The Family Tree of Influencing Songs - Case Study Example

The family tree of influencing songs The Bleachers The Bleachers continue to maintain the same popularity they gained when they started as a band. Hippies now run as hipsters while Volkswagen is regaining their old age fame. Transformations also continue to take centre stage as Black rights turn to gay rights Iraq is the new Vietnam, and liberation for women runs as Jezebel. People refer to ecstasy as Molly while LSD moves using acid as the bud retains its identity. Lana Del Ray is the new Carol King and Janis Joplin becomes Amy Winehouse. In his perception, John Mayer is Bob Dylan. Woodstock remains Coachella with Bonnaroo and Burning Man retaining their identities. There are those who hold that Obama is the new John F. Kennedy. History is cyclical and explains reasons why old music of the 60s remains recycled and popular today. The current music among the Millennials remains in tandem or represent the generation termed as that of with flower power. Freedom of expression, drugs, and rock and roll are present in current music. The same style applied in the sixties where the youth defied ideas held by their parents remains the norm even in the contemporary society. People still attend festivals by the sea and use studios located in dirty apartments. The present content carries forth what the generation of the 60s did. There are great similarities between the generations of the hippies to generation-Y especially with efforts to legalize the weed in the entire country. A massive revolution and change in the US currently, is similar to the popularity of blue and pink peace signs on Volvos in the 60s. The current music represents the revolutionaries, new lovers, as well as new fee spirits. Indeed, new music only carries issues in history to the present generation. History is cyclical. Music rhymes are sisters of ganja, children of the weed, and brothers to the pipe. The same way people in the 60s remained passionate regarding the concepts of taking life in a different fashion, so do the current children. Regularly, kids defy everything from their parents. They protest against Wall Street Bourgeoisies and conservatives leaning to the right. Youths demonstrate for recognition of gay rights and in demanding for the deportation of Justin Bieber. The epitome of marching is the legalization of Cannabis Sativa. The vibrancy witnessed toady remains reminiscent of what the generation of the 60s experienced. The Millennials come with intensity considering advancements in Information and Communication Technology. The generation feels the same of the parents of the 60s (Dijk 331). Then, parents became stubborn, straight-laced, unhappy, and narrow-minded. Currently, the Millennials also called Baby Boomers fight anything that hinders creativity and alternative perceptions. It is common for the youth in Generation-Y to hate what is beyond their capacity and ignore what they lack knowledge. The culture will blend love, art, and music. The difference between the current generation and the hippies is they embrace all. They do not discriminate against skin colour, sexual orientation, and nationality. As opposed to the generation of the 60s, they endeavour not to throw bombs or start wars. They will respect all forms of religion. They promise to have their marriage to last as opposed to ending in divorce like the generation of the 6os. The population will embrace diversity, share spliffs with their siblings, and discuss ways of prosperity in the world. Nethers: Espirit de Nethers’ Revivalists of rock include the Elephant Six and Devendra Banhart bands continue to ignite the rebirth of the 60s. They do this in the psychedelia through millennial indie rock. Nethers has it offices in Washington D.C. They design their brand of psychedelia in vertical stripes. They engage acoustic freak-folk as well as distilling through a minimalist sound that puts together white noise and feedback entailing vibrant indie pop. It explains why the band hired the services of Thom Monahan, a Los Angeles producer to help in recording its first album. They christened the album, What the Wind Will Never Say (Crystal and Derek 29). The outstanding performance of the band emanates from the ability to oscillate smoothly to the brightest as well as happiest sunshine tunes of the 60s. Then, the sound was rather coarse. The opening track of the group is the Espirit de Nethers. It stands out as the highly orchestrated peace in the whole album. The song constitutes many features including the electric and acoustic guitars in addition to the whirl of repetitive strings. The simple tambourine slap and the bass drum-kick, ever driving give the track its strength. The darker and gloomy vibe of the song benefits the scratching violins and a healthy supply of feedback. Three Hearts A happier life is in the second track, Three Hearts. The song appears sunny and cheerful. It gives room to Nikki West, the lead singer to come clear using the high melodies as the lyrics regarding the delight of summers come through. Nethers was an offshoot of the Carlsonics band in Washington D.C. The founders relocated to VA and Nethers emerging a new band in many aspects. The band completed the full cycle of transformation as it ditched indie rock and garage punk taking up psychedelia (Culler 21). By changing the roles of a lead singer from Aaron Carlson to West, the band highlighted one of the greatest transformations. The setting of the band is in central Virginia space with the setting forming one of the etymologies of the band name. The Blacks: Raincoat Noise-pop sounds enjoyed in the last twenty years of the past century continue to roar back into the scene courtesy of the revival of garage rock. The music was unrefined and gritty produced many popular bands among them Mary Chain, Pixies, and Jesus. The Blacks continue to bubble such music back to the surface. The rugged and gutsy sounds of the Blacks fit well into the old music taking advantage of the perennial market for crude rock. Nom de Guerre Nom de Guerre, is the three-piece debut LP for the band. It gives limited approach catalyzed by equal influence of verve and energy. The Blacks dial in less than half an hour the total twenty-nine tracks. They keep everything precise and confined to the album. None of their songs goes beyond four minutes. The three band members believe in jagged, short, and punkish tunes built from one guitar. The whole process integrates a tambourine and drums. The principle line of creativity is applying few instruments to produce a piece of music entertaining to people. Luisa Black is the lead singer and guitarist as well. Raincoat is the first track in the album. Grunts and squeals from Luisa as well as guitar jabs punctuate the quick and jumpy track. The unpolished and crude sound by the band offers undeniable immediacy to the track. So many features fill the song between the guitars. Among other features, the band has the grabbing squeal from Luisa that attracts attention, punk-rock stylings, Yeah Yeahs from New York adopted by the Blacks, as well as the Karen O. One member of the band lives in New York while the other two live in San Francisco. The locations enable the band to split into two to perform on both coast occasionally. They have a new concept called ‘The Tambourine Experiment’ where the band offers a hundred tambourines to audience present to join the band for the full set. Their new EP will be in the market before Christmas festivals begin (Cohen 19). We Were Pirates: Nervous Mike Boggs commonly referred to as We Were Pirates holds that it only requires a mic and a laptop to make great music. According to Boggs, no one is hurt when he or she decides to sing. The singer undertakes a remix of the voice of Death Cab into a new track titled Cutie frontman Ben Gibbard. Boggs utilises electronic blips and synths with tools. The song is one of the five songs in the debut album The Wolf. The artist recorded the album using two microphones and the free application GarageBand on his iBook. The product is soft with a beautiful texture of electronic pop. It is one of the best for earphone listening. The lad prefers self-recording because of personal management. Works Cited Cohen, Stanley. The manufacture of News: Deviance, Social Problems and the Mass Media. New York: Constable; Beverly Hills, Cal.: Sage, 2014. Print. Crystal, David and Derek, Davy. Investigating Rock Style. New York: Longman, 2014. Print. Culler, Jonathan. Structural Poetics. New York: Routledge Kegan Paul, 2013. Print. Dijk, Teun. Philosophy of Action and Theory of Narrative. Poetics 5, pp.287-338, 2006, Print. 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