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"Cateforis, Theo"
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Are we not new wave?
\"Are We Not New Wave?is destined to become the definitive study of new wave music.\"-Mark Spicer, coeditor ofSounding Out PopNew wave emerged at the turn of the 1980s as a pop music movement cast in the image of punk rock's sneering demeanor, yet rendered more accessible and sophisticated. Artists such as the Cars, Devo, the Talking Heads, and the Human League leapt into the Top 40 with a novel sound that broke with the staid rock clichés of the 1970s and pointed the way to a more modern pop style.
InAre We Not New Wave?Theo Cateforis provides the first musical and cultural history of the new wave movement, charting its rise out of mid-1970s punk to its ubiquitous early 1980s MTV presence and downfall in the mid-1980s. The book also explores the meanings behind the music's distinctive traits-its characteristic whiteness and nervousness; its playful irony, electronic melodies, and crossover experimentations. Cateforis traces new wave's modern sensibilities back to the space-age consumer culture of the late 1950s/early 1960s.Three decades after its rise and fall, new wave's influence looms large over the contemporary pop scene, recycled and celebrated not only in reunion tours, VH1 nostalgia specials, and \"80s night\" dance clubs but in the music of artists as diverse as Rihanna, Lady Gaga, Miley Cyrus, and the Killers.
eBook
Rebel girls and singing boys: performing music and gender in the teen movie
From \"Pretty in Pink\" and \"Some Kind of Wonderful\" to \"10 Things I Hate About You\" and \"Juno,\" again and again female characters are positioned as social outsiders via their devotion to alternative musical tastes. Likewise, in films as varied as \"American Pie,\" \"She's All That,\" and \"Napoleon Dynamite,\" teenage boys repeatedly assume the roles of dynamic performers. The teen movie's soundtrack is viewed through the lenses of gender identity, musical genre, and the cinematic conventions of popular song scoring. As a \"coming of age\" film, the teen movie deals specifically with the gendered rites of passage that mark the symbolic transition from adolescence to adulthood. Music in these films can thus help underscore a character's social transformation. A brief historical overview of the teen movie genre's birth in the mid-1950s and its musical scoring are presented. The changes that occurred in the early 1980s which ultimately served to redefine the teen movie are described. Specifically, this new wave of teen movies began to portray adolescence in a way that resembles anthropologist Victor Turner's description of the \"liminal journey,\" a socially defined process marked by rites of passage toward adulthood.
Journal Article
Popular Music and Jazz, 1950–Present
The coverage of post-1950 popular music and jazz in the second edition of The Grove Dictionary of American Music (hereafter referred to as the AmeriGrove II) is truly impressive in its range and scope. AmeriGrove II gives substantial space to a variety of styles ranging from rhythm and blues and rock to country and hip hop, a nod not only to the tremendous impact they have had on the making and consumption of U.S. music in recent decades, but also to the explosion in popular music scholarship witnessed in organizations like the International Association for the Study of Popular Music and the popular music study groups of the American Musicological Society, Society for Music Theory, and Society for Ethnomusicology. Throughout its many entries, AmeriGrove II showcases just how much the study of recent American popular music has grown since AmeriGrove I appeared nearly thirty years ago.
Journal Article
Performing the Avant-Garde Groove: Devo and the Whiteness of the New Wave
Cateforis explores the impact of the band Devo and the new wave movement primarily from a stylistic standpoint in an effort to understand how the group's music articulated a set of meanings reflective of the movement's overwhelmingly white constituency.
Journal Article
Camp! Kitsch! Trash
In his remarks onWild Planetmusic critic Frank Rose deploys a tactic common to nearly every B-52’s review: he grounds the group’s aesthetic in their recycling of pop culture’s distant past, a dizzying parade of 1960s television reruns, forgotten female pop singers, novelty dances, and teenageBeach Partymovies. From the moment the Athens, Georgia, quintet descended in late 1977 upon New York City, where they became “the darlings of the local club circuit,” the B-52’s attracted the adoring attention of critics who singled out the band’s absurdist renderings of the ubiquitous mainstream pop culture of the late 1950s
Book Chapter
Tracking the Tide
TheRandom House Unabridged Dictionarydefines a new wave as “a movement, trend, or vogue, as in art, literature, or politics, that breaks with traditional concepts, values, techniques, or the like.”¹ There are numerous examples that fit this bill, ranging from the 1960s new wave of British theater and the influential early 1980s New Wave of British Heavy Metal to, of course, the music that serves as the subject of this very book. Regardless of how or where one encounters a “new wave,” its signifying power traces back to the phrase’s original etymology, that of the late 1950s French cinematic
Book Chapter