Last Updated on January 10, 2026 by Christian Adams
As we move through the list of rock genres, we arrive at a letter that represents some of the most intense and distinct movements in musical history. The letter T represents a fascinating crossroads for the Rock Genres Explained series. Here, we see the absolute precision of technical death metal sitting alongside the carefree, salt-rimmed leisure of tropical rock.
Taqwacore
| Origins: | Early 2000s punk rock and Islamic culture |
| Peak popularity: | 2003–2010 |
| Defining artists: | The Kominas, Al-Thawra, Secret Trial Five |
| Must-hear album(s): | The Kominas, Wild Nights in Guantanamo Bay (2008) |
Punk rock has always functioned as a refuge for the marginalized, but only one subgenre in the pantheon of rock have emerged from a work of fiction or literature in general—wizard rock, which doesn’t count because fuck Harry Potter. Video games? Yes (Nintendocore). Renaissance Faire cosplay? Check (Medieval folk metal). But books? Several genres have incorporated literary themes into their overall aesthetic and/or sound (gothic, power, and progressive metal); however, we don’t have Tolkien rock or Dostoyevsky punk (yet).
Taqwacore (a portmanteau of taqwa, an Arabic term for piety or God-consciousness, and hardcore) was largely inspired by Michael Muhammad Knight’s 2003 novel The Taqwacores, which imagined a house full of Muslim punks in Buffalo, NY. Soon, real-world bands began like The Kominas and Al-Thawra were blending standard punk instrumentation with traditional Eastern influences and lyrics addressing the intersection of faith, politics, and Western life.
While the scene remained relatively small, it sparked a global conversation about identity, posing a unique dilemma: Can the mohawk and the prayer mat exist in the same creative space?
The music typically blends traditional Eastern scales and instruments into a foundation of high-energy punk. Lyrically, these artists challenge both Western Islamophobia and the rigid traditionalism within their own communities. The Kominas, perhaps the most prominent group, blend bhangra (traditional Pujabi) rhythms with surf rock, punk, reggae, disco, and dub, creating an utterly original sound. Wild Nights in Guantanamo Bay (2008) is exceedingly recommended listening.
Technical death metal
| Origins: | Late 1980s death metal and progressive rock |
| Peak popularity: | 1990–present |
| Defining artists: | Death, Atheist, Necrophagist, Cynic, Nile |
| Exemplary album(s): | Death, Individual Thought Patterns (1993); Necrophagist, Epitaph (2004) |
I can count on one hand the number of times I’ve seen “technical death metal” in print, and I’ve been doing this for a long time.
Nevertheless, while early death metal focused on shock value and relentless assault, an outlier subset of musicians focused on complex structures, atypical time signatures, extremely fast and precise drumming, and virtuosic guitar work.
Gymnastics for What?
Technical death metal demands an almost athletic level of skill. These kids are doing gymnastics on their instruments. It’s kind of impressive. However, most listeners get dizzy from frequent time signature changes, sweep-picked guitar arpeggios, and fretless bass lines that wouldn’t sound out of place on a jazz fusion album. Vocals, on the other hand, are guttural and indecipherable, so that part checks out. No surprise there.
Florida death metal band, Death, pioneered this shift, moving away from gore-based themes toward philosophical and social introspection. Bands like Atheist and Cynic pushed the boundaries further by incorporating Latin rhythms and vocoders.
By the 2000s, groups like Necrophagist set a new standard for neoclassical precision, while Nile introduced “Egyptological” themes backed by dauntingly fast percussion. The genre remains a favorite for listeners who view music as a puzzle to be decoded, with punishment being the greatest reward.
Teutonic thrash metal
| Origins: | Early 1980s heavy metal and hardcore punk |
| Peak popularity: | 1984–1990 |
| Defining artists: | Kreator, Destruction, Sodom, Tankard |
| Exemplary album(s): | Kreator, Pleasure to Kill (1986) |
Studies have shown that young men, and people in general, are drawn to aggressive music like heavy metal for several reasons. First, catharsis. Music may help people transcend their trauma, finding it offers a safe outlet for anger and negative feelings. Second, emotional regulation. Researchers say that music may help people process negative emotions, challenges norms, and explore deep themes. And third, identity (and community). Music may serve as a protective factor against negative outcomes, while connecting with like-minded individuals often leads to positive feelings and resilience rather than actual violence.1,2,3
In other words, heavy metal may offer a complex emotional experience, allowing people to process difficult subjects and connect with authenticity. Remember this when you click on the YouTube video for Kreator’s “Pleasure to Kill”. The kid doesn’t really mean it when he says, “Stalking the city to seek out your blood.”
The Big Three
While the Big Four of Thrash (Metallica, Megadeth, Anthrax, and Slayer) dominated the headlines, album charts, and t-shirt sales, Germany developed a leaner, more menacing version. Known as the Big Three of German “Teutonic” Thrash (with Tankard often making it a “Big Four”), these bands favored a darker, more piercing vocal style and a percussion-heavy approach that felt more mechanical and relentless than their American counterparts.
Kreator’s Pleasure to Kill remains a cornerstone of the movement, influencing the eventual rise of death and black metal with its minor-key melodies, raw production style, and sheer intensity. Destruction utilized a unique “thin” guitar tone that cut through the mix like a razor on Eternal Devastation (1986), while Sodom leaned into a grittier, war-themed aesthetic.
Teutonic thrash helped establish Europe as a powerhouse for heavy music but mostly—and rightfully—remained on the fringes of the mainstream.
Thai psychedelia
| Origins: | 1960s Western rock and traditional Thai folk (Molam/Luk Thung) |
| Peak popularity: | 1965–1975; 2010s revival |
| Defining artists: | The Impossibles, Khun Narin’s Electric Phin Band, Plearn Promdan |
| Exemplary album(s): | The Impossibles, Hot Pepper (1975) |
During the Vietnam War era, Western rock n’ roll filtered into Thailand via American radio and military presence. Local musicians (and several U.S. servicemen) began blending these fuzzy guitar tones and organ grooves with molam and luk thung, traditional Thai styles rooted in rural folk music. The result was a hypnotic, rhythmic brand of psychedelia that feels both familiar and strikingly alien to Western ears.
The “Shadow Music” scene (named after The Shadows) saw bands like The Impossibles touring internationally on their brand of psychedelic funk, while local artists utilized the phin (lute) and khaen (bamboo mouth organ) to create spiraling, distorted melodies.
In the 1970s, many local molam players absorbed Western sounds, incorporating riffs from bands like Black Sabbath and The Rolling Stones into their music. Reissues of these forgotten records, such as the Thai! Dai! compilation, have helped introduce this era to a global audience. In recent years, labels like Sublime Frequencies have sparked a revival of the genre, leading to the international success of Khun Narin’s Electric Phin Band, an ever-changing ceremonial band from the Phetchabun province. The music relies on repetitive, trance-like grooves and high-pitched vocal melodies that capture the heat and energy of its unique, improvisational psychedelic sound.
Thrashcore
| Origins: | Early 1980s hardcore punk |
| Peak popularity: | 1982–1987 |
| Defining artists: | D.R.I., Septic Death, Siege, Cryptic Slaughter |
| Exemplary album(s): | D.R.I., Dealing with It! (1985) |
Routinely misaligned with thrash metal; thrashcore is essentially hardcore played at terminal velocity, minus the metal, emphasizing speed over complex riffs. Emerging in the early 1980s, it stripped away the bluesy solos of metal in favor of short, explosive bursts of energy. Songs rarely exceeded the two-minute mark, characterized by the “blast beat” or extremely fast polka-style drumming.
Dirty Rotten Imbeciles (D.R.I.) epitomized the transition from pure hardcore to the faster “crossover” sound. The genre prioritized a frantic, breathless delivery over polished production. It served as a bridge between the punk of the late 70s and the extreme metal of the late 80s. The aesthetic was strictly DIY, often featuring hand-drawn cover art and lyrics focused on social anxiety and political frustration.
Thrash metal
| Origins: | Late 1970s New Wave of British Heavy Metal (NWOBHM) and hardcore punk |
| Peak popularity: | 1983–1992 |
| Defining artists: | Metallica, Slayer, Megadeth, Anthrax, Exodus |
| Must-hear album(s): | Metallica, Ride the Lightning (1984); Slayer, Reign in Blood (1986) |
Thrash metal refined the speed of hardcore punk by adding the precision and complex musicianship of British heavy metal. It’s defined by the “Hetfield chug“—a palm-muted, rhythmic guitar technique that creates a percussive, driving force (also the godfather of djent). While traditional heavy metal focused on melody and operatic vocals, thrash prioritized staccato riffing and double-bass drumming. This movement moved metal away from the theatricality of the 1970s and into a more aggressive, street-level reality.
It was a blue-collar movement that traded radio-friendly choruses for lyrics about nuclear war, systemic corruption, and personal alienation. And that’s where the similarities between thrash bands end, I think.
The Big Four
The “Big Four” (Metallica, Slayer, Megadeth, and Anthrax) each brought a different flavor to the table. Metallica focused on progressive structures, Megadeth on technical lead guitar work, Anthrax on a fun-loving, punk-adjacent energy, and Slayer on unparalleled intensity. Reign in Blood remains a high-water mark for the genre, clocking in at under 30 minutes and maintaining a relentless pace that changed the landscape of heavy music forever.
The late 1970s belonged to the arena rock anthems and the nihilistic energy of punk. Those two worlds collided in the 1980s, and the result was thrash metal—a genre defined in part by a refusal to participate in the “glam” aesthetics of the Sunset Strip. The culture was a direct rejection of the rockstar trope. Instead of spandex and hairspray, thrashers wore denim vests, high-top sneakers, and “battle jackets” covered in patches.
Thrash vs. Speed Metal
Where does “speed metal” end and “thrash” begin? While they’re closely related, they’re not synonymous.
- Speed metal: A bridge of sorts. It took the classic heavy metal of Judas Priest and Iron Maiden and turned up the tempo, remaining (somewhat) melodic.
- Thrash metal: Stripped away the melody in favor of harsher, more aggressive vocals and integrated the “down-picking” guitar style of hardcore punk.
One Overlooked Thrash Metal Album
Megadeth, Rust in Peace (1990): I don’t give a shit about Dave Mustaine or listen to this kind of music regularly, but Rust is the pinnacle of “technical thrash metal.” The Master of Puppets II that Metallica couldn’t give us. If you know anything about lead guitar, especially guitar solos, you know that every solo (and 90 percent of the rhythm guitar) on this record crushes anything in Metallica’s catalog. It’s not even close. Two words: Marty Friedman.
Tough guy hardcore
| Origins: | 1990s New York hardcore |
| Peak popularity: | 1993–2005 |
| Defining artists: | Cro-Mags, Madball, Agnostic Front, Hatebreed, Sick of It All |
| Exemplary album(s): | Madball, Set It Off (1994) |
Out of 350+ plus genres, from art rock to zolo, there can only be one favorite, and this one is my favorite. I just like saying it. “Tough guy hardcore.” It makes me smile, especially if I pretend that every band is signed to Victory Records. (Sadly, they’re not.)
Often referred to as “beatdown” or “NYHC,” tough guy hardcore (also known as New York-style hardcore or new school hardcore) fuses hardcore punk with prominent influences from thrash metal.
The genre emphasizes heavy, mid-tempo grooves designed for the mosh pit. It moved away from the lightning-fast tempos of ‘80s thrashcore toward a more imposing, rhythmic heft, for lack of a better term. Thrashcore can be a little too giddy-up for some people. Anyway, tough guy lyrics often center on themes of loyalty, brotherhood, integrity, valor, and surviving the rigors of urban life. Kinda sounds like joining the Navy, I dunno.
The tough guy sound is anchored by sumo wresters, distorted bass, and “breakdowns”—sections where the music slows significantly to encourage synchronized movement from the crowd. The aesthetic traded punk’s leather jackets for gym wear and baseball caps. Ahem, backwards baseball caps.
Tough Guy Through the Years
In the early to mid–1980s New York hardcore scene, bands including Agnostic Front and the Cro-Mags began cultivating a tough, streetwise and groove-driven take on hardcore punk which embraced elements of heavy metal music, particularly its palm muted guitar riffs. By the late 1980s, this developed into the first wave of tough guy hardcore bands: Breakdown, Killing Time, Judge, and Sick of It All.
During the 1990s, the genre continued with Madball and Biohazard being forefront bands in New York, while Blood for Blood, Strife, Hoods and NJ Bloodline expanded the sound across the United States. The genre received a revived interest in the 2000s through acts including No Warning, Death Before Dishonor and Terror, and into the 2010s and 2020s with Trapped Under Ice, Backtrack, Speed and Pain of Truth.
While tough guy hardcore can be polarizing for its hyper-masculine posture, the genre maintains a fiercely loyal community and a commitment to the “hardcore” lifestyle.
Traditional heavy metal
| Origins | Late 1960s blues rock and psychedelic rock |
| Peak popularity | 1970–1984 |
| Defining artists | Black Sabbath, Judas Priest, Iron Maiden, Deep Purple |
| Must-hear album(s) | Black Sabbath, Paranoid (1970); Judas Priest, British Steel (1980) |
Again, like technical death metal, I rarely see the term “traditional heavy metal” unless “traditional” is used in comparison, e.g., “Black metal is considerably more gruesome than traditional heavy metal”. And again, while we’re here, let’s talk about what it’s supposed to be, aside from the foundation for roughly 50 subgenres on the A-to-Z list, maybe more.
Heavy metal discarded the hippie optimism of the late ‘60s for a more aggressive and ominous sound built on the “tritone” or the “Devil’s interval.” The Beatles and the Stones were too happy for some folks; metal tapped into the zeitgeist. Black Sabbath’s second album, Paranoid, is the zero-hour for the genre, introducing the world to the massive, down-tuned riffs of Tony Iommi and the magical vocal presence of Ozzy Osbourne.
As the ‘70s progressed, Judas Priest added the twin-guitar attack and high-pitched vocal gymnastics that became industry standards. By the early 80s, the New Wave of British Heavy Metal (NWOBHM), led by Iron Maiden, introduced galloping rhythms and mythological themes. This era established the iconography of the genre: leather, studs, and massive stage productions.
Metal splintered into dozens of factions throughout the ‘90s and into the future. Genres keep popping up daily.
A Far Cry from Traditional
My 14-year-old son just turned me onto one of his favorite bands, a nu metalcore group from Liverpool called Loathe. They’re alright—definitely a far cry from “traditional heavy metal.” My kid has good taste. In turn, I told him to check out Orchid’s Chaos Is Me (1999) for some good-time screamo. We enjoy a nice game of “If you like that, you’ll love this.” But I didn’t know nu metalcore was a thing. I thought we gave it up with Killswitch Engage and all that. Now I’ve gotta add it to the list.
Trallpunk
| Origins: | 1980s Swedish hardcore punk |
| Peak popularity: | 1990–2000 |
| Defining artists: | Asta Kask, DLK (De Lyckliga Kompisarna), Charta 77 |
| Exemplary album(s): | Asta Kask, Aldrig en LP (1986) |
Commonly misspelled as “trail punk,” trallpunk is a distinctly Swedish phenomenon. It takes the speed of hardcore and marries it to surprisingly melodic, almost folk-like vocal lines. The term “trall” refers to a catchy tune or a “lalala” style of singing, creating a jarring but effective contrast with the high-speed drumming and distorted guitars.
Asta Kask set the template in the 80s, but the genre exploded in Sweden during the 90s. Unlike American pop punk, which often focuses on teenage angst, trallpunk often features politically charged lyrics sung in Swedish. It has a bright, driving energy that feels communal and anthemic, making it a staple of European punk festivals to this day.
Trap metal
| Origins: | 2010s SoundCloud rap and nu metal |
| Peak popularity: | 2017–present |
| Defining artists: | Scarlxrd, City Morgue, Ghostemane, ZillaKami |
| Exemplary album(s): | City Morgue, Vol 1: Hell or High Water (2018) |
Trap metal represents the latest evolution of the rap-rock crossover, replacing traditional drums with the heavy 808 bass kicks and rapid-fire hi-hats of trap music, while the vocals are typically screamed or growled. The guitar work is often sampled or played in a style reminiscent of industrial metal or nu metal.
Artists like Scarlxrd and Ghostemane bring a visual aesthetic heavily influenced by anime and metal culture. The energy is claustrophobic and high voltage, thriving on distortion and bass that pushes speakers to their limits. Make it stop. Please. Make it stop.
Tropicalia
| Origins | Late 1960s Brazilian pop and psychedelia |
| Peak popularity | 1967–1969 |
| Defining artists | Caetano Veloso, Gilberto Gil, Os Mutantes, Gal Costa |
| Exemplary album(s) | Various Artists, Tropicalia: ou Panis et Circenses (1968) |
Tropicalia was a genre of music (vaguely related to samba rock) and a cultural revolution in Brazil during a period of political upheaval. The movement embraced “cultural cannibalism,” the idea of devouring foreign influences like psychedelic rock and orchestral pop and merging them with Brazilian samba and bossa nova to create something entirely new and subversive.
Os Mutantes provided the rock backbone with their fuzz-drenched guitars and experimental recording techniques. Meanwhile, songwriters like Caetano Veloso and Gilberto Gil wrote complex, poetic songs often critically aimed at the ruling military dictatorship. Though the movement’s leaders were eventually exiled, tropicalia’s influence on global “world music” and indie rock remains measurable.
Tropical rock
| Origins: | 1970s country, rock, and Caribbean music |
| Peak popularity: | 1977–present |
| Defining artists: | Jimmy Buffett, Bertie Higgins, Kenny Chesney |
| Blueprint album(s): | Jimmy Buffett, Changes in Latitudes, Changes in Attitudes (1977) |
Time to get something off my conscience. I always knew this day would come. Write about music long enough and you’ll eventually get around to the King of Margaritaville, Mr. Jimmy Buffett. Until now, he’s been mentioned maybe once in passing—in my entire career. His music is not a part of my life. However, I’ve been holding onto something about Jimmy Buffett’s music for too long. I almost let a good friend’s taste in music get in the way of our friendship, and it changed the course of my life. I probably wouldn’t be where I am today—physically—if it hadn’t happened.
Changes in Lattitudes, Changes in Attitudes
Many years ago, I loosely ran with a group of dudes from my hometown and the surrounding areas. We were all homers, mostly college dropouts, but hustlers, too. I didn’t really fit in with the group, but everybody tolerated me because my best friend was a mover on the scene. Like a friend-of-a-friend situation. One day, these guys said they were going to see Jimmy Buffett and the Coral Reefer Band, and did I want a ticket?
It shook me at a fundamental level. I didn’t know these guys that well, but I thought it was an ironic gesture, like my appreciation for Barry Manilow. There was a brief window of my childhood when I loved Barry. Barry Manilow Live! (1977) was one of my favorite albums—when I was nine. So, I was like, “Haha, cheeseburger in paradise!” or whatever, and they said, “No, man. It’s not a joke. We love Jimmy Buffett.” And they did. My best friend, too. I didn’t know that.
I vividly recall the day, place, and time, and the guy who specifically asked if I wanted a ticket, and the guy who said, “It’s not a joke.” Like getting fired from a job, I said to myself, “Fuck these jokers,” and that was the last time I saw any of them except for my best friend. I never held the Jimmy Buffett shit against him. It was just a new aspect of his personality.
The exchange didn’t mean anything to those guys, but right there, I clearly remember saying to myself, “I gotta get the fuck out of here and away from these clowns. Otherwise, I’m gonna be seeing Jimmy Buffett when I’m 30.” The first of a million dominoes fell, and I left our hometown.
The Parrothead Lifestyle Brand
Commonly known as “trop rock” among its fans, the genre is the ultimate musical vacation. Drawing heavily from Caribbean influences and folk rock to sell a hologram of perpetual summer, trop rock prioritizes a relaxed, escapist atmosphere. The music typically features acoustic guitars, steel drums, and wry lyrics centered on island life, boating, and a tacit endorsement of fucking up on your own terms. Music designed for a swim-up tiki bar on cruise ship, emphasizing melody and a good-natured, storytelling approach.
Jimmy Buffett built an entire lifestyle brand around the “Parrothead” subculture that I can’t bring myself to talk about. While often dismissed by critics as yacht rock’s more sun-burned cousin, tropical rock maintains a massive, dedicated fanbase on the RV and winery touring circuit.
What’s either poetic justice or punitive irony, I live on an island in a tropical country, and I’m fond of margaritas and cheeseburgers.
Tulsa Sound
| Origins | 1950s and 60s rock n’ roll, gospel, blues, and country |
| Peak popularity | 1970–1980 |
| Defining artists | J.J. Cale, Leon Russell, Elvin Bishop |
| Must-hear album(s) | J.J. Cale, Naturally (1972); Leon Russell, Leon Russell (1970) |
Emerging from Oklahoma, the Tulsa Sound is a murky, soulful blend of blues, rockabilly, country, and swamp pop that avoids flashiness in favor of a deep, pocket-driven groove defined by a “laid-back” shuffle. The vocals are often understated, almost whispered, sitting perfectly within the mix.
Leon Russell was the movement’s flamboyant architect, while J.J. Cale was its quiet soul. Cale’s influence is particularly notable; his minimalist style and unique guitar tone inspired Eric Clapton to record “After Midnight” and “Cocaine.” The Tulsa Sound feels unhurried, capturing the vast, open feel of the American heartland with a sophisticated, blues-informed edge.
Twee pop
| Origins | Mid-1980s British indie pop |
| Peak popularity | 1986–1994 |
| Defining artists | Heavenly, The Pastels, Beat Happening, The Vaselines |
| Must-hear album(s) | Heavenly, Heavenly Vs. Satan (1991) |
Do we ever grow up? Are we stuck with a template from our childhood and adolescent imprint? That’s the question asked and answered by twee pop.
I got sucked into a TikTok vortex the other day and came across a clip of a (relatively) famous American television personality who, prompted by a content creator, explained the origins of her “quirky” comedic style. The gist of her story was she “never grew up.” Her sense of comedy was defined by Ren & Stimpy, and that’s the space where she feels most comfortable and chooses to operate.
Part of me was thinking, “That’s the weakest shit I’ve ever heard,” but another part of me thought, “Well, fair enough. I’m still comparing stuff to the first Van Halen record. And I like Ren & Stimpy, too.”
Baby Talk With Guitars
The word “twee” originates from baby talk, as a childish alteration of the word “sweet,” first appearing in print around 1905 to describe something dainty or cute. Initially used affectionately, it evolved in British English to mean “excessively quaint or sentimental,” not in a nice way. Twee was later reclaimed by indie music and fashion in the U.S. to describe an aesthetic of childlike innocence, whimsy, and charm, popularized by figures like Zooey Deschanel and Wes Anderson films.
Twee pop is either the sound of innocence reclaimed or adulthood rejected. I can’t take it seriously, and it’s not up to me anyways. Emerging from the U.K.’s indie pop C86 cassette compilation scene, twee rejected the “macho” posturing of mainstream rock in favor of jangling guitars, simple melodies, and lyrics about schoolgirl crushes or rainy afternoons.
The aesthetic often involves cardigans, vintage dresses, and a self-consciously “cute” or “twee” sensibility. I mean, at this point, let’s skip the “rejection” of this or that and just admit that we all get in where we fit in, huh?
Not So Innocent After All
The genre thrived on a pair of indie record labels: Sarah Records (U.K.) and K Records (U.S.) Bands like Beat Happening championed a lo-fi, amateurish approach to writing a perfect pop song for the perfect day! Despite its sweet exterior, many twee bands possessed a sharp, feminist wit and a fiercely independent DIY ethic that influenced the later riot grrrl movement.
2-Tone
| Origins: | Late 1970s Coventry, England |
| Peak popularity: | 1979–1982 |
| Defining artists: | The Specials, The Selecter, The Beat (aka The English Beat), Madness, UB40 (first album) |
| Must-hear album(s): | The English Beat, I Just Can’t Stop It (1980); The Specials, The Specials (1979) |
Named after the record label founded by Jerry Dammers of The Specials, 2-Tone was a high-energy revival of Jamaican ska fused with the attitude of British punk. Its most important contribution was its visual and social identity: the black-and-white checkered pattern symbolized racial unity in a politically fractured England.
The music is instantly recognizable by its upbeat tempo, walking bass lines, and sharp horn sections. Unlike the more laid-back reggae, 2-Tone felt urgent and danceable. The Specials’ debut album, produced by Elvis Costello, captured the tension of urban decay while providing a soundtrack for a new, multicultural youth movement and one of the most socially significant genres in British history.
- https://www.tandfonline.com/doi/abs/10.1080/15298868.2015.1036918 ↩︎
- https://www.academia.edu/25816629/Musical_Intensity_in_Affect_Regulation_Uncovering_Hope_and_Resilience_Through_Heavy_Music_Masters_Thesis_ ↩︎
- https://cognitiontoday.com/the-social-psychology-of-heavy-metal-rock-music-research-on-metalheads/#footnote-1 ↩︎
