Don't Let Me Be Misunderstood
"Don't Let Me Be Misunderstood" is a song written by Bennie Benjamin, Horace Ott and Sol Marcus for the singer and pianist Nina Simone, who first recorded it in 1964. "Don't Let Me Be Misunderstood" has been covered by many artists, most notably by The Animals, whose blues rock version of the song became a transatlantic hit in 1965. A 1977 four-on-the-floor disco rearrangement by disco group Santa Esmeralda was a hit; the beginnings of "Don't Let Me Be Misunderstood" came with composer and arranger Horace Ott, who came up with the melody and chorus lyric line after a temporary falling out with his girlfriend, Gloria Caldwell. He brought it to writing partners Bennie Benjamin and Sol Marcus to complete. However, when it came time for songwriting credits, rules of the time prevented BMI writers from collaborating with ASCAP members, so Ott instead listed Caldwell's name on the credits."Don't Let Me Be Misunderstood" was one of five songs involving the writing of Benjamin and Marcus, presented for Nina Simone's 1964 album Broadway-Blues-Ballads.
There, it is taken at a slow tempo and arranged around harp and other orchestral elements. Simone sings it in her difficult-to-categorize style. Horace Ott's involvement did not end with his initial songwriting. Backed with "A Monster", "Don't Let Me Be Misunderstood" was released as a single in 1964, but failed to chart. To some writers, this version of "Don't Let Me Be Misunderstood" carried the subtext of the Civil Rights Movement, that concerned much of Simone's work of the time. Decades a commercial for Christian Dior's perfume J'Adore, starring Charlize Theron, featured Simone's version of the song, as did the final scene of the 2009 Polish film drama Rewers. In 2010, Simone's version was used for the end credits of the first-season finale episode of BBC's crime drama Luther, it was again used in the finale of the show's fifth season. In 2017, it was used again for the final scene of the pilot of FX's crime drama Snowfall; the Animals' lead singer Eric Burdon would say of the song, "It was never considered pop material, but it somehow got passed on to us and we fell in love with it immediately."
The Animals sped up the tempo and made prominent use of a guitar and organ riff, picked out and expanded from an element that appeared in the Simone recording's outro. The song was recorded in November 1964; the group gained a trans-Atlantic hit in early 1965 from their rendition, rising to number 3 on the UK Singles Chart, number 15 on the U. S. pop singles chart, number 4 in Canada. This single was ranked by Rolling Stone at #322 on their list of the 500 Greatest Songs of All Time. In Animals concerts at the time, the group maintained the recorded arrangement, but Burdon sometimes slowed the vocal line down to an spoken part, recapturing a bit of the Simone flavor, it is heard in a 2012 commercial for H&M featuring David Beckham that aired during NBC's coverage of Super Bowl XLVI on February 5, 2012. At the South by Southwest conference in 2012, Bruce Springsteen credited the song as the inspiration and the riff for his song "Badlands". A Disco version of the song by the disco group Santa Esmeralda, which took The Animals' arrangement and added some disco and other Latin rhythm and ornamentation elements to it became a hit in the late 1970s.
First released in summer 1977 as a 16-minute epic that took up an entire side of their Don't Let Me Be Misunderstood album, it was picked up for more worldwide distribution by the label of the time, Casablanca Records. A 12-inch club remix was popular, hitting number one on the U. S. Billboard Club Play Singles in some European countries as well; the single peaked at number four on the Hot Dance/Disco-Club Play chart. Released as a pop single late in the year, it did well as well, reaching number 15 on the Billboard Hot 100 by early 1978. NBC Sports would use the song in the years following its release during their coverage of the World Series. Santa Esmeralda's "Don't Let Me Be Misunderstood" was used as the opening theme of the 1980 pilot for the U. S. game show Bullseye. This version of the song was used on German ARD soccer television show Sportschau from the late 1970s to the mid-1980s, in the introduction for the "goal of the month" segment. Santa Esmeralda's rendition is featured in the 1992 film American Me and the 2001 English comedy Blow Dry.
