British Invasion

Source: Wikipedia, the free encyclopedia.
This article is about the cultural phenomenon of the mid-1960s. For other uses, see British Invasion (disambiguation).

British Invasion
Part of the Swinging Sixties and the broader counterculture of the 1960s
The arrival of the Beatles in the United States in 1964 marked the start of the British Invasion.[1]
Date1963–1969
LocationUnited Kingdom and United States
OutcomeBritish influence on the music of the United States

The British Invasion was a

the Pretty Things, Pink Floyd, and Procol Harum, as well as solo singers such as Dusty Springfield, Cilla Black, Petula Clark, Tom Jones, Donovan, and Marianne Faithfull were at the forefront of the "invasion."[7]

Chart of Billboard Hot 100 number-ones by British artists, by weeks
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,[8] with its do-it-yourself attitude, produced two top-ten hits in the US by Lonnie Donegan.[9][10] 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 Merseybeat or the "beat boom".[1][11][12][13]

While American acts were popular in the United Kingdom, few British acts had achieved any success in the United States prior to 1964.

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" reached number five in October.[16]

Some observers have noted that American teenagers were growing tired of singles-oriented pop acts like Fabian and the "Bobby"s: Bobby Darin, Bobby Vinton, Bobby Rydell, Bobby Vee etc.[17] The Mods and 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.[18]

Beatlemania

Main article: Beatlemania
See also: Cultural impact of the Beatles and The Beatles on The Ed Sullivan Show
Beatles at Schiphol Airport in the Netherlands
in 1964.

In October 1963, the first newspaper articles about the frenzy in England surrounding

Queen Mother sparked music industry and media interest in the group.[19] 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".[19][20]

On 10 December,

CBS Morning News with Mike Wallace but was shelved that night because of the assassination of US President John Kennedy.[19][21] 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 asking, "Why can't we have music like that here in America?"[21] On 17 December, James had Miss Albert introduce "I Want to Hold Your Hand" live on the air.[21] 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.[21] James sent the record to other disc jockeys around the country, sparking similar reaction.[19] On 26 December, Capitol Records released the record three weeks ahead of schedule.[21] The release of the record during a time when teenagers were on vacation helped spread Beatlemania in the US.[21] 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."[19] In the next year alone, the Beatles would have thirty different listings on the Hot 100.[22]

Ed Sullivan and the Beatles, February 1964

On 3 January 1964,

Nielsen Ratings estimated that 45 percent of American television viewers that night saw their appearance.[13]

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.[25]

In [1776] England lost her American colonies. Last week the Beatles took them back.[26]

– Life magazine, early 1964

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.[27] Among the many reactions favouring the hysteria were British girl group the Carefrees' "We Love You Beatles" (No. 39 on 11 April 1964)[28] and the Patty Cakes' "I Understand Them", subtitled "A Love Song to the Beatles".[29] Disapproving of the pandemonium were US group the Four Preps' "A Letter to the Beatles" (No. 85 on 4 April 1964)[30] and US comedian Allan Sherman's "Pop Hates the Beatles".[31]

The Beatles held number 1 for a then-record fourteen straight weeks, from 1 February through 2 May, but performed even better on 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 singles chart; no other act had simultaneously held even the top four.[13][32][33] 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.[34] 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.[13]

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".[35][nb 1] During the next three years, many more British acts with a chart-topping US single would appear.[nb 2] 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.[55][56][57] By 17 April, British acts accounted for 30 records in the Hot 100,[58] 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".[59] 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.[60] That same year, half of the 26 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.[61] The British trend would continue into 1966 and beyond.[62] British Invasion acts also dominated the music charts at home in the United Kingdom.[55]

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,[63] which had been largely ignored or rejected when performed by black American artists in the 1950s.[64] 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,[65] topping the Hot 100 eight times.[66] 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."[67]

"

the Pretty Things and the Creation, had a certain degree of chart success in the UK and are often considered exemplars of the form.[70][71][72] The emergence of a relatively homogeneous worldwide "rock" music style marking the end of the "invasion" occurred in 1967.[1]

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

Julie [Andrews] became a movie queen by falling very smartly into step with the recent vogue in America for almost anything labeled British.[73]

– Life magazine, April 1967.

