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The Animals' Break In The Music Industry Came After A Uk Tour With Which Musical Act?

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Cultural phenomenon of the mid-1960s

British Invasion
Office of the Swinging Sixties and the broader counterculture of the 1960s
The Beatles in America.JPG

The arrival of the Beatles in the Usa in 1964 marked the kickoff of the British Invasion.[i]

Date 1964–1967[1]
Location United Kingdom and United States
Outcome British influence to the music of the United States

The British Invasion was a cultural phenomenon of the mid-1960s, when rock and pop music acts from the United Kingdom[ii] and other aspects of British civilisation became popular in the United states and significant to the rising "counterculture" on both sides of the Atlantic Bounding main.[iii] Pop and rock groups such every bit the Beatles, the Rolling Stones, the Zombies, the Kinks,[4] Modest Faces, the Dave Clark Five,[5] Herman's Hermits, the Hollies, the Animals, Gerry and the Pacemakers, the Searchers, the Yardbirds, the Who, and Them, as well as solo singers similar Dusty Springfield, Cilla Black, Petula Clark, Tom Jones, and Donovan, were at the forefront of the "invasion".[6]

Background [edit]

The rebellious tone and image of U.s. rock and roll and blues musicians became pop with British youth in the late 1950s. While early on commercial attempts to replicate US stone and roll by and large failed, the trad jazz–inspired skiffle craze,[7] with its practise information technology yourself attitude, produced two peak ten hits in the Usa past Lonnie Donegan.[eight] [9] Young British groups started to combine diverse British and American styles in different parts of the U.k., such as the motion in Liverpool known equally Merseybeat or the "beat blast".[one] [ten] [11] [12]

While US acts were popular in the Uk, few British acts had accomplished any success in the US prior to 1964. Cliff Richard, who was the best-selling British human action in the United Kingdom at the time, had merely one height xl hit in the US with "Living Doll" in 1959. Forth with Donegan, exceptions to this trend were the US number-one hits "Auf Wiederseh'due north, Sweetheart" past Vera Lynn in 1952 (Lynn besides had a lower-charting, just more enduring, hit in "We'll Meet Over again"), "He's Got the Whole World in His Hands" by Laurie London in 1958, and the instrumentals "Stranger on the Shore" past Acker Bilk and "Telstar" by the Tornados, both in 1962.[13] In 1961, Hayley Mills' "Let's Gather" from The Parent Trap reached the top x.[14] Also in 1962 on the Hot 100, "Midnight in Moscow" by Kenny Ball peaked at number two, Frank Ifield's "I Recollect You" became the side by side British vocal to crack the pinnacle five, and the Springfields' version of "Argent Threads and Gilded Needles" reached the top xl.[xv]

Some observers take noted that United states teenagers were growing tired of singles-oriented popular acts like Fabian.[16] The Mods and Rockers, two youth "gangs" in mid-1960s United kingdom of great britain and northern ireland, too had an impact in British Invasion music. Bands with a Mod aesthetic became the nearly popular, but bands able to balance both (e.g., the Beatles) were too successful.[17]

Beatlemania [edit]

In October 1963, the first paper articles about the frenzy in England surrounding the Beatles appeared nationally in the U.Due south.[18] The Beatles' Nov iv Purple Variety Performance in front of the Queen Mother sparked music industry and media interest in the group.[18] During November, a number of major U.s. print outlets and two network boob tube evening programs published and broadcast stories on the phenomenon that became known as "Beatlemania".[xviii] [19]

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 Morn News with Mike Wallace merely was shelved that night considering of the bump-off of US President John Kennedy.[18] [xx] After seeing the report, fifteen-year-quondam Marsha Albert of Silver Leap, Maryland, wrote a letter the following day to disc jockey Carroll James at radio station WWDC asking, "Why tin't we accept music similar that here in America?"[20] On 17 Dec, James had Miss Albert introduce "I Desire to Concur Your Hand" live on the air.[20] WWDC'southward phones lit up, and Washington, D.C., expanse record stores were flooded with requests for a tape they did not have in stock.[xx] James sent the record to other disc jockeys around the country sparking similar reaction.[18] On 26 Dec, Capitol Records released the record iii weeks ahead of schedule.[twenty] The release of the record during a time when teenagers were on vacation helped spread Beatlemania in the U.S.[20] On 29 December, The Baltimore Dominicus, reflecting the dismissive view of most adults, editorialised, "America had better have thought equally to how it will deal with the invasion. Indeed a restrained 'Beatles go home' might be but the thing."[xviii] In the adjacent year lonely, the Beatles would have thirty different listings on the Hot 100.[21]