It became popular with a generation after its inclusion in the 2003 Quentin Tarantino film Kill Bill: Volume 1, where its instrumental passage plays over the duel between The Bride and O-Ren Ishii, the accompanying Kill Bill Vol. 1 Original Soundtrack, where it is incorporated in a full vocal form that runs over ten minutes. A rendition appears in the trailer for the 2005 film Kiss Kiss Bang Bang, as well as the 2008 Korean "ramyun western" film The Good, the Bad, the Weird, played in the chasing sequence in the Manchurian desert; the Animals' Eric Burdon has re-recorded the song throughout the years, notably an eight-minute version on his 1974 album Sun Secrets, a heavy metal performance in 1976 released on his Live at the Roxy album. Jon English recorded a version for his album, Minutes to Midnight. Since the early 1980s, Burdon has performed it in a reggae style. In a different version, it was performed during The Animals' 1983 reunion, as documented on the following year's Greatest Hits Live (Rip It to
Eric Victor Burdon is an English singer-songwriter and actor. He was the vocalist of rock band The Animals and funk band War, he is regarded as one of the British Invasion's most distinctive singers with his deep, powerful blues-rock voice. He is known for his aggressive stage performances. In 2008, he was ranked 57th in Rolling Stone's list The 100 Greatest Singers of All Time. Eric Burdon was born in 1941 in Newcastle upon England, his father, was from Tyneside. His mother, was from Ireland and moved to Scotland before settling in Newcastle in the 1930s, he had a younger sister, Irene. Burdon states he had a divided loyalty in his sense of place and identity, he was born to a lower working-class family. Because of his dad's line of work in electrical repair, the Burdon family had a TV by the time Eric was 10; this led him to take up the trombone. However, realizing that he wasn't all that good a player, he took up singing and went to Newcastle Art College. In a song he wrote, "When I Was Young", he states he met his first love at 13, experienced while he was not.
He sings he smoked his first cigarette at 10 years old and would skip school with his friends to drink brown ale. Burdon describes his early school years as a "dark nightmare". Due to the river pollution and humidity in Newcastle he suffered asthma attacks daily. During primary school, he was "Stuck at the rear of the classroom of around 40 to 50 kids and received constant harassment from kids and teachers alike." He goes on to say his primary school was "Jammed between a slaughterhouse and a shipyard on the banks of the Tyne. Some teachers were sadistic – others pretended not to notice – and sexual molestation and regular corporal punishment with a leather strap was the order of the day". By the time he got to secondary school, a teacher by the name of Bertie Brown was responsible for getting him into art school and changing his life forever. There he first met John Steel the original drummer for The Animals, he met a lot of other "young rebels" who shared his interest in jazz and movies. This was the age Eric and his friends would disappear to go to a field or park to drink Newcastle Brown Ale.
Burdon started out his young adult life as one of a bunch of people who hung out at the local jazz club, The Downbeat. He describes his friends as "like a motorcycle gang... without the motorcycles". Burdon and fellow rocker and guitarist, American Jimi Hendrix became close friends in the mid sixties and remained so up until Hendrix's death in 1970. Burdon was a good friend of The Beatles' John Lennon and was mentioned in one of their songs, "I Am the Walrus" as "the eggman". Eric states, "The nickname stuck after a wild experience I’d had at the time with a Jamaican girlfriend called Sylvia. I was up early one morning cooking breakfast, naked except for my socks, she slid up beside me and slipped an amyl nitrite capsule under my nose; as the fumes set my brain alight and I slid to the kitchen floor, she reached to the counter and grabbed an egg, which she cracked into the pit of my belly. The white and yellow of the egg ran down my naked front and Sylvia began to show me one Jamaican trick after another.
I shared the story with John at a party at a Mayfair flat one night with a handful of others. Lennon, finding the story amusing and hilarious, replied, “Go on, go get it, Eggman,” tributing a song to the unique experience. Burdon was lead singer of the Animals, formed during 1962 in Newcastle upon Tyne; the original band was the Alan Price Rhythm and Blues Combo, which formed in 1958. The Animals combined electric blues with rock and in the USA were one of the leading bands of the British Invasion. Along with the Beatles, the Rolling Stones, the Who, the Hollies, the Dave Clark Five, the Kinks, the group introduced British music and fashion. Burdon's powerful voice can be heard on the Animals' singles "The House of the Rising Sun", "Baby Let Me Take You Home", "I'm Crying", "Boom Boom", "Don't Let Me Be Misunderstood", "Bring It On Home to Me", "We Gotta Get out of This Place", "It's My Life", "Don't Bring Me Down", "See See Rider", "Monterey", "Sky Pilot". May 1965, originals member keyboardist Alan Price and April 1966 drummer John Steel, had left.
