Editing British Invasion

{{Short description|Cultural phenomenon of the mid-1960s}}
{{About|the cultural phenomenon of the mid-1960s}}
{{Use mdy dates|date=June 2013}}
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{{Infobox historical event
| Event_Name = British Invasion
| partof = the [[Swinging Sixties]] and the broader [[counterculture of the 1960s]]
| Image_Name = The Beatles arrive at JFK Airport.jpg
| Imagesize = 
| Image_Alt = 
| Image_Caption = The arrival of [[the Beatles]] in the United States in 1964 marked the start of the British Invasion.<ref name="Britannica" />
| Thumb_Time = 
| AKA = 
| Participants = 
| Location = United Kingdom and United States
| Date = 1963–1969
| nongregorian = 
| Deaths = 
| Result = British influence on the [[music of the United States]]
| URL = 
}}

The '''British Invasion''' was a [[cultural phenomenon]] of the mid-1960s, when [[Rock music|rock]] and [[pop music]] acts from the United Kingdom<ref name=IraRobbins>{{cite web| author=Ira A. Robbins |url=https://www.britannica.com/EBchecked/topic/80244/British-Invasion |title=British Invasion (music) – Britannica Online Encyclopædia |website=Britannica.com |access-date=January 18, 2011}}</ref> and other aspects of [[Culture of the United Kingdom|British culture]] became popular in the United States with significant influence on the rising "[[counterculture of the 1960s|counterculture]]" on both sides of the Atlantic Ocean.<ref name="Perone2004">{{cite book|author=James E. Perone|url=https://books.google.com/books?id=6dw1soxFdm8C&pg=PA22|title=Music of the Counterculture Era|publisher=Greenwood Publishing Group|year=2004|isbn=978-0-313-32689-9|pages=22}}</ref> British pop and rock groups such as [[the Beatles]], [[the Rolling Stones]], [[Bee Gees]], [[Gerry and the Pacemakers]], [[the Who]], [[the Kinks]],<ref name="Allmusickinks">{{cite web |author=Stephen Thomas Erlewine |title=The Kinks - Music Biography, Streaming Radio and Discography - AllMusic |url=https://www.allmusic.com/artist/the-kinks-mn0000100160 |work=AllMusic}}</ref>  [[the Zombies]], [[Small Faces]], [[the Dave Clark Five]],<ref>{{cite web |url=https://www.allmusic.com/artist/the-dave-clark-five-mn0000785611/biography |title=The Dave Clark Five - Biography - AllMusic |first=Richie |last=Unterberger |work=AllMusic}}</ref> [[the Spencer Davis Group]], [[the Yardbirds]], [[Them (band)|Them]], [[Manfred Mann]],<ref>{{cite web |url=https://www.theguardian.com/music/2021/oct/14/60s-hitmakers-manfred-mann-ive-sung-this-10000-times-and-never-liked-it |title=60s hitmakers Manfred Mann: 'I've sung this 10,000 times and never liked it!'
|first=Alexis|last=Petridis|website=[[The Guardian]]|date=October 15, 2021}}</ref> [[The Searchers (band)|the Searchers]], [[Billy J. Kramer|Billy J. Kramer and the Dakotas]], [[Freddie and the Dreamers]], [[the Hollies]], [[Herman's Hermits]],  [[Chad and Jeremy]], [[Peter and Gordon]], [[the Animals]], [[the Moody Blues]], [[the Mindbenders]], [[the Troggs]], [[John Mayall & the Bluesbreakers]], [[Cream (band)|Cream]], [[Traffic (band)|Traffic]], [[the Pretty Things]], [[Pink Floyd]], and [[Procol Harum]], as well as solo singers such as [[Dusty Springfield]], [[Cilla Black]], [[Petula Clark]], [[Tom Jones (singer)|Tom Jones]], [[Donovan]], and [[Marianne Faithfull]] were at the forefront of the "invasion."<ref>Perone, James E. ''Mods, Rockers, and the Music of the British Invasion.'' [[Westport, CT]]: Praeger, 2009. Print.</ref>

[[File:British_invasion_chart.jpg|alt=Chart of Billboard Hot 100 number-ones by British artists, by weeks|thumb|320x320px|Chart of ''Billboard'' Hot 100 number-ones by British artists, by weeks]]

== Background ==
The rebellious tone and image of American [[rock and roll]] and [[blues]] musicians became popular with British youth in the late 1950s. While early commercial attempts to replicate American rock and roll mostly failed, the [[trad jazz]]–inspired [[skiffle]] craze,<ref>M. Brocken, ''The British Folk Revival, 1944–2002'' (Aldershot: Ashgate, 2003), pp. 69–80.</ref> with its [[do it yourself|do-it-yourself]] attitude, produced two top-ten hits in the US by [[Lonnie Donegan]].<ref name=allmusicchart>{{cite web |url=https://www.allmusic.com/artist/lonnie-donegan-p8434/charts-awards/billboard-singles |title=Lonnie Donegan > Charts and Awards > Billboard singles |access-date=February 14, 2011 |website=[[AllMusic]]}}</ref><ref>{{cite web|url=https://www.allmusic.com/artist/lonnie-donegan-p8434/biography|title=Lonnie Donegan - Music Biography, Streaming Radio and Discography - AllMusic|first=Bruce|last=Eder |work=AllMusic}}</ref> Young British groups started to combine various British and American styles in different parts of the United Kingdom, such as the movement in [[Liverpool]] known as [[Beat music|Merseybeat]] or the "beat boom".<ref name=Britannica/><ref>Morrison, Craig. ''American Popular Music''. British Invasion (New York: Facts on File, 2006), pp. 32–34.</ref><ref>J. Gould, ''Can't Buy Me Love: The Beatles, Britain, and America'' (New York, Harmony Books, 2007), pp. 344–45.</ref><ref name=BeatlesArrive>{{cite web|url = http://www.cnn.com/2004/SHOWBIZ/Music/02/05/beatles.40/ |title = When the Beatles hit America |work =CNN|date= February 10, 2004|first = Todd|last = Leopold}}</ref>

