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siblygirl  I'm Asleep  1000147 posts  Mood Now:  
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This year's Arrowfest, the crown jewel of Houston's live classic rock calendar, has easily the best lineup ever: Styx, Peter Frampton, Kansas, Blue Öyster Cult, America, Grand Funk Railroad and, um, Nelson (don't ask). Among them, these acts are responsible for about a gazillion hits, from "Come Sail Away," "Do You Feel Like We Do?" and "Carry On Wayward Son," to "Godzilla," "Horse with No Name" and "We're an American Band."
And the classic rock era, which roughly encompasses the years 1967 to 1977, is seeing a resurgence in popularity -- and not just from the usual aging hippies and mulletheads. Now, their kids have discovered that Mom and Dad's music isn't so bad after all. Teens today are embracing classic rock as an antidote to vacuous Top 40 pop, bling-bling rap and overwrought, angsty nü-metal. "The music is more genuine than what's coming out today. And they just seem more original," says 16-year-old Justin Anders of Spring High School, whose favorite groups include Lynyrd Skynyrd, the Grateful Dead, Aerosmith and the Steve Miller Band. "And the music is strange -- that's cool." Joshua Hart, 15, of Clear Lake High, adds that "the music just sounds better, and I like a lot of the guitar solos." The fan of Led Zeppelin, Pink Floyd and the Rolling Stones learned about these groups from his father's record collection. "He'd play it all the time, so that's the music I grew up with." That tendency extends even to the offspring of classic rockers, or so says Frampton himself. "Last year, my 16-year-old son listened to nothing but Limp Bizkit and Blink-182, and now he loves Pink Floyd. There is hope!" laughs the man behind one of the era's biggest records, Frampton Comes Alive! "Sometimes I'll see three generations of one family at my show, and it's the younger ones who know all the words." USA Today recently ran a feature detailing the trend. Even some of today's bigger contemporary acts like the White Stripes, Jet, the Darkness and Kings of Leon pay homage to Almost Famous-era music while putting a contemporary twist on it. The VH1 Classic video channel, the soap opera-like Behind the Music series, ubiquitous classic rock radio stations and a parent's well-stocked record collection all help spread classic rock around, but this relatively low-tech music also spreads via high-tech conduits. Instead of rifling through dusty record bins to find a copy of Queen II, consumers today can easily download whole albums or order them online. Another recent trend has seen most classic rock bands come out with affordable, double-CD anthologies -- perfect introductions for the newbie. Older favorites are also keeping up with the new technologies. There was the hit Led Zeppelin DVD How the West Was Won last year, and Frampton Comes Alive! was recently rereleased in DVD 5.1 audio with bonus tracks. Incidentally, Frampton says that record is both the biggest success and the 800-pound gorilla of his career. "I don't have a clue why it was so big," he says. "But the live audience makes all the difference. It was a phenomenal band and phenomenal night. There's an energy that comes off it." Classic rock bands also tend to have seemingly bottomless wells of "unheard" material. Roark, the single-monikered host of KPFT's Friday-afternoon show Uncastrated Classic Rock, loves to plumb these hidden depths. You'll never hear Deep Purple's "Smoke on the Water" on his show, but you'll hear their "Flight of the Rat." "Think of an album that had a couple of hits off of it. There are still eight other songs that [most people today] have never heard," he says. "I love finding that stuff, and I'm running into more young folks on the street who like classic rock now." Roark's show is also the only place you'd hear mostly forgotten bands like the Charlatans, Fuzzy Duck, Barefoot Jerry, Bloodrock, Frijid Pink and Wishbone Ash. The age of CD reissues has made much of this music available for the first time since it originally came out. A lot of the credit for spreading the history and music of classic rock bands goes to the Internet. It's something that Frampton feels the record companies were wrong to ignore, then slow to respond to, which cost them. "I have to say, I credit Steve Jobs and iTunes with single-handedly saving the