Humes recruited the American Peter Matthiessen as literary editor, not knowing until much later that Matthiessen was working for the CIA at the time. In Paris, Humes owned an English language magazine called The Paris News Post, edited by Leon Kafka. He attended MIT, and did a stint in the United States Navy, but left in 1948 to go to Paris. It was there that he won his lifelong nickname, when his classmates dubbed him Doc after "Doc Huer", a brilliant scientist/nutty professor in Buck Rogers, a popular comic strip. Humes grew up in Princeton, New Jersey, and graduated from Princeton High School. Both parents were Christian Science practitioners. His mother, Alexandra Elizabeth McGonnigle, came from Montreal. His father was a chemical engineer from Michigan who studied at McGill University. When he returned to the US in 1969, he reinvented himself as a "guru on campus", a self-appointed visiting professor, and spent the next 20-odd years living on or near-campus at Columbia University, Princeton University, Bennington College, Monmouth College (now University) and Harvard University, dependent on both his family and on students who were fascinated by his mixture of erudition and mental illness. After this, he no longer published any writing. In 1966, in London, he took large amounts of LSD, which was given to him by Timothy Leary, and he became paranoid and sometimes delusional. He was the originator of The Paris Review literary magazine, author of two novels in the late 1950s, and a gregarious fixture of the cultural scene in Paris, London, and New York in the 1950s and early 1960s. (– September 10, 1992) was known as HL Humes in his books, and usually as "Doc" Humes in life. Monolithic and primally powerful, Paranoid defined the sound and style of heavy metal more than any other record in rock history.MIT, undergrad, not completed Harvard (Adjunct of Arts, 1954) Everything adds up to more than the sum of its parts, as though the anxieties behind the music simply demanded that the band achieve catharsis by steamrolling everything in their path, including their own limitations. Even the qualities that made critics deplore the album (and the group) for years increase the overall effect - the technical simplicity of Ozzy Osbourne's vocals and Tony Iommi's lead guitar vocabulary, the spots when the lyrics sink into melodrama or awkwardness, the lack of subtlety, and the infrequent dynamic contrast. Yet Sabbath make it totally convincing, thanks to the crawling, muddled bleakness and bad-trip depression evoked so frighteningly well by their music. The subject matter is unrelentingly, obsessively dark, covering both supernatural/sci-fi horrors and the real-life traumas of death, war, nuclear annihilation, mental illness, drug hallucinations, and narcotic abuse. Where the extended, multi-sectioned songs on the debut sometimes felt like aimless jams, their counterparts on Paranoid have been given focus and direction, lending an epic drama to now-standards like "War Pigs" and "Iron Man" (which sports one of the most immediately identifiable riffs in metal history). Paranoid refined Black Sabbath's signature sound - crushingly loud, minor-key dirges loosely based on heavy blues-rock - and applied it to a newly consistent set of songs with utterly memorable riffs, most of which now rank as all-time metal classics. charts despite virtually nonexistent radio play), it also stands as one of the greatest and most influential heavy metal albums of all time. Paranoid was not only Black Sabbath's most popular record (it was a number one smash in the U.K., and "Paranoid" and "Iron Man" both scraped the U.S.
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