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="Needs Improvement" Articles=

Latin Music
I believe this article was nominated for "needs improvement" because of multiple reasons:
 * The lead description does not really connect with the rest of the article.
 * Within the lead description, there is a mention of the different divisions record labels use in regards to Latin music. However, there is no mention within the article on the differences in these divisions other than the fact that it is location based.
 * The contemporary usage section has miscellaneous information together. For example, the Julio Iglesias note seems out of place in this section.
 * There seems to be a lack of information. Genre-based "good articles" include more information on the subgenres and even the artists listed, especially when relating to umbrella genres like Latin music. Other articles also tend to include the reactions and impact the music have on different generations and in different locations.

Christmas in Russia
I believe this article was nominated for "needs improvement" because:
 * This article needs more citations. The only citations and references available are in the Traditional Russian Cuisine section and one in the Complaints to the Russian Constitutional Court.
 * There is a lack of information. Most of the descriptive information is in the lead description that can be expanded in the article. For instance, there can be a significant section on the Christmas Eve and potentially Christmas Day activities after the History section in the content and some expansion on traditions, like "Ded Moroz" and "Snegurochka."
 * Some copy editing is needed.

Folk Rock: British Invasion section
Beginning in 1964 and lasting until roughly 1966, a wave of British beat groups, including the Beatles, the Rolling Stones, the Dave Clark Five, Gerry & the Pacemakers, the Kinks, and Herman's Hermits amongst others, dominated the U.S. music charts. These groups were all heavily influenced by American rock 'n' roll, blues, and R&B—musical genres they had been introduced to via homegrown British rock 'n' roll singers, imported American records, and the music of the skiffle craze. While rock 'n' roll and, to a lesser extent, blues were still popular in the UK, for many young Americans these genres had either become somewhat démodé, as was the case with rock 'n' roll, or were largely unknown to white audiences, as was the case with the blues. These UK groups, known collectively as the British Invasion, reintroduced American youth culture to the broad potential of rock and pop music as a creative medium and to the wealth of musical culture to be found within the United States. [In addition, a number of the British Invasion bands also wrote their own pop- and R&B-flavored material, something that was rarely done at the time and something that would prove to be influential on many U.S. bands as the 1960s progressed. ] (Maybe delete)(This can be moved to the British Invasion section)

Although there had been a few sporadic British successes in the U.S. charts prior to 1964, notably the Tornados' hit instrumental "Telstar", the British Invasion began in earnest in January 1964 when the Beatles' "I Want to Hold Your Hand" single reached number 1 on the Billboard Hot 100. This was followed by the American release of Meet the Beatles!, an LP that topped the Billboard album chart in February 1964 and went on to influence many forms of American popular music during the 1960s. In February 1964 the Beatles embarked on their first North American tour, during which they made three television appearances on the popular Ed Sullivan Show; their first appearance drew an estimated viewing audience of 73 million. By 4 April 1964, the Beatles held the top five positions on the Billboard singles chart, the only time to date that any act has accomplished such a feat.

The Beatles' impact on America went far beyond commercial success, however, with the fact that the band wrote much of their own material being particularly influential on aspiring U.S. musicians. In addition, the youthful exuberance of the band's music, the inventive melodies and harmonies that they utilized, and their image as four equal personalities—rather than the more usual star being backed by a group of anonymous musicians—were all revolutionary in terms of creating a new standard for musical groups. (Transfer to British Invasion) Of particular importance to the development of folk rock were the subtle folk influences evident in such Beatles' compositions as "I'll Be Back", "Things We Said Today", and "I'm a Loser", with the latter song being directly inspired by folk singer-songwriter Bob Dylan.

