Editing British Invasion (section)

== Impact on American music ==
{{quote box|quote=The Beatles changed music for everybody making records in America, including Elvis who couldn't get a hit during that period of time—a decent hit during that period of time. And they absolutely wiped us right off the charts. That was it. In '64, it was all over for American singers.<ref>{{cite news|title=Larry King Live Interview With Connie Francis |date= 11 March 2002  |work=CNN}}</ref> |source=– [[Connie Francis]], 2002|width=18em}}
The British Invasion had a profound impact on popular music, internationalising the production of rock and roll, establishing the British popular music industry as a viable centre of musical creativity,<ref>J. M. Curtis, ''Rock Eras: Interpretations of Music and Society, 1954–1984'' (Popular Press, 1987), p. 134.</ref> and opening the door for subsequent British performers to achieve international success.<ref name=allmusic /> In America, the Invasion arguably spelled the end of the popularity of instrumental [[surf music]],<ref>{{cite web |url=http://www.nostalgiacentral.com/music/surfmusic.htm |title=Surf Music |publisher=Nostalgia Central |access-date=March 11, 2013 |url-status=dead |archive-url=https://web.archive.org/web/20071021040218/http://nostalgiacentral.com/music/surfmusic.htm |archive-date=October 21, 2007 |df=mdy-all}}</ref> pre-[[Motown]] vocal [[Girl group#1955–1970: The golden age of girl groups|girl groups]], the [[American folk music revival|folk revival]] (which adapted by evolving into [[folk rock]]), [[teenage tragedy song]]s, [[Nashville sound|Nashville country music]] (which also faced its own crisis with the deaths of some of its biggest stars at the same time), and temporarily, the [[teen idol]]s that had dominated the United States charts in the late 1950s and early 1960s.<ref name=reconsidering>K. Keightley, "Reconsidering Rock," in S. Frith, W. Straw and J. Street, eds., ''[[Cambridge Companions to Music|The Cambridge Companion to Pop and Rock]]'' (Cambridge: Cambridge University Press, 2001), p. 117.</ref> It dented the careers of established R&B acts like [[Chubby Checker]] and temporarily derailed the chart success of certain surviving rock and roll acts, including [[Ricky Nelson]],<ref>{{cite web |url=http://www.springfieldnewssun.com/news/entertainment/music/ricky-nelsons-sons-revive-his-legacy-with-remember/nNpML/ |title=Ricky Nelson's sons revive his legacy with 'Remembered' tour |first=Andrew |last=McGinn |work=The Springfield News-Sun |date=2011-06-23 |access-date=2014-06-01}}</ref> [[Fats Domino]], [[the Everly Brothers]], and [[Elvis Presley]] (who nevertheless racked up thirty Hot 100 entries from 1964 through 1967).<ref>F. W. Hoffmann, ''Encyclopedia of Recorded Sound, Volume 1'' (CRC Press, 2nd ed., 2004), p. 132.</ref> It prompted many existing [[garage rock]] bands to adopt a sound with a British Invasion inflection and inspired many other groups to form, creating a scene from which many major US acts of the next decade would emerge.<ref>[{{AllMusic|class=explore|id=style/d411|pure_url=yes}} allmusic Genre Garage Rock]</ref> The British Invasion also played a major part in the rise of a distinct genre of rock music and cemented the primacy of the rock group, based around guitars and drums and producing their own material as singer-songwriters.<ref>R. Shuker, ''Popular Music: The Key Concepts''. (Routledge, 2nd ed., 2005), p. 35.</ref>