songwriter's way to live, and I'm not talking about me," he says. "Because of legal downloading, things [might] change in the industry now." "The Internet is the main way that I find out about these bands and get their music," says Cody Fritter, 17, of Cy-Fair High School. His divergent tastes include David Bowie, Parliament-Funkadelic, Creedence Clearwater Revival and Jimi Hendrix. Then there's the current concert experience. Though they haven't had a new chart hit in sometimes decades, classic rock summer package tours are big business. Groups like Skynyrd, the Who, Little Feat, Boston, Bad Company, the Allman Brothers Band, Deep Purple, Thin Lizzy, Journey, Yes and Chicago still pack 'em in. A smaller group of acts -- the Stones, AC/DC, Rush, Eric Clapton, Steely Dan, Neil Young, Bob Dylan, Santana and Aerosmith -- can still even make the charts and critics' lists with new music. And even bands that can't tour again (Led Zeppelin, Queen, Jimi Hendrix, the Beatles) maintain amazingly healthy record sales for their back catalogs. The runaway success of the Beatles 1 CD, with material that had already been repackaged countless times, proved something of a shocker. Still, today's touring classic rock bands do have an inherent problem with member attrition. Whether it's attributable to age, infighting or death, the band on stage with the famous name most likely won't be the same one that recorded the famous material. This is a hot-button issue with classic rock fans. A few bands, such as the Who, excepted, no one usually minds the loss of the original drummer or bassist. But if the band is touring without the original front man or lead guitarist, the current incarnation's claim to the band name becomes more tenuous. These days, many touring editions of acts are without their distinctive classic front men. At Arrowfest, Styx and Grand Funk no longer have Dennis DeYoung or Mark Farner. Journey, the Grateful Dead and the Doors are other examples. But does that really matter if the crowd has had enough beer and the "new guys" sound reasonably like those on the records? "Absolutely not. You can still have fun at those shows, and the 'leftover guys' know what they're doing," Roark says. "You still get all those great songs." Jeb Wright, co-creator of the Web site Classic Rock Revisited, disagrees somewhat. "This bothers me. It's pretty obvious that a lot of the bands keep the name to get a better paycheck," he says, before making an about-face. "But in reality people need to make a living. The diehards can complain, but the crowd still sings along." (A subissue are the squabbles between fans of a band's "original" [the first] lineup versus the "classic" [most commercially successful] version. Bands like the Eagles, Fleetwood Mac and the Doobie Brothers fit this description.) The downside for the artists is that often the festival crowds want to hear the hits and just the hits. Nothing will send the audience to the bathroom or beer line quicker than hearing this announcement from the stage: "Thank you! And now, here's something from our new record." And that's a shame, because many of them still make extremely viable music. Frampton's fine recent release Now is a case in point. "You start off underground, and you end up underground," Frampton laughs. The "classic rock" radio format debuted nationally in the mid-'80s, and Z107 out of Lake Jackson was Houston's first station, a mantle picked up today by 93.7 The Arrow. Of course, we wanted to get some comments about Arrowfest from Arrow DJs, and morning team Dean and Rog agreed to an interview. However, the idea was nixed by the Arrow's rock programming director Vince Richards, who was apparently upset about criticism of Clear Channel Radio that has appeared previously in this paper in an opinion column. Still, they'll be at Arrowfest -- along with everyone from teens to grandpas. It was Bob Seger who said that "rock and roll never forgets." This is especially true of classic rock. Its listeners haven't forgotten. Nor, it seems, will their kids.
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siblygirl I'm Asleep 1000147 posts Mood Now:
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Ricky Valente, 15, is a fair-skinned boy with short blond hair, neatly kept. He is unfailingly polite, he dresses well, and he has an endearing smile. This is hardly the image of his rock 'n' roll idol, the late Jimi Hendrix.
