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This article is about the genre. For the film genre, see Horror film
"Supernatural horror" redirects here. For the film genre, see Supernatural horror film
Horror is a genre of fiction that is intended to disturb, frighten or scare.[1] Horror is often divided into the sub-genres of psychological horror and supernatural horror, which are in the realm of speculative fiction. Literary historian J. A. Cuddon, in 1984, defined the horror story as "a piece of fiction in prose of variable length... which shocks, or even frightens the reader, or perhaps induces a feeling of repulsion or loathing".[2] Horror intends to create an eerie and frightening atmosphere for the reader. Often the central menace of a work of horror fiction can be interpreted as a metaphor for larger fears of a society.
Prevalent elements include ghosts, demons, vampires, monsters, zombies, werewolves, the Devil, serial killers, extraterrestrial life, killer toys, psychopaths, sexual deviancy, rape, gore, torture, evil clowns, cults, cannibalism, vicious animals, the apocalypse, evil witches, dystopia, and human-made or natural disasters.
History [ edit ]
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Early 1970s releases by Badfinger, the Raspberries, and Todd Rundgren are sometimes credited with solidifying the power pop sound into a recognizable genre. Power pop reached its commercial peak during the rise of punk and new wave in the late 1970s, with Cheap Trick, the Knack, the Romantics, Nick Lowe, Dave Edmunds, and Dwight Twilley among those enjoying the most success. After a popular and critical backlash to the genre's biggest hit, "My Sharona" (The Knack, 1979), record companies generally stopped signing power pop groups, and most of the 1970s bands broke up in the early 1980s.
1960s: Origins and precursors [ edit ]
Todd Rundgren's work with Nazz in the 1960s and as a solo artist in the 1970s was significant to the development of the genre.[10]
1972, according to Magnet's Andrew Earles, was "year zero" for power pop. Developments from that year included the emergence of Big Star and the Raspberries, the release of Todd Rundgren's Something/Anything?, and the recording of the Flamin' Groovies' "Shake Some Action"; additionally, many garage bands had stopped emulating the Rolling Stones.[10] Chabon additionally credited the Raspberries, Badfinger, Big Star, and Rundgren's "Couldn't I Just Tell You" and "I Saw the Light" with "inventing" the genre.[7] On a television performance from 1978, Rundgren introduced "Couldn't I Just Tell You" as a part of "the latest musical trend, power pop."[31] Lester called the studio recording of the song a "masterclass in compression" and said that Rundgren "staked his claim to powerpop immortality [and] set the whole ball rolling".[9]
Power pop has had varying levels of success since the 1990s.[19] In 1994, Green Day and Weezer popularized pop-punk, an alternative rock variant genre that fuses power pop harmonies with uptempo punk moods.[44] According to Louder Than War's Sam Lambeth, power pop has "ebbed and flowed" while remaining an object of critical derision. Despite this, he cites Fountains of Wayne with inspiring "yet another new era for the format" during the late 1990s, "one they'd perfect with the magnetic Welcome Interstate Managers (2003)."[19] He writes that as of 2024, "you can still hear some of power pop's core traits in bands such as Best Coast, Sløtface, Diet Cig and Dude York."[19]
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The war began immediately after Angola became independent from Portugal in November 1975. It was a power struggle between two former anti-colonial guerrilla movements, the communist People's Movement for the Liberation of Angola (MPLA) and the anti-communist National Union for the Total Independence of Angola (UNITA).
UNITA) is the second-largest political party in Angola. Founded in 1966, UNITA fought alongside the Popular Movement for the Liberation of Angola (MPLA) in the Angolan War for Independence (1961 1975) and then against the MPLA in the ensuing civil war (1975 2002).