On 3 January 1964, The Jack Paar Program ran Beatles concert footage licensed from the BBC "equally a joke", but it was watched by 30 1000000 viewers. While this piece was largely forgotten, Beatles producer George Martin has said it "aroused the kids' curiosity".[18] In the middle of January 1964, "I Want to Hold Your Hand" appeared all of a sudden, then vaulted to the top of about every top forty music survey in the U.South., launching the Fab Four's sustained, massive output. "I Want to Hold Your Manus" ascended to number 1 on the 25 January 1964, edition of Cash Box magazine (on sale January eighteen)[20] and the 1 February 1964, edition of the Hot 100.[22] On 7 Feb 1964, the CBS Evening News ran a story nearly the Beatles' Usa arrival that afternoon in which Walter Cronkite said, "The British Invasion this time goes by the code name Beatlemania."[23] Two days later on, on Lord's day, ix Feb, the group appeared on The Ed Sullivan Prove. Nielsen Ratings estimated that 45 pct of US television viewers that night saw their appearance.[12]

Co-ordinate to Michael Ross, "It is somewhat ironic that the biggest moment in the history of popular music was kickoff experienced in the US as a television effect." The Ed Sullivan Show had for some time been a "comfortable hearth-and-slippers feel." Not many of the 73 million viewers watching in February 1964 would fully empathize what impact the band they were watching would have.[24]

"In [1776] England lost her American colonies. Last week the Beatles took them dorsum."[25]

– Life magazine, early on 1964

The Beatles presently incited contrasting reactions and, in the process, generated more novelty records than anyone—at least 200 during 1964–1965 and more inspired past the "Paul is dead" rumour in 1969.[26] Among the many reactions, favouring the hysteria were British girl group the Carefrees' "Nosotros Dear You Beatles" (No. 39 on 11 Apr 1964)[27] and the Patty Cakes' "I Understand Them", subtitled "A Dearest Song to the Beatles".[28] Disapproving the pandemonium were Us group the Four Preps' "A Letter to the Beatles" (No. 85 on 4 April 1964)[29] and United states comedian Allan Sherman's "Popular Hates the Beatles".[30]

On 4 April, the Beatles held the tiptop five positions on the Billboard Hot 100 singles chart, and no other act simultaneously held even the top four.[12] [31] [32] The Beatles too held the summit five positions on Cash Box 's singles chart that same week, with the first two positions reversed from the Hot 100.[33] The group's massive chart success, which included at least 2 of their singles belongings the tiptop spot on the Hot 100 during each of the seven consecutive years starting with 1964, continued until they broke up in 1970.[12]

Across the Beatles [edit]

One week afterward the Beatles entered the Hot 100 for the kickoff 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 Exist with You".[34] [nb 1] During the next 3 years, many more British acts with a chart-topping US single would appear.[nb 2] As 1965 approached, another moving ridge of British Invasion artists emerged which usually composed of groups playing in a more pop style, such every bit The Hollies or The Zombies as well as artists with a harder-driving, blues-based approach like the Dave Clark V, the Kinks, and the Rolling Stones.[54] [55] [56] On viii May 1965, the British Commonwealth came closer than it ever had to a clean sweep of a weekly Hot 100's Top Ten, defective only a hit at number two instead of "Count Me In" by Gary Lewis & the Playboys.[57] The previous calendar week, the British Democracy held down the acme six on the Hot 100 and also most swept the Cash Box singles chart'southward Top Ten, lacking only a hit at number half-dozen instead of "Count Me In".[58] 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.[59] The British trend would continue into 1966 and beyond.[60] British Invasion acts also dominated the music charts at home in the United kingdom.[54]

The musical style of British Invasion artists, such as the Beatles, had been influenced past earlier US stone 'due north' scroll, a genre which had lost some popularity and appeal by the time of the Invasion. Yet, a subsequent handful of white British performers, peculiarly the Rolling Stones and the Animals, would appeal to a more 'outsider' demographic, substantially reviving and popularising, for young people at least, a musical genre rooted in the blues, rhythm, and black civilization,[61] which had been largely ignored or rejected when performed by black US artists in the 1950s.[62] Such bands were sometimes perceived by Usa parents and elders as rebellious and unwholesome unlike parent-friendly pop groups, such equally the Beatles. The Rolling Stones would go the biggest band other than the Beatles to come out of the British Invasion,[63] topping the Hot 100 viii times.[64] Sometimes, there would be a disharmonism betwixt the two styles of the British Invasion, the polished popular acts and the grittier blues-based acts due to the expectations fix past the Beatles. Eric Burdon of the Animals said "They dressed us up in the nigh strange costumes. They were even gonna bring a choreographer to show usa how to move on stage. I mean, it was ridiculous. It was something that was so far abroad from our nature and, um, yes nosotros were just pushed around and told, 'When you make it in America, don't mention the [Vietnam] war! You tin can't talk nearly the war.' We felt like we were beingness gagged."[65]

