Man”, a 4-track 7″ extended play (EP) of demos, an apparent bootleg, but rumored to be put out by the band, was also released that year. Recommendations from David Bowie and Iggy Pop enabled Devo to secure a recording contract with Warner Bros. in 1978. After Bowie backed out of the business deal due to previous commitments, their first album, Q: Are We Not Men? A: We Are Devo! was produced by Brian Eno and featured re-recordings of their previous singles “Mongoloid” and “(I Can’t Get No) Satisfaction”. On October 14, 1978, Devo gained national exposure with an appearance on the late-night show Saturday Night Live, a week after the Rolling Stones, performing “(I Can’t Get No) Satisfaction” and “Jocko Homo”. After the band achieved this success, co-founder Bob Lewis asked for accreditation and compensation in 1978 for his contributions to the band. The band refused to negotiate, and sued Lewis in Los Angeles County Superior Court, seeking a declaratory judgment stating that Lewis had no rights to the name or theory of de-evolution. Lewis then filed an action in the United States District Court for the Northern District of Ohio, alleging theft of intellectual property. During discovery, Lewis produced articles, promotional materials, documentary evidence and an interview recorded at the Akron Art Museum following the premiere of In the Beginning was the End in which Mothersbaugh and other band members credited Lewis with developing the theory of de-evolution. The band quickly settled for an undisclosed sum. The band followed up with Duty Now for the Future in 1979, which moved the band more towards electronic instrumentation. While not as successful as their first album, it did produce some fan favorites with the songs “Blockhead” and “The Day My Baby Gave Me a Surprize”, as well as a cover of the Johnny Rivers hit “Secret Agent Man”. “Secret Agent Man” had been recorded first in 1974 for Devo’s first film and performed live as early as 1976. In 1979, Devo traveled to Japan for the first time, and a live show from this tour was partially recorded. Devo appeared on Don Kirshner’s Rock Concert in 1979, performing “Blockhead”, “Secret Agent Man”, “Uncontrollable Urge”, and “Mongoloid”. Also in 1979, Rhino, in conjunction with the Los Angeles radio station KROQ-FM, released Devotees, a tribute album. It contained a set of covers of Devo songs interspersed with renditions of popular songs in Devo’s style. Devo actively embraced the parody religion Church of the SubGenius. In concert, Devo sometimes performed as their own opening act, pretending to be a Christian soft rock band called “Dove (the Band of Love)”, which is an anagram of “Devo”. They appeared as Dove in the 1980 televangelism spoof film Pray TV. 1980–1982: Mainstream breakthrough, Freedom of Choice, and New TraditionalistsDevo gained a new level of visibility with 1980’s Freedom of Choice. This album included their best-known hit, “Whip It”, which quickly became a Top 40 hit. The album moved to an almost completely electronic sound, with the exception of acoustic drums and Bob Mothersbaugh’s guitar. The tour for Freedom of Choice was ambitious for the band, including dates in Japan, the United Kingdom, France, Germany, Italy, the Netherlands, and Canada. The band used a minimalist set including large custom light boxes which could be laid on their back to form a second, smaller stage during the second half of the set. Other popular songs from Freedom of Choice were “Girl U Want”, the title-track, and “Gates of Steel”. The band released popular music videos for “Whip It” and “Girl U Want”. Devo made two appearances on the TV show Fridays in 1980, as well as on Don Kirshner’s Rock Concert, American Bandstand, and other shows. The band members often wore red, terraced energy dome hats as part of its stage outfit. The dome was first worn during the band’s Freedom of Choice campaign of 1980. It reappeared in the 1981, 1982, and 1988 tours, as well as in most of their performances since 1997. Devo also recorded two albums of their own songs as elevator music for their fan club, Club Devo, released on cassette in 1981 and 1984. These were later re-released on the album E-Z Listening Disc (1987), with all but two of the original Club Devo songs. These songs were often played as house music before Devo concerts. In August 1981, the band’s DEV-O Live EP spent three weeks at the top of the Australian charts. In 1982, they toured Australia and appeared on the TV show Countdown. Devo enjoyed continued popularity in Australia, where the nationally broadcast 1970s–1980s pop TV show Countdown was one of the first programs in the world to broadcast their video clips. They were given consistent radio support by Sydney-based non-commercial rock station Double Jay (2JJ) and Brisbane-based independent community station Triple Zed (4ZZZ), two of the first rock stations outside America to play their recordings. The late-night music program Nightmoves aired The Truth About De-Evolution. In 1981, Devo contributed a cover of “Working in the Coal Mine”, recorded during the Freedom of Choice sessions, to the film Heavy Metal. They offered the song to be used in the film when Warner Bros. refused to include it on the album. Warner then included it as an independent bonus single accompanying their 1981 release, New Traditionalists. For this album Devo wore self-described “Utopian Boy Scout uniforms” topped with a “New Traditionalist Pomp”—a plastic half-wig modeled on the hairstyle of John F. Kennedy. Among the singles from the album was “Through Being Cool”, written as a reaction to their new-found fame from “Whip It” and seen as a response to new fans who had misinterpreted the message behind the hit song. The album’s accompanying tour featured the band performing an intensely physical show with treadmills and a large Greek temple set. That same year they served as Toni Basil’s backing band on Word of Mouth, her debut album, which included versions of three Devo songs, recorded with Basil singing lead. 1982–1987: Oh No! It’s Devo, Shout, and Myers’ departureOh, No! It’s Devo followed in 1982. Produced by Roy Thomas Baker, the album featured a more synth-pop-oriented sound than its predecessors. According to Gerald Casale, the album’s sound was inspired by reviewers alternately describing them as both “fascists” and “clowns”. The album’s tour featured the band performing seven songs in front of a 12-foot high rear-projection screen with synchronized video, an image recreated using blue screen effects in the album’s accompanying music videos. Devo also contributed two songs, “Theme from Doctor Detroit” and “Luv-Luv” to the 1983 Dan Aykroyd film Doctor Detroit, and produced a music video for “Theme from Doctor Detroit” featuring clips from the film with live-action segments. Devo released their sixth album, Shout, in 1984 to poor reviews. The album has been criticized for its overuse of the Fairlight CMI digital sampling synthesizer and weak songwriting. However, the band’s cover of the Jimi Hendrix song “Are You Experienced?” and the accompanying music video received some praise. Following the critical and commercial failure of Shout, Warner Bros. dropped Devo from their label. Shortly after, claiming to feel creatively unfulfilled, Alan Myers left the band, causing the remaining band members to abandon the plans for a Shout video LP, as well as a tour. In the interim, Mark Mothersbaugh began composing music for the TV show Pee-wee’s Playhouse and released an elaborately packaged solo cassette, Musik for Insomniaks, which was later expanded and released as two CDs in 1988.

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