Answer the question at the end by quoting:

Arthur Asher Miller (October 17, 1915 - February 10, 2005) was an American playwright, essayist, and figure in twentieth-century American theater. Among his most popular plays are All My Sons (1947), Death of a Salesman (1949), The Crucible (1953) and A View from the Bridge (1955, revised 1956). He also wrote several screenplays and was most noted for his work on The Misfits (1961). The drama Death of a Salesman has been numbered on the short list of finest American plays in the 20th century alongside Eugene O'Neill's Long Day's Journey into Night and Tennessee Williams's A Streetcar Named Desire.
In 1940, Miller married Mary Grace Slattery. The couple had two children, Jane and Robert (born May 31, 1947). Miller was exempted from military service during World War II because of a high school football injury to his left kneecap. That same year his first play was produced; The Man Who Had All the Luck won the Theatre Guild's National Award. The play closed after four performances with disastrous reviews.  In 1947, Miller's play All My Sons, the writing of which had commenced in 1941, was a success on Broadway (earning him his first Tony Award, for Best Author) and his reputation as a playwright was established. Years later, in a 1994 interview with Ron Rifkin, Miller said that most contemporary critics regarded All My Sons as "a very depressing play in a time of great optimism" and that positive reviews from Brooks Atkinson of The New York Times had saved it from failure.  In 1948, Miller built a small studio in Roxbury, Connecticut. There, in less than a day, he wrote Act I of Death of a Salesman. Within six weeks, he completed the rest of the play, one of the classics of world theater. Death of a Salesman premiered on Broadway on February 10, 1949, at the Morosco Theatre, directed by Elia Kazan, and starring Lee J. Cobb as Willy Loman, Mildred Dunnock as Linda, Arthur Kennedy as Biff, and Cameron Mitchell as Happy. The play was commercially successful and critically acclaimed, winning a Tony Award for Best Author, the New York Drama Circle Critics' Award, and the Pulitzer Prize for Drama. It was the first play to win all three of these major awards. The play was performed 742 times.  In 1949, Miller exchanged letters with Eugene O'Neill regarding Miller's production of All My Sons. O'Neill had sent Miller a congratulatory telegram; in response, he wrote a letter that consisted of a few paragraphs detailing his gratitude for the telegram, apologizing for not responding earlier, and inviting Eugene to the opening of Death of a Salesman. O'Neill replied, accepting the apology, but declining the invitation, explaining that his Parkinson's disease made it difficult to travel. He ended the letter with an invitation to Boston, a trip that never occurred.

How did the play do?

won the Theatre Guild's National Award.



Answer the question at the end by quoting:

Oystein Aarseth (Norwegian: ['oystein 'os@t]; 22 March 1968 - 10 August 1993), better known by his stage name Euronymous, was a Norwegian guitarist. Euronymous was a founder of and central figure in the early Norwegian black metal scene. He was a co-founder of the Norwegian black metal band Mayhem. He was also founder and owner of the extreme metal record label Deathlike Silence Productions and record shop Helvete.
Euronymous said that the term black metal can apply to any kind of metal, so long as it is "Satanic" and "heavy". He said "If a band cultivates and worships Satan, it's black metal" and that "In a way, it can be ordinary heavy metal or just noise. What's important is that it's Satanic; that's what makes it black metal". He rejected bands like Immortal being called black metal, "as they are not Satanists", but supported the band nonetheless. As noted earlier, bands who had LaVeyan beliefs were also rejected. When it was pointed out that Venom (the band who coined the term 'black metal') only used 'Satanism' as a gimmick, Euronymous said that he and the 'Black Circle' "choose to believe otherwise".  Likewise, Euronymous said that the term death metal can apply to any kind of metal, so long as the band "cultivates and worships death". Euronymous lamented the commercialization and loss of extremity within death metal. He said "Real Death Metal should be something normal people are afraid of, not something mothers can listen to" and "Death Metal is for brutal people who are capable of killing, it's not for idiotic children who want to have [a] funny hobby after school".  Like many others in the black metal scene, Euronymous originally believed that black metal should stay underground. However, he later changed his mind and said the idea should be got rid of. He believed that the idea of staying underground came from hardcore punk and said "Those who scream most about being in 'underground' is also often those who make so bad music that they don't have a chance to get big themselves". He added: "I wouldn't mind making DSP big and earn a million, as long as I don't change my ways of thinking and being [...] If there were one million black metal fans in the world, most of them would be jerks, but there would be really many true and brutal people as well. The bigger we get, the more we can manipulate people into thinking like us".

What are some of Euronymous' beliefs about black metal?

". He said "If a band cultivates and worships Satan, it's black metal" and



Answer the question at the end by quoting:

Murray Bookchin (January 14, 1921 - July 30, 2006) was an American social theorist, author, orator, historian, and political philosopher. A pioneer in the ecology movement, Bookchin formulated and developed the theory of social ecology within anarchist, libertarian socialist, and ecological thought. He was the author of two dozen books covering topics in politics, philosophy, history, urban affairs, and ecology. Among the most important were Our Synthetic Environment (1962), Post-Scarcity Anarchism (1971) and The Ecology of Freedom (1982).
Bookchin was critical of class-centered analysis of Marxism and simplistic anti-state forms of libertarianism and liberalism and wished to present what he saw as a more complex view of societies. In The Ecology of Freedom: The Emergence and Dissolution of Hierarchy, he says that:  My use of the word hierarchy in the subtitle of this work is meant to be provocative. There is a strong theoretical need to contrast hierarchy with the more widespread use of the words class and State; careless use of these terms can produce a dangerous simplification of social reality. To use the words hierarchy, class, and State interchangeably, as many social theorists do, is insidious and obscurantist. This practice, in the name of a "classless" or "libertarian" society, could easily conceal the existence of hierarchical relationships and a hierarchical sensibility, both of which-even in the absence of economic exploitation or political coercion-would serve to perpetuate unfreedom.  Bookchin also points to an accumulation of hierarchical systems throughout history that has occurred up to contemporary societies which tends to determine the human collective and individual psyche:  The objective history of the social structure becomes internalized as a subjective history of the psychic structure. Heinous as my view may be to modern Freudians, it is not the discipline of work but the discipline of rule that demands the repression of internal nature. This repression then extends outward to external nature as a mere object of rule and later of exploitation. This mentality permeates our individual psyches in a cumulative form up to the present day-not merely as capitalism but as the vast history of hierarchical society from its inception.

what else did he say?
To use the words hierarchy, class, and State interchangeably, as many social theorists do, is insidious and obscurantist.