英国入侵，1960年代中期的音乐运动，由英国摇滚乐队（“ beat”）组成，其流行迅速扩散到美国。
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探索法国历史
谁是法国20世纪最年轻的总统？
甲壳虫乐队1964年2月7日凯旋而来，为美国打开了通往众多英国音乐才华的大门。随后发生的事情被称为-第二次英军入侵。就像1950年代的跨大西洋同行一样，英国青年通过疯狂的节奏和美国摇滚乐的暗示性歌词听到了他们的未来。但是最初尝试复制它失败。缺乏摇滚乐的本土基本成分（节奏和蓝调以及乡村音乐），发烧友只能带来残酷的英国礼节和差异。生活的唯一标志是在1950年代后期由苏格兰的朗尼·多根（Lonnie Donegan）率领的飞艇热潮。快艇乐队（如披头士乐队发起的Quarrymen）是无鼓手的原声吉他和班卓琴合奏，水罐乐队的确，他最常唱美国传统民歌，而且经常比演奏乐器的波兰人更有精神。
到1962年，在可以随便玩的民歌民谣主义以及在查克·贝里（Chuck Berry），猫王艾维斯·普雷斯利（Elvis Presley），小理查德（Little Richard），埃迪·科克伦（Eddie Cochran），巴迪·霍利（Buddy Holly），詹姆斯·布朗（James Brown）和泥泞的沃特斯（Muddy Waters）的音乐中自学成才的年代，一些英国青少年真正对摇滚习语有感觉。结合舞厅，流行音乐和凯尔特人的当地传统，他们制定了原创音乐，使他们可以认领，弹奏和唱歌。年轻的电吉他乐队开始演奏和创作节奏快的旋律流行乐，火热的摇滚乐和芝加哥风格的电布鲁斯。
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.