But then Ricky picks up his Fender Stratocaster, the legendary instrument of Mr. Hendrix, and connects to a 60-watt amp. He sits on his bed, beneath a poster of Eric Clapton, his other idol, and starts into "Red House," like most of Mr. Hendrix's work, a tune of considerable emotion and complexity. Ricky sizzles, 10 fingers flawlessly working six strings to produce a sound that is exciting and raw, as it was meant to be. And it is possible, with eyes closed and only the slightest nudge of imagination, to believe this is how the young Jimi must have sounded. "This is a more known Hendrix song," Ricky says when he's finished, but not sated. He pours himself into "Purple Haze," Mr. Hendrix's first hit, released in the summer of 1967, 14 years before Ricky was born. The strains of that psychedelic masterpiece fill the room, and again, the willing suspension of disbelief transports the listener back in time. Of course, this is today -- only a week ago, in fact. And Ricky, recent winner of the regional Jimi Hendrix Electric Guitar Competition's 17-and-under category, is a modern lad, with musical tastes that extend to Stone Temple Pilots and Pearl Jam. But the abiding passion of this Cranston, R.I., resident is late '60s and early '70s rock. "I love classic rock," he says, and in this, he is far from alone. Yesterday's rock lives on -- not only with the generation that drove it to the center of mainstream culture, but that now-grown-up generation's children, the teen-agers of today. Although no one seems to have precisely quantified the popularity of classic rock with the under-20 set, record executives, broadcasters, and music scholars believe it is significant, not to mention profitable. "Hendrix is more original," explains 17-year-old Jimmy Lord, who includes Led Zeppelin, The Doors and Pink Floyd in that category. "The bands today try to copy them." Jimmy estimates that some 40 percent of his schoolmates are into classic rock. "I wish I had a time machine," says Ricky Valente, who would use it to travel back to 1967's Monterey Pop Festival, when Mr. Hendrix burst upon the scene. This is more than just another piece of the over-hyped and over-rated nostalgia that has directed society's attention back to such regretable, and lightweight, '70s phenomena as bell bottoms and The Brady Bunch. Music is firmly rooted in a culture, and its study reveals cultural truths. In this instance, one truth is that the baby boom is finally, and firmly, center stage. Graying now, in control of the corporations and the marketing, they have spread their music far and wide. Some of the biggest concert acts of recent years have been Kiss, Aerosmith, and other bands with roots in the '60s and '70s whose members are nearing (or past) 50. "Everyone is now used to seeing middle-age guys playing guitars," says the University of Iowa's Winston Barclay. "Rock has become a broad, popular art form, not just something age-specific." Needless to say, other musical styles also transcend age. What has set classic rock apart is how thoroughly it captivated a generation -- and how technology, in the form of affordable and high-quality records, tapes, CDs and stereophonic sound, preserved and spread it as never before. In plenty of homes, classic rock is a welcome bridge between generations. Like many of his like-minded peers, Ricky Valente discovered his parents' beat through their albums. "They're into Clapton, The Rolling Stones, The Beatles, things like that," the 15-year-old says. His fascination with Mr. Hendrix came from an older sister, 16 at the time, who brought home a tape. Ricky was 10. "I was listening to it a lot, thinking, 'Wow, this is cool!' " Lest there be suspicion this is a gender-specific phenomenon, consider Missy Veerman and Sylvia Landry, high-school sophomores. "I've never really liked the music nowadays -- I don't like rap, or hard rock, where you can't understand the language," says Veerman, who makes exceptions for Jewel and The Cranberries. Among her favorite rockers is Jim Morrison, lead singer of The Doors who died in 1971 at the age of 27. "I have a poster of Jim Morrison. Just him, not any of the other members," Ms. Veerman says. Mr. Morrison's appeal? "Well, he's really cute. I don't know -- just his mysteriousness. Not the way the media portrayed him, but the real him. He was really loving." Ms. Landry is keen on The Doors, as well. And since sixth grade, she's been into Janis Joplin, Pink Floyd, and Jefferson Airplane. "Oh, and Jimi Hendrix, too," she adds. According to the non-profit Jimi Hendrix Foundation, some 60 percent of the 4-million-plus Hendrix albums sold each year go to teen-agers. Steve Heldt, senior vice president of sales for Elektra Records, The Doors' label, estimates that nearly three quarters of the more than 1 million Doors albums sold annually in the United States are bought by what he calls "the new generation." Were he alive, Mr. Hendrix would be 54 years old, a senior citizen -- impossible to imagine, until one is reminded that Mick Jagger turns 53 in July. Like Bach, B.B. King or Elvis, Mr. Clapton and Mr. Hendrix (and the like) keep finding fresh young audiences because of their originality and power. Unlike today, when rock has fragmented, with decidedly uneven results, 1967 to 1975 was an extraordinarily explosive era. "That was a period of time in music that was very creative," says Ken Zambello, rock historian and associate professor at Boston's Berklee College of Music. And quality endures. "Anything that stays that long has to be great music," says Elektra's Mr. Heldt.