While American acts were popular in the United Kingdom, few British acts had achieved any success in the United States prior to 1964. [[Cliff Richard]], who was the best-selling British act in the United Kingdom at the time, had only one [[Top 40]] hit in the US, with "[[Living Doll (song)|Living Doll]]" in 1959. Along with Donegan, exceptions to this trend were the US number-one hits "[[Auf Wiederseh'n, Sweetheart]]" by [[Vera Lynn]] in 1952 (Lynn also had a lower-charting, but more enduring, hit in "[[We'll Meet Again]]"), "[[He's Got the Whole World in His Hands]]" by [[Laurie London]] in 1958, and the instrumentals "[[Stranger on the Shore]]" by [[Acker Bilk]] and "[[Telstar (song)|Telstar]]" by [[the Tornados]], both in 1962.<ref>{{cite book |first=Joel |last=Whitburn |year=1990 |title=The Billboard Hot 100 Charts: The Sixties (26 May 1962, 7 July 1962, 22 December 1962 - 5 January 1963) |publisher=Record Research, Inc. |location=Menomonee Falls, Wisconsin |isbn=0-89820-074-1}}</ref>  Also on the Hot 100, "[[Manhattan Spiritual]]" by [[Reg Owen|Reg Owen and His Orchestra]]" reached number ten in February 1959, [[Hayley Mills]]' "[[Let's Get Together (Hayley Mills song)|Let's Get Together]]" from ''[[The Parent Trap (1961 film)|The Parent Trap]]'' peaked number eight in October 1961,<ref>{{cite news |url=http://nla.gov.au/nla.news-article46242948 |title=Hayley Mills busily happy |newspaper=[[The Australian Women's Weekly]] |volume=30 |issue=8 |date=25 July 1962 |access-date=15 September 2017 |page=3 (Teenagers Weekly) |via=National Library of Australia|last1=Ott|first1=Beverly}}</ref> and in 1962, "[[Midnight in Moscow]]" by [[Kenny Ball]] reached number two in March, [[the Springfields]]' version of "[[Silver Threads and Golden Needles]]" peaked at number twenty in September, and [[Frank Ifield]]'s "[[I Remember You (1941 song)|I Remember You]]" reached number five in October.<ref name="The Book of Golden Discs">{{cite book |first=Joseph |last=Murrells |year=1978 |title=The Book of Golden Discs |edition=2nd |publisher=Barrie and Jenkins Ltd |location=London |pages=[https://archive.org/details/bookofgoldendisc00murr/page/147 147, 166, 167] |isbn=0-214-20512-6 |url=https://archive.org/details/bookofgoldendisc00murr/page/147 }}</ref>

Some observers have noted that American teenagers were growing tired of singles-oriented pop acts like [[Fabian Forte|Fabian]] and the "Bobby"s: [[Bobby Darin]], [[Bobby Vinton]], [[Bobby Rydell]], [[Bobby Vee]] etc.<ref name=Cogan>{{cite book |url=https://books.google.com/books?id=r4WFjKG6vmUC&q=%22james%20bond%22%20%22british%20invasion%22%20%22all%20things%20british%22&pg=PA80 |title=Encyclopedia of the Sixties: A Decade of Culture and Counterculture |first=Brian |last=Cogan |editor=Abbe A. Debolt |editor2=James S. Baugess |publisher=Greenwood Press |isbn=9780313329449 |pages=80–81 |date=December 12, 2011 |access-date=July 23, 2012}}</ref> The [[Mod (subculture)|Mods]] and [[Rocker (subculture)|Rockers]], two youth "gangs" in mid-1960s Britain, also had an impact in British Invasion music. Bands with a Mod aesthetic became the most popular, but bands able to balance both (e.g., the Beatles) were also successful.<ref>{{cite book |first=James |last=Perone |year=2009 |title=Mods, Rockers, and the Music of the British Invasion |publisher=Praeger |location=Westport, Connecticut}}</ref>

== Beatlemania ==
{{Main|Beatlemania}}
{{See also|Cultural impact of the Beatles|The Beatles on The Ed Sullivan Show}}
[[File:Aankomst Beatles op Schiphol, overzicht drukte op Schiphol, Bestanddeelnr 916-5134.jpg|thumb|upright=1.4|Fans and media swarm the [[Beatles]] at [[Amsterdam Airport Schiphol|Schiphol Airport]] in the [[Netherlands]] in 1964.]]

In October 1963, the first newspaper articles about the frenzy in England surrounding [[the Beatles]] appeared nationally in the US.<ref name=GreenbergBillboard>[https://www.billboard.com/articles/news/5894018/how-the-beatles-went-viral-in-america-1964?page=0%2C0 "How the Beatles Went Viral: Blunders, Technology & Luck Broke the Fab Four in America,"] by [[Steve Greenberg (record producer)|Steve Greenberg]], ''[[Billboard (magazine)|Billboard]]'' February 7, 2014</ref> The Beatles' 4 November Royal Variety Performance in front of the [[Queen Elizabeth the Queen Mother|Queen Mother]] sparked music industry and media interest in the group.<ref name=GreenbergBillboard /> During November, a number of major American print outlets and two network television evening programs published and broadcast stories on the phenomenon that became known as "[[Beatlemania]]".<ref name=GreenbergBillboard/><ref>{{cite web |url=http://www.newseum.org/news/2009/02/the-beatles-in-america--we-loved-them--yeah--yeah--yeah.html |title=The Beatles in America: We Loved Them, Yeah, Yeah, Yeah |publisher=Newseum |date=February 5, 2009 |access-date=June 29, 2012 |url-status=dead |archive-url=https://web.archive.org/web/20101126162611/http://newseum.org/news/2009/02/the-beatles-in-america--we-loved-them--yeah--yeah--yeah.html |archive-date=November 26, 2010 |df=mdy-all}}</ref>