"Freakbeat" is a term sometimes given to certain British Invasion acts closely associated with the mod scene during the Swinging London period, specially harder-driving British dejection bands of the era that ofttimes remained obscure to United states listeners, and who are sometimes seen every bit counterparts to the garage stone bands in America.[66] [67] Certain acts, such equally the Pretty Things and the Creation, had a certain caste of chart success in the UK and are often considered exemplars of the class.[68] [69] [70] The emergence of a relatively homogeneous worldwide "rock" music style mark the end of the "invasion" occurred in 1967.[1]

Other cultural impacts [edit]

Outside music, other aspects of British arts and engineering, such equally BSA motorcycles became pop in the Us during this menstruation and led The states media to proclaim the United Kingdom as the middle of music and fashion.

Film and tv [edit]

"Julie [Andrews] became a movie queen by falling smartly into footstep with the recent vogue in America for almost annihilation labeled British."[71]

– Life magazine, April 1967.

The Beatles' pic A Hard Day's Night marked the group'south entrance into film.[one] The moving picture 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 motion picture in history. My Fair Lady, released on 25 December 1964, starring British actress Audrey Hepburn equally Cockney flower girl Eliza Doolittle, won viii University Awards.[72] And Oliver! released in 1968 won Best Picture, becoming the final musical film to do so until Chicago in 2002.

Besides the Bond series which commenced with Sean Connery as James Bail in 1962, films with a British sensibility such as the "Angry Young Men" genre, What'due south New Pussycat? and Alfie styled London Theatre. A new wave of British actors such equally Peter O'Toole, Michael Caine, and Peter Sellers intrigued United states audiences.[16] Iv of the decade's Academy Honour winners for best picture were British productions, with the epic Lawrence of Arabia, starring O'Toole equally British regular army officer T. E. Lawrence, winning seven Oscars in 1963.[73]

British television serial such as Danger Man (renamed Secret Agent in its US airings), The Saint and The Avengers began appearing on U.s. screens, inspiring a series of US-produced espionage programs such equally I Spy, The Man From U.N.C.Fifty.Eastward. and the parody serial Become Smart. By 1966, spy serial (both British and United states versions) had emerged equally a favourite format of US viewers, along with Westerns and rural sitcoms.[74] Television shows that featured uniquely American styles of music, such as Sing Forth with Mitch and Hootenanny, were quickly canceled and replaced with shows such as Shindig! and Hullabaloo that were meliorate positioned to play the new British hits,[75] and segments of the new shows were taped in England.[76] [77]

Fashion [edit]

Fashion and paradigm marked the Beatles out from their earlier US rock and roll counterparts. Their distinctive, uniform way "challenged the clothing mode of conventional US males," just as their music challenged the before conventions of the rock and roll genre.[62] "Modern" fashions, such as the mini brim from "Swinging London" designers such as Mary Quant and worn by early supermodels Twiggy, Jean Shrimpton and other models, were popular worldwide.[78] [79] [80] [81] [82] 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 fabled' philosophy to America with instructions to bore from within."[83]

Even while longstanding styles remained popular, United states teens and young adults started to dress "hipper".[24]

Literature [edit]

In apprehension of the l-year anniversary of the British Invasion in 2013, comics such as Nowhere Men, which are loosely based on the events of information technology, gained popularity.[84]

Impact on the United States music [edit]

The British Invasion had a profound impact on pop music, internationalising the production of stone and whorl, establishing the British popular music industry as a viable eye of musical creativity,[85] and opening the door for subsequent British performers to achieve international success.[54] In America, the Invasion arguably spelled the end of the popularity of instrumental surf music,[86] pre-Motown vocal daughter groups, the folk revival (which adapted by evolving into folk stone), 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.[87] It dented the careers of established R&B acts similar Chubby Checker and temporarily derailed the chart success of sure surviving stone and roll acts, including Ricky Nelson,[88] Fats Domino, the Everly Brothers, and Elvis Presley (who notwithstanding racked upward thirty Hot 100 entries from 1964 through 1967).[89] Information technology 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 United states acts of the next decade would sally.[90] The British Invasion too played a major office in the ascension of a distinct genre of rock music and cemented the primacy of the rock group, based around guitars and drums and producing their ain material as vocaliser-songwriters.[91]