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siblygirl I'm Asleep 1000147 posts Mood Now:
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Jamie Horton, 14, considers himself a fairly savvy music-loving teen. The Los Angeles ninth-grader trawls the Internet for rock discoveries and totes an iPod packed with 3,000 tunes.
His favorite band? Queen. Not late-'90s rock outfit Queens of the Stone Age, not late-'80s metal band Queensryche and certainly not latter-day rap diva Queen Latifah. Jamie reveres the glam-metal British quartet that flourished in the '70s with mock operatic Bohemian Rhapsody and the anthemic We Will Rock You. "I don't like new wannabe punk like Good Charlotte," he says. "Led Zeppelin was the first old band I liked. Then Pink Floyd. Now it's The Who and Queen." One contemporary band that he does appreciate is U.K. sensation The Darkness. Why? "They're similar to Queen." Jamie is not alone in his obsession with the sounds of the '60s and '70s. Though difficult to quantify, the trend of youngsters craving oldies seems to be gaining momentum. Kids are snatching up Beatles and Led Zeppelin discs, flocking to ZZ Top and Steve Miller concerts, researching the troubled histories of Lynyrd Skynyrd and Black Sabbath and scouring their parents' record collections for Jimi Hendrix licks and Allman Brothers Band jams. "I could be some of those people's grandpa," singer Gregg Allman, 56, says of his band's current flock. Celebrating its 35th year of touring and recording, the Allmans just wrapped up a nine-night stand at New York's Beacon Theater after releasing new double live album One Way Out. "We see kids out there, and we still have hippies," Allman says. "I don't see a gap between generations. It's all ages, all types. Kids usually say, 'I found out about you from my dad.' Or they ask for an autograph for their mama. That makes you feel dated, but we welcome them with open arms." Wed to a rootsy blues-rock tradition, the Southern group never pandered to a younger demo, and Allman suspects it's that purity that drew teens to the fold. "To last this long, you have to be the real thing," he says. "I don't have any gimmicks or fancy clothes or firecrackers. That stuff never crossed our minds. Genuine rock 'n' roll — the right phrasing of a drum beat and a bass guitar — can move your soul." Allman and brother Duane, who died in 1971, found their direction by searching for the roots of music that flowered in the '60s. "We wanted to see what we missed, so we found Robert Johnson and Big Bill Broonzy," he says. "That's what kids are doing now, seeing where stuff came from." 'Yeah yeah yeah' to the Beatles Beatles historian Martin Lewis began spotting a young wave of Fab Four fanaticism as emcee of Beatlefan conventions the past 14 years. Boomers constituted half of the audience in 1990. Now 75% of attendees are under 30, and many barely in their teens. As marketing consultant for The Beatles Anthology, he met with label execs plotting campaigns targeting fans 45 and up. "I've got news for you," Lewis told them. "I'm the oldest guy at Beatlefan conventions." Sure enough, a marketing survey showed that the under-30 constituency scooped up 40% of the first Anthology run. "I've interviewed those kids," Lewis says. "I've said, 'Surely you'd rather listen to Justin Timberlake. Why are you here? Were you forced by your parents?' But they chose to be there." Teens saying "yeah yeah yeah" to The Beatles proves "we've sold younger kids short," says James Austin, vice president of A&R at Rhino/WMG, which specializes in reissues and retrospectives. "We tend to think they like only what's popular on radio." In repackaging early rock, targeting fortysomethings was until recently his key strategy. "In the past year, I've been asking myself how we can reach these younger fans," he says. "They're a hidden bonus. Kids today are a lot more sophisticated and more open than anyone realizes." Catalog sales were up 17% last week over the corresponding week in 2003 and so far this year are 7.6% ahead of last year, according to Nielsen SoundScan. Classic rock accounts for a sizable chunk