Generally, the disheartening reality of a teenager coming to terms with how cruel the world is or seems to be to them, and attempts that follow to rationalize their disenchantment in a grossly asymmetric way. I.E., the overreaction of one towards a rejection of God or intrinsic moral value.

They most often find themselves manifesting a sort of philosophy most akin to an undeveloped form of existentialism, damn Sartre's rotting bones. Some actually begin to identify with the true nature of their convictions, instead of carrying on the deception of being a 'nihilist' just for sake of a cute, anti-cultural label.

The complete rejection of all value, all truth, all knowledge, &c., is beyond most people's strength of will or conviction. In short, few but the raving lunatics of society can actually be accurately described in this manner -- most that use the word, simply demand the attention it garners for them in their social circles.

Pragmatically, it's nothing but another puerile ploy for attention in the youth, that have not (yet?) found their independence of belief.

Backpacker:
1. Originally a coined slang term from the 1980s for a graffiti artist that always kept a backpack on containing his finite music collection and more importantly his rattle cans, markers, and spray tips.
Although, mainly his music collection is what defines him/her as a backpacker. Most likely the music collection will consist of usually local underground rap/hip-hop music artists only. The sub-genre or sub-categoration of the music means nothing, as long as they are a local unsigned (no recording contract) artist.
A backpackers music selections are based upon three principals: 1) no mainstream, 2) you could never buy the music in a store, and 3) the music was given/sold to them "hand-to-hand" from the originating recording artist.

2. Modernly used derogatory term to describe someone who listens ONLY to Independent rap/hip-hop music, specifically (but not limited to) the nerd-rap sub-genre of the rap/hip-hop music. Most often used in reference to (but not limited by) white sub-urbanite rap/hip-hop music listeners that tend to dislike mainstream rap/hip-hop music, specifically (but not limited to) Gangsta rap.

Notes: Many Hip-Hop listeners from the 80s to early 90s agree that since the invention of the Internet, Underground has died along with Backpackers and there three main principals, hence this modernized definition incorporating Independent rap/hip-hop music and locality of artists lost. Hip-Hop listeners with twenty or more years of experience wil...

A Russian writer, essayist and philosopher, known for his novels Crime and Punishment and The Brothers Karamazov.
Dostoyevsky's literary output explores human psychology in the troubled political, social and spiritual context of 19th-century Russian society. Considered by many as a founder or precursor of 20th-century existentialism, his Notes from Underground (1864), written in the embittered voice of the anonymous "underground man", was called by Walter Kaufmann the "best overture for existentialism ever written."5 A prominent figure in world literature, Dostoyevsky is often acknowledged by critics as one of the greatest psychologists in world literature.

1. Originally a coined slang term from the 1980s for a graffiti artist that always kept a backpack on containing his finite music collection and more importantly his rattle cans, markers, and spray tips.
Although, mainly his music collection is what defines him/her as a backpacker. Most likely the music collection will consist of usually local underground rap/hip-hop music artists only. The sub-genre or sub-categoration of the music means nothing, as long as they are a local unsigned (no recording contract) artist.
A backpackers music selections are based upon three principals: 1) no mainstream, 2) you could never buy the music in a store, and 3) the music was given/sold to them "hand-to-hand" from the originating recording artist.

2. Modernly used derogatory term to describe someone who listens ONLY to Independent rap/hip-hop music, specifically (but not limited to) the nerd-rap sub-genre of the rap/hip-hop music. Most often used in reference to (but not limited by) white sub-urbanite rap/hip-hop music listeners that tend to dislike mainstream rap/hip-hop music, specifically (but not limited to) Gangsta rap.

Notes: Many Hip-Hop listeners from the 80s to early 90s agree that since the invention of the Internet, Underground has died along with Backpackers and there three main principals, hence this modernized definition incorporating Independent rap/hip-hop music and locality of artists lost. Hip-Hop listeners with twenty or more years of experience will often disag...

Chuck hails from South Central LA and Venice, Ca.. He played in a band briefly in LA with Billy Gould (Bass, Faith No More), then Haircuts Can Kill. Auditioned in San Francisco to fill the revolving door of lead singers for Faith No More (a list notably including a bald headed Courtney Love). He helped firmly establish their sound live, then recording the band's first lp.(released in 1986) on legendary underground mainstay Mordam Records headed by Ruth Schwartz. Mordam also operated as a distributor and was responsible for bringing a large portion of the Punk subculture (including the Dead Kennedys and upwards of 20 labels) to the world, so this was big news and a big help when the record scored a huge underground and college radio hit with 'We Care Alot', a unique mock rock/rap song who's funny, yet poignant lyrics touched a nerve of the post punk generation living on the fringes of the fatuous, indulgent and sabre rattling mid-eighties.

They parleyed this success into recording "Introduce Yourself" for major Indie, Slash Records in 1986. They re-recorded 'We Care Alot', fueling the misperception of Faith No More as primarily a RapCore or Rock/Rap band ( more influenced by Killing Joke, Metallica, and ultra savvy pop awareness-ask 'em), and sells Chuck's vocal contributions short. Noteably, that " He can't sing, etc.", belying a clever singers self aware lampooning the sometimes bloated pomposity of Rock culture; tapping a rich historical vein.

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1. One of the two greatest authors ever.
2. A russian chap who understands the reality of life.

Prologue:
It is 1911 and the contents of the Paris Opera House are being auctioned off. Present are the auctioneer, porters and bidders. Raoul, now seventy years old and in a wheelchair, buys a poster and a music box. As the auctioneer displays the Opera House chandelier, he explains that it is connected with the legend of The Phantom of the Opera. With a flash of light, the audience is flung back in time, when the Paris Opera was at its height.

Act 1:

We are thrust in the middle of a rehearsal for the opera Hannibal. Monsieur Lefèvre, the retiring manager of the Opera, is showing the new managers, Monsieurs Firmin and André, the great stage. As the prima donna, Carlotta, is singing, a backdrop falls to the floor, nearly killing her. The cry is raised, "It's The Phantom of the Opera!" Upset, Carlotta refuses to sing.

Meg Giry, daughter of the ballet mistress, Madame Giry, suggests her friend, Christine Daaé, take Carlotta's place. Christine has been taking lessons from a mysterious new teacher.

At her triumph in the Opera, is Raoul, a nobleman and patron of the Opera. Raoul recognizes Christine as a childhood friend. He comes backstage after the performance to escort her to dinner, but Christine tells him she cannot go, because her teacher, "The Angel of Music," is very strict.

When Raoul leaves Christine's room, the Phantom appears. Christine is lured into the bowels of the Opera House, where the Phantom will continue her lessons.

He leads her to hi...