== Garage and mod section a mess...also may need name change == 

 The "Garage and mod" section of this article badly needs to be revised.  It is a convoluted, confusing, mess that is hard to read and, therefore, fails to adequately inform the reader.  It should be divided into two paragraphs: one discussing garage rock in America and the other, British rock of the same period, so that we don't get the two conflated.  In the perfect scenario, the basic message and content would remain the same and the wording would be only slightly modified to be more clear (Amen).  It would look something like this:  
 :::  In the early to mid-1960s, garage rock bands that came to be recognized as punk rock's progenitors began springing up around North America. The Kingsmen, from Portland, Oregon, had a hit with their 1963 cover of "Louie, Louie," cited as "punk rock's defining ur-text."  After the Beatles’ first appearance on the Ed Sullivan Show, and then with the subsequent string of other successful British acts, the garage band craze would gather even more momentum. The minimalist sound of many garage rock bands was influenced by the harder-edged wing of the British Invasion, exemplified by groups such as The Rolling Stones and The Yardbirds. After 1967, U.S. garage rock began to fall out of favor, but the raw sound and outsider attitude of "garage psych" bands like The Seeds presaged the style of bands that would become known as the archetypal figures of protopunk. 
 
 :::From England, The Kinks' hit singles of 1964, "You Really Got Me" and "All Day and All of the Night," themselves influenced by “Louie, Louie,”Kitts, Thomas M. Ray Davies: Not Like Everybody Else. Routledge. 2007.  Pg. 41 have been described as "predecessors of the whole three-chord genre—the Ramones' 1978 'I Don't Want You,' for instance, was pure Kinks-by-proxy".Harrington (2002), p. 165. In 1965, The Who progressed from their debut single, "I Can't Explain," a virtual Kinks clone, to "My Generation". Though it had little impact on the American charts, The Who's mod anthem presaged a more cerebral mix of musical ferocity and rebellious posture that characterized much early British punk rock: John Reed describes The Clash's emergence as a "tight ball of energy with both an image and rhetoric reminiscent of a young Pete Townshend—speed obsession, pop-art clothing, art school ambition".Reed (2005), p. 49. The Who and fellow mods The Small Faces were among the few rock elders acknowledged by the Sex Pistols.Fletcher (2000), p. 497.  The tougher sounding, mod-influenced British bands of the 60s are sometimes referred to as Freakbeat. 

 Note that I have eliminated the foolishness about the "decline" of mod in 1966 (please see talk section of Mod subculture article  for reasons why).  I also feel that this section needs a name change from "Garage and Mod" to "Garage rock and British beat."  Let's keep the focus on music where it should be.  The section mentions mod in the text and we can put a link to it there.  What do you think?