On 10 December, ''[[CBS Evening News]]'' anchor [[Walter Cronkite]], looking for something positive to report, re-ran a Beatlemania story that originally aired on the 22 November edition of the ''[[CBS Morning News]]'' with [[Mike Wallace]] but was shelved that night because of the [[Assassination of John F. Kennedy|assassination of US President John Kennedy]].<ref name=GreenbergBillboard /><ref name=Lewis>[https://www.huffingtonpost.com/martin-lewis/tweet-the-beatles-how-wal_b_239202.html Tweet the Beatles! How Walter Cronkite Sent The Beatles Viral ANDRE IVERSEN FOR THE WIN!] by [[Martin Lewis (humorist)|Martin Lewis]] based on information from "THE BEATLES ARE COMING! The Birth of Beatlemania in America" by Bruce Spitzer" July 18, 2009.</ref> After seeing the report, 15-year-old [[Marsha Albert]] of [[Silver Spring, Maryland]], wrote a letter the following day to [[disc jockey]] Carroll James at radio station [[WWDC (FM)|WWDC]] asking, "Why can't we have music like that here in America?"<ref name=Lewis /> On 17 December, James had Miss Albert introduce "[[I Want to Hold Your Hand]]" live on the air.<ref name=Lewis /> WWDC's phones lit up, and [[Washington, D.C.]], area record stores were flooded with requests for a record they did not have in stock.<ref name=Lewis /> James sent the record to other disc jockeys around the country, sparking similar reaction.<ref name=GreenbergBillboard /> On 26 December, [[Capitol Records]] released the record three weeks ahead of schedule.<ref name=Lewis /> The release of the record during a time when teenagers were on vacation helped spread Beatlemania in the US.<ref name=Lewis /> On 29 December, ''[[The Baltimore Sun]]'', reflecting the dismissive view of most adults, editorialised, "America had better take thought as to how it will deal with the invasion. Indeed a restrained 'Beatles go home' might be just the thing."<ref name=GreenbergBillboard /> In the next year alone, the Beatles would have thirty different listings on the Hot 100.<ref>{{cite book |first=Joel |last=Whitburn |year=2003 |title=Top Pop Singles 1955-2002 |pages=[https://archive.org/details/joelwhitburnstop00whitbur/page/44 44, 45] |publisher=Record Research, Inc |location=Menomonee Falls, Wisconsin |isbn=0-89820-155-1 |url=https://archive.org/details/joelwhitburnstop00whitbur/page/44 }}</ref>

[[File:Beatles with Ed Sullivan.jpg|thumb|upright=1.2|left|[[Ed Sullivan]] and the Beatles, February 1964]]

On 3 January 1964, ''[[The Jack Paar Program]]'' ran Beatles concert footage licensed from the BBC "as a joke", but it was watched by 30 million viewers. While this piece was largely forgotten, Beatles producer [[George Martin]] has said it "aroused the kids' curiosity".<ref name=GreenbergBillboard /> In the middle of January 1964, "I Want to Hold Your Hand" appeared suddenly, then vaulted to the top of nearly every top forty music survey in the US, launching the Fab Four's sustained, massive output. "I Want to Hold Your Hand" ascended to number one on the 25 January 1964 edition of ''[[Cash Box]]'' magazine (on sale January 18)<ref name=Lewis /> and the 1 February 1964 edition of the [[Hot 100]].<ref>{{cite magazine|url=https://www.billboard.com/charts/1964-02-01/hot-100|title=1 February 1964 Hot 100|magazine=Billboard|access-date=February 16, 2012}}</ref> On 7 February 1964, the ''CBS Evening News'' ran a story about the Beatles' US arrival that afternoon, of which [[Walter Cronkite]] said, "The British Invasion this time goes by the code name Beatlemania."<ref>{{cite web|url=https://www.billboard.com/articles/news/5894018/how-the-beatles-went-viral-in-america-1964|title=How the Beatles Went Viral: Blunders, Technology & Luck Broke the Fab Four in America|author=Steve Greenberg|publisher=Billboard|date=2014-02-07|access-date=2020-05-05}}</ref> Two days later, on Sunday, 9 February, the group appeared on ''[[The Ed Sullivan Show]]''. [[Nielsen Ratings]] estimated that 45 percent of American television viewers that night saw their appearance.<ref name=BeatlesArrive />

According to Michael Ross, "It is somewhat ironic that the biggest moment in the history of popular music was first experienced in the US as a television event." ''The Ed Sullivan Show'' had for some time been a "comfortable hearth-and-slippers experience." Not many of the 73 million viewers watching in February 1964 would fully understand what impact the band they were watching would have.<ref name=Ross />
{{quote box|quote=In [1776] England lost her American colonies. Last week the Beatles took them back.<ref>{{cite magazine|url=https://www.rollingstone.com/music/news/the-british-invasion-from-the-beatles-to-the-stones-the-sixties-belonged-to-britain-19880714|title=The British Invasion: From the Beatles to the Stones, The Sixties Belonged to Britain|first=Parke|last=Puterbaugh|date=July 14, 1988|magazine=[[Rolling Stone]]|access-date=October 2, 2018|archive-date=May 30, 2017|archive-url=https://web.archive.org/web/20170530194323/http://www.rollingstone.com/music/news/the-british-invasion-from-the-beatles-to-the-stones-the-sixties-belonged-to-britain-19880714|url-status=dead}}</ref> |source= – ''Life'' magazine, early 1964|width=30em}}