In February 2021, Ken Barnes, a quondam USA Today radio author, analysed United states of america musical acts' success before and during the Invasion in an article for Radio Insight attempting to ostend 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 and Elvis Presley—somewhen made comebacks afterward the Invasion waned. Others, such equally Bill Anderson and Bobby Bare, remained successful in the country realm, even equally their pop crossover success had waned. Barnes noted that one record company, Cameo Parkway, sustained more permanent damage from the Invasion (and the concurrent ascent of Motown) than any other, only as well noted that information technology was too affected by another event that happened the aforementioned calendar week every bit the Beatles' inflow: 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 declared victims of the Invasion (42 pct of most U.s.a. 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 keep through the invasion, such as the Beach Boys and Frankie Valli and the Four Seasons; xiv percent were the likes of Sedaka, Vee and Presley in that they suffered during the Invasion but recovered afterward; and twenty pct suffered fatal harm to their careers because of it (with Barnes stating that 7 percent of Usa 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 Usa music being made did non change substantially during the Invasion, even equally the British acts flooded the charts with a homogenous pop-rock sound; folk, land and novelty music, already small factors in the overall pop realm, dropped to near-nonexistence, while daughter groups were also hard hitting.[75]

Though many of the acts associated with the invasion did not survive its terminate, many others would become icons of rock music.[54] The claim[ according to whom? ] that British beat bands were non radically different from US groups like The Beach Boys and damaged the careers of blackness United states of america and female person artists[92] was made[ when? ] about the invasion. However, the Motown sound, exemplified past the Supremes, the Temptations, and the Iv Tops, each securing their first top twenty record during the invasion's first twelvemonth of 1964 and following up with many other height 20 records, besides the constant or fifty-fifty accelerating output of the Miracles, Gladys Knight & the Pips, Marvin Gaye, Martha & the Vandellas, and Stevie Wonder, really increased in popularity during that fourth dimension.[93]

Other US groups also demonstrated a similar sound to the British Invasion artists and in turn highlighted how the British "audio" was not in itself a wholly new or original ane.[94] Roger McGuinn of the Byrds, for example, acknowledged the debt that U.s. artists owed to British musicians, such as the Searchers, but that "they were using folk music licks that I was using anyway. And so it's not that big a rip-off."[95] Both the Usa sunshine pop group the Buckinghams and the Beatles-influenced US Tex-Mex human action the Sir Douglas Quintet adopted British-sounding names,[96] [97] and San Francisco'southward Beau Brummels took their proper noun from the same-named English corking.[98] Roger Miller had a 1965 hitting tape with a self-penned vocal titled "England Swings", in which although its title references the progressive youth-centric cultural scene known every bit Swinging London, its lyric pays tribute to United kingdom'due south traditional manner of life.[99] Englishman Geoff Stephens (or John Carter) reciprocated the gesture a la Rudy Vallée a year later on in the New Vaudeville Ring's "Winchester Cathedral".[100] [101] Even as recently as 2003, Shanghai Knights made the latter two tunes memorable one time once again in London scenes.[102] [103] Anticipating the Bay City Rollers by more than a decade, ii British acts that reached the Hot 100'southward summit twenty gave a tip of the lid to America: Billy J. Kramer with the Dakotas and the Nashville Teens. The British Invasion besides drew a backfire from some US bands, e.g., Paul Revere & the Raiders[104] and New Colony Half-dozen[105] dressed in Revolutionary War uniforms, and Gary Puckett & the Wedlock Gap donned Ceremonious War uniforms.[106] Garage rock act the Barbarians' "Are You a Male child or Are You a Daughter" independent the lyrics "You're either a girl, or you come up from Liverpool" and "Y'all can dance like a female monkey, but you swim like a stone, Yeah, a Rolling Stone."[107] [108]

In Commonwealth of 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-4 striking "I'll Never Find Another You" (recorded at London'south 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 striking in the U.Due south. during the British Invasion, the number-sixteen hitting "Fri on My Mind" in May 1967.[109] [110]

Co-ordinate 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.[24]

End of the first British Invasion and its aftermath [edit]

The historical conclusion of the British Invasion is ambiguous. The wave of anglophilia largely faded as US civilization shifted in response to the Vietnam War and the resulting civil unrest in the late 1960s. 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 frequently more than popular in the U.South. than their native United kingdom, as the Us working form was generally favourable to the virtuosity of progressive stone acts while the bands' British audience was confined to the more genteel upper classes.[111]

