title: Zero Escape

text: Uchikoshi had initially written "999" as a stand-alone game, but its positive reception led to its sequels' development. The tension present in its first sequel "Virtue's Last Reward" was deliberately toned down from that in "999", as the results of a survey indicated that some Japanese people had not bought "999" because it seemed "too scary". Uchikoshi stated that "Zero Time Dilemma", the second sequel set to be released in 2016, will "tone it up" in response to feedback from players who praised the sense of fear present in "999". The two sequels were specifically intended to be "paired as a set": the second game has a cliffhanger ending, while Uchikoshi intends for the third game to resolve all mysteries left from the second game, as well as all introduced in the third game. While he intends for the series to be a trilogy with a story that ends on the third game, he is open to "new incidents arriving" if fans still request it.


title: Zero Escape

text: While the first game performed well enough in the West for Spike Chunsoft to decide to develop a sequel, both games were commercial failures in Japan. Because of this, the third game, which had originally been mentioned in 2012, was not approved by the management at the company. In February 2014, the development was put on hold indefinitely. Uchikoshi examined the possibility of financing the development through the use of crowdfunding on a website like Kickstarter, but felt that the idea would not be persuasive enough for it to meet the goal; he also sought out opportunities with executives and investors. As a response to the news of the game's hiatus, fans of the series created Operation Bluebird, an online campaign to raise awareness of the series and support the development. In July 2015, the development of the third game had been resumed; the game being put on hold becoming big news, and fans being vocal about wanting a third game, was what led to the game being reevaluated. With the third game, the development team wanted to renew the series' image in Japan; to do this, they used the English series title, "Zero Escape", instead of the "Kyokugen Dasshutsu" title that had been used for previous Japanese releases.


title: Zero Escape

text: For "Zero Escape", Uchikoshi conceived the storytelling as being gameplay; he said that while other games might consist of the player shooting people, with a story just there to enhance it, he thinks that the narrative of visual novels should be gameplay. As an example of this, the second game has players learn information and not being able to continue past certain points until they have inputted a solution; this was influenced by the 1994 video game "Kamaitachi no Yoru", and was intended to make the story get "under the skin" of players, and allow the player and the player character to understand the game world in tandem, and progress together. Among other influences for the series were writers Isaac Asimov and Kurt Vonnegut; Uchikoshi felt that 90% of any creative work consists of pieces from others' works, and that the remaining 10% is creativity, with the result being worthwhile hinging on how well a writer can incorporate their influences with their own ideas.


title: Zero Escape

text: Uchikoshi prioritized storylines over characters, and used the feeling of discomfort as the foundation of the narrative. He first came up with a setting, and then made characters along with the drama and stories behind them. After this, he decided on the core of the game's story, and created a flowchart based on it, which became the "bone structure of the story". According to Uchikoshi, it did not matter that the setups of the games were far-fetched, as long as their internal logic worked; he said that as long as the story is interesting and immersive, implausible situations feel plausible to the player. On the other hand, he felt that if he had specifically tried to make it more plausible, by forcing explanations that justify the situations, the story would become boring and the implausible would look even more implausible. Instead, he chose to rely on players' imagination, saying that players can make things seem plausible in ways he had not even imagined himself. One thing he did to make the stories more believable was adding concepts such as Schrödinger's cat, which he felt added flavor and kept players wondering whether a particular concept could be the main idea of the game; he felt that when players wonder that, it makes the story feel more real, as they create the game world in their minds.


title: Zero Escape

text: After deciding on the story and the main character, he would balance the characters, in terms of genders, personalities, and ages represented; when making character personalities, he used the Enneagram of Personality as reference, which classifies people into nine groups; the decision to do this came from the importance of the number "9" in the storyline of "999". An important thing to him when making characters was to create a mystery behind them, to make players curious about who the characters are and what their pasts are like. Another important element was the use of misdirection: by deliberately making certain characters seem like bad people, he would aim to get players to focus on them more, making it more difficult for them to see who the "real bad guy" is. He aimed to not give the player characters strong personalities, in order to make it easier for players to empathize with them. He chose to have the games be played from a first person perspective as he felt it makes for "a stronger impact" and is more interesting than a third person perspective; it was also used to limit the information that is available to the player in a realistic way, as the player only knows what they experience or are told. Because the player characters in most games can die many times, Uchikoshi felt that video game characters' deaths may be taken lightly, which he saw as a weak point in games. To combat this, he focused on trying to get players to want to keep the story alive, rather than trying to keep the player character alive; as a result of wanting to keep the story going, players would also avoid the death of their character.


title: Zero Escape

text: When writing the stories, he started with their twist endings, and then worked his way back from that. He designed the flow of the story by using a spreadsheet, and wrote prototypes of potential outcomes of the different scenarios in the game; after this, he matched it with the flowchart he had made, and came up with the details of each story. As he wrote each scene, he imagined what the player might be thinking as they play through it, and decided what to write based on it; this was one of the most important things to him when writing. A key element to Uchikoshi when writing the outcomes of player decisions is that the importance of the decision usually is much greater after the player has made it, with the consequences only being revealed later on as the player learns more information; this was to maintain the high suspense level, and to avoid situations where choices end up not actually mattering. One big challenge for him was to maintain player interest through all branches; he tried to have each branch develop differently, as to avoid repetition and fatigue, and keep the player motivated. While he came up with the set-up, the setting, and the characters on his own, he had a sub-writer helping him with writing the second game, and two sub-writers for the third game. They would help with brainstorming ideas and finding what does not work so well and how to improve scenarios.


title: Zero Escape

text: The Escape sequences were made to appeal to the players' instinctive desires; Uchikoshi wanted the player to experience the instinctive pleasure of "I found it!". For the puzzles, Uchikoshi would think about the details within the overall story, and the gimmicks and props found in the game; after deciding on them, they were integrated with the puzzles. He would also use puzzle-related websites as reference. He did not handle puzzle design himself, instead leaving a lot of the direction to other staff, and checking it multiple times. Because of the puzzle–story integration, the development team tried to avoid situations where the player gets stuck due to being unable to solve a puzzle, by including hints that would appear if the player repeatedly clicked on items; as the player continues clicking, the hints get more obvious, to the point of almost revealing the solution outright. In the second game, a difficulty setting was added, with puzzles being easier to solve on lower settings.