In the opinion of Roger McGuinn of the Byrds, writers who attempt to define the origins of folk rock "don't realise that the Beatles were responsible as far back as 1963". He cites "She Loves You" as one of the first examples where the Beatles introduced folk chord changes into rock music and so initiated the new genre. These songs were all influential in providing a template for successfully assimilating folk-based chord progressions and melodies into pop music. This melding of folk and rock 'n' roll in the Beatles' music became even more explicit during 1965, with the release of "You've Got to Hide Your Love Away", a folk-derived song with introspective lyrics, again influenced by Dylan. Although the Beatles themselves utilized folk as just one of many styles evident in their music, the underlying folk influences in a number of their songs would prove to be important to folk rock musicians attempting to blend their own folk influences with beat music.

In the wake of the Beatles' first visit to America, numerous other British beat groups followed, capitalizing on the prevailing American fascination for all things British and monopolizing the U.S. charts for the next two years. The effect that the music of these British bands, and the Beatles in particular, had on young Americans was immediate; almost overnight, folk—along with many other forms of homegrown music—became passé for a large proportion of America's youth, who instead turned their attention to the influx of British acts. The influence of these acts also impacted on the collegiate folk and urban folk communities, with many young musicians quickly losing interest in folk music and instead embracing the rock 'n' roll derived repertoire of the British Invasion. Future members of many folk rock acts, including the Byrds, Jefferson Airplane, the Lovin' Spoonful, the Mamas & the Papas, and Buffalo Springfield, all turned their backs on traditional folk music during 1964 and 1965 as a direct result of the influence of the Beatles and the other British Invasion bands. Author and music historian Richie Unterberger has noted that the Beatles' impact on American popular culture effectively sounded the death knell for the American folk music revival.

In addition to The Beatles, the two British groups that were arguably the most influential on the development of folk rock were the Animals and the Searchers. The former released a rock interpretation of the traditional folk song "The House of the Rising Sun" in the U.S. in August 1964. The song reached number 1 on the Billboard Hot 100 singles chart and stayed there for three weeks, selling over a million copies in just five weeks in the U.S. This sorrowful tale of a whorehouse in New Orleans had previously been recorded by a number of folk and blues performers, including Bob Dylan, whose adaptation was likely responsible for first introducing the song to the Animals. The band's arrangement of "The House of the Rising Sun", which transmuted the song from an acoustic folk lament to a full-bore electric rock song, would go on to influence many folk rock acts but none more so than Dylan himself, who cited it as a key factor in his decision to record and perform with an electric rock band in 1965.

Importance of the electric 12-string guitar in Folk music
The Searchers, on the other hand, were influential in popularizing the jangly sound of the electric twelve-string guitar. Many musicians in the collegiate and urban folk movements were already familiar with acoustic twelve-string guitars via the music of folk and blues singer Lead Belly. However, the Searchers' use of amplified twelve-strings provided another example of how conventional folk elements could be incorporated into rock music to produce new and exciting sounds. The Beatles' lead guitarist, George Harrison, also influenced this trend towards jangly guitars in folk rock with his use of a Rickenbacker twelve-string guitar on the Beatles' mid-1960s recordings. This relatively clean, jangly sound—without distortion or other guitar effects—became a cornerstone of folk rock instrumentation and was used in many American folk rock records made during 1965 and 1966. =British Influence=

Impact on American Music
The British Invasion had a profound impact on popular music, internationalizing the production of rock and roll, establishing the British popular music industry as a viable centre of musical creativity, and opening the door for subsequent British performers to achieve international success. In America, the Invasion arguably spelled the end of the popularity of instrumental surf music, pre-Motown vocal girl groups, the folk revival (which adapted by evolving into folk rock), and (for a time) the teen idols that had dominated the American charts in the late 1950s and 1960s. [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, and segments of the new shows were taped in England. ](Maybe move to the television section)

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, Fats Domino, and Elvis Presley (who nevertheless racked up 30 Hot 100 entries from 1964 through 1967). 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 American acts of the next decade would emerge. 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.

Though many of the acts associated with the invasion did not survive its end, many others would become icons of rock music. The claim that British beat bands were not radically different from US groups like the Beach Boys and damaged the careers of African-American and female artists was made about the Invasion. However, the Motown sound, exemplified by the Supremes, the Temptations, and the Four Tops, each securing its first top 20 record during the Invasion's first year of 1964 and following up with many other top 20 records, besides the constant or even accelerating output of the Miracles, Gladys Knight & the Pips, Marvin Gaye, Martha & the Vandellas, and Stevie Wonder, actually increased in popularity during that time.