The Beatles soon incited contrasting reactions and, in the process, generated more novelty records than anyone — at least 200 during 1964–1965 and more inspired by the "[[Paul is dead]]" rumour in 1969.<ref>{{cite web|url=http://aln2.albumlinernotes.com/Beatlesongs_.html|title=Beatlesongs!|website=AlbumLinerNotes.com|access-date=2014-05-01|archive-date=May 2, 2014|archive-url=https://web.archive.org/web/20140502003931/http://aln2.albumlinernotes.com/Beatlesongs_.html|url-status=dead}}</ref> Among the many reactions favouring the hysteria were British [[girl group]] [[the Carefrees]]' "[[We Love You Beatles]]" (No. 39 on 11 April 1964)<ref>{{cite book |first=Joel |last=Whitburn |year=1990 |title=The Billboard Hot 100 Charts: The Sixties (11 April 1964) |publisher=Record Research, Inc. |location=Menomonee Falls, Wisconsin
 |isbn=0-89820-074-1}}</ref> and the Patty Cakes' "I Understand Them", subtitled "A Love Song to the Beatles".<ref>{{cite web|url=http://www.classic45s.com/product_info.php?products_id=14815&cPath=21_24_34&PHPSESSID=8b6456d7561fa8952ee833bc98272e60|title=I Understand Them (A Love Song To The Beatles)|publisher=Classic 45's|access-date=2014-05-25}}</ref> Disapproving of the pandemonium were US group [[the Four Preps]]' "[[A Letter to the Beatles]]" (No. 85 on 4 April 1964)<ref>{{cite book |first=Joel |last=Whitburn |year=1990 |title=The Billboard Hot 100 Charts: The Sixties (4 April 1964) |publisher=Record Research, Inc. |location=Menomonee Falls, Wisconsin |isbn=0-89820-074-1}}</ref> and US comedian [[Allan Sherman]]'s "Pop Hates the Beatles".<ref>{{cite web |url=http://archer2000.tripod.com/beatles/000tracklists.html |title=The Beatles Invade America - A chronicle of the Beatles' first visit to the U.S. in February 1964 |date=2007-02-11 |access-date=2014-05-25 |url-status=dead |archive-url=https://web.archive.org/web/20140527212304/http://archer2000.tripod.com/beatles/000tracklists.html |archive-date=May 27, 2014 |df=mdy-all}}</ref>

The Beatles held number 1 for a then-record fourteen straight weeks, from 1 February through 2 May, but performed even better on ''[[Cashbox (magazine)|Cash Box]]'', holding number 1 for sixteen straight weeks, from 25 January, the week before, through 9 May, the week after.  On 4 April, the Beatles held the top five positions on the [[Billboard Hot 100|''Billboard'' Hot 100]] singles chart; no other act had simultaneously held even the top four.<ref name=BeatlesArrive/><ref>{{cite magazine|url=https://www.billboard.com/articles/columns/chart-beat/8498841/ariana-grande-top-3-spots-hot-100|title=Ariana Grande Claims Nos. 1, 2 & 3 on Billboard Hot 100, Is First Act to Achieve the Feat Since The Beatles in 1964|last=Trust|first=Gary|magazine=Billboard|date=2019-02-19|access-date=2019-03-09}}</ref><ref name=BBCharts>{{cite news|url=http://news.bbc.co.uk/2/hi/entertainment/1946331.stm |title=UK acts disappear from US charts BBC April 23, 2002 |work=BBC News |date=April 23, 2002 |access-date=January 18, 2011}}</ref> The Beatles also held the top five positions on ''Cash Box''{{'}}s singles chart that same week, with the first two positions reversed from the Hot 100.<ref>{{cite web|url=http://hitsofalldecades.com/chart_hits/index.php?option=com_content&task=view&id=1451&Itemid=52|title=Cash Box Magazine's (USA) Weekly Single Charts for 1964|date=1964-04-04|access-date=2017-11-30}}</ref>  The group's massive chart success, which included at least two of their singles holding the top spot on the Hot 100 during each of the seven consecutive years starting with 1964, continued until they broke up in 1970.<ref name=BeatlesArrive />