title: Zero Escape

text: While the first game was in 2D, the second game features 3D graphics; this change affected the puzzle creation, as the development team could choose to layer objects behind each other or have them all visible at once. As the second game was made with a worldwide release in mind, Japanese characters and references to Japanese culture were avoided in the puzzle design; the puzzles ended up using numbers a lot since they are internationally used symbols. For the iOS version of the first game, the puzzles were removed and replaced with new story sequences; this was done as the development team wanted to reach people who are not good at solving puzzles, or who do not play games at all and who might not have a game console. However, according to Uchikoshi, the staff felt that the game was incomplete without the puzzle sequences of the original version.


title: Zero Escape

text: The series is localized by Aksys Games; Chunsoft was first introduced to Aksys through Spike, when Chunsoft was looking for a company that could publish the first game in the United States. During Aksys' evaluation period of it, many people at the company did not believe in the game and turned it down; as many of the people who evaluate games at Aksys do not speak Japanese, it was difficult for them to determine whether a game was good or not. Eventually, they decided to localize it, which was considered a big risk for the company. They worked by the philosophy of keeping true to the spirit of the original Japanese version, opting to make dialogue sound like what a native speaker would say rather than strictly adhering to the Japanese wording. Ben Bateman, the editor of the first two games' localizations, did this by looking at the writing from a wider view, examining it line by line or scene by scene, rather than word by word or sentence by sentence, and thinking about how to convey the same idea in English. Most parts of the games that include a joke in the localization also have a joke in the Japanese versions, but a different one; Bateman did try to make similar types of jokes with similar contents and ideas. He was given mostly free rein in what he could change or add to the writing, as long as it did not disrupt the plot.


title: Zero Escape

text: The biggest challenge with localizing the series was to keep track of everything, as the games feature branching paths, and the characters learn different things in different branches, affecting word choices and attitudes. While a lot of this had been taken care of by Spike Chunsoft, many parts of the game required different word choices in English depending on if a character knew of a particular thing or not; in these cases, the localization team had to track the story backwards. During the projects, Aksys Games would do email correspondence with Spike Chunsoft, to make sure that they conveyed the message of the games as intended. The title "Zero Escape" was decided on during the localization of the second game, when the localization team wanted to create a "branding umbrella" for both games. They chose the title based on what they thought defines the first two games and is common to both of them, concluding that it was the character Zero and how both games involve "a dangerous escape"; the title also has the double meaning of "you have zero chance to escape". The title was later used as part of the Japanese title for "Zero Time Dilemma", and replaced the previous Japanese title "Kyokugen Dasshutsu" for the re-release of "Nine Hours, Nine Persons, Nine Doors" and "Virtue's Last Reward."


title: Zero Escape

text: For the first game, a big challenge was getting the localization done in time; Nobara Nakayama, the game's translator, worked on it for 30 days, and the editing process took two months. Because of this, Bateman had to do most of the work "on the fly". Nakayama had started playing the game prior to starting work on the localization, but did not finish playing it until she was more than halfway through translating it; after learning that the plot hinged on a Japanese pun, they had to halt the localization, discuss it with Uchikoshi, come up with a solution, and go through the whole game to make sure that it still made sense. The second game took around three months to translate and four months to edit. A big challenge in localizing it was catching the several subtle hints to the game's ending that appear throughout the story. Unlike the previous two "Zero Escape" titles, the North American version of the third game was produced alongside the Japanese version.


title: Zero Escape

text: The "Zero Escape" series has been positively received by critics, with the first two games in the series attaining perfect scores in reviews from various publications. Uchikoshi noted that the positive reception of "999" from international fans outside of Japan directly influenced the development of "Virtue's Last Reward". Meanwhile, the series has been a commercial failure in Japan, with the first two games underperforming; in their respective debut years in Japan, the first game sold 27,762 copies, and the second sold 14,023 copies across Nintendo 3DS and PlayStation Vita. As of July 2018, the series has sold over 500,000 copies worldwide.


title: Zero Escape

text: Several critics have praised the series' stories: Andy Goergen of Nintendo World Report commented on how "999" "truly expands what narrative video games can be capable of", and Christian Nutt at Gamasutra said that Uchikoshi is "pushing the boundaries of what video game narrative can be". Tony Ponce of Destructoid called "999" "one of the greatest videogame tales ever told", and a great example of how engaging and powerful narratives in video games can be. Bob Mackey of 1UP.com featured "999" on a list of "must-play" Nintendo DS visual novels, citing its story, themes and "zany narrative experimentation", and called "Virtue's Last Reward" "one of the biggest, boldest visual novels to ever hit America". Writers for "Famitsu" liked the tense story and the sense of accomplishment when solving puzzles in "999", and the intertwined story and flowchart system in "Virtue's Last Reward". Jason Schreier of Kotaku included both "999" and "Virtue's Last Reward" on a list of "must-play" visual novels worth playing even for people who do not like anime tropes. Schreier also wrote for "Wired", calling "999"'s narrative "innovative" and saying that he liked the game's ending and cast, but that he thought that some of the game's prose was "sloppy" and that there was no sense of real danger.


title: Zero Escape

text: Reception of the games' puzzle sections has been more mixed. "Virtue's Last Reward" was featured on Gamasutra's and "Game Developer"'s jointly created list of the ten best games of 2012 for having storytelling as gameplay rather than aside from gameplay. Schreier disliked having to repeat puzzles in each playthrough of "999". Mike Manson of Nintendo Life and John McCaroll of RPGFan found problems with the controls used in the puzzle sections of "Virtue's Last Reward". Austin Boosinger of Adventure Gamers felt that while the puzzles in "Virtue's Last Reward" were thematically appropriate, he thought they were "relatively uninspired in their variety" and that not many of them were fun or engaging.


title: Second Taiwan Strait Crisis

text: The Second Taiwan Strait Crisis, also called the 1958 Taiwan Strait Crisis, was a conflict that took place between the People's Republic of China (PRC) and the Republic of China (ROC). In this conflict, the PRC shelled the islands of Kinmen (Quemoy) and the Matsu Islands along the east coast of mainland China (in the Taiwan Strait) to "liberate" Taiwan from the Chinese Nationalist Party, also known as the Kuomintang (KMT); and to probe the extent of the United States defense of Taiwan's territory. A naval battle also took place around Dongding Island when the ROC Navy repelled an attempted amphibious landing by the PRC Navy.