Burdon has attributed the disintegration of the band to conflict with Price that Price had claimed sole rights and ownership to "House of the Rising Sun". Burdon and drummer Barry Jenkins reformed the group as the Animals; this more psychedelic incarnation featured future Family member John Weider and was sometimes called Eric Burdon and the New Animals. Keyboardist Zoot Money joined during 1968 until the band split up in 1969; this group's hits included the ballad "San Franciscan Nights", the grunge–heavy metal-pioneering "When I Was Young", "Monterey", the anti-Vietnam anthem "Sky Pilot", "White Houses" and the progressive cover of "Ring of Fire". In 1967, Burdon married Angela King, who he describes in his autobiography as "a beautiful Anglo-Indian woman with perfect breasts." The next year she left him for Jimi Hendrix and she and Burdon were subsequently divorced. She was murdered in 1996 by an estranged boyfriend. In 1975, the original Animals reunited and recorded an album called
Rolling Stone is an American monthly magazine that focuses on popular culture. It was founded in San Francisco, California in 1967 by Jann Wenner, still the magazine's publisher, the music critic Ralph J. Gleason, it was first known for political reporting by Hunter S. Thompson. In the 1990s, the magazine shifted focus to a younger readership interested in youth-oriented television shows, film actors, popular music. In recent years, it has resumed its traditional mix of content. Rolling Stone Press is the magazine's associated book publishing imprint. Straight Arrow Press was the magazine's associated book publishing imprint, Straight Arrow Publishing Co. Inc. was the publishing company that published Rolling Stone. Rolling Stone magazine was founded in San Francisco in 1967 by Ralph Gleason. To get it off the ground, Wenner borrowed $7,500 from his own family and from the parents of his soon-to-be wife, Jane Schindelheim; the first issue carried a cover date of November 9, 1967, was in newspaper format with a lead article on the Monterey Pop Festival.
The cover price was 25¢. In the first issue, Wenner explained that the title of the magazine referred to the 1950 blues song "Rollin' Stone", recorded by Muddy Waters, Bob Dylan's hit single "Like a Rolling Stone": You're wondering what we're trying to do. It's hard to say: sort of a sort of a newspaper; the name of it is Rolling Stone which comes from an old saying, "A rolling stone gathers no moss." Muddy Waters used the name for a song. The Rolling Stones took their name from Muddy's song. "Like a Rolling Stone" was the title of Bob Dylan's first rock and roll record. We have begun a new publication reflecting what we see are the changes in rock and roll and the changes related to rock and roll."—Jann Wenner, Rolling Stone, November 9, 1967, p. 2 Some authors have attributed the name to Dylan's hit single: "At Gleason's suggestion, Wenner named his magazine after a Bob Dylan song." Rolling Stone identified with and reported the hippie counterculture of the era. However, it distanced itself from the underground newspapers of the time, such as Berkeley Barb, embracing more traditional journalistic standards and avoiding the radical politics of the underground press.
In the first edition, Wenner wrote that Rolling Stone "is not just about the music, but about the things and attitudes that music embraces". In the 1970s, Rolling Stone began to make a mark with its political coverage, with the likes of gonzo journalist Hunter S. Thompson writing for the magazine's political section. Thompson first published his most famous work Fear and Loathing in Las Vegas within the pages of Rolling Stone, where he remained a contributing editor until his death in 2005. In the 1970s, the magazine helped launch the careers of many prominent authors, including Cameron Crowe, Lester Bangs, Joe Klein, Joe Eszterhas, Ben Fong-Torres, Patti Smith and P. J. O'Rourke, it was at this point that the magazine ran some of its most famous stories, including that of the Patty Hearst abduction odyssey. One interviewer, speaking for a large number of his peers, said that he bought his first copy of the magazine upon initial arrival on his college campus, describing it as a "rite of passage".
In 1977, the magazine moved its headquarters from San Francisco to New York City. Editor Jann Wenner said San Francisco had become "a cultural backwater". During the 1980s, the magazine began to shift towards being a general "entertainment" magazine. Music was still a dominant topic, but there was increasing coverage of celebrities in television and the pop culture of the day; the magazine initiated its annual "Hot Issue" during this time. Rolling Stone was known for its musical coverage and for Thompson's political reporting. In the 1990s, the magazine changed its format to appeal to a younger readership interested in youth-oriented television shows, film actors and popular music; this led to criticism. In recent years, the magazine has resumed its traditional mix of content, including in-depth political stories, it has expanded content to include coverage of financial and banking issues. As a result, the magazine has seen its circulation increase and its reporters invited as experts to network television programs of note.