== Beyond the Beatles ==
One week after the Beatles entered the [[Hot 100]] for the first time, [[Dusty Springfield]], having launched a solo career after her participation in [[the Springfields]], became the next British act to reach the Hot 100, peaking at number twelve with "[[I Only Want to Be with You]]".<ref>{{cite journal|last1=Gaar|first1=Gillian G.|title=Women of The British Invasion|journal=Goldmine|date=April 2011|pages=22, 24, 26–28}}</ref>{{refn|group=nb|She soon followed up with several other hits, becoming what [[AllMusic]] described as "the finest [[blue-eyed soul|white soul]] singer of her era."<ref>{{cite web |url=https://www.allmusic.com/artist/dusty-springfield-mn0000159214 |title=Dusty Springfield - Music Biography, Streaming Radio and Discography - AllMusic |first=Jason |last=Ankeny |work=AllMusic}}</ref> On the Hot 100, Dusty's solo career lasted almost as long, albeit with little more than one quarter of the hits, as the Beatles' group career before their breakup; she continued to have hits on the easy listening and adult contemporary charts into the late 1980s.}} During the next three years, many more British acts with a chart-topping US single would appear.{{refn|group=nb|[[Peter and Gordon]], [[the Animals]], [[Manfred Mann]], [[Petula Clark]],{{sfn|Gilliland |1969 |loc=show 29, track 2}} [[Freddie and the Dreamers]], [[Wayne Fontana]] and [[the Mindbenders]],<ref>{{cite web |url=https://www.allmusic.com/artist/wayne-fontana-and-the-mindbenders-mn0000245149 |title=Wayne Fontana and the Mindbenders - Music Biography, Streaming Radio and Discography - AllMusic |first=Dave |last=Thompson |work=AllMusic}}</ref> [[Herman's Hermits]],<ref>{{cite web |url=https://www.allmusic.com/artist/hermans-hermits-mn0000575051 |title=Herman's Hermits - Music Biography, Streaming Radio and Discography - AllMusic |first=Bruce |last=Eder |work=AllMusic}}</ref> [[the Rolling Stones]],{{sfn|Gilliland |1969 |loc=show 30}} [[the Dave Clark Five]],<ref>[{{BillboardURLbyName|artist=the dave clark five|chart=all}} Billboard Dave Clark Five Chart Page]</ref> [[the Troggs]], [[Donovan]],{{sfn|Gilliland |1969 |loc=show 48}} and [[Lulu (singer)|Lulu]] in 1967, would have one or more number one singles in the US.<ref name=Britannica>{{cite web |author=Ira A. Robbins |url=https://www.britannica.com/EBchecked/topic/80244/British-Invasion |title=Encyclopædia Britannica Article |website=Britannica.com |access-date=January 18, 2011}}</ref> Other Invasion acts included [[The Searchers (band)|the Searchers]],<ref>{{cite web |url=https://www.allmusic.com/artist/the-searchers-mn0000898828 |title=The Searchers - Music Biography, Streaming Radio and Discography - AllMusic |first=Bruce |last=Eder |work=AllMusic}}</ref> [[Billy J. Kramer]],<ref>{{cite web |url=https://www.allmusic.com/artist/billy-j-kramer-mn0000084090 |title=Billy J. Kramer - Music Biography, Streaming Radio and Discography - AllMusic |first=Richie |last=Unterberger |work=AllMusic}}</ref> [[the Bachelors]],<ref>{{cite web |url=https://www.allmusic.com/artist/the-bachelors-mn0000038182 |title=The Bachelors - Biography - AllMusic |first=William |last=Ruhlmann |work=AllMusic}}</ref> [[Chad & Jeremy]],<ref>{{cite web |url=https://www.allmusic.com/artist/chad-jeremy-mn0000799644 |title=Chad & Jeremy - Music Biography, Streaming Radio and Discography - AllMusic |first=Jason |last=Ankeny |work=AllMusic}}</ref> [[Gerry and the Pacemakers]],<ref>{{cite web |url=https://www.allmusic.com/artist/gerry-the-pacemakers-mn0000541125 |title=Gerry & the Pacemakers - Music Biography, Streaming Radio and Discography - AllMusic |first=Richie |last=Unterberger |work=AllMusic}}</ref> [[the Honeycombs]],<ref>{{cite web |url=https://www.allmusic.com/artist/the-honeycombs-mn0000765075 |title=The Honeycombs - Music Biography, Streaming Radio and Discography - AllMusic |first=Richie |last=Unterberger |work=AllMusic}}</ref> [[Them (band)|Them]]<ref name=BeatlesArrive/> (and later its lead singer, [[Van Morrison]]), [[Tom Jones (singer)|Tom Jones]],<ref>{{cite web |url=https://www.allmusic.com/artist/tom-jones-mn0000609396 |title=Tom Jones - Music Biography, Streaming Radio and Discography - AllMusic |author=Stephen Thomas Erlewine |work=AllMusic}}</ref> [[the Yardbirds]] (whose guitarist [[Jimmy Page]] would later form [[Led Zeppelin]]),<ref>{{cite web |url=https://www.allmusic.com/artist/the-yardbirds-mn0000489303 |title=The Yardbirds - Music Biography, Streaming Radio and Discography - AllMusic |first=Richie |last=Unterberger |work=AllMusic}}</ref> [[the Spencer Davis Group]], [[the Small Faces]], and numerous others. [[The Kinks]], although considered part of the Invasion,<ref name="Allmusickinks"/><ref>{{cite web |url=https://music.apple.com/ca/artist/the-kinks/1179227 |title=iTunes - Music - The Kinks |website=[[iTunes]]}}</ref><ref>{{cite web |url=https://www.theguardian.com/music/kinks |title=The Kinks |work=The Guardian}}</ref> initially failed to capitalise on their success in the US after their first three hits reached the Hot 100's top ten<ref>{{cite web |url=http://www.kindakinks.net/charts.html |title=U.S. Chart Positions |website=Kindakinks.com |access-date=March 19, 2014 |archive-url=https://web.archive.org/web/20140113035413/http://www.kindakinks.net/charts.html |archive-date=January 13, 2014 |url-status=dead }}</ref> (in part due to a ban by the [[American Federation of Musicians]] following [[the Kinks' 1965 US tour|the band's 1965 US tour]])<ref name="Who Let">Alterman, Loraine. "Who Let the Kinks In?" ''[[Rolling Stone]]'', 18 December 1969</ref> before resurfacing in 1970 with "[[Lola (song)|Lola]]" and in 1983 with their biggest hit, "[[Come Dancing (song)|Come Dancing]]".<!-- ~~~~I've heavily referenced this to avoid being undone, but we can remove a few refs -->}} As 1965 approached, another wave of British Invasion artists emerged. These were usually composed of groups playing in a more pop style, such as [[the Hollies]] or [[the Zombies]], as well as artists with a harder-driving, blues-based approach like the Dave Clark Five, the Kinks, and the Rolling Stones.<ref name="allmusic" />{{sfn|Gilliland |1969 |loc=show 38, track 2}}{{sfn|Gilliland |1969 |loc=show 49, track 2}} By 17 April, British acts accounted for 30 records in the Hot 100,<ref>{{cite book |last1=Hjort |first1=Christopher |author1-link=Christopher Hjort |title=So You Want to Be a Rock 'n' Roll Star: The Byrds Day-by-Day 1965–1973 |date=2008 |publisher=Jawbone Press |location=London |isbn=978-1-906002-15-2 |page=31}}</ref> and on 8 May, they accounted for eight of the nine British Commonwealth's entries that made a nearly clean sweep of that weekly Hot 100's Top Ten, lacking only a hit at number two instead of [[Gary Lewis & the Playboys]]' "[[Count Me In (Gary Lewis & the Playboys song)|Count Me In]]".<ref>{{cite magazine |url=https://www.billboard.com/charts/1965-05-08/hot-100 |title=8 May 1965 Hot 100 |magazine=Billboard |date=September 12, 2008 |access-date=April 10, 2012}}</ref> On 1 May, the British Commonwealth also nearly swept the ''Cash Box'' singles chart's Top Ten, lacking only a hit at number six instead of "Count Me In". The British Commonwealth also held down the top six on the Hot 100 on 1 May and the top six on ''Cash Box'' singles chart's Top Ten on 24 April.<ref>{{cite web|url=http://hitsofalldecades.com/chart_hits/index.php?option=com_content&task=view&id=1453&Itemid=52|title=Cash Box Magazine's (USA) Weekly Singles Charts for 1965|date=1965-05-01|access-date=2017-11-30}}</ref> That same year, half of the 26 [[Billboard Hot 100|''Billboard'' Hot 100]] chart toppers (counting the Beatles' "[[I Feel Fine]]", carrying over from 1964) and the number one position on 28 of the 52 chart weeks belonged to British acts.<ref>{{cite book|title=Top Pop Singles 1955-2002|pages=988, 989|author=Joel Whitburn|publisher=Record Research, Inc|location=Menomonee Falls, Wisconsin|year=2003|isbn=0-89820-155-1}}</ref> The British trend would continue into 1966 and beyond.<ref>Perone, James E. ''Mods, Rockers, and the Music of the British Invasion''. Westport, CT. Praeger, 2009. Print.</ref> British Invasion acts also dominated the music charts at home in the United Kingdom.<ref name="allmusic">{{AllMusic|class=explore|id=style/d379}}</ref>