In February 2021, Ken Barnes, a former ''[[USA Today]]'' radio writer, analysed US musical acts' success before and during the Invasion in an article for ''Radio Insight'' attempting to confirm or debunk the claim that the British Invasion devastated US music. In his analysis, he noted that several of the acts whose careers were eclipsed by the Invasion—among them [[Bobby Vee]], [[Neil Sedaka]], [[Dion DiMucci|Dion]] and [[Elvis Presley]]—eventually made comebacks after the Invasion waned. Others, such as [[Bill Anderson (singer)|Bill Anderson]] and [[Bobby Bare]], remained successful in the country realm, even as their pop crossover success had waned. Barnes noted that one record company, [[Cameo Parkway]], sustained more permanent damage from the Invasion (and the concurrent rise of Motown) than any other, but also noted that it was also affected by another event that happened the same week as the Beatles' arrival: ''[[American Bandstand]]'', which had been based in [[Philadelphia, Pennsylvania]] where Cameo Parkway was based and drew many of its performers from Cameo Parkway, moved to Los Angeles. In summation, he noted that a plurality of the alleged victims of the Invasion (42 percent of most US hit music acts of 1963) were already seeing diminishing returns in 1963 before the Invasion began; 24 percent of US acts that year saw their success continue through the invasion, such as [[the Beach Boys]] and [[Frankie Valli and the Four Seasons]]; 14 percent were the likes of Sedaka, Vee and Presley in that they suffered during the Invasion but recovered afterward; and 20 percent suffered fatal damage to their careers because of it (with Barnes stating that 7 percent of US acts—mostly Cameo Parkway acts and folk revival groups—were wiped out almost entirely due to the Invasion, and the other 13 percent had the Invasion as one of several reasons for their declines). Stylistically, the proportions of US music being made did not change substantially during the Invasion, even as the British acts flooded the charts with a homogenous pop-rock sound; folk, country and [[novelty song|novelty]] music, already small factors in the overall pop realm, dropped to near-nonexistence, while [[girl group]]s were also hard hit.<ref name=americasradiostars>{{cite web|url=https://radioinsight.com/ross/202078/did-the-beatles-kill-americas-radio-stars/|title=Did the Beatles kill America's radio stars?|first=Ken|last=Barnes|work=Radio Insight|date=February 9, 2021|access-date=February 20, 2021}}</ref>

Though many of the acts associated with the invasion did not survive its end, many others would become icons of rock music.<ref name=allmusic /> The claim{{according to whom|date=July 2018}} that British beat bands were not radically different from American groups like [[the Beach Boys]] and damaged the careers of black American and female artists<ref>K. Keightley, "Reconsidering Rock". S. Frith, W. Straw and J. Street, eds., ''The Cambridge Companion to Pop and Rock'' (Cambridge: Cambridge University Press, 2001), pp. 117–18.</ref> was made{{when|date=July 2018}} about the invasion. However, the [[Motown sound]], exemplified by [[the Supremes]], [[the Temptations]], and the [[Four Tops]], each securing their first top 20 record during the invasion's first year of 1964 and following up with many other top 20 records, besides the constant or even accelerating output of [[the Miracles]], [[Gladys Knight & the Pips]], [[Marvin Gaye]], [[Martha & the Vandellas]], and [[Stevie Wonder]], actually increased in popularity during that time.<ref>{{cite book |first=Joel |last=Whitburn |year=2003 |title=Top Pop Singles 1955-2002 |publisher=Record Research, Inc |location=Menomonee Falls, Wisconsin |isbn=0-89820-155-1 |url=https://archive.org/details/joelwhitburnstop00whitbur}}</ref>

