The British Invasion was a cultural phenomenon of the mid-1960s, when rock and pop music acts from the United Kingdom and other aspects of British culture became popular in the United States with significant influence on the rising "counterculture" on both sides of the Atlantic Ocean. British pop and rock groups such as the Beatles and the Rolling Stones as well as solo artists such as Donovan and Dusty Springfield were at the forefront of the "invasion."Perone, James E. Mods, Rockers, and the Music of the British Invasion. Westport, CT: Praeger, 2009. Print.
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,M. Brocken, The British Folk Revival, 1944–2002 (Aldershot: Ashgate, 2003), pp. 69–80. with its do-it-yourself attitude, produced two top-ten hits in the US by Lonnie Donegan. 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".Morrison, Craig. American Popular Music. British Invasion (New York: Facts on File, 2006), pp. 32–34.J. Gould, Can't Buy Me Love: The Beatles, Britain, and America (New York, Harmony Books, 2007), pp. 344–45.
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" 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" by the Tornados, both in 1962. Also on the Hot 100, "Manhattan Spiritual" by Reg Owen and His Orchestra reached number ten in February 1959, Hayley Mills' "Let's Get Together" from The Parent Trap peaked number eight in October 1961, 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" reached number five in October.
Some observers have noted that American teenagers were growing tired of teen idol pop acts like Fabian and the "Bobby"s: Bobby Darin, Bobby Vinton, Bobby Rydell, Bobby Vee etc. 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.
Beatlemania
In October 1963, the first newspaper articles about the frenzy in England surrounding the Beatles appeared nationally in the US."How the Beatles Went Viral: Blunders, Technology & Luck Broke the Fab Four in America," by Steve Greenberg, Billboard February 7, 2014 The Beatles' November 4 Royal Variety Performance in front of the Queen Mother sparked music industry and media interest in the group. 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".
On December 10, CBS Evening News anchor Walter Cronkite, looking for something positive to report, re-ran a Beatlemania story that originally aired on the November 22 edition of the CBS Morning News with Mike Wallace but was shelved that night because of the assassination of US President John Kennedy.Tweet the Beatles! How Walter Cronkite Sent The Beatles Viral ANDRE IVERSEN FOR THE WIN! by Martin Lewis based on information from "THE BEATLES ARE COMING! The Birth of Beatlemania in America" by Bruce Spitzer" July 18, 2009. 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?"
On December 17, James had Miss Albert introduce "I Want to Hold Your Hand" live on the air. 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. James sent the record to other disc jockeys around the country, sparking similar reaction. On December 26, Capitol Records released the record three weeks ahead of schedule. The release of the record during a time when teenagers were on vacation helped spread Beatlemania in the US. On December 29, 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." In the next year alone, the Beatles would have thirty different listings on the Hot 100.
On January 3, 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". 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 January 25, 1964, edition of Cash Box magazine (on sale January 18) and the February 1, 1964, edition of the Hot 100. On February 7, 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."
Two days later, on Sunday, February 9, the group appeared on The Ed Sullivan Show. Nielsen Ratings estimated that 45 percent of American television viewers that night saw their appearance. 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.
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. Among the many reactions favouring the hysteria were British girl group the Carefrees' "We Love You Beatles" (No. 39 on April 11, 1964) and the Patty Cakes' "I Understand Them", subtitled "A Love Song to the Beatles". Disapproving of the pandemonium were US group the Four Preps' "A Letter to the Beatles" (No. 85 on April 4, 1964) and US comedian Allan Sherman's "Pop Hates the Beatles".
The Beatles held number 1 for a then-record fourteen straight weeks, from February 1 through May 2, but performed even better on Cash Box, holding number 1 for sixteen straight weeks, from January 25, the week before, through May 9, the week after. On April 4, the Beatles held the top five positions on the Billboard Hot 100 singles chart; no other act had simultaneously held even the top four. The Beatles also held the top five positions on Cash Boxs singles chart that same week, with the first two positions reversed from the Hot 100. 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.
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". During the next three years, many more British acts with a chart-topping US single would appear. 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. By April 17, British acts accounted for 30 records in the Hot 100, and on May 8, 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, occupied by Gary Lewis & the Playboys' "Count Me In". On May 1, the British Commonwealth also nearly swept the Cash Box singles chart's Top Ten, lacking only a hit at number six, also taken by "Count Me In". The British Commonwealth also held down the top six on the Hot 100 on May 1 and the top six on Cash Box singles chart's Top Ten on April 24. 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. The British trend would continue into 1966 and beyond.Perone, James E. Mods, Rockers, and the Music of the British Invasion. Westport, CT. Praeger, 2009. Print. British Invasion acts also dominated the music charts at home in the United Kingdom.
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,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 which had been largely ignored or rejected when performed by black American artists in the 1950s. 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,Petersen, Jennifer B. "British Bands Invade the United States" 2009. Article. topping the Hot 100 eight times. 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."Archived at Ghostarchive and the Wayback Machine: