Question:
Tara Maclay is a fictional character created for the action-horror/fantasy television series Buffy the Vampire Slayer (1997-2003). She was developed by Joss Whedon and portrayed by Amber Benson. Tara is a shy young woman with magical talents who falls in love with Willow Rosenberg, one of the core characters. Together, they help Buffy Summers, who has been given superhuman powers to defeat evil forces in the fictional town of Sunnydale.
Tara becomes more outspoken during the sixth season about the ethics of Willow's use of magic, cautioning Willow that she depends too much on it. The dynamics of their relationship suddenly turn during "Once More, with Feeling". Willow had cast a spell on Tara to alter her memory in the preceding episode and Tara finds out about it during "Once More, with Feeling", the musical episode of the series. Tara was given a prominent role in the musical due to the skill of Benson's voice: she sings a love ballad to Willow, a duet with Giles, and backup in two other songs. The musical nature of the episode compelled the characters to express what they had been feeling secretly, or had refused to admit to themselves. Tara's song is a fervent and explicit expression of love for Willow which she had not made clear to the audience until this point. Tara later sings with Giles that she will leave Willow if she does not change. Self-conscious about her singing abilities, Hannigan requested not to be given a song and sings only a few lines in the episode. Critics saw this as Tara's personality becoming more forceful as Willow begins to show signs of weakness as she is overtaken by her addiction. Tara challenges Willow to go for a week without using any magic. Willow almost immediately breaks her promise, however, and Tara leaves her at the end of "Tabula Rasa". Tara remains a part of the group, spending time with Dawn, and non-judgmentally acting as Buffy's confessor when Buffy divulges she has a painful and compulsive sexual relationship with Spike, a vampire whom she loathes. Despite their separation, Tara remains devoted to Willow's recovery and supports her in her decision to abstain from using magic. She is, according to author Lorna Jowett, one of the few characters who is never seduced by evil. Shuttleworth notes that most Buffy characters go through a rite of transformation except for Tara. Among female characters she is the most virtuous. Like the other Buffy characters in the series whose names have symbolic interpretations, Tara's name resembles the Latin terra, meaning "earth." She is solidly grounded, with Willow attached to her, and Benson's body more naturally representative of women. Tara is wholly feminine both in dress and demeanor, as opposed to Buffy and (less) Willow mostly dressed with trousers and jackets, but never seeks male approval. She is clad in earthy, natural colors, long flowing skirts and clinging blouses, with an intent to comfort instead of arouse as other women on the show are dressed. Her admonishments to other characters are always made with love, with their best interests at heart. Even Tara's last words, commenting that Willow's shirt is stained (with Tara's own blood), indicate her preoccupation with the welfare of others. Tara has also appeared in The Long Way Home, Always Darkest, Retreat, and the one-off Willow.
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"Eight Miles High" is a song by the American rock band the Byrds, written by Gene Clark, Jim McGuinn (a.k.a. Roger McGuinn), and David Crosby and first released as a single on March 14, 1966 (see 1966 in music). Musically influenced by Ravi Shankar and John Coltrane, "Eight Miles High", along with its McGuinn and Crosby-penned B-side "Why", was influential in developing the musical styles of psychedelic rock, raga rock, and psychedelic pop. Accordingly, critics often cite "Eight Miles High" as being the first bona fide psychedelic rock song, as well as a classic of the counterculture era. The song was subject to a U.S. radio ban shortly after its release, following allegations published in the broadcasting trade journal the Gavin Report regarding perceived drug connotations in its lyrics.
The song's use of Indian and free-form jazz influences, along with its impressionistic lyrics, were immediately influential on the emerging genre of psychedelic rock. Accordingly, some authors and music historians, including Eric V. D. Luft, Domenic Priore, and Dwight Rounds, have described "Eight Miles High" as being the first bona fide psychedelic rock song. In his book Riot On Sunset Strip: Rock 'n' Roll's Last Stand in Hollywood, Priore cites "Eight Miles High" as being the record that kicked off the psychedelic craze, explaining "prior to 'Eight Miles High,' there were no pop records with incessant, hypnotic basslines juxtaposed by droning, trance-induced improvisational guitar." The song was responsible for the naming of the musical subgenre raga rock, when journalist Sally Kempton, in her review of the single for The Village Voice, used the term to describe the record's experimental fusion of eastern and western music. However, although Kempton was the first person to use the term raga rock in print, she had actually borrowed the phrase from the promotional material that the Byrds' press office had supplied to accompany the "Eight Miles High" single release. In a 1968 interview for the Pop Chronicles radio documentary, McGuinn denied that the song was in fact an example of raga rock, while Crosby, speaking in 1998, dismissed the term entirely, stating "they kept trying to label us; every time we turned around, they came up with a new one ... it's a bunch of bullshit." Nonetheless, the experimental nature of the song placed the Byrds firmly at the forefront of the burgeoning psychedelic movement, along with the Yardbirds, the Beatles, Donovan and the Rolling Stones, who were all exploring similar musical territory concurrently. Contemporary reviews for the single were mostly positive, with Billboard magazine describing the song as a "Big beat rhythm rocker with soft lyric ballad vocal and off-beat instrumental backing." Record World magazine also praised the song, commenting "It's an eerie tune with lyrics bound to hypnotize. Will climb heights." In the UK, Music Echo described the song as "wild and oriental but still beaty". The publication also suggested that with the release of "Eight Miles High" the Byrds had jumped ahead of the Beatles in terms of creativity, stating "[By] getting their single out now they've beaten the Beatles to the punch, for Paul [McCartney] admitted recently that the Liverpool foursome are working on a similar sound for their new album and single." In recent years, Richie Unterberger, writing for the Allmusic website, has described "Eight Miles High" as "one of the greatest singles of the '60s." In 1999, the song was inducted into the Grammy Hall of Fame, an honor reserved for "recordings of lasting qualitative or historical significance that are at least 25 years old." In 2004, Rolling Stone magazine ranked "Eight Miles High" at number 151 on their list of The 500 Greatest Songs of All Time and in March 2005, Q magazine placed the song at number 50 on their list of the 100 Greatest Guitar Tracks.

What genre or genres did the song influence?
immediately influential on the emerging genre of psychedelic rock.