Other American groups also demonstrated a similar sound to the British Invasion artists and in turn highlighted how the British "sound" was not in itself a wholly new or original one.<ref name=Keightley2001>K. Keightley, "Reconsidering Rock" in S. Frith, W. Straw and J. Street, eds., ''The Cambridge Companion to Pop and Rock'' (Cambridge: Cambridge University Press, 2001), {{ISBN|0-521-55660-0}}, p. 116.</ref> [[Roger McGuinn]] of [[the Byrds]], for example, acknowledged the debt that US artists owed to British musicians, such as [[The Searchers (band)|the Searchers]], but that "they were using folk music licks that I was using anyway. So it's not that big a rip-off."<ref>Holmes, Tim, "US and Them: American Rock's Reconquista" ''Popular Music and Society'', Vol.30, July 07</ref> Both the US [[sunshine pop]] group [[the Buckinghams]] and the Beatles-influenced US [[Tejano music|Tex-Mex]] act the [[Sir Douglas Quintet]] adopted British-sounding names,<ref>{{cite web |url=https://www.allmusic.com/artist/the-buckinghams-p3793/biography |title=The Buckinghams - Music Biography, Streaming Radio and Discography - AllMusic |first=Bill |last=Dahl |work=AllMusic}}</ref><ref>{{cite web |url=https://www.allmusic.com/artist/the-sir-douglas-quintet-p5441/biography |title=The Sir Douglas Quintet - Music Biography, Streaming Radio and Discography - AllMusic |first=Steve |last=Huey |work=AllMusic}}</ref> and [[San Francisco]]'s [[The Beau Brummels|Beau Brummels]] took their name from the same-named [[Beau Brummell|English dandy]].<ref>{{cite web |url=http://www.dandyism.net/trivial-pursuit-the-test-of-dandy-knowledge/ |title=Trivial Pursuit: The Test of Dandy Knowledge |website=Dandyism.net |access-date=2013-08-31}}</ref> [[Roger Miller]] had a 1965 hit record with a self-penned song titled "[[England Swings]]", in which although its title references the progressive youth-centric cultural scene known as [[Swinging London]], its lyric pays tribute to Britain's traditional way of life.<ref>{{cite news |url=https://www.chron.com/life/article/England-still-swings-3684257.php |title=England still swings |first=Ken |last=Hoffman |newspaper=Houston Chronicle |date=July 4, 2012 |access-date=December 1, 2012}}</ref> Englishman [[Geoff Stephens]] (or [[John Carter (English musician)|John Carter]]) reciprocated the gesture a la [[Rudy Vallée]] a year later in [[the New Vaudeville Band]]'s "[[Winchester Cathedral (song)|Winchester Cathedral]]".<ref>{{cite book |chapter-url=https://www.scribd.com/doc/69655581/David-Bowie-The-Words-and-Music |title=The Words and Music of David Bowie |author=James E. Perone |chapter=1 |page=6 |publisher=Praeger (Singer-Songwriter Collection) |location=Westport, Connecticut, and London |isbn=978-0-275-99245-3 |year=2007 |access-date=December 1, 2012 |url-status=dead |archive-url=https://web.archive.org/web/20130616051029/http://www.scribd.com/doc/69655581/David-Bowie-The-Words-and-Music |archive-date=June 16, 2013 |df=mdy-all}}</ref><ref>{{cite web |url=http://thekirkhamreport.pnrnetworks.popcornnroses.com/2009/08/16/august-16-2009-winchester-cathedral-by-new-vaudeville-band |title=Winchester Cathedral by New Vaudeville Band |publisher=The Kirkham Report |date=August 16, 2009 |access-date=December 1, 2012 |url-status=dead |archive-url=https://web.archive.org/web/20130617082735/http://thekirkhamreport.pnrnetworks.popcornnroses.com/2009/08/16/august-16-2009-winchester-cathedral-by-new-vaudeville-band/ |archive-date=June 17, 2013 |df=mdy-all}}</ref> Even as recently as 2003, ''[[Shanghai Knights]]'' made the latter two tunes memorable once again in London scenes.