The printed format has gone through several changes. The first publications, in 1967–72, were in folded tabloid newspaper format, with no staples, black ink text, a single color highlight that changed each edition. From 1973 onwards, editions were produced on a four-color press with a different newsprint paper size. In 1979, the bar code appeared. In 1980, it became a large format magazine; as of edition of October 30, 2008, Rolling Stone has had a smaller, standard-format magazine size. After years of declining readership, the magazine experienced a major resurgence of interest and relevance with the work of two young journalists in the late 2000s, Michael Hastings and Matt Taibbi. In 2005, Dana Leslie Fields, former publisher of Rolling Stone, who had worked at the magazine for 17 years, was an inaugural inductee into the Magazine Hall of Fame. In 2009, Taibbi unleashed an acclaimed series of scathing reports on the financial meltdown of the time, he famously described Goldman Sachs as "a great vampire squid".
Bigger headlines came at the end of June 2010. Rolling Stone caused a controversy in the White House by publishing in the July issue an article by journalist Michael Hastings entitled, "The Runaway General", quoting criticism by General Stanley A. McChrystal, commander of the International Security Assistance Force and U. S. Forces-Afghanistan commander, about Vice President Joe Biden and oth
Free love is a social movement that accepts all forms of love. The Free Love movement's initial goal was to separate the state from sexual matters such as marriage, birth control, adultery, it claimed that such issues were the concern of the people involved, no one else. Much of the free love tradition reflects a liberal philosophy that seeks freedom from state regulation and church interference in personal relationships. According to this concept, the free unions of adults are legitimate relations which should be respected by all third parties whether they are emotional or sexual relations. In addition, some free love writing has argued that both men and women have the right to sexual pleasure without social or legal restraints. In the Victorian era, this was a radical notion. A new theme developed, linking free love with radical social change, depicting it as a harbinger of a new anti-authoritarian, anti-repressive sensibility. According to today's stereotype, earlier middle-class Americans wanted the home to be a place of stability in an uncertain world.
To this mentality are attributed strongly-defined gender roles, which led to a minority reaction in the form of the free-love movement. While the phrase free love is associated with promiscuity in the popular imagination in reference to the counterculture of the 1960s and 1970s the free-love movement has not advocated multiple-sexual partners or short-term sexual relationships. Rather, it has argued that sexual relations that are entered into should not be regulated by law; the term "sex radical" is used interchangeably with the term "free lover", was the preferred term by advocates because of the negative connotations of "free love". By whatever name, advocates had two strong beliefs: opposition to the idea of forced sexual activity in a relationship and advocacy for a woman to use her body in any way that she pleases. Laws of particular concern to free love movements have included those that prevent an unmarried couple from living together, those that regulate adultery and divorce, as well as age of consent, birth control, homosexuality and sometimes prostitution.
The abrogation of individual rights in marriage is a concern—for example, some jurisdictions do not recognize spousal rape or treat it less than non-spousal rape. Free-love movements since the 19th century have defended the right to publicly discuss sexuality and have battled obscenity laws. At the turn of the 20th century, some free-love proponents extended the critique of marriage to argue that marriage as a social institution encourages emotional possessiveness and psychological enslavement; the history of free love is entwined with the history of feminism. From the late 18th century, leading feminists, such as Mary Wollstonecraft, have challenged the institution of marriage, many have advocated its abolition. According to feminist critique, a married woman was a wife and mother, denying her the opportunity to pursue other occupations. In 1855, free love advocate Mary Gove Nichols described marriage as the "annihilation of woman," explaining that women were considered to be men's property in law and public sentiment, making it possible for tyrannical men to deprive their wives of all freedom.
For example, the law allowed a husband to beat his wife. Free-love advocates argued that many children were born into unloving marriages out of compulsion, but should instead be the result of choice and affection—yet children born out of wedlock did not have the same rights as children with married parents. In 1857, in the Social Revolutionist, Minerva Putnam complained that "in the discussion of free love, no woman has attempted to give her views on the subject" and challenged every woman reader to "rise in the dignity of her nature and declare herself free."In the 19th century at least six books endorsed the concept of free love, all of which were written by men. However of the four major free-love periodicals following the U. S. civil war, half had female editors. Mary Gove Nichols was the leading-female advocate and the woman most looked up to in the free-love movement, her autobiography became the first argument against marriage written from a woman's point of view. To proponents of free love, the act of sex was not just about reproduction.
Access to birth control was considered a means to women's independence, leading birth-control activists embraced free love. Sexual radicals remained focused on their attempts to uphold a woman's right to control her body and to discuss issues such as contraception, marital-sex abuse, sexual education; these people believed. To help achieve this goal, such radical thinkers relied on the written word, books and periodicals, by these means the movement was sustained for over fifty years, spreading the message of free love all over the United States. A number of utopian social movements throughout history have shared a vision of free love; the all-male Essenes, who lived in the Middle East from the 1st century BC to the 1st century AD shunned sex and slavery. They renounced wealth, lived communally, were pacifist vegetarians. An Early Christian sect known as the Adamites existed in North Africa in the 2nd, 3rd and 4th centuries and rejected marriage, they believed themselves to be without original sin.
In the 6th century, adherents of Mazdakism in pre-Muslim Persia supported a kind of free love in the place of marriage, like many other free-love movements favored
Salvador known as São Salvador da Bahia de Todos os Santos is the capital of the Brazilian state of Bahia. With 2.9 million people, it is the largest city proper in the Northeast Region and the 4th largest city proper in the country, after São Paulo, Rio de Janeiro and Brasília. Founded by the Portuguese in 1549 as the first capital of Brazil, Salvador is one of the oldest colonial cities in the Americas. A sharp escarpment divides its Lower Town from its Upper Town by some 85 meters; the Elevador Lacerda, Brazil's first elevator, has connected the two since 1873. The Pelourinho district of the upper town, still home to many examples of Portuguese colonial architecture and historical monuments, was named a World Heritage Site by UNESCO in 1985; the city's cathedral is the see of the primate of Brazil and its Carnival celebration has been reckoned as the largest party in the world. Salvador was the first slave port in the Americas and the African influence of the slaves' descendants makes it a center of Afro-Brazilian culture.
The city is noted for its cuisine, music and architecture. Porto da Barra Beach in Barra has been named one of the best beaches in the world. Itaipava Arena Fonte Nova was the site of the city's games during the 2014 Brazilian World Cup and 2013 Confederations Cup. Salvador forms the heart of the Recôncavo, Bahia's rich agricultural and industrial maritime district, continues to be a major Brazilian port, its metropolitan area, housing 3 899 533 people forms the wealthiest one in Brazil's Northeast Region. Salvador lies on a small triangular peninsula that separates the Bay of All Saints, the largest bay in Brazil, from the Atlantic Ocean, it was first reached by Gaspar de Lemos in 1501, just one year after Cabral's purported discovery of Brazil. During his second voyage for Portugal, the Italian explorer Amerigo Vespucci sighted the bay on All Saints' Day 1502 and, in honor of the date and his parish church in Florence, he named it the Bay of the Holy Savior of All the Saints; the first European to settle nearby was Diogo Álvares Correia, shipwrecked off the end of the peninsula in 1509.
He lived among marrying Guaibimpara and others. In 1531, Martim Afonso de Sousa led an expedition from Mount St Paul and, in 1534, Francisco Pereira Coutinho, the first captain of Bahia, established the settlement of Pereira in modern Salvador's Ladeira da Barra neighborhood. Mistreatment of the Tupinambá by the settlers caused them to turn hostile and the Portuguese were forced to flee to Porto Seguro c. 1546. An attempted restoration of the colony the next year ended in cannibalism; the present city was established as the fortress of São Salvador da Bahia de Todos os Santos in 1549 by Portuguese settlers under Tomé de Sousa, Brazil's first governor-general. It is one of the oldest cities founded by Europeans in the Americas. From a cliff overlooking the Bay of All Saints, it served as Brazil's first capital and became a major port for its slave trade and sugarcane industry. Salvador was long divided into an upper and a lower city, divided by a sharp escarpment some 85 meters high; the upper city formed the administrative and primary residential districts while the lower city was the commercial center, with a port and market.
In the Roman Catholic Church and the rest of the Portuguese Empire were administered as part of the Diocese of Funchal in Portugal but, in 1551, Salvador became the seat of the first Roman Catholic diocese erected in Brazil. The first parish church was the mud-and-thatch Church of Our Lady of Help erected by the Jesuits, which served as the first cathedral of the diocese until the Jesuits finished construction of the original basilica on the Terreiro de Jesus in 1553, its bishop was made independent of the Archdiocese of Lisbon at the request of King Pedro II in 1676. In 1572, the Governorate of Brazil was divided into the separate governorates of Bahia in the north and Rio de Janeiro in the south; these were reunited as Brazil six years then redivided from 1607 to 1613. By that time, Portugal had become temporarily united with Spain and was ruled from Madrid by its kings. In 1621, King Philip III replaced the Governorate of Brazil with the states of Brazil, still based in Salvador and now controlling the south, the Maranhão, centered on São Luís and controlled what is now northern Brazil.
