Question: Jennifer Michael Hecht (born November 23, 1965) is a teacher, author, poet, historian, and philosopher. She was an associate professor of history at Nassau Community College (1994-2007) and now teaches at The New School in New York City. Hecht has seven published books, her scholarly articles have been published in many journals and magazines, and her poetry has appeared in The New Yorker, The New Republic, Ms. Magazine, and Poetry Magazine, among others. She has also written essays and book reviews for The New York Times, The Washington Post, The Philadelphia Inquirer, The American Scholar, The Boston Globe and other publications.

Hecht believes that, "the basic modern assumptions about how to be happy are nonsense." In a review of her book, The Happiness Myth for The New York Times, Alison McCulloch summed it up, "What you think you should do to be happy, like getting fitter and thinner, is part of a 'cultural code' -- 'an unscientific web of symbolic cultural fantasies' -- and once you realize this, you will perhaps feel a little more free to be a lot more happy." Similarly, in an interview on the Point of Inquiry podcast in 2007, she said "I'm not trying really to get somebody out of depression, but I sure am trying to get people to not be so worried, so anxious over things that really don't matter."  She has written against agnosticism, calling "philosophically silly" the argument that because you can't prove a negative we have to allow for the possibility of God. "Either you doubt everything to the point where you can't speak, or you make reasoned decisions."  Hecht is an anti-suicide advocate, writing an entire book (Stay: A History of Suicide and the Philosophies Against It) arguing against it. She believes not only that "Suicide is delayed homicide", but also "that you owe it to your future self to live". She does not believe in life-after-death, urging that we should remember death and remember that it's the end. "I think this world is extraordinary and I also think it's a pain in the ass. And I'm happy to be here and I'm ok with not being here forever."  She believes that morality is not magical, it is the attempt to do right. And rather than either being handed to us by God or just made up by each person, is inherent in human groups. "There are deep rules of morality that we as human beings, in human groups, 'invented' on biological and social and intellectual lines."  Her poetry and philosophy often intersect, and she has taught a course called "Poets and Philosophy" at the New School for many years. Her own taste is for poets who are concerned with philosophical or religious questions. "Leopardi's misery makes me as happy as Schopenhauer's does, though I am ever aware of the equal cacophony of birth and pleasure that shadow their admittedly much more deafening symphony of death and suffering. Dickinson I treasure beyond measure and think she's mostly on my side of the nonbeliever line; anyway, she's my number-one poet. Hopkins has a few rhyming hunks of pure passion, frustrated but wild, which I love with a love that is more than a love, but which only go so far. Donne is deep and great company, but he leans too much into comforting delusions for me, often when he is at his best in poetic chops and pyrotechnics. Rilke is a lifesaving self-help writer and a bit of a brilliant con artist."

Using a quote from the above article, answer the following question: What are some important ideas to her in regards to philosophy?
HHHHHH
Answer: Hecht believes that, "the basic modern assumptions about how to be happy are nonsense."


Question: King's X is an American rock band that combines progressive metal, funk and soul with vocal arrangements influenced by gospel, blues, and British Invasion rock groups. The band's lyrics are largely based on the members' struggles with religion and self-acceptance. King's X was ranked No. 83 on VH1's 100 Greatest Artists of Hard Rock.

The band was moved up to Megaforce's parent label Atlantic Records for the release of their fourth album, King's X, in early 1992. However, rising tensions with Taylor led the band to eschew the upbeat approach of previous albums and turn out a darker, more introspective effort. Unfortunately, despite critical praise, their new style did not translate well among the record-buying public, thus garnering fewer sales than Faith, Hope, Love. "Black Flag", the album's lone single, received only moderate airplay on MTV and radio. Not long after the release of King's X, the band parted ways with Taylor. The details of the split were not made public, but it was believed to be rather bitter. Taylor would admit in 1996 that his company Wilde Silas MusicWorks was growing and, as a result, he was no longer giving King's X, whom he considered "the top dogs," the attention they deserved. In the aftermath, King's X took over a year off to consider their collective future together. The band members followed other, non-musical pursuits; most notably, guitarist Ty Tabor took up semi-professional motocross motorcycle racing.  With grunge at the peak of its popularity, and Pearl Jam's bassist Jeff Ament declaring that "King's X invented grunge" (despite the group's trademark sound being very different from that of the commercially successful grunge acts), the band went looking for a new sound upon their return. They enlisted veteran producer Brendan O'Brien, who had recently produced albums for Stone Temple Pilots and Pearl Jam. The resulting album, 1994's Dogman, showcased a much more muscular and heavy sound from the group, along with less abstract and spiritual lyrics. The record received a heavier promotional push from Atlantic including a compilation promotional CD entitled: Building Blox, as King's X enjoyed a successful tour, capped by an appearance at the Woodstock '94 festival in August. They also toured in support of such bands as the Scorpions, Pearl Jam, Motley Crue and Type O Negative, but despite a return to the Top 100 for the group, the album failed to sell as well as Atlantic had hoped, and the label's support for the group quickly faded.  The band's third release under Atlantic, 1996's Ear Candy, would also be their last for the label (not including a subsequent Best of King's X compilation). Although it sold to the band's sizeable core following, it lacked the relative mainstream success of previous efforts. The record was soon out of print, and it seemed that the group's chance for commercial success had come and gone.

Using a quote from the above article, answer the following question: Are there any other interesting aspects about this article?
HHHHHH
Answer:
Not long after the release of King's X, the band parted ways with Taylor.