Other US 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. Roger McGuinn of the Byrds, for example, acknowledged the debt that American artists owed to British musicians, such as the Searchers, but that "they were using folk music licks that I was using anyway. So it's not that big a rip-off."

The US sunshine pop group the Buckinghams and the Beatles-influenced US Tex-Mex act the Sir Douglas Quintet adopted British-sounding names, and San Francisco's Beau Brummels took their name from the same-named English dandy. Roger Miller had a 1965 hit record with a song titled "England Swings". Englishman Geoff Stephens (or John Carter) reciprocated the gesture a la Rudy Vallée a year later in the New Vaudeville Band's "Winchester Cathedral". Even as recently as 2003, "Shanghai Knights" made the latter two tunes memorable once again, in London scenes. Anticipating the Bay City Rollers by more than a decade, two British acts that reached the Hot 100's top 20 gave a tip of the hat to America: Billy J. Kramer with the Dakotas and the Nashville Teens. The British Invasion also drew a backlash from some American bands, e.g., Paul Revere & the Raiders and New Colony Six dressed in Revolutionary War uniforms, and Gary Puckett & The Union Gap donned Civil War uniforms. 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."

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 5 hits during the British Invasion, the #4 hit "I'll Never Find Another You" in May 1965 and the #2 hit "Georgy Girl" in February 1967. The Easybeats drew heavily on the British Invasion sound and had one hit in the United States during the British Invasion, the #16 hit "Friday on My Mind" in May 1967.

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.

End of First British Invasion
It's unclear when the British Invasion can be said to have "ended," if it ever ended at all. American bands regained prominence on the charts in the late 1960s in the face of changing cultural norms; even so, British bands continued to have consistent success alongside their American counterparts on the U.S. charts throughout the decade. Into the 1970s, bands such as Badfinger, the Sweet and the Raspberries (the first two of which were British, the last being American) were playing a heavily British Invasion-influenced style deemed power pop. In 1978 two rock magazines wrote cover stories about power pop and championed the genre as a savior to both the new wave and the direct simplicity of the way rock used to be. New wave power pop not only brought back the sounds but the fashions, be it the mod style of the Jam or the skinny ties of the burgeoning Los Angeles scene. Several of these groups were commercially successful, most notably the Knack, whose "My Sharona" was the number 1 U.S. single of 1979. A backlash against the Knack and power pop ensued, but the genre over the years has continued to have a cult following with occasional periods of modest success.

Another wave of British artists, dubbed the "Second British Invasion", became popular in the 1980s as music video showcases began to appear on American television. The last major wave of British success on the U.S. music charts came in the mid-1990s when artists such as the Spice Girls, Oasis and Robbie Williams (both with Take That and as a solo artist) had brief success in America.

At least one British act would appear somewhere on the Hot 100 every week from November 2, 1963, with the debut of the Caravelles' "You Don't Have to Be a Baby to Cry", more than two months before the start of the invasion, through the April 20, 2002 edition. British acts had declined in popularity throughout the 1990s, and in the April 27, 2002 issue of Billboard, none of the 100 top singles, and only two of the top 100 albums, were by British artists (Craig David and Ozzy Osbourne).

=Folk Rock-American folk music revival section= The American folk-music revival began during the 1940s; due to the rising interest in protest folk singers such as Woody Guthrie and Pete Seeger, it reached a peak in popularity in the mid-1960s with artists such as Bob Dylan and Joan Baez. In 1948, Seeger formed the Weavers, whose mainstream popularity set the stage for the folk revival of the 1950s and early 1960s and also served to bridge the gap between folk, popular music, and topical song. The Weavers' sound and repertoire of traditional folk material and topical songs directly inspired the Kingston Trio, a three-piece folk group who came to prominence in 1958 with their hit recording of "Tom Dooley". The Kingston Trio provided the template for a flood of "collegiate folk" groups between 1958 and 1962.