The musical style of British Invasion artists, such as the Beatles, had been influenced by earlier American rock 'n' roll, a genre that had lost some popularity and appeal by the time of the Invasion. However, a subsequent handful of British performers, particularly the [[Rolling Stones]] and [[the Animals]], would appeal to a more 'outsider' demographic, essentially reviving and popularising, for young people at least, a musical genre rooted in the blues, rhythm, and black culture,<ref>Cooper, Laura E., and B. Lee, "The Pendulum of Cultural Imperialism: Popular Music Interchanges Between the United States and Britain", ''Journal of Popular Culture'', Jan. 1993</ref> which had been largely ignored or rejected when performed by black American artists in the 1950s.<ref name="ReferenceA" /> Such bands were sometimes perceived by American parents and elders as rebellious and unwholesome, unlike parent-friendly pop groups such as the Beatles. The Rolling Stones would become the biggest band other than the Beatles to come out of the British Invasion,<ref>Petersen, Jennifer B. "British Bands Invade the United States" 2009. Article.</ref> topping the Hot 100 eight times.<ref>{{cite book |author=Joel Whitburn |url=https://archive.org/details/joelwhitburnstop00whitbur/page/602/mode/2up |title=Top Pop Singles 1955-2002 |publisher=Record Research, Inc |year=2003 |isbn=0-89820-155-1 |location=Menomonee Falls, Wisconsin |pages=602, 603 |url-access=registration}}</ref> Sometimes, there would be a clash between the two styles of the British Invasion, the polished pop acts and the grittier blues-based acts, due to the expectations set by the Beatles. Eric Burdon of the Animals said, "They dressed us up in the most strange costumes. They were even gonna bring a choreographer to show us how to move on stage. I mean, it was ridiculous. It was something that was so far away from our nature and, um, yeah we were just pushed around and told, 'When you arrive in America, don't mention the [Vietnam] war! You can't talk about the war.' We felt like we were being gagged."<ref name='Remembering The "British Invasion" - CNN'>Archived at [https://ghostarchive.org/varchive/youtube/20211211/yrlKKVsMnd8 Ghostarchive]{{cbignore}} and the [https://web.archive.org/web/20140429063033/http://www.youtube.com/watch?v=yrlKKVsMnd8&feature=c4-overview&list=UUupvZG-5ko_eiXAupbDfxWw Wayback Machine]{{cbignore}}: {{cite web|title=Remembering the "British Invasion"|url=https://www.youtube.com/watch?v=yrlKKVsMnd8|website=Remembering the "British Invasion" - YouTube|publisher=CNN|access-date=28 April 2016}}{{cbignore}}</ref>

"[[Freakbeat]]" is a term sometimes given to certain British Invasion acts closely associated with the [[Mod (subculture)|Mod]] scene during the [[Swinging London]] period, particularly harder-driving [[British blues]] bands of the era that often remained obscure to American listeners, and who are sometimes seen as counterparts to the [[garage rock]] bands in America.<ref>[{{AllMusic |class=explore |id=style/d11036 |pure_url=yes}} "Freakbeat"], Allmusic, retrieved 30 June 2011.</ref><ref name="Nicholson (Freakbeat and Garage)">{{cite web|last1=Nicholson|first1=Chris|title=Freakbeat, The Garage Rock Era|url=http://www.ministryofrock.co.uk/freakbeat.html|website=Ministry of Rock|publisher=MinistryofRock|access-date=July 16, 2015|date=September 25, 2012}}</ref> Certain acts, such as [[the Pretty Things]] and [[The Creation (band)|the Creation]], had a certain degree of chart success in the UK and are often considered exemplars of the form.<ref name="The Great Rock Discography">{{cite book |first=Martin C. |last=Strong |year=2000 |title=The Great Rock Discography |edition=5th |publisher=Mojo Books |location=Edinburgh |pages=769–770 |isbn=1-84195-017-3}}</ref><ref name="ALLMUSIC">[{{AllMusic|class=artist|id=p19959|pure_url=yes}} Allmusic.com biography]</ref><ref name="British Hit Singles & Albums">{{cite book |first=David |last=Roberts |year=2006 |title=British Hit Singles & Albums |edition=19th |publisher=Guinness World Records Limited |location=London |isbn=1-904994-10-5 |page=192}}</ref> The emergence of a relatively homogeneous worldwide "rock" music style marking the end of the "invasion" occurred in 1967.<ref name="Britannica" />

== Other cultural impacts ==
Outside of music, other aspects of British arts and engineering, such as [[BSA motorcycles]], became popular in the US during this period and led American media to proclaim the United Kingdom as the center of music and fashion.

=== Film and television ===
{{quote box|quote=Julie [Andrews] became a movie queen by falling very  smartly into step with the recent vogue in America for almost anything labeled British.<ref>{{cite news |title=As Millie, a real Julie Blossoms |date=28 April 1967 |work=Life magazine}}</ref> |source=– ''Life'' magazine, April 1967.|width=18em}}

The Beatles' ''[[A Hard Day's Night (film)|A Hard Day's Night]]'' marked the group's entrance into film.<ref name=Britannica /> The film ''[[Mary Poppins (film)|Mary Poppins]]'' – starring English actress [[Julie Andrews]] as the [[Mary Poppins (character)|titular character]], and released on 27 August 1964 – became the most Oscar-winning and Oscar-nominated [[The Walt Disney Company|Disney]] film in history. ''[[My Fair Lady (film)|My Fair Lady]]'', released on 25 December 1964, starring British actress [[Audrey Hepburn]] as [[Cockney]] flower girl [[Eliza Doolittle]], won eight Academy Awards.<ref>{{cite web|url=http://www.oscars.org/oscars/ceremonies/1965 |title=The 37th Academy Awards (1965) Nominees and Winners|access-date=July 27, 2012|work=oscars.org}}</ref> and ''[[Oliver! (film)|Oliver!]]'' released in 1968, won Best Picture, becoming the final musical film to do so until ''[[Chicago (2002 film)|Chicago]]'' in 2002.