The Beatles' A Hard Day's Night marked the group's entrance into film.[1] The film Mary Poppins – starring English actress Julie Andrews as the titular character, and released on 27 August 1964 – became the most Oscar-winning and Oscar-nominated Disney film in history. My Fair Lady, released on 25 December 1964, starring British actress Audrey Hepburn as Cockney flower girl Eliza Doolittle, won eight Academy Awards.[74] and Oliver! released in 1968, won Best Picture, becoming the final musical film to do so until Chicago in 2002.

Besides the

Angry Young Men" genre, What's New Pussycat? and Alfie styled London Theatre. A new wave of British actors such as Peter O'Toole, Michael Caine, and Peter Sellers intrigued US audiences.[17] Four of the decade's Academy Award winners for best picture were British productions, with the epic Lawrence of Arabia, starring O'Toole as British army officer T. E. Lawrence, winning seven Oscars in 1963.[75]

British television series such as Danger Man (renamed Secret Agent in its American airings), The Saint and The Avengers began appearing on American screens, inspiring a series of American-produced espionage programs such as 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 and rural sitcoms.[76] Television shows that featured uniquely American styles of music, such as Sing Along with Mitch and Hootenanny, were quickly canceled and replaced with shows such as Shindig! and Hullabaloo that were better positioned to play the new British hits,[77] and segments of the new shows were taped in England.[78][79]

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.

Swinging London" designers such as Mary Quant, and worn by early supermodels Twiggy, Jean Shrimpton and other models, were popular worldwide.[80][81][82][83][84] Newspaper columnist John Crosby wrote, "The English girl has an enthusiasm that American men find utterly captivating. I'd like to import the whole Chelsea girl with her 'life is fabulous' philosophy to America with instructions to bore from within."[85]

Even while longstanding styles remained popular, American teens and young adults started to dress "hipper".[25]

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.[86]

Impact on American music

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.[87]

– Connie Francis, 2002

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,[88] and opening the door for subsequent British performers to achieve international success.[55] In America, the Invasion arguably spelled the end of the popularity of instrumental surf music,[89] pre-Motown vocal girl groups, the folk revival (which adapted by evolving into folk rock), teenage tragedy songs, 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 idols that had dominated the United States charts in the late 1950s and early 1960s.[90] 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,[91] Fats Domino, the Everly Brothers, and Elvis Presley (who nevertheless racked up thirty Hot 100 entries from 1964 through 1967).[92] 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.[93] 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.[94]

In February 2021, Ken Barnes, a former

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 music, already small factors in the overall pop realm, dropped to near-nonexistence, while girl groups were also hard hit.[77]

Though many of the acts associated with the invasion did not survive its end, many others would become icons of rock music.

Martha & the Vandellas, and Stevie Wonder, actually increased in popularity during that time.[96]

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.

Gary Puckett & the Union Gap donned Civil War uniforms.[109] Garage rock act 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."[110][111]

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" in February 1967. The Easybeats drew heavily on the British Invasion sound and had one hit in the US during the British Invasion, the number-sixteen hit "Friday on My Mind" in May 1967.[112][113]

According to Robert J. Thompson, director of the Center for the Study of Popular Television at Syracuse University, the British invasion pushed the counterculture into the mainstream.[25]

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.[114]

British bands such as Badfinger and The Sweet, and US 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 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.[115]

A subsequent wave of British artists rose to popularity in the early 1980s as British music videos 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, 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.[116]

The latest movement came in the mid- to late 2000s, when British

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.[117][118]

See also

Explanatory notes

  1. ^ She soon followed up with several other hits, becoming what AllMusic described as "the finest white soul singer of her era."[36] 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.
  2. the Small Faces, and numerous others. The Kinks, although considered part of the Invasion,[4][51][52] initially failed to capitalise on their success in the US after their first three hits reached the Hot 100's top ten[53] (in part due to a ban by the American Federation of Musicians following the band's 1965 US tour)[54] before resurfacing in 1970 with "Lola" and in 1983 with their biggest hit, "Come Dancing
    ".

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Further reading and listening

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