by Kraftwerk, Yellow Magic Orchestra, David Bowie and Gary Numan, British new wave went in the direction of such New Romantics as Spandau Ballet, Ultravox, Japan, Duran Duran, A Flock of Seagulls, Culture Club, Talk Talk and the Eurythmics, sometimes using the synthesizer to replace all other instruments. This period coincided with the rise of MTV and led to a great deal of exposure for this brand of synth-pop, creating what has been characterised as a second British Invasion. Some more traditional rock bands adapted to the video age and profited from MTV's airplay, most obviously Dire Straits, whose "Money for Nothing" gently poked fun at the station, despite the fact that it had helped make them international stars, but in general, guitar-oriented rock was commercially eclipsed. Post-punk If hardcore most directly pursued the stripped down aesthetic of punk, and new wave came to represent its commercial wing, post-punk emerged in the later 1970s and early 1980s as its more artistic and challenging side. Major influences beside punk bands were the Velvet Underground, Frank Zappa and Captain Beefheart, and the New York-based no wave scene which placed an emphasis on performance, including bands such as James Chance and the Contortions, DNA and Sonic Youth. Early contributors to the genre included the US bands Pere Ubu, Devo, the Residents and Talking Heads. The first wave of British post-punk included Gang of Four, Siouxsie and the Banshees and Joy Division, who placed less emphasis on art than their US counterparts and more on the dark emotional qualities of their music. Bands like Siouxsie and the Banshees, Bauhaus, the Cure, and the Sisters of Mercy, moved increasingly in this direction to found Gothic rock, which had become the basis of a major sub-culture by the early 1980s. Similar emotional territory was pursued by Australian acts like the Birthday Party and Nick Cave. Members of Bauhaus and Joy Division explored new stylistic territory as Love and Rockets and New Order respectively. Another early post-punk movement was the industrial music developed by British bands Throbbing Gristle and Cabaret Voltaire, and New York-based Suicide, using a variety of electronic and sampling techniques that emulated the sound of industrial production and which would develop into a variety of forms of post-industrial music in the 1980s. The second generation of British post-punk bands that broke through in the early 1980s, including the Fall, the Pop Group, the Mekons,