Besides the [[James Bond in film|Bond series]] that commenced with [[Sean Connery]] as [[James Bond]] in 1962, films with a British sensibility such as the "[[Angry Young Men]]" genre, ''[[What's New Pussycat?]]'' and ''[[Alfie (1966 film)|Alfie]]'' styled London Theatre. A new wave of British actors such as [[Peter O'Toole]], [[Michael Caine]], and [[Peter Sellers]] intrigued US audiences.<ref name=Cogan /> Four of the decade's Academy Award winners for best picture were British productions, with the epic ''[[Lawrence of Arabia (film)|Lawrence of Arabia]]'', starring O'Toole as British army officer [[T. E. Lawrence]], winning seven Oscars in 1963.<ref>{{cite web|url=http://www.oscars.org/oscars/ceremonies/1963 |title=The 35th Academy Awards (1963) Nominees and Winners|access-date=July 27, 2012|work=oscars.org}}</ref>

British television series such as ''[[Danger Man]]'' (renamed ''Secret Agent'' in its American airings), ''[[The Saint (TV series)|The Saint]]'' and ''[[The Avengers (TV series)|The Avengers]]'' began appearing on American screens, inspiring a series of American-produced espionage programs such as ''[[I Spy (1965 TV series)|I Spy]]'', ''[[The Man from U.N.C.L.E.]]'' and the parody series ''[[Get Smart]]''. By 1966, spy series (both British and American versions) had emerged as a favourite format of American viewers, along with [[Westerns on television|Westerns]] and rural sitcoms.<ref name="TLS">{{cite news|title=Fourth TV Network Looming on Horizon|author=William E. Sarmento|newspaper=[[Lowell Sun]]|page=20|date=July 24, 1966}}</ref> Television shows that featured uniquely American styles of music, such as ''[[Sing Along with Mitch]]'' and ''[[Hootenanny (TV series)|Hootenanny]]'', were quickly canceled and replaced with shows such as ''[[Shindig!]]'' and ''[[Hullabaloo (TV series)|Hullabaloo]]'' that were better positioned to play the new British hits,<ref name=americasradiostars/> and segments of the new shows were taped in England.<ref>"Two Paths of Folk Music," ''Hootenanny'', Vol. 1 No. 3, May 1964.</ref><ref>James E. Perone (2009). ''Mods, Rockers, and the Music of the British Invasion''. p. 76. ABC-CLIO,</ref>

=== Fashion ===
Fashion and image set the Beatles apart from their earlier American rock and roll counterparts. Their distinctive, uniform style "challenged the clothing style of conventional American males," just as their music challenged the earlier conventions of the rock and roll genre.<ref name="ReferenceA">Cooper, L. and B., ''Journal of Popular Culture, 93''</ref> "[[Mod (subculture)|Mod]]" fashions, such as the [[mini skirt|miniskirt]] from "[[Swinging London]]" designers such as [[Mary Quant]], and worn by early [[supermodel]]s [[Twiggy]], [[Jean Shrimpton]] and other models, were popular worldwide.<ref>Fowler, David (2008) ''Youth Culture in Modern Britain, c.1920-c.1970: From Ivory Tower to Global Movement - A New History'' p. 134. Palgrave Macmillan, 2008</ref><ref>{{cite web |title=Small is still beautiful |url=https://www.questia.com/read/1G1-116426956 |work=Daily Post |date=May 10, 2004 |author=Burgess, Anya}}</ref><ref name="paid">{{cite journal|date=February 8, 1967|title=The Girl Behind The World's Most Beautiful Face|url=https://news.google.com/newspapers?id=6wssAAAAIBAJ&sjid=3cYEAAAAIBAJ&pg=3967,1120155|journal=Family Weekly}}</ref><ref>{{cite news|title=Most Photographed Model Reticent About Her Role |url=https://news.google.com/newspapers?id=REsqAAAAIBAJ&sjid=pE8EAAAAIBAJ&pg=7034,4428159 |date=June 11, 1967 |author=Cloud, Barbara |newspaper=The Pittsburgh Press}}</ref><ref>{{cite magazine |title=Jean Shrimpton, the Famed Face of the '60s, Sits Before Her Svengali's Camera One More Time |url=http://www.people.com/people/archive/article/0,,20067955,00.html |date=May 30, 1977 |magazine=People |volume=7 |number=21 |access-date=September 2, 2012 |archive-date=March 3, 2016 |archive-url=https://web.archive.org/web/20160303203542/http://www.people.com/people/archive/article/0,,20067955,00.html |url-status=dead }}</ref> Newspaper columnist [[John Crosby (media critic)|John Crosby]] wrote, "The English girl has an enthusiasm that American men find utterly captivating. I'd like to import the whole [[Chelsea, London|Chelsea]] girl with her 'life is fabulous' philosophy to America with instructions to bore from within."<ref name="seebohm19710719">{{cite news |url=https://books.google.com/books?id=A-MCAAAAMBAJ&pg=PA34 |title=English Girls in New York: They Don't Go Home Again |work=New York |date=1971-07-19 |access-date=6 January 2015 |author=Seebohm, Caroline |pages=34}}</ref>

Even while longstanding styles remained popular, American teens and young adults started to dress "hipper".<ref name="Ross">{{cite web|url=https://www.today.com/popculture/1964-brits-invade-u-s-no-one-can-escape-wbna3833078|title=Fab Four + 40: Looking back on the British invasion|last=Ross|first=Michael|date=2010-08-05|work=TODAY.com}}</ref>

=== Literature ===
In anticipation of the 50-year anniversary of the British Invasion in 2013, comics such as ''[[Nowhere Men]]'', which are loosely based on the events of it, gained popularity.<ref name="nytimes">{{cite web |url=https://www.nytimes.com/2013/12/15/books/review/nowhere-men-vol-1-and-more.html?_r=0 |title=Reanimated: 'Nowhere Men, Vol. 1,' and More |newspaper=The New York Times |date=13 December 2013 |access-date=14 August 2014 |author=Wolk, Douglas}}</ref>

== 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 />

==End of the first British Invasion and its aftermath==
The historical conclusion of the British Invasion is ambiguous. The wave of [[Anglophilia]] largely faded as US culture shifted in response to the [[Vietnam War]] and the resulting civil unrest in the late 1960s and early 1970s. As the cultural aspects of the British Invasion waned, British musical acts retained their popularity throughout the decade and into the 1970s, competing with their US counterparts as they returned to prominence. British [[progressive rock]] acts of the 1970s were often more popular in the US than their native Britain, as the US working class was generally favourable to the virtuosity of progressive rock acts, while the bands' British audience was confined to the more genteel upper classes.<ref>{{Citation |last=Macan |first=Edward |title=Rocking the Classics: English Progressive Rock and the Counterculture |url=https://archive.org/details/rockingclassicse0000maca |year=1997 |place=Oxford |publisher=Oxford University Press |isbn=0-19-509887-0 |url-access=registration}}</ref>

British bands such as [[Badfinger]] and [[The Sweet]], and US band [[Raspberries (band)|the Raspberries]], are considered to have evolved the genre into [[power pop]]. In 1978, two rock magazines wrote cover stories analyzing power pop as a saviour to both the [[new wave music|new wave]] and the direct simplicity of rock. Along with the music, new wave power impacted fashion, such as the mod style of [[the Jam]] or the skinny ties of the burgeoning Los Angeles scene. Several power pop artists were commercially successful; most notably [[the Knack]], whose "[[My Sharona]]" was the highest-ranked US single of 1979. Although the Knack and power pop fell out of mainstream popularity, the genre continues to have a cult following with occasional periods of modest success.<ref>{{cite book |title=Are We Not New Wave? Modern Pop at the Turn of the 1980s |first=Theo |last=Cateforis |publisher=[[The University of Michigan Press]] |location=Ann Arbor, Michigan |pages=123 to 150 |isbn=9780472034703|date=June 7, 2011 }}</ref>

A subsequent wave of British artists rose to popularity in the early 1980s as British [[music video]]s appeared in American media, leading to what is now known as the "[[Second British Invasion]]". Another wave of British mainstream prominence in US music charts came in the mid-1990s with the brief success of [[Spice Girls]], [[Oasis (band)|Oasis]], Blur, Radiohead and [[Robbie Williams]]. At least one British act would appear somewhere on the Hot 100 every week from 2 November 1963 until 20 April 2002, originating with the debut of [[the Caravelles]]' "[[You Don't Have to Be a Baby to Cry]]". British acts declined in popularity throughout the 1990s, and in the 27 April 2002 issue of ''Billboard'', none of the songs on the Hot 100 were from British artists; that week, only two of the top 100 albums, those of [[Craig David]] and [[Ozzy Osbourne]], were from British artists.<ref>{{cite web|url=http://www.slate.com/articles/arts/culturebox/2002/05/the_end_of_the_british_invasion.html|title=The end of the British invasion|last=Jenkins|first=Mark|website=Slate|date=3 May 2002|access-date=2014-01-23}}</ref>

The latest movement came in the mid- to late 2000s, when British [[Contemporary R&B|R&B]] and [[British soul|soul]] artists such as [[Amy Winehouse]], [[Estelle (musician)|Estelle]], [[Joss Stone]], [[Duffy (singer)|Duffy]], [[Natasha Bedingfield]], [[Florence Welch]], [[Adele]], [[Floetry]], [[Jessie J]], [[Leona Lewis]], [[Jay Sean]] and [[Taio Cruz]] enjoyed huge success in the US charts, which led to talk of a "[[Third British Invasion]]" or a "British Soul Invasion". Boyband [[One Direction]] have also been described as being a major part of a new "British Invasion" due to them being the first British band to have their debut album at number one on the US charts along with their overall dominance in America.<ref>{{Cite web|url=https://www.irishcentral.com/culture/entertainment/one-direction-britishirish-boy-band-about-to-explode-in-america-says-simon-cowell-142303325-237434801|title = One Direction, British/Irish boy band about to explode in America says Simon Cowell|date = March 12, 2012}}</ref><ref>{{Cite web|url=https://www.yahoo.com/entertainment/blogs/reality-rocks/british-coming-one-direction-set-conquer-america-202911123.html|title = The British Are Coming! One Direction Set to Conquer America| date=March 12, 2012 }}</ref>

== See also ==
{{Portal|1960s|Rock music|Music}}
* [[Anglophile]]
* [[Cool Britannia]]
* [[List of British Invasion artists]]
* [[Music of the United Kingdom (1960s)]]
* [[Second British Invasion]], 1980s
* [[Third British Invasion]], 2000s–2010s
* ''[[When Nirvana Came to Britain]]''

== Explanatory notes ==
{{reflist|group=nb}}

==References==
{{Reflist}}

== Further reading and listening ==
* {{Gilliland|show=27|title=The British Are Coming! The British Are Coming!: The U.S.A. is invaded by a wave of long-haired English rockers}}
* Harry, Bill. ''The British Invasion: How the Beatles and Other UK Bands Conquered America''. [[Chrome Dreams]]. 2004. {{ISBN|978-1-84240-247-4}}
* Miles, Barry. ''The British Invasion: The Music, the Times, the Era''. [[Sterling Publishing]]. 2009. {{ISBN|978-1-4027-6976-4}}
* [https://www.vanityfair.com/culture/features/2002/11/british-invasion-oral-history "The British Invasion"] 2002 – oral history by [[Vanity Fair (magazine)|''Vanity Fair'']]

==External links==
* {{Commons category-inline}}

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