Musika ng Pagsalakay ng British

Pagsalakay ng British, kilusang musikal ng kalagitnaan ng 1960s na binubuo ng mga grupo ng British rock-and-roll ("matalo") na ang kasikatan ay mabilis na kumalat sa Estados Unidos.

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Paggalugad sa Kasaysayan ng Pransya

Sino ang pinakabatang pangulo ng ika-20 siglo ng Pransya?

Ang matagumpay na pagdating ng Beatles sa New York City noong Pebrero 7, 1964, binuksan ang mga pintuan ng Amerika sa isang kayamanan ng British talent talent. Ang susunod na tatawagin - kasama ang makasaysayang pagpigil sa pamamagitan ng kusang itinaguyod na kolonya - ang pangalawang Pagsalakay sa Britanya. Tulad ng kanilang mga transatlantic counterparts noong 1950s, narinig ng mga kabataang British ang kanilang kinabukasan sa mga galit na galit na beats at nagmumungkahi na lyrics ng American rock and roll. Ngunit ang mga paunang pagtatangka upang kopyahin ito ay nabigo. Dahil sa kakulangan ng mga katutubong pangunahing sangkap — ritmo at blues at musika ng bansa — ng bato at roll, ang mga mahilig ay magdala lamang ng pagkagulo at pagkakaiba ng British. Ang nag-iisang palatandaan ng buhay ay sa huling bahagi ng dekada ng 1950, na pinamunuan ni Lonnie Donegan ng Scotland. Ang mga grupo ng Skiffle (tulad ng Beatles-launching Quarrymen) ay mga drummerless acoustic na gitara-at-banjo ensembles, mga banda ng bula talaga,na kadalasang kumakanta ng mga tradisyonal na awitin ng Amerikano, na madalas na may higit na espiritu kaysa sa instrumental na polish.

Sa pamamagitan ng 1962, hinikayat ng sinumang maaring maglaro ng populasyon ng skiffle at nakapag-aral sa sarili sa musika ni Chuck Berry, Elvis Presley, Little Richard, Eddie Cochran, Buddy Holly, James Brown, at Muddy Waters, ang ilang mga kabataan sa British ay nagkaroon ng tunay pakiramdam para sa idolo ng rock-and-roll. Pagsasama-sama na sa mga lokal na tradisyon tulad ng dancehall, pop, at Celtic folk, bumalangkas sila ng orihinal na musika na maaari nilang maangkin, maglaro, at kumanta nang may pananalig. Ang mga batang pangkat na may mga electric guitars ay nagsimulang gumaganap at sumulat ng up-tempo melodic pop, nagniningas na rock and roll, at mga blues na may style na Chicago.

Liverpool became the first hotbed of the so-called “beat boom.” With the Beatles, other exuberant male quartets such as the Searchers, the Fourmost, and Gerry and the Pacemakers—plus the quintet Billy J. Kramer and the Dakotas—launched “Merseybeat,” so named for the estuary that runs alongside Liverpool. The Beatles first reached the British record charts in late 1962 (shortly after the Tornados’ “Telstar,” an instrumental smash that sent word of what was in store by becoming the first British record to top the American singles chart); the rest joined the hit parade in 1963.

Rock swept Britain. By 1964 Greater London could claim the Rolling Stones, the Yardbirds, the Who, the Kinks, the Pretty Things, Dusty Springfield, the Dave Clark Five, Peter and Gordon, Chad and Jeremy, and Manfred Mann. Manchester had the Hollies, Wayne Fontana and the Mindbenders, Freddie and the Dreamers, and Herman’s Hermits. Newcastle had the Animals. And Birmingham had the Spencer Davis Group (featuring Steve Winwood) and the Moody Blues. Bands sprang up from Belfast (Them, with Van Morrison) to St. Albans (the Zombies), with more inventive artists arriving to keep the syles moving forward, including the Small Faces, the Move, the Creation, the Troggs, Donovan, the Walker Brothers, and John’s Children. While the beat boom provided Britons relief from the postimperial humiliation of hand-me-down rock, the Beatles and their ilk brought the United States more than credible simulations. They arrived as foreign ambassadors, with distinctive accents (in conversation only; most of the groups sang in “American”), slang, fashions, and personalities. The Beatles’ first film, A Hard Day’s Night (1964), further painted England as the centre of the (rock) universe. American media took the bait and made Carnaby Street, London’s trendy fashion centre in the 1960s, a household name.

From 1964 to 1966 the United Kingdom sent a stream of hits across the Atlantic. Behind the conquering Beatles, Peter and Gordon (“A World Without Love”), the Animals (“House of the Rising Sun”), Manfred Mann (“Do Wah Diddy Diddy”), Petula Clark (“Downtown”), Freddie and the Dreamers (“I’m Telling You Now”), Wayne Fontana and the Mindbenders (“Game of Love”), Herman’s Hermits (“Mrs. Brown You’ve Got a Lovely Daughter”), the Rolling Stones (“[I Can’t Get No] Satisfaction” and others), the Troggs (“Wild Thing”), and Donovan (“Sunshine Superman”) all topped Billboard’s singles chart. These charming invaders had borrowed (often literally) American rock music and returned it—restyled and refreshed—to a generation largely ignorant of its historical and racial origins. In April 1966 Time magazine effectively raised the white flag with a cover story on “London: The Swinging City.” Peace quickly followed; by the pivotal year 1967 a proliferation of English and American bands were equal partners in one international rock culture.