British bands such as Badfinger and the Sweet, and United states of america ring the Raspberries, are considered to have evolved the genre into ability popular. In 1978, two rock magazines wrote cover stories analyzing power pop equally a saviour to both the new moving ridge and the directly simplicity of rock. Along with the music, new wave power impacted current the fashion, such as the mod way of the Jam or the skinny ties of the burgeoning Los Angeles scene. Several power pop artists were commercially successful; almost notably the Knack, whose "My Sharona" was the highest-ranked United states single of 1979. Although the Knack and power pop brutal out of mainstream popularity, the genre continues to have a cult following with occasional periods of pocket-sized success.[112]

A subsequent wave of British artists rose to popularity in the early on 1980s as British music videos appeared in US media, leading to what is at present known every bit the "2nd British Invasion". Some other wave of British mainstream prominence in The states music charts came in the mid-1990s with the cursory success of Spice Girls, Oasis, Blur and Robbie Williams. At to the lowest degree one British act would appear somewhere on the Hot 100 every calendar week from 2 November 1963 until twenty April 2002, originating with the debut of the Caravelles' "You Don't Have to Exist a Baby to Cry". British acts declined in popularity throughout the 1990s, and in the 27 April 2002 outcome of Billboard, none of the songs on the Hot 100 were from British artists; that calendar week, only two of the height 100 albums, those of Craig David and Ozzy Osbourne, were from British artists.[113]

The latest movement came in the mid-to-late 2000s when British R&B and soul artists such as Amy Winehouse, Estelle, Joss Stone, 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 "Tertiary British Invasion" or a "British Soul Invasion". Boyband One Direction accept 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 anthology at number-i on the Usa charts along with their overall dominance in America.[114] [115]

See also [edit]

  • Anglophile
  • Britpop
  • Cool Britannia
  • List of Billboard Hot 100 number-ones by British artists
  • List of British Invasion artists
  • Music of the Uk (1960s)
  • 2nd British Invasion, 1980s
  • Third British Invasion, 2000s–2010s

Notes [edit]

  1. ^ She soon followed upward with several other hits, becoming what AllMusic described as "the finest white soul singer of her era."[35] On the Hot 100, Dusty's solo career lasted almost as long, albeit with little more 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. ^ Peter and Gordon, the Animals, Manfred Mann, Petula Clark,[36] Freddie and the Dreamers, Wayne Fontana and the Mindbenders,[37] Herman'south Hermits,[38] the Rolling Stones,[39] the Dave Clark Five,[40] the Troggs, Donovan,[41] and Lulu in 1967, would accept one or more number i singles in the US.[1] Other Invasion acts included the Searchers,[42] Billy J. Kramer,[43] the Bachelors,[44] Republic of chad & Jeremy,[45] Gerry and the Pacemakers,[46] the Honeycombs,[47] Them[12] (and subsequently its lead vocalizer, Van Morrison), Tom Jones,[48] the Yardbirds (whose guitarist Jimmy Page would later form Led Zeppelin),[49] the Spencer Davis Group, the Small Faces, and numerous others. The Kinks, although considered role of the Invasion,[4] [50] [51] initially failed to capitalise on their success in the US subsequently their first 3 hits reached the Hot 100's top ten[52] (in role due to a ban by the American Federation of Musicians[53]) before resurfacing in 1970 with "Lola" and in 1983 with their biggest hitting, "Come Dancing".

References [edit]

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  7. ^ Chiliad. Brocken, The British Folk Revival, 1944–2002 (Aldershot: Ashgate, 2003), pp. 69–80.
  8. ^ "Lonnie Donegan > Charts and Awards > Billboard singles". AllMusic . Retrieved February xiv, 2011.
  9. ^ Eder, Bruce. "Lonnie Donegan - Music Biography, Streaming Radio and Discography - AllMusic". AllMusic.
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  12. ^ a b c d eastward When the Beatles hit America CNN February 10, 2004.
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  40. ^ Billboard Dave Clark 5 Chart Page
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Further reading and listening [edit]

  • Gilliland, John (1969). "The British Are Coming! The British Are Coming!: The U.S.A. is invaded by a wave of long-haired English rockers" (audio). Pop Chronicles. University of North Texas Libraries.
  • Harry, Bill. The British Invasion: How the Beatles and Other Great britain 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-four
  • "The British Invasion" 2002 – oral history by Vanity Fair

External links [edit]

Media related to British Invasion at Wikimedia Commons

Source: https://en.wikipedia.org/wiki/British_Invasion

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