eventually radio and mtv came to them. the seeds of what will happen in the next decade are alreadady all therere by thehe end of ththe 80s. college rock like r.e.m. was something new entirely. collar me, don t collar me i ve got my spine, i ve got my orange crush heilemann: the way that peter buck played the guitar and the way that stipe song, where the voice was incredible but you couldn t quite figure out what he was saying, it just kind of made them more alluring and more mysterious. you coululd get why y that bad would d become huge. [ indistinct singing ] peresman: it wasn t new wave. it wasn t a new romantic. they started calling it alternative music. it s s the end ofof the word as we knknow it it s the end of the world as we know it i feel fine fine, fine fine, fine
and that was what paved the way for this accidental second british invasion. jennings: if you look at some of the groups on popular charts in america today, you can t help asking, where on earth did they come from? well, the answer is the same today as it was two decades ago. they come from britain. the music isn t anything like the famous group that came from there, the beatles. you got to understand they were 20 years ago. we re a new generation, a new wave. you were working as a waitress in a cocktail bar when i met you connelly: by the early 1980s, new wave is used to describe sleek, dressy cool bands that are coming out of england. don t you want me, baby don t you want me, oh graham: british artists all understood how to use visuals in a way that american artists didn t necessarily get that quickly. do you really want to hurt me? do you really want to make me cry?
it has done wonders for the sagging record industry. it has made overnight stars out of rock groups whose records had been gathering dust. this year the first since 1978 business is finally up. and the reason is music videos. we had no idea that music videos would have that much of an impact on the musical culture. it changed the entire dynamic of what you had to do as far as promotion was concerned. you had to be a performance artist as well as a musician. fox the fox rat on the rat man: the intelligent ones recognize that it s a marriage between the visual artist and the musician at this point. monkey don t you re going to shock the monkey hays: the man or the woman who finds the right combination will take it all. let s dance put on your red shoes and dance the blues
it has done wonders for the sagging record industry. it has made overnight stars of rock groups whose records had been gathering dust. this year the first since 1978, business is finally up, and the reason is music videos. we had no idea that music videos would have that much of an impact on the musical culture. it changed the entire dynamic of what you had to do as far as promotion was concerned. you had to be a performance artist as well as a musician. the intelligent ones recognized that it s a marriage between the visual artist and the musician at this point. monkey
promotion was concerned. you had to be a performance artist as well as a musician. the intelligent ones recognized that it s a marriage between the visual artist and the musician at this point. monkey don t you know you re going to shock the monkey the man or the woman who finds the right combination will take it all. let s dance put on your red shoes and dance the blues when david and i decided that we were going to work together, it was pretty clear to me that david wanted to make a commercial album. like, you know, now i m going to go make a pop record! but it was going to be his version of pop. my songs always tend to be impressionistic or even have a surreal quality to them. and on this album is the first time that i ve really tried to adapt to a didactic kind of approach to songwriting. if you should fall into my