<ref>{{cite magazine |url=https://www.variety.com/review/VE1117919772?refcatid=31 |archive-url=https://archive.today/20130205110939/http://www.variety.com/review/VE1117919772?refcatid=31 |url-status=dead |archive-date=February 5, 2013 |title=Shanghai Knights - Film Reviews - New U.S. Release |first=Joe |last=Leydon |magazine=Variety |date=January 26, 2003 |access-date=December 1, 2012 }}</ref><ref>{{cite web |url=http://celebritywonder.ugo.com/movie/2003_Shanghai_Knights_jeff_farance.html |title=Shanhai Knights - Movie reviews, trailers, clips and movie stills |first=Jeff |last=Farance |publisher=Celebrity Wonder |access-date=December 1, 2012}}{{dead link|date=December 2017 |bot=InternetArchiveBot |fix-attempted=yes }}</ref> Anticipating the [[Bay City Rollers]] by more than a decade, two British acts that reached the Hot 100's top twenty gave a tip of the hat to America: [[Billy J. Kramer]] with [[The Dakotas (band)|the Dakotas]] and [[the Nashville Teens]]. The British Invasion also drew a backlash from some US bands, e.g., [[Paul Revere & the Raiders]]<ref>{{cite web |url=http://www.atlanticcityweekly.com/casinos/features/Show-Review-Kickin-It-With-Paul-Revere-and-the-Raiders-234885881.html |title=Show Review: Kickin' It with Paul Revere and the Raiders |first=Lori |last=Hoffman |work=Atlantic City Weekly |date=2013-12-07 |access-date=2014-04-25 |url-status=dead |archive-url=https://web.archive.org/web/20140426235633/http://www.atlanticcityweekly.com/casinos/features/Show-Review-Kickin-It-With-Paul-Revere-and-the-Raiders-234885881.html |archive-date=April 26, 2014 |df=mdy-all}}</ref> and [[New Colony Six]]<ref>{{cite web|url=http://www.oldies.com/artist-view/The-New-Colony-Six.html|title=The New Colony Six|website=Oldies.com|access-date=2015-03-24}}</ref> dressed in [[American Revolutionary War|Revolutionary War]] uniforms, and [[Gary Puckett & the Union Gap]] donned [[American Civil War|Civil War]] uniforms.<ref>{{cite web |url=http://www.nj.com/entertainment/index.ssf/2011/10/gary_puckett_interview_a_perfe.html |title=Gary Puckett interview: A perfect Union |first=Mark |last=Voger |work=The Star-Ledger |date=2011-10-10 |access-date=2014-04-25}}</ref> [[Garage rock]] act [[The Barbarians (band)|the Barbarians]]' "Are You a Boy or Are You a Girl" contained the lyrics "You're either a girl, or you come from Liverpool" and "You can dance like a female monkey, but you swim like a stone, Yeah, a Rolling Stone."<ref>{{cite web|url=https://www.allmusic.com/artist/the-barbarians-mn0000047849/biography|title=The Barbarians - Biography & History - AllMusic|website=AllMusic|access-date=October 2, 2018}}</ref><ref>{{cite web|url=https://www.allmusic.com/song/are-you-a-boy-or-are-you-a-girl-mt0004603377|title=Are You a Boy or Are You a Girl - The Barbarians - Song Info - AllMusic|website=AllMusic|access-date=October 2, 2018}}</ref>

In Australia, the success of [[the Seekers]] and [[the Easybeats]] (the latter a band formed mostly of British emigrants) closely paralleled that of the British Invasion. The Seekers had two Hot 100 top five hits during the British Invasion, the number-four hit "[[I'll Never Find Another You]]" (recorded at London's [[Abbey Road Studios]]) in May 1965 and the number-two hit "[[Georgy Girl (song)|Georgy Girl]]" in February 1967. The Easybeats drew heavily on the British Invasion sound and had [[one-hit wonder|one hit]] in the US during the British Invasion, the number-sixteen hit "[[Friday on My Mind]]" in May 1967.<ref>{{cite web |url=https://www.allmusic.com/artist/the-seekers-mn0000504270 |title=The Seekers - Music Biography, Streaming Radio and Discography - AllMusic |first=Bruce |last=Eder |work=AllMusic}}</ref><ref>{{cite web |url=https://www.allmusic.com/artist/the-easybeats-mn0000145086 |title=The Easybeats - Music Biography, Streaming Radio and Discography - AllMusic |first=Bruce |last=Eder |work=AllMusic}}</ref>

According to Robert J. Thompson, director of the Center for the Study of Popular Television at [[Syracuse University]], the British invasion pushed the [[Counterculture of the 1960s|counterculture]] into the mainstream.<ref name=Ross />