As Spain was prosecuting a war against the independence of the Dutch, the Dutch East and West India companies tried to conquer Brazil from them. Salvador played a strategically vital role against Dutch Brazil, but was captured and sacked by a West India Company fleet under Jacob Willekens and Piet Hein on 10 May 1624. Johan van Dorth administered the colony before his assassination; the city was recaptured by a Luso-Spanish fleet under Fadrique Álvarez de Toledo y Mendoza on 1 May 1625. John Maurice's two subsequent attempts to retake the town in April and May of 1638 were unsuccessful. In 1763, the colonial administration elevated to a viceroyalty. Salvador remained the heart of the Recôncavo, Bahia's rich agricultural maritime district, but was outside Brazil's early modernization; the area formed a center of royal Portuguese support against heir apparent Pedro I's declaration of independence from Eu
New wave music
New wave is a genre of rock music popular in the late 1970s and the 1980s with ties to mid-1970s punk rock. New wave moved away from blues and rock and roll sounds to create rock music or pop music that incorporated disco and electronic music. New wave was similar to punk rock, before becoming a distinct genre, it subsequently engendered fusions, including synth-pop. New wave differs from other movements with ties to first-wave punk as it displays characteristics common to pop music, rather than the more "artsy" post-punk. Although it incorporates much of the original punk rock sound and ethos, new wave exhibits greater complexity in both music and lyrics. Common characteristics of new wave music include the use of synthesizers and electronic productions, a distinctive visual style featured in music videos and fashion. New wave has been called one of the definitive genres of the 1980s, after it was promoted by MTV; the popularity of several new wave artists is attributed to their exposure on the channel.
In the mid-1980s, differences between new wave and other music genres began to blur. New wave has enjoyed resurgences since the 1990s, after a rising "nostalgia" for several new wave-influenced artists. Subsequently, the genre influenced other genres. During the 2000s, a number of acts, such as the Strokes, Franz Ferdinand and The Killers explored new wave and post-punk influences; these acts were sometimes labeled "new wave of new wave". The catch-all nature of new wave music has been a source of much controversy; the 1985 discography Who's New Wave in Music listed artists in over 130 separate categories. The New Rolling Stone Encyclopedia of Rock calls the term "virtually meaningless", while AllMusic mentions "stylistic diversity". New wave first emerged as a rock genre in the early 1970s, used by critics including Nick Kent and Dave Marsh to classify such New York-based groups as the Velvet Underground and New York Dolls, it gained currency beginning in 1976 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 punk, but related to the same musical scene. The term was used in that sense by music journalist Charles Shaar Murray in his comments about the Boomtown Rats. For a period of time in 1976 and 1977, the terms new wave and punk were somewhat interchangeable. By the end of 1977, "new wave" had replaced "punk" as the definition for new underground music in the UK. In the United States, Sire Records chairman Seymour Stein, believing that the term "punk" would mean poor sales for Sire's acts who had played the club CBGB, launched a "Don't Call It Punk" campaign designed to replace the term with "new wave"; as radio consultants in the United States had advised their clients that punk rock was a fad, they settled on the term "new wave". Like the filmmakers of the French new wave movement, its new artists were anti-corporate and experimental. At first, most U. S. writers used the term "new wave" for British punk acts.
Starting in December 1976, The New York Rocker, suspicious of the term "punk", became the first American journal to enthusiastically use the term starting with British acts 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. Music historian Vernon Joynson claimed that new wave emerged in the UK in late 1976, when many bands began disassociating themselves from punk. 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, came to be categorized as "new wave". In the U. S. the first new wavers were the not-so-punk acts associated with the New York club CBGB.
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 been classified as punk were termed new wave. A 1977 Phonogram Records compilation album of the same name features US artists including the Dead Boys, Talking Heads and the Runaways. New wave is much more tied to punk, came and went more in the United Kingdom than in the United States. At the time punk began, it was a major phenomenon in the United Kingdom and a minor one in the United States, thus when new wave acts started getting noticed in America, 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. Post-punk music developments in the UK were considered unique cultural events. By the early 1980s, British journalists had abandoned the term "new wave" in favor of subgenre terms such as "synthpop".
By 1983, the term of choice for the US music industry had become "new music", while to the majority of US fans it was still a "new wave" reacting to album-based rock. New wave died out in the mid-1980s, knocked out by guitar-driven rock reacting against new wave. In the 21st-century United States, "new wave" was used to describe ar