of the pop catalog chart, which tracks all albums more than three years old. Although SoundScan doesn't identify buyers by age, industry observers detect a significant upswing of teen interest in oldies. The experts point to several factors that explain the trend of forward-thinking cyber kids reaching backward for music: • Shifting attitudes. Self-respecting baby boomers dismissed their parents' Al Jolson, Glenn Miller and Frank Sinatra records as corny and dated. Kids now exhibit broader tastes rather than the Mod-or-Rocker mentality that divided British Invasion devotees. "As long as it's good music, it doesn't bother me that my dad likes it too," Jamie says. "He took me to The Who, and that was easily the best concert I've been to." He favors the "big music" of seminal rock because "the guitars wailed and lyrics had more meaning. Queen went overboard on everything. You don't hear singers like Freddie Mercury anymore." Mercury died in 1991. Jamie was 2. In the '60s, coming of age meant reinventing pop culture, rejecting heritage and distrusting anyone older than 30. Not so now. "There's not so much peer pressure to identify with a particular genre or even generation of music," says Jeremy Hammond, head of artist development at Sanctuary Records. "It's much more about defining one's own unique tastes. Back then, you had to choose a lifestyle associated with a genre. In England, you were in a gang of rockers or skinheads or Mods. Potheads wanted psychedelic music. Those boundaries are gone." Classic-rock icons, like classical composers, defy fashion and "overshadow any perceptions of coolness," he says. • New bands plowing an old field. Hip emerging bands freely emulate and name-check musical ancestors, kindling fan interest. "So many new bands are flashing back," says Sean Ross of Edison Media Research. "White Stripes, The Darkness and Jet; it's all AC/DC. As music gets retro, kids get curious about the real thing." When rising rock stars rave about The Kinks, sport Hendrix T-shirts or cover Bob Dylan songs, young fans investigate those roots, says Craig Kallman, president of Atlantic Records, home of the Led Zeppelin vault and current sensation The Darkness. "We're seeing a resurgence of bands that have been inspired by the greatest rock bands of all time," Kallman says. "The Darkness embodies the spirit of Queen, Led Zeppelin and AC/DC with fundamentals that made those bands huge: great songs, a fantastic front man, incredible musicianship and a sense of fun. They counter the dark, angry, self-loathing nu-metal that has dominated alternative rock for so long." Flamboyant rock stars, blistering guitar solos and hard-rock bombast "all went by the wayside as rap-metal took shape in the '90," Kallman says. When bands like The Darkness and Jet arrived, "the spontaneity, creativity, freedom and energy, all the elements that made rock such a defining sound, cut through to kids." • Easy access. Classic rock is not only ubiquitous — in TV ads, reissues, reunion tours, soundtracks, copycat bands and recycled hits — but it's also instantly available. An obscure tune is only a few keystrokes away. "The Internet has turbo-charged the renewed interest in great bands of the past," Kallman says. Finding rare gems used to mean scouring used record stores, garage sales and classifieds. Paid downloads and illegal file-sharing allow easy sampling and cherry-picking. Among the more popular digital tracks, according to SoundScan: Elvis Presley's A Little Less Conversation, Queen's Bohemian Rhapsody, Peter Gabriel's In Your Eyes and Elton John's Tiny Dancer. "Kids want to experiment, and technology facilitates that," Austin says. "They don't have to shell out 18 bucks to try something. They can preview a track for 30 seconds, and buy it for 99 cents. I'm a big fan of the record store, but it's going to be a dinosaur." Likewise for "stagnant" radio's narrow formats that don't cater to youth's eclectic palate, Austin says. "Young listeners are reaching for something else, and they often find it in the past. Don't be surprised if they start checking out Frank Sinatra and Rosemary Clooney." The Internet has turned grass-roots movements into brushfires as info-age addicts steer search engines toward rock's back roads. It's a phenom that recharges the fan bases of such perennials as the Rolling Stones, ZZ Top, David Bowie, Steve Miller and Lynyrd Skynyrd, whose best-of album is a fixture on Billboard's catalog chart. "We started out appealing to the working-class blue-collar audience, and now we see their kids at our shows," Skynyrd guitarist Gary Rossington says, noting that teens in attendance aren't rookies. "They know the words to every song, old or new, and they know our whole history," he says, referring to the deaths of three players in a 1977 plane crash. "I hear from younger fans who learn about us from the Internet or VH1 or their parents or maybe something Kid Rock said about us." • The riches of rock's golden era. Few modern-era albums linger long on the catalog chart, but hits sets and vintage landmarks, especially Pink Floyd's Dark Side of the Moon (listed for an unprecedented 1,390 weeks), show exceptional staying power. Perennials include Bob Marley's Legend, AC/DC's Back in Black and Queen's Greatest Hits. The Beatles, Dylan, Rolling Stones and Zeppelin are reliable sellers. Why are kids taking nostalgia trips to their parents' playgrounds? Zeppelin's bait, says Kallman, is "mythic lifestyles and iconic personas. The music is grandiose and gentle, shaped by blues and heavy metal and textured by British folk and California psychedelia." Plus, "they turned the amps up and played as loud as they could," says Jeffrey Logan, a junior at Los Angeles Center for Enriched Studies, where he founded a Zeppelin fan club called Led Heads. Members gather to share and analyze classic rock on MP3s, burned CDs and DVDs. Though he admires such modern acts as the White Stripes, Jet, Green Day and Offspring, Jeffrey worships Hendrix, Black Sabbath, Kiss, Bowie, Pink Floyd, The Who, The Beatles and similar vets. And he has a whole lotta love for Led Zeppelin. "Every single song had a unique and flamboyant riff," Jeffrey says. "I love the crazy guitar and Robert Plant's screaming voice. Their music is unpredictable and outrageous. It's a lost genre. We formed this club to spread the word." Jeffrey, 17, doesn't mind that his heroes were also his parents' faves and that many of them are dead or eligible for Social Security. "They're just very cool old people," he says, adding wistfully, "I wish they were still young so I could experience them in their heyday. Music back in the day was about the sound, not about the image like it is now. New bands like Simple Plan and Rooney are kind of repetitive and wimpy. It's all going downhill." • The paucity of contemporary rock idols. Oldies fill a void, says Kristin Clarke of Park Ridge, Ill. "Before I listened to classic rock, there was nothing I really liked," says the Lincoln Middle School eighth-grader. "Every new band has one good song and the rest of the CD is garbage. On old rock albums, every song is great. I'm always hitting the repeat button." Kristin, 13, got hooked through her brother's AC/DC and Kiss records, Pink Floyd cliques at school and Chicago's classic rock station, WLUP (The Loop). "At first it was weird, but I became totally addicted," she says. "Aerosmith's my favorite. I think Steven Tyler is the coolest. Their stuff sounds so good, who cares how old they are? It's just fun." Fun is one lure drawing young Americans to rock's golden years. Today's music 'clouded by cynicism' "Look at (the late Who drummer) Keith Moon's cheeky impudence," says Beatles expert Lewis. "Eddie Vedder's image suggests he'd cancel a tour if he broke a fingernail, it would be such a trauma. So much of original music today is clouded by cynicism, a blasé attitude, irony and flippancy. "Young people like to feel uplifted, but the culture has a sneer on its face so they turn to music, albeit frozen in time, that has an exuberant optimism. Artists in the '60s and to a degree in the '70s dared to hope, perhaps naively, that things could get better. Teens should be joyous and optimistic. There's plenty of time to be bitter and twisted later."