At roughly the same time as these "collegiate folk" vocal groups came to national prominence, a second group of urban folk revivalists, influenced by the music and guitar picking styles of folk and blues artists like Woody Guthrie, Lead Belly, Brownie McGhee, and Josh White, also came to the fore. Many of these urban revivalists were influenced by recordings of traditional American music from the 1920s and 1930s, which had been reissued by Folkways Records; Harry Smith's Anthology of American Folk Music was particularly influential. While urban folk revival flourished in many cities, New York City, with its burgeoning Greenwich Village coffeehouse scene and population of topical folk singers, was widely regarded as the centre of the movement. Out of this fertile environment came such folk-protest luminaries as Bob Dylan, Tom Paxton, Phil Ochs, and Peter, Paul and Mary, many of whom would transition into folk rock performers as the 1960s progressed.

The vast majority of the urban folk revivalists shared a disdain for the values of mainstream American mass culture and led many folk singers to begin composing their own "protest" material. The influence of this folk-protest movement would later manifest itself in the sociopolitical lyrics and mildly anti-establishment sentiments of many folk rock songs, including hit singles such as "Eve of Destruction", "Like a Rolling Stone", "For What It's Worth", and "Let's Live for Today".

During the 1950s and early 1960s in the UK, a parallel folk revival, referred to as the second British folk revival, was led by folk singers Ewan MacColl and Bert Lloyd. Both saw British folk music as a vehicle for leftist political concepts and an antidote to the American-dominated popular music of the time. However, it wasn't until 1956 and the advent of the skiffle craze that the British folk revival crossed over into the mainstream and connected with British youth culture. Skiffle renewed popularity of folk music forms in Britain led directly to the progressive folk movement and the attendant British folk club scene. Among the leading lights of the progressive folk movement were Bert Jansch and John Renbourn, who would later form the folk rock band Pentangle in the late 1960s. Other notable folk rock artists with roots in the progressive folk scene were Donovan, Al Stewart, and John Martyn and Paul Simon.

Folk Rock: The Byrds
The moment when all of the separate influences that make up folk rock finally coalesced into an identifiable whole was with the release of the Byrds' recording of Bob Dylan's "Mr. Tambourine Man". The term "folk rock" was itself first coined by the U.S. music press to describe the band's sound in June 1965, at roughly the same time as "Mr. Tambourine Man" peaked at number 1 on the Billboard chart. Within three months it had become the first folk rock smash hit, reaching number 1 on both the Billboard Hot 100 and the UK Singles Chart. The single's success initiated the folk rock boom of 1965 and 1966, during which a profusion of Byrds-influenced acts flooded the American and British charts. In particular, the Byrds' influence can be discerned in mid-1960s recordings by acts such as the Lovin' Spoonful, Barry McGuire, the Mamas & the Papas, Simon & Garfunkel, Jefferson Airplane, the Turtles, We Five, Love, and Sonny & Cher.

It was during the rehearsals at World Pacific that the band began to develop the blend of folk music and Beatles-style pop that would characterize their sound. However, this hybrid was not deliberately created; instead, it evolved organically out of some of the band members' own folk music roots and their desire to emulate the Beatles. The band's folk influences, lack of experience with rock music forms, and Beatleseque instrumentation, all combined to color both their self-penned material and their folk derived repertoire. Soon, the band themselves realized that there was something unique about their music and, with Dickson's encouragement, they began to actively attempt to bridge the gap between folk and rock.

Mr. Tambourine Man's blend of abstract lyrics, folk-influenced melody, complex harmonies, jangly 12-string Rickenbacker guitar playing, and Beatles-influenced beat, resulted in a synthesis that effectively created the subgenre of folk rock. The song's lyrics alone took rock and pop songwriting to new heights; never before had such intellectual and literary lyrics been combined with rock instrumentation by a popular music group.