title: Second Taiwan Strait Crisis

text: U.S. Secretary of State Christian Herter (1959-1961) is said to have later referred to the conflict as "the first serious nuclear crisis."


title: Second Taiwan Strait Crisis

text: The conflict was a continuation of the Chinese Civil War and First Taiwan Strait Crisis. The Republic of China (ROC) had begun to build military installations on the island of Kinmen (Quemoy) and the Matsu archipelago. The Chinese People's Liberation Army (PLA) began firing artillery at both Kinmen and some of the nearby Matsu islands.


title: Second Taiwan Strait Crisis

text: On August 24 and 25, 1958 Chinese Communist and Chinese Nationalist forces clashed in the vicinity of Dongding Island, which the Nationalist troops controlled. The action was seen as an attempt by the communists to land on the island. This was the only naval and amphibious landing action during the crisis. The communist forces were repelled from taking the island. The action has also been seen as an attempt to draw Nationalist forces away from other areas.


title: Second Taiwan Strait Crisis

text: In the days after shelling began, the American Joint Chiefs of Staff had determined to defend the islands even if the defense necessitated a nuclear response. Throughout the following weeks as the crisis continued to unfold, contingency plans were developed as it became clear that the critical issue was supplying Kinmen. In a meeting on September 2, Secretary of State John Foster Dulles met with the Joint Chiefs of Staff and other top officials to formulate an ongoing American strategy. The group determined that the use of nuclear weapons would ultimately be necessary for the defense of Kinmen, but that the United States should initially limit itself to using conventional forces. Throughout the crisis, coordination between American policymakers and military commanders was hampered by communication delays of days at a time, but by September American officials had authorized naval escorts to accompany ROC convoys up to 3 miles off Kinmen and begun to supply the ROC with advanced weapons. The Chinese Communists considered the escorts a violation of the territorial waters of the People's Republic of China. On September 19, Soviet Premier Nikita Khrushchev sent a letter warning that the American actions threatened world war, claiming that the Soviet Union would be forced to honor its commitments to the territorial integrity of Communist China. The letter was rejected by the American government.


title: Second Taiwan Strait Crisis

text: The American Eisenhower Administration responded to the request for aid from the ROC according to its obligations in the ROC-United States mutual defense treaty that had been ratified in 1954. President Dwight D. Eisenhower ordered the reinforcement of the U.S. Navy Seventh Fleet in the area, and he ordered American naval vessels to help the Nationalist Chinese government to protect the supply lines to the islands. In addition, the U.S. Air Force deployed F-100D Super Sabres, F-101C Voodoos, F-104A Starfighters, and B-57B Canberras to Taiwan to demonstrate support for Taiwan. The F-104s were disassembled and airlifted to Taiwan in C-124 Globemaster II transport aircraft, marking the first time such a method was used to move fighter aircraft over a long distance.


title: Second Taiwan Strait Crisis

text: By September 11, the artillery crisis was overall stabilized (even though numerous rounds of artillery would still be fired by Communist China almost daily for the next two months or so) because U.S. Navy warships started to escort ROC convoys to Kinmen, breaking the previous artillery blockade due to constant PRC artillery shells that prevented any air or naval relief for Kinmen. The PRC did not want to risk war with the United States so they refrained from firing on any convoys if they observed U.S. Navy ships. The biggest issues in the crisis after September 11 were the air battles and the success or failure of the naval convoys relieving the Kinmen garrison.


title: Second Taiwan Strait Crisis

text: Also, under a secret effort called "Operation Black Magic", the U.S. Navy modified some of the F-86 Sabre fighters of the Nationalist Chinese Air Force with its newly developed early AIM-9 Sidewinder air-to-air missiles. These missiles gave the Nationalist Chinese pilots a decisive edge over the Chinese Communists' Soviet-made MiG-15 and MiG-17 fighters in the skies over the Matsu Islands and the Taiwan Strait. The Nationalist Chinese pilots used the Sidewinder missiles to score numerous kills on People's Liberation Army Air Force (PLAAF) MiG aircraft. The operation suffered blowback when one missile lodged in a MiG-17 without exploding, to be removed after landing and reverse-engineered into the Soviet K-13.


title: Second Taiwan Strait Crisis

text: The US Army's contribution reinforced the strategic air defense capability of the Republic of China. A provisional Nike missile battalion was organized at Fort Bliss, TX, and sent via USMTS to Nationalist China. The 2nd Missile Battalion was augmented with detachments of signal, ordnance and engineers, totaling some 704 personnel. In addition, American ambassador Everett Drumwright advocated for a preemptive strike against PRC positions.


title: Second Taiwan Strait Crisis

text: Twelve long-range M115 howitzer artillery pieces and numerous 155 mm howitzers were transferred from the U.S. Marine Corps to the Army of the Nationalist China. These were sent west to Kinmen Island to gain superiority in the artillery duel back and forth over the straits there.


title: Second Taiwan Strait Crisis

text: Soon, the Soviet Union dispatched its foreign minister, Andrei Gromyko, to Beijing to discuss the actions of the PLA and the PLAAF, with advice of caution to the Communist Chinese.


title: Second Taiwan Strait Crisis

text: On , the Sidewinder missile was used for the first time in air-to-air combat as 32 Republic of China F-86s clashed with 100 PLAAF MiGs in a series of aerial engagements. 25 MiGs were shot down by Sidewinders, the first "kills" to be scored by air-to-air missiles in combat. In October more dogfights between ROC and PRC fighter jets occurred and the total airplane casualties during the crisis was 31 PRC MiGs shot down and 2 ROC F-86s shot down.


title: Second Taiwan Strait Crisis

text: Soon, the People's Republic of China was faced with a stalemate, as the PLA's artillerymen had run out of artillery shells. The Communist Chinese government announced a unilateral ceasefire on . However, on October 20 the PLA resumed artillery fire on Kinmen because a U.S. Navy warship had breached the PRC-declared 3 nautical miles exclusive zone from the coast of China that they claimed was a stipulation for their unilateral ceasefire agreement. Another more likely reason for the resumption of the PRC artillery bombardment was U.S. Secretary of State John Foster Dulles had arrived in Taipei to discuss the situation with the ROC government. The overall crisis finished by December 1958 when both the PRC and ROC troops settled into their eccentric alternating odd and even days firing period that lasted until 1979 when the United States and the PRC established diplomatic relations. Because both armies knew exactly what day, what time, and which areas would be attacked by artillery shells (military bases and artillery positions) the PRC and ROC troops were safe from harm due to hiding in bunkers thanks to this gentleman's agreement.


title: Second Taiwan Strait Crisis

text: U.S. Marine Corps Marine Air Group 11 stationed at NAS Atsugi, Japan was sent to Taiwan in March 1960 and landed at Kaohsiung, Taiwan and moved via trucks to Pingtung Air Base about north of Kaohsiung. They remained there, conducting air operations from the WWII Japanese air strip until sometime in late April 1960 when they returned to Atsugi, Japan. They were joined at Pingtung by a reinforced rifle company from the Ninth Marines based on Okinawa.


title: Second Taiwan Strait Crisis

text: "On October 25, [the Chinese Communists] … declared that they would not fire on even-numbered days … if there were no American escort." This allowed Taiwan to resupply their military units on those islands on those days. Afterwards, both sides continued to bombard each other with shells containing propaganda leaflets on alternate days of the week. This strange informal arrangement continued until the normalization of diplomatic relations between the United States and the Communist People's Republic of China in 1979. The timed shelling created little damage and casualties; it was mainly aimed at military compounds and artillery pieces. Sometimes during tense diplomatic moments PRC forces would revert to August/September 1958 levels of bombardment, temporarily breaking the normally scheduled non-lethal propaganda artillery shelling. One of these occasions happened in June 1960, when President Eisenhower visited Taipei. During Eisenhower's visit PRC forces fired over 100,000 artillery rounds onto Kinmen within a few days, killing 7 ROC soldiers and wounding 59, while 6 civilians perished and 15 were injured. ROC soldiers withheld their fire until after Eisenhower left Taipei. After his visit they retaliated by firing thousands of artillery rounds of their own onto mainland China from Kinmen. The PRC bombardment damaged 200 homes, five schools and a hospital on Kinmen, showing that during the 20 year period of mostly propaganda leaflets being fired by both sides it was still a very dangerous combat zone until 1979.


title: Second Taiwan Strait Crisis

text: The crisis subsided and returned back to "status quo ante bellum" on December 2 when the U.S. Navy secretly and quietly removed their extra warships from the Taiwan Strait and the ROC Navy resumed unilateral combat and escort duties.


title: Second Taiwan Strait Crisis

text: On August 23, 2019, the sixty-first anniversary of the beginning of the Second Taiwan Strait Crisis, President Tsai Ing-wen visited the Taiwushan Martyrs' Shrine () where she placed flowers and offered incense.


title: Second Taiwan Strait Crisis

text: During the crisis, American leadership risked the alienation of the American public, relations with key allies such as France and Japan, and even nuclear war. Secretary of State John Foster Dulles argued that while the "status quo" result was a victory, the American government could not permit such a situation to arise again. Other than the Third Taiwan Strait Crisis from 1995 to 1996 there has been no crisis involving the United States since 1958 in the Taiwan Strait.


title: Jeremy Soule

text: Jeremy Soule (; born December 19, 1975) is an American composer of soundtracks for film, television, and video games. He has composed soundtracks for over 60 games and over a dozen other works during his career, including "The Elder Scrolls", "Guild Wars", "Icewind Dale", and the "Harry Potter" series.


title: Jeremy Soule

text: He became an employee of Square in 1994 after several years of private composition studies. After finishing the soundtrack to "Secret of Evermore" in 1995, he left to join Humongous Entertainment, where he composed for several children's games as well as "Total Annihilation", his first award-winning score. In 2000, he left to form his own music production company, Soule Media, now called Artistry Entertainment. In 2005, he founded DirectSong, a record label that published digital versions of his soundtracks as well as those of classical composers. DirectSong was subject to a class action lawsuit in 2015 but remained active until the late 2010s.


title: Jeremy Soule

text: Soule's works have been played in several live concerts such as the Symphonic Game Music Concert in Germany and the international "Play! A Video Game Symphony" concert series. While many of his works are orchestral, he considers himself someone who creates more than just one type of music. Several of Soule's soundtracks have been created with the help of his brother, Julian.


title: Jeremy Soule

text: Soule was born in 1975 in Keokuk, Iowa to a public school music teacher father and a graphic designer mother. He became interested in music and symphony orchestras at the age of five. Soule began taking piano lessons at an early age and became entranced with music, even writing music notation in the margins of his math homework; after his teachers and his father realized his talent, he began taking private lessons with professors from Western Illinois University when he was in sixth grade. He claims to have earned the equivalent of a master's degree in composition before completing high school; however, as he never enrolled in the school, he did not earn a degree. He was split between trying to become a concert pianist and a composer when he grew up; he ended up deciding to become a composer once he realized how difficult it would be to do both.


title: Jeremy Soule

text: While playing video games as a child, Soule came to believe that the experience they created could be greatly enhanced by having a better musical score. After completing high school, he took a year to create a portfolio showcasing what he felt video game scores should sound like. Soule sent the tape to LucasArts and Square. Square very much appreciated the portfolio; he does not believe that LucasArts ever listened to his tapes as they had a "no unsolicited package" policy. Soule began working at Square in Seattle only two weeks after first submitting his demo tapes.


title: Jeremy Soule

text: Soule was promptly given the task by Square to score "Secret of Evermore". The finished game features an untraditional score incorporating ambient background sounds (like wind blowing and ocean waves) into the music and utilizing a more mellow orchestral sound. Part of the reason for this was that the sound program used in "Evermore" was not up to the technical challenge of what Soule wanted to do with it, forcing him to work creatively within his limitations. When Ron Gilbert of LucasArts left to form his own company, Humongous Entertainment, and Square moved from Seattle to Los Angeles, Soule quit Square to score Gilbert's children's adventure game series, "Putt-Putt"; he was the company's third employee. Soule composed the soundtracks to eleven children's games over the next three years, with multiple titles in the "Putt-Putt", "Pajama Sam", "Freddi Fish" and "Spy Fox" series.


title: Jeremy Soule

text: While working at Humongous, Soule met fellow employee and video game designer Chris Taylor, and signed on to compose the soundtrack to his major project, "Total Annihilation". Soule convinced Taylor that, given the large number of other real-time strategy games coming out at the same time as "Total Annihilation" with techno scores, that to separate themselves they needed to do a large orchestral score. He went so far as to bet a year's worth of reduced pay that it would pay off; Gilbert felt that it did after the first sentence of the first review of the game he read was about the music. Given the software limitations at the time, to make the sound work correctly required a full live orchestra, the first that Soule had ever worked with; the orchestral tracks in "Evermore" had been performed by Soule and his brother by themselves, two instruments at a time. The soundtrack earned Soule his first award, that of "Best Music" of 1997 from GameSpot in their year-end awards. Soule spent the next two years composing music for the game's two expansion packs and for children's games.


title: Jeremy Soule

text: In February 2000, Jeremy and his brother, Julian, formed Soule Media as an independent music production company; its name has since been changed to Artistry Entertainment. Julian works as a sound engineer and composer for the company, and has assisted Jeremy in several projects throughout his career, both credited and uncredited. The first large project that Jeremy Soule worked on through the company was 2000's "Icewind Dale", which won the best music of the year award from both IGN and GameSpot.


title: Jeremy Soule

text: In 2001, Soule scored the first of five "Harry Potter" games that he would work on between then and 2005. His first game, "Harry Potter and the Sorcerer's Stone", was nominated for an Academy of Interactive Arts & Sciences award for Outstanding Achievement in Original Music Composition, while "Chamber of Secrets" and "Prisoner of Azkaban" won and were nominated, respectively, for a British Academy of Film & Television Arts award for Best Score in the Game Music Category. The other games he composed for that year include "" and "", which he later described as a bad game lifted up in the eyes of testers and reviewers by good music. He was responsible for composing the soundtracks to three top-selling role-playing games in 2002, those of "Dungeon Siege", "", and "Neverwinter Nights"; "Morrowind" earned him his second Academy of Interactive Arts & Sciences award nomination.


title: Jeremy Soule

text: Soule was in a major car accident in the mid 2000s, during which he had a momentary realisation that life is precious. In interview, he described a vision of "Native American warriors" that he saw during the crash. The highway patrolman who arrived at the scene also invited him to meet a chief of the nearby Lummi Nation reservation who composed music. Soule stated that the experience provided inspiration during his subsequent compositions.


title: Jeremy Soule

text: Artistry Entertainment scored a string of highly successful games through the remainder of the decade, including the "Guild Wars" series, "", "", and "". "Oblivion" was an award-winning soundtrack by Soule. It was nominated for the 2006 British Academy of Film & Television Arts and Academy of Interactive Arts & Sciences awards, and won the MTV Video Music Awards and Official Xbox Magazine soundtrack awards. Soule also worked on another of Chris Taylor's real-time strategy titles in 2007, with the launch of "Supreme Commander".


title: Jeremy Soule

text: In 2005, Jeremy and Julian Soule founded DirectSong, a company which sold DRM-free downloads of compositions as well as works by dozens of classical composers. By 2007 the company had grown to over one million registered customers, though Soule noted that not all of those customers resulted in a sale of a non-free product. Soule says that the traffic numbers for DirectSong had surpassed some major record labels at times. Soule also used DirectSong to sell "expansion packs" of music for games such as "Guild Wars" that could be played in game like the rest of the soundtrack. He estimates that at least 10% of the players of "Guild Wars" bought his musical expansion for the game, "Battle Pak 1". DirectSong struggled to fulfill orders or provide timely support, resulting in an "F" rating by the Better Business Bureau.


title: Jeremy Soule

text: Soule worked on several major titles in the early 2010s, including "" and "Guild Wars 2". The "Skyrim" soundtrack in particular is among Soule's most critically acclaimed pieces of work, receiving a BAFTA nomination as well as numerous other awards from organizations such as the Game Audio Network Guild. Soule would also go on to compose the music for two of the official DLC packs for the game, "Dragonborn" and "Dawnguard", both released in 2012. The "Guild Wars 2" soundtrack was released a four-disc box set collection and well received. Soule was replaced as lead composer on the project later that year, with subsequent releases (such as expansions) being composed by Maclaine Diemer.


title: Jeremy Soule

text: In March 2013, Soule launched a Kickstarter project to fund a classical music album called "The Northerner: Soule Symphony No. 1", seeking $10,000 for the album. The campaign ultimately raised a total of $121,227. The project features vocals in Old Norse, with Soule citing the successful use of the similar Icelandic language by Malukah in one of her own projects during development. For the project, Soule indicated that his company were developing new audio technology. An album of sketches was ultimately released in 2017, though not the full symphony.


title: Jeremy Soule

text: In 2014, Soule signed an MMO exclusivity deal with Sony Online Entertainment, in order to compose music for "EverQuest Next" and "Landmark". "EverQuest Next" was cancelled in March 2016; "Landmark" was released but shut down in February 2017, less than a year after launch. In 2015, Soule composed a "Dota 2" music pack, along with his brother Julian. The soundtrack was available as part of the "Compendium", a pack of digitally-distributed content that funded the prize pool for The International 2015 tournament, which took place in August 2015 and ultimately featured the largest prize-pool in e-sports history at the time, with over $18,000,000 in total.


title: Jeremy Soule

text: Soule faced several controversies in the late 2010s, during which he primarily worked on indie titles. In 2015 Soule's DirectSong service was targeted by a class-action lawsuit, brought by members of the "Guild Wars 2" community, due to long wait times- with some users waiting four years for albums to arrive after purchase. Soule began accepting refunds for the unreleased symphony "The Northerner" in 2016. In January 2019, Soule indicated he was not involved with "The Elder Scrolls VI". That August, he was accused of rape by game designer Nathalie Lawhead. He was also accused of sexual harassment by vocalist Aeralie Brighton. He denied the accusations. Materia Collective ended their work with Soule on his symphony "The Northerner" in response, and Soule's official social media pages were taken down. Soule's music distribution platform DirectSong, and his Bandcamp page were also seemingly taken offline around this time. A 2022 article in "Journal of Sound and Music in Games" analysed the accusations in the wider context of the #MeToo movement and sexism in the games industry, commenting simply that "not much has been heard of Soule since".


title: Jeremy Soule

text: Soule's music has been played in several live concerts. His music from "Harry Potter and the Chamber of Secrets" was performed on August 20, 2003, at the first "Symphonic Game Music Concert" in Leipzig, Germany, and his music from "Morrowind" was performed at the third "Symphonic Game Music Concert" on August 17, 2005. Selections of his pieces from "Morrowind" and "Oblivion" are played in the international concert series "Play! A Video Game Symphony". Jeremy Soule attended the world-premiere of Play! on May 27, 2006 in Chicago. Music from "Oblivion" has also been played at the "Press Start 2007 -Symphony of Games-" concerts in September 2007 in Japan. The first live orchestral concert dedicated to Soule's music for "Skyrim" took place on November 16, 2016 at London's Palladium theater. Soule's music has been featured in numerous top-selling games; he once estimated in an interview that around 10 million games with his music in them were sold in 2006 alone.


title: Jeremy Soule

text: Selections of remixes of Soule's work appear on English remixing websites such as OverClocked ReMix. Soule is a supporter of the game music arrangement community, even going so far as to submit his own arrangement to OverClocked ReMix. He did so to help promote and inspire younger and newer composers. The track, "Squaresoft Variation", arranges the "Final Fantasy VI" piece "Terra"; Soule has said that he chose the piece to remix because when he first started at Square he spent some time debugging the game before his composition duties for "Evermore" started.


title: Jeremy Soule

text: Soule rarely gets to see the game he is composing for in any sort of completed state before he begins work; as a result he bases many of his musical decisions on the company's previous games. He credits his success with this strategy to the fact that many of the games he works on come from studios that have created several successful games in the past. He finds it much easier to compose a soundtrack to a game that is very visual in nature, such as a role-playing game. He also likes to see the storyboards and concept art for the game, as he considers them a good provider of "pure emotional intent" for the game. When composing a soundtrack, the first thing that he decides is the tempo and the amount of energy the music will have; this decision is as much based on the genre of the game as it is the artistic style of the game. After that, Soule starts composing smaller tracks in the soundtrack, to make sure that they match up with the vision of the game before he starts on the major themes. Soule tries to compose all of a game's soundtrack himself rather than in a team, though he sometimes collaborates with his brother.


title: Jeremy Soule

text: Although many of his works are orchestral in nature, Soule has denied that it is his "style", as he feels that the term boxes him into only creating one type of music. He prefers to call himself a "music practitioner", or someone who creates music in general rather than just one type of music as he is capable of many styles, such as Japanese pop, which he has written along with Jeff Miyahara. Soule considers music to be like a language, which can be arranged in many different ways if you understand the structure. He does not have a favorite genre of game to compose for, preferring instead to compose for "ambitious" games by people with "new ideas".


title: Jeremy Soule

text: Soule's greatest musical influences are "Debussy's exploration of harmony", "Wagner's grand operas", and "Mozart's form and composition". While many of his orchestral works are based on movie scores in terms of scope, he does not often listen to movie scores, though he names his favorite composer as John Williams. The influence has been noted by critics, who have termed Soule "the John Williams of video game music". Among video game music influences, he has cited Square for providing him "with the education for what quality means to this business" and Nobuo Uematsu in particular. His favorite style of music to listen to is British pop and rock music, while his favorite video games are the ones that he has written scores to, especially the ones made by Chris Taylor, though one of his all-time favorites is "The Legend of Zelda". He has said that the games he would most like to work on that he has not already are ones by Shigeru Miyamoto, a "Final Fantasy" game, and a "Metroid" game.


title: Eichmann in Jerusalem

text: Eichmann in Jerusalem: A Report on the Banality of Evil is a 1963 book by political thinker Hannah Arendt. Arendt, a Jew who fled Germany during Adolf Hitler's rise to power, reported on the trial of Adolf Eichmann, one of the major organizers of the Holocaust, for "The New Yorker". A revised and enlarged edition was published in 1964.


title: Eichmann in Jerusalem

text: Arendt's subtitle famously introduced the phrase "the banality of evil". In part the phrase refers to Eichmann's deportment at the trial as the man displayed neither guilt for his actions nor hatred for those trying him, claiming he bore no responsibility because he was simply "doing his job" ("He did his ‘duty'...; he not only obeyed 'orders', he also obeyed the 'law'."p. 135).


title: Eichmann in Jerusalem

text: Arendt takes Eichmann's court testimony and the historical evidence available, and she makes several observations about Eichmann:


title: Eichmann in Jerusalem

text: Arendt suggests that this most strikingly discredits the idea that the Nazi criminals were manifestly psychopathic and different from "normal" people. From this document, many concluded that situations such as the Holocaust can make even the most ordinary of people commit horrendous crimes with the proper incentives, but Arendt adamantly disagreed with this interpretation, as Eichmann was voluntarily following the "Führerprinzip". Arendt insists that moral choice remains even under totalitarianism, and that this choice has political consequences even when the chooser is politically powerless:


title: Eichmann in Jerusalem

text: Beyond her discussion of Eichmann himself, Arendt discusses several additional aspects of the trial, its context, and the Holocaust.


title: Eichmann in Jerusalem

text: Arendt's book introduced the expression and concept of the banality of evil. Her thesis is that Eichmann was actually not a fanatic or a sociopath, but instead an extremely average and mundane person who relied on clichéd defenses rather than thinking for himself, was motivated by professional promotion rather than ideology, and believed in success which he considered the chief standard of "good society". Banality, in this sense, does not mean that Eichmann's actions were in any way ordinary, but that his actions were motivated by a sort of complacency which was wholly unexceptional. Many mid-20th century pundits were favorable to the concept.


title: Eichmann in Jerusalem

text: Another one of the most controversial points raised by Arendt in her book is her criticism concerning the alleged role of Jewish authorities in the Holocaust. In her writings, Arendt expressed her objections to the prosecution’s refusal to address the cooperation of the leaders of the Judenräte (the Jewish councils) with the Nazis. In the book, Arendt asserts that Jewish organizations and leaderships in Europe collaborated with the Nazis and were directly responsible for the numbers of Jewish victims reaching the dimensions they did:


title: Eichmann in Jerusalem

text: "Eichmann in Jerusalem" upon publication and in the years following was controversial. Arendt has long been accused of "blaming the victim" in the book. She responded to the initial criticism in a postscript to the book:


title: Eichmann in Jerusalem

text: Stanley Milgram, who would conduct controversial experiments on obedience maintains that "Arendt became the object of considerable scorn, even calumny" because she highlighted Eichmann's "banality" and "normalcy", and accepted Eichmann's claim that he did not have evil intents or motives to commit such horrors; nor did he have a thought to the immorality and evil of his actions, or indeed, display, as the prosecution depicted, that he was a sadistic "monster".


title: Eichmann in Jerusalem

text: Jacob Robinson published "And the Crooked Shall be Made Straight", the first full-length rebuttal of her book. Robinson presented himself as an expert in international law, not saying that he was an assistant to the prosecutor in the case.


title: Eichmann in Jerusalem

text: In his 2006 book, "Becoming Eichmann: Rethinking the Life, Crimes and Trial of a "Desk Murderer"", Holocaust researcher David Cesarani questioned Arendt's portrait of Eichmann on several grounds. According to his findings, Arendt attended only part of the trial, witnessing Eichmann's testimony for "at most four days" and basing her writings mostly on recordings and the trial transcript. Cesarani feels that this may have skewed her opinion of him, since it was in the parts of the trial that she missed that the more forceful aspects of his character appeared. Cesarani also suggested that Eichmann was in fact highly anti-Semitic and that these feelings were important motivators of his actions. Thus, he alleges that Arendt's claims that his motives were "banal" and non-ideological and that he had abdicated his autonomy of choice by obeying Hitler's orders without question may stand on weak foundations. This is a recurrent criticism of Arendt, though nowhere in her work does Arendt deny that Eichmann was an anti-Semite, and she also did not claim that Eichmann was "simply" following orders, but rather had internalized the rationalities of the Nazi regime.


title: Eichmann in Jerusalem

text: Cesarani suggests that Arendt's own prejudices influenced the opinions she expressed during the trial. He argues that like many Jews of German origin, she held "Ostjuden" (Jews from Eastern Europe) in great disdain. This, according to Cesarani, led her to attack the conduct and efficacy of the chief prosecutor, Gideon Hausner, who was of Galician-Jewish origin. According to Cesarani, in a letter to the noted German philosopher Karl Jaspers she stated that Hausner was "a typical Galician Jew... constantly making mistakes. Probably one of those people who doesn't know any language." Cesarani claims that some of her opinions of Jews of Middle Eastern origin verged on racism as she described the Israeli crowds in her letter to Karl Jaspers: "My first impression: On top, the judges, the best of German Jewry. Below them, the prosecuting attorneys, Galicians, but still Europeans. Everything is organized by a police force that gives me the creeps, speaks only Hebrew, and looks Arabic. Some downright brutal types among them. They would obey any order. And outside the doors, the Oriental mob, as if one were in Istanbul or some other half-Asiatic country. In addition, and very visible in Jerusalem, the peies [sidelocks] and caftan Jews, who make life impossible for all reasonable people here." Cesarani's book was itself criticized. In a review that appeared in "The New York Times Book Review", Barry Gewen argued that Cesarani's hostility stemmed from his book standing "in the shadow of one of the great books of the last half-century", and that Cesarani's suggestion that both Arendt and Eichmann had much in common in their backgrounds, making it easier for her to look down on the proceedings, "reveals a writer in control neither of his material nor of himself."


title: Eichmann in Jerusalem

text: "Eichmann in Jerusalem", according to Hugh Trevor-Roper, is deeply indebted to Raul Hilberg's "The Destruction of the European Jews", so much so that Hilberg himself spoke of plagiarism. The very points which Arendt borrows from Hilberg were borrowed by Hilberg himself from H. G. Adler.


title: Eichmann in Jerusalem

text: Arendt also received criticism in the form of responses to her article, also published in the "New Yorker". One instance of this came mere weeks after the publication of her articles in the form of an article entitled "Man With an Unspotted Conscience". This work was written by witness for the defense, Michael A. Musmanno. He argued that Arendt fell prey to her own preconceived notions that rendered her work ahistorical. He also directly criticized her for ignoring the facts offered at the trial in stating that "the disparity between what Miss Arendt states, and what the ascertained facts are, occurs with such a disturbing frequency in her book that it can hardly be accepted as an authoritative historical work." He further condemned Arendt and her work for her prejudices against Hauser and Ben-Gurion depicted in "Eichmann in Jerusalem: A Report on the Banality of Evil". Musmanno argued that Arendt revealed "so frequently her own prejudices" that it could not stand as an accurate work.


title: Eichmann in Jerusalem

text: Arendt relied heavily on the book by H.G. Adler "Theresienstadt 1941-1945. The Face of a Coerced Community" (Cambridge University Press. 2017), which she had read in manuscript. Adler took her to task on her view of Eichmann in his keynote essay "What does Hannah Arendt know about Eichmann and the Final Solution?" ("Allgemeine Wochenzeitung der Juden in Deutschland". 20 November 1964).


title: Eichmann in Jerusalem

text: In more recent years, Arendt has received further criticism from authors Bettina Stangneth and Deborah Lipstadt. Stangneth argues in her work, "Eichmann Before Jerusalem", that Eichmann was, in fact, an insidious antisemite. She utilized the Sassen Papers and accounts of Eichmann while in Argentina to prove that he was proud of his position as a powerful Nazi and the murders that this allowed him to commit. While she acknowledges that the Sassen Papers were not disclosed in the lifetime of Arendt, she argues that the evidence was there at the trial to prove that Eichmann was an antisemitic murderer and that Arendt simply ignored this. Deborah Lipstadt contends in her work, "The Eichmann Trial", that Arendt was too distracted by her own views of totalitarianism to objectively judge Eichmann. She refers to Arendt's own work on totalitarianism, "The Origins of Totalitarianism", as a basis for Arendt's seeking to validate her own work by using Eichmann as an example. Lipstadt further contends that Arendt "wanted the trial to explicate how these societies succeeded in getting others to do their atrocious biddings" and so framed her analysis in a way which would agree with this pursuit. However, Arendt has also been praised for being among the first to point out that intellectuals, such as Eichmann and other leaders of the Einsatzgruppen, were in fact more accepted in the Third Reich despite Nazi Germany's persistent use of anti-intellectual propaganda. During a 2013 review of historian Christian Ingrao's book "Believe and Destroy", which pointed out that Hitler was more accepting of intellectuals with German ancestry and that at least 80 German intellectuals assisted his "SS War Machine," "Los Angeles Review of Books" journalist Jan Mieszkowski praised Arendt for being "well aware that there was a place for the thinking man in the Third Reich."


title: Trachtenberg system

text: The Trachtenberg system is a system of rapid mental calculation. The system consists of a number of readily memorized operations that allow one to perform arithmetic computations very quickly. It was developed by the Russian engineer Jakow Trachtenberg in order to keep his mind occupied while being in a Nazi concentration camp.


title: Trachtenberg system

text: The rest of this article presents some methods devised by Trachtenberg. Some of the algorithms Trachtenberg developed are ones for general multiplication, division and addition. Also, the Trachtenberg system includes some specialised methods for multiplying small numbers between 5 and 13 (but shown here is 2–12).


title: Trachtenberg system

text: The section on addition demonstrates an effective method of checking calculations that can also be applied to multiplication.


title: Trachtenberg system

text: The method for general multiplication is a method to achieve multiplications formula_1 with low space complexity, i.e. as few temporary results as possible to be kept in memory. This is achieved by noting that the final digit is completely determined by multiplying the last digit of the multiplicands. This is held as a temporary result. To find the next to last digit, we need everything that influences this digit: The temporary result, the last digit of formula_2 times the next-to-last digit of formula_3, as well as the next-to-last digit of formula_2 times the last digit of formula_3. This calculation is performed, and we have a temporary result that is correct in the final two digits.


title: Trachtenberg system

text: People can learn this algorithm and thus multiply four digit numbers in their head – writing down only the final result. They would write it out starting with the rightmost digit and finishing with the leftmost.


title: Trachtenberg system

text: Trachtenberg defined this algorithm with a kind of pairwise multiplication where two digits are multiplied by one digit, essentially only keeping the middle digit of the result. By performing the above algorithm with this pairwise multiplication, even fewer temporary results need to be held.


title: Trachtenberg system

text: Trachtenberg called this the 2 Finger Method. The calculations for finding the fourth digit from the example above are illustrated at right. The arrow from the nine will always point to the digit of the multiplicand directly above the digit of the answer you wish to find, with the other arrows each pointing one digit to the right. Each arrow head points to a UT Pair, or Product Pair. The vertical arrow points to the product where we will get the Units digit, and the sloping arrow points to the product where we will get the Tens digits of the Product Pair. If an arrow points to a space with no digit there is no calculation for that arrow. As you solve for each digit you will move each of the arrows over the multiplicand one digit to the left until all of the arrows point to prefixed zeros.


title: Trachtenberg system

text: Division in the Trachtenberg System is done much the same as in multiplication but with subtraction instead of addition. Splitting the dividend into smaller Partial Dividends, then dividing this Partial Dividend by only the left-most digit of the divisor will provide the answer one digit at a time. As you solve each digit of the answer you then subtract Product Pairs (UT pairs) and also NT pairs (Number-Tens) from the Partial Dividend to find the next Partial Dividend. The Product Pairs are found between the digits of the answer so far and the divisor. If a subtraction results in a negative number you have to back up one digit and reduce that digit of the answer by one. With enough practice this method can be done in your head.


title: Trachtenberg system

text: A method of adding columns of numbers and accurately checking the result without repeating the first operation. An intermediate sum, in the form of two rows of digits, is produced. The answer is obtained by taking the sum of the intermediate results with an L-shaped algorithm. As a final step, the checking method that is advocated both removes the risk of repeating any original errors and identifies the precise column in which an error occurs all at once. It is based on check (or digit) sums, such as the nines-remainder method.


title: Trachtenberg system

text: For the procedure to be effective, the different operations used in each stage must be kept distinct, otherwise there is a risk of interference.


title: Trachtenberg system

text: The answer must be found one digit at a time starting at the least significant digit and moving left. The last calculation is on the leading zero of the multiplicand.


title: Trachtenberg system

text: Each digit has a "neighbor", i.e., the digit on its right. The rightmost digit's neighbor is the trailing zero.


title: Trachtenberg system

text: The 'halve' operation has a particular meaning to the Trachtenberg system. It is intended to mean "half the digit, rounded down" but for speed reasons people following the Trachtenberg system are encouraged to make this halving process instantaneous. So instead of thinking "half of seven is three and a half, so three" it's suggested that one thinks "seven, three". This speeds up calculation considerably. In this same way the tables for subtracting digits from 10 or 9 are to be memorized.


title: Trachtenberg system

text: And whenever the rule calls for adding half of the neighbor, always add 5 if the current digit is odd. This makes up for dropping 0.5 in the next digit's calculation.


title: Trachtenberg system

text: For rules 9, 8, 4, and 3 only the first digit is subtracted from 10. After that each digit is subtracted from nine instead.


title: Trachtenberg system

text: Rule: to multiply by 12:Starting from the rightmost digit, double each digit and add the neighbor. (The "neighbor" is the digit on the right.)


title: Trachtenberg system

text: If the answer is greater than a single digit, simply carry over the extra digit (which will be a 1 or 2) to the next operation.


title: Trachtenberg system

text: The algorithms/operations for multiplication, etc., can be expressed in other more compact ways that the book does not specify, despite the chapter on algebraic description.


title: Trachtenberg system

text: The 2017 American film "Gifted" revolves around a child prodigy who at the age of 7 impresses her teacher by doing calculations in her head using the Trachtenberg system.


title: Trachtenberg system

text: There are many other methods of calculation in mental mathematics. The list below shows a few other methods of calculating, though they may not be entirely mental.


title: Ok Jaanu

text: OK Jaanu () is a 2017 Indian Hindi-language romantic drama film directed by Shaad Ali, with screenplay and story based on Mani Ratnam's Tamil film O Kadhal Kanmani, and produced by Ratnam and Karan Johar under their banners Madras Talkies and Dharma Productions respectively. It is a remake of Ratnam's Tamil film "O Kadhal Kanmani". The film stars Aditya Roy Kapur and Shraddha Kapoor with a supporting cast including Naseeruddin Shah and Leela Samson, the latter of whom appeared in the original as well marking her Hindi debut with this too- who essay the protagonists' landlords. Eesh Kakkar plays Tara's ex-boyfriend. A. R. Rahman composed the film's score and soundtrack. Gulzar has written the lyrics and the dialogues for the film.


title: Ok Jaanu

text: Aditya "Adi" Gunjal (Aditya Roy Kapur) comes to Mumbai to work for a gaming company owned by his boss (Prahlad Kakkar), aspiring to make it big in the United States as a video game developer. At Mumbai railway station, he spots a girl (Shraddha Kapoor) on the adjacent platform trying to jump