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jimbo9 I'm Asleep 12277 posts   Mood Now: 
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So, according to this, do latter day bands have a darker more grimmer view of the world? Not necessarily; bands like u2 adopt a more realistic outlook in the songs; and a lot of the younger acts do have exuberance and energy as well that shoudnt be downplayed and Im a classic rock fan!
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little_miss_downie  I'm Asleep 640 posts   
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The Doors presented a darker side of California - while the Beach Boys and many other glamourized it.
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TragicallyHipper  I'm Asleep 7322 posts  Mood Now: 
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I would maybe say about 60% of the kids in our school like classic rock to some extent. Led Zeppelin and Pink Floyd tend to top the list of classic rock bands popular in my school.
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jimbo9 I'm Asleep 12277 posts Mood Now:
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The Doors and Morrison, I think, are very overrated!
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AprilWineChick  I'm Asleep 7847 posts  Mood Now: 
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Oh, I totally agree!
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jimbo9 I'm Asleep 12277 posts Mood Now:
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Plant/Page or Lennon /McCartney are by far more profound influences on rock history.
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Oowatanite I'm Asleep 2965 posts  
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not as good as greenway/goodwyn, though.
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Hipster I'm Asleep 2438 posts 
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It is nice to see today's teenagers turning to classic rock. However, I wouldn't be so quick to say that all new rock has negative messages - nor would I be so quick to say that all classic rock has positive messages. I'm someone who happens to like both classic rock and new rock.
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THE TRAGICALLY HIP!! |
jimbo9 I'm Asleep 12277 posts Mood Now:
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Like Mr Joel croons. Its Still Rock n rollto me!
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AprilWineChick I'm Asleep 7847 posts Mood Now:
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Yeah, probably about half of our school likes at least some classic rock, too.
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jimbo9 I'm Asleep 12277 posts Mood Now:
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As a rule; a newer generation eventually does get tunes/turned on to tumes of the prior age group. Me , for example,a s i got older I really got into the crooners of the 40s/50s as well as the jazz/blues thing. thats just me though.
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tragicallyhip_babe I'm Asleep 2815 posts 
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Yeah, many teens are definitely getting into the classics today. I think it may be a reverse kind of rebellion. Instead of this being a case of rebelling against their parents' music - they are rebelling against the music that they're expected to like by society.
Keep Hipping! 
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jimbo9 I'm Asleep 12277 posts Mood Now:
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Thats what rocks about(even within itself); not conforming to set norms.
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pyxi_styx I'm Asleep 3982 posts   Mood Now: 
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Yeah, actually, some of my colleagues and I were discussing this the other day. Personally, I think it's great to see the younger generation getting into classic rock (and even oldies). However, I guess there are some naysayer from the older generation whom, I guess, believes that there's no way the younger generation could appreciate the classics the same way they did - and I guess they feel it 'cheapens' it for them, too. In addition, there also seems to be some naysayers from the hardcores of the younger generation - who don't like the idea of the music they listen to suddenly becoming 'cool' with their peers.
Peace out. 
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jimbo9 I'm Asleep 12277 posts Mood Now:
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These naysayers seem to have forgotten what the music is all about.
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Emily_Garfunkel  I'm Asleep 6565 posts  Mood Now: 
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Yeah, they take their music way too seriously.
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jimbo9 I'm Asleep 12277 posts Mood Now:
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Rock is about love, joy and all round good vibes!~
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Total Canucks: 122, Newest Canuck: ZRocker. | Register :: :: In Power The time is now 22:26:15 Tue Jun 18 2013 |
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