As the 1970s dawned, folk rock evolved away from the jangly template pioneered by the Byrds, but their influence could still be heard in the music of bands like Fairport Convention and Pentangle. The Byrds themselves continued to enjoy commercial success with their brand of folk rock throughout 1965, most notably with their number 1 single "Turn! Turn! Turn!". By the start of 1966, however, the group had begun to move away from folk rock and into the new musical frontier of psychedelic rock. The folk rock sound of the Byrds has continued to influence many bands over the years, including Big Star, Tom Petty and the Heartbreakers, R.E.M., the Long Ryders, the Smiths, the Bangles, the Stone Roses, and Teenage Fanclub, among others.

Folk Rock: Bob Dylan
Five days before the Byrds entered Columbia Studios in Hollywood to record his song "Mr. Tambourine Man", Bob Dylan completed the recording sessions for his fifth album, Bringing It All Back Home. Of the eleven tracks on the album, seven featured Dylan backed by a full electric rock band, in stark contrast to his earlier acoustic folk albums. Dylan's decision to record with an electric backing band had been influenced by a number of factors, including the Beatles' coupling of folk derived chord progressions and beat music, the Byrds' rock adaptation of "Mr. Tambourine Man", and the Animal's hit cover of "The House of the Rising Sun".

Bringing It All Back Home was released on 22 March 1965, peaking at number 6 on the Billboard Top LPs chart and #1 on the UK Album Chart. The album's blend of rhythm and blues-derived rock and abstract, poetic lyrics was immediately influential in demonstrating that intelligent lyrical content could be wedded with rock 'n' roll. The songs on the album saw Dylan leaving folk music far behind. Even with this folkier, acoustic material, Dylan's biting, apocalyptical, and often humorous lyrics went far beyond those of contemporary folk music, particularly the folk-protest music with which he had been previously associated.

On 20 July 1965, Dylan released the groundbreaking "Like a Rolling Stone", a six-minute-long scathing put-down, directed at a down-and-out society girl, which again featured Dylan backed by an electric rock band. Released just as the Byrds' cover of "Mr. Tambourine Man" topped the charts in the United States, the song was instrumental in defining the burgeoning folk rock scene and in establishing Dylan as a bona fide rock star, rather than a folksinger. "Like a Rolling Stone" managed to reach the Top 5 on both sides of the Atlantic. Five days after the release of "Like a Rolling Stone", on 25 July 1965, Dylan made a controversial appearance at the Newport Folk Festival, performing three songs with a full band. He was met with derisive booing and jeering from the festival's purist folk music crowd, but in the years since the incident, Dylan's 1965 Newport Folk Festival appearance has become widely regarded as a pivotal moment in the synthesis of folk and rock.

Dylan followed "Like a Rolling Stone" with the wholly electric album Highway 61 Revisited and the non-album single "Positively 4th Street", which itself has been widely interpreted as a rebuke to the folk purists who had rejected his new electric music. Throughout 1965 and 1966, hit singles like "Subterranean Homesick Blues", "Like a Rolling Stone", "Positively 4th Street", and "I Want You" among others, along with the Bringing It All Back Home, Highway 61 Revisited and Blonde on Blonde albums, proved to be hugely influential on the development and popularity of folk rock. Although Dylan's move away from acoustic folk music served to outrage and alienate much of his original fanbase, his new folk rock sound gained him legions of new fans during the mid-1960s. The popularity and commercial success of the Byrds and Bob Dylan's blend of folk and rock music influenced a wave of imitators and emulators that retroactively became known as the folk rock boom.

Other musicians


Music critic Richie Unterberger has noted that the commercial success of the Byrds' cover version of Dylan's "Mr. Tambourine Man", along with Dylan's own contributions to the genre on the albums Bringing It All Back Home, Highway 61 Revisited, and Blonde on Blonde, initiated an explosion of emulators and imitators. Their success led record producer Tom Wilson to add electric guitar, bass, and drums overdubs to "The Sounds of Silence", a song which had been recorded by the folk duo Simon & Garfunkel in 1964 and first released on their album Wednesday Morning, 3 A.M.. The reissued single rose to number 1 on the Billboard pop chart in late 1965, became a hit around the world, and set the duo on one of the most successful careers in pop and rock music. Simon and Garfunkel have been described as "folk-rock's greatest duo, and one whose fame and influence would persist well beyond folk-rock's heyday."

One of the first bands to craft a distinctly American sound in response to the British Invasion was the Beach Boys; while not a folk rock band themselves, they directly influenced the genre, and at the height of the folk rock boom in 1966 had a hit with a cover of the 1920s West Indian folk song "Sloop John B", which they had learned from the Kingston Trio, who in turn had learned it from and by extension, the Weavers.

Much of the early folk-rock music emerged during a time of general global upheaval, the Vietnam War, and new concerns for the world by young people. In the United States(insert comma) the heyday of folk rock was arguably between the mid-sixties and the mid-seventies, when it aligned itself with the hippie movement and became an important medium for expressing radical ideas. Cities such as San Francisco, Denver, New York City and Phoenix became centers for the folk rock culture, playing on their central locations among the original folk circuits. The "unplugged" and simplified sound of the music reflected the genre's connection to a critical view of a technological and consumerist society. Unlike pop music's escapist lyrics, arguably a fantasy distraction from the problems in life, folk artists attempted to communicate concerns for peace, global awareness, and other touchstones of the era. Bands whose music was significantly folk rock in sound during the mid-to-late 1960s included Donovan, the Lovin' Spoonful, the Mamas & the Papas, the Youngbloods, Love, and, in their early years, Jefferson Airplane.

In the mid-1960s, singer-songwriter Gordon Lightfoot began moving his folk songs into a folk-rock direction with recordings such as the percussion-driven "Black Day In July", about the 1967 Detroit riot. He would go on to top the charts in the 1970s with a number of his folk-rock recordings, such as "Sundown" and "Carefree Highway", and would come to be known as a folk-rock legend. Some artists, originally produced with a harder edged rock sound, found the ability to communicate more easily and felt more genuine in this method of delivery. In this category was Cat Stevens, in London, who began, much like the Byrds in the United States, but toned down the sound more frequently, with acoustic instruments, performing songs that contained concern for the environment, war, and the future of the world in general. The Canadian singer-songwriter Joni Mitchell won many Grammy Awards with her folk rock/pop songs.

Other precursors
Although folk rock mainly grew out of a mix of American folk revival and British Invasion influences, there were also a few examples of proto-folk rock that were important in the development of the genre. Of these secondary influences, Unterberger has cited the self-penned, folk-influenced material of San Francisco's the Beau Brummels as arguably the most important. Despite their Beatlesque image, the band's use of minor chords, haunting harmonies, and folky acoustic guitar playing—as heard on their debut single "Laugh, Laugh"—was stylistically very similar to the later folk rock of the Byrds. Released in December 1964, "Laugh, Laugh" peaked at number 15 on the Billboard Hot 100 in early 1965, while its similarly folk-flavored follow-up, "Just a Little", did even better, reached ing number 8 on the U.S. singles chart. The high-profile success of the Beau Brummels' music was important in demonstrating that a hybrid of folk and rock could potentially be translated into mainstream commercial success.

Pre-dating the Beau Brummels' commercial breakthrough by almost two years, singer-songwriter Jackie DeShannon's April 1963 single "Needles and Pins" marked, according to Unterberger, the earliest appearance of the ringing guitar sound that would become a mainstay of early folk rock. This use of cyclical, chiming guitar riffs was repeated on DeShannon's late 1963 recording of her own composition "When You Walk in the Room". The following year, both songs would become hits for the Liverpudlian band the Searchers, who chose to place even greater emphasis on the jangly guitar playing in the songs. In addition, a number of DeShannon's songs from the period, including "When You Walk in the Room", displayed a greater degree of lyrical maturity and sensuality than was usual for pop songs of the time. This heightened degree of emotional introspection was inspired by her love of Bob Dylan's folk songwriting and represents one of the first attempts by an American artist to absorb folk sensibilities into rock music.

In the UK, the folk group the Springfields (featuring Dusty Springfield) had been releasing folk-oriented material featuring full band arrangements since the early 1960s, including renditions of "Lonesome Traveler", "Allentown Jail", and "Silver Threads and Golden Needles". Although these records owed more to orchestral pop than rock, they were nonetheless influential on up-and-coming folk rock musicians on both sides of the Atlantic. In mid-1965, folk singer-songwriter Donovan was also experimenting with adding electrified instrumentation to some of his folk and blues-styled material, as evidenced by songs such as "You're Gonna Need Somebody on Your Bond" and "Sunny Goodge Street". In spite of his folky persona and repertoire, Donovan himself had always considered himself a pop star, rather than a folk singer. As a result, he had been thinking of a way in which to introduce folk styled acoustic guitars and socially conscious lyrics into pop music for several years prior to his 1965 breakthrough as a recording artist. By January 1966, he had recorded the self-penned hit "Sunshine Superman" with a full electric backing band.

Other bands and solo artists who were blurring the boundaries between folk and rock in the early 1960s include Judy Henske, Richard and Mimi Fariña, and the Mugwumps, the latter of which were a New York band featuring future members of the Lovin' Spoonful and the Mamas & the Papas. Also of note are the Australian band the Seekers, who had relocated to England in 1964 and reached number 1 on the UK Singles Chart with "I'll Never Find Another You" in February 1965. Unterberger has noted that, although it was not strictly a folk song, "I'll Never Find Another You" was heavily influenced by Peter, Paul and Mary and featured a cyclical, twelve-string guitar part that sounded similar to the guitar style that Jim McGuinn of the Byrds would popularize later that same year.

There are also a few antecedents to folk rock present in pre-British Invasion American rock 'n' roll, including Elvis Presley's 1954 cover of the Bill Monroe bluegrass standard "Blue Moon of Kentucky"; Buddy Holly's self-penned material, which strongly influenced both Dylan and the Byrds; Ritchie Valens' recording of the Mexican folk song "La Bamba"; Lloyd Price's rock 'n' roll adaptation of the African-American folk song "Stagger Lee" (originally recorded by Mississippi John Hurt in 1928); Jimmie Rodgers' rock 'n' roll flavored renditions of traditional folk songs; and the folk and country-influenced recordings featured on the Everly Brothers' 1959 album Songs Our Daddy Taught Us. However, this early rock 'n' roll influence on folk rock was not recognized at the time and has only become discernable with the benefit of hindsight.

=Introduction/Folk Rock lead= Folk rock is a music genre that arose in the United States and the United Kingdom in the mid-1960s that combined elements of folk music and rock. The term is also used to describe similar music from elsewhere during that period, as well as later hybrid styles. In the US, folk rock emerged from the folk music revival when performers such as Bob Dylan and the Byrds—several of whose members earlier played in folk ensembles—attempted to infuse the sounds of rock into their preexisting framework, adopting the use of electric instrumentation and drums in a way that had previously been discouraged in the US folk community.

The term "folk rock" was initially used in the US music press in June 1965 to describe the Byrds' sound. (Repetitive) The commercial success of the ir (Byrds') cover version of Dylan's "Mr. Tambourine Man" and their debut album that year, along with Dylan's own recordings with rock instrumentation—on the albums Bringing It All Back Home (1965), Highway 61 Revisited (1965), and Blonde on Blonde (1966)—encouraged other folk acts, such as Simon & Garfunkel to use electric backing and new groups to form such as Buffalo Springfield. Dylan's controversial appearance at the Newport Folk Festival on 25 July 1965 where he was backed by an electric band was also a pivotal moment in the development of the genre.

During the mid-1960s in the UK, which previously experienced the folk-inspired skiffle movement in the 1950s and was currently in the midst of a blues revival, some beat groups such as the Beatles and the Animals began to incorporate folk influences into their styles. A distinct, eclectic British folk rock style was created in Britain and Europe in the late 1960s by Pentangle, Fairport Convention and Alan Stivell. Inspired by British psychedelic folk and the North American style of folk rock, Pentangle, Fairport, and other related bands began to incorporate elements of traditional British folk music into their repertoire, leading. Fairport bassist Ashley Hutchings formed Steeleye Span with traditionalist folk musicians who wished to incorporate overt rock elements into their music, and this led to other variants, including the overtly English folk rock of the Albion Band (also featuring Hutchings) and Celtic rock.

Etymology/Folk rock
The term "folk rock" refers to the perceived blending of elements of folk music and rock music. The genre arose in the United States in the mid-1960s and attempted to combine folk influences with electric rock instrumentation. The US music press initially coined the term to describe the Byrds' music in June 1965, the month in which the band's debut album was issued. The influence of music in the UK and elsewhere was also a key factor in the development of mid-1960s folk rock, and the success of the Beatles and other British groups prompted American folk musicians such as Bob Dylan and others to embrace rock. (last sentence may sound like original research)

In a broader sense, folk rock encompasses similarly inspired musical genres and movements in different regions of the world. the English-speaking world (and its Celtic and Filipino fringes) and elsewhere. As with any genre, the borders have been difficult to define.(reads like a narrative) Folk rock may lean more towards either folk or rock in instrumentation, playing and vocal style, and choice of material.(insert citation tag) While the original genre draws on music of Europe and North America, there is no clear delineation of which other cultures might be included as influences. The term is not usually applied to rock music rooted in the blues or other African American music (except as mediated through folk revivalists), nor to rock music with Cajun roots or music with non-European folk roots (especially after about 1980), which is more typically classified as world music.

British Invasion: 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, with "I Only Want to Be with You". Released in late 1963, this successful hit peaked at number 12 on the Hot 100 right around the time The Beatles began to dominate the U.S. airwaves. 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 which consisted usually of either of groups playing in a more pop style, such as the Hollies or the Zombies or with a harder-driving, blues-based approach. On May 8, 1965, the British Commonwealth came closer than it ever had or would to a clean sweep of a weekly Hot 100's Top 10, lacking only a hit at number two instead of "Count Me In" by the US group Gary Lewis & the Playboys. The British Commonwealth also nearly swept the Cash Box singles chart's top ten the previous week, lacking only a hit at number six instead of "Count Me In". That same year, half of the 26 Billboard Hot 100 chart toppers (counting the Beatles' "I Feel Fine" carrying over from 1964) belonged to British acts. The British trend would continue into 1966 and beyond.

The musical style of British Invasion artists, such as the Beatles, had been influenced by earlier US rock 'n' roll, a genre which had lost some popularity and appeal by the time of the Invasion. However, a subsequent handful of white British performers, particularly the Rolling Stones and the Animals, would appeal to a more 'outsider' demographic, essentially reviving and popularizing, for young people at least, a musical genre rooted in the blues, rhythm, and black culture, which had been largely ignored or rejected when performed by black US artists in the 1950s. Such bands were sometimes perceived by American parents and elders as rebellious and unwholesome. This image marked them as separate from artists such as the Beatles, who had become a more acceptable, parent-friendly pop group. The Rolling Stones would become the biggest band other than the Beatles to come out of the British Invasion, 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." "Freakbeat" is a term sometimes given to certain British Invasion acts closely associated with the mod scene during the Swinging London period, particularly harder-driving British blues bands of the era that often remained obscure to US listeners, and who are sometimes seen as counterparts to the garage rock bands in America. Certain acts, such as the Pretty Things and the Creation, had a certain degree of chart success in the UK and are often considered exemplars of the form. The emergence of a relatively homogeneous worldwide "rock" music style marking the end of the "invasion" occurred in 1967, but not without one final comment from America, when one-hit wonder The Rose Garden's "Next Plane to London" peaked at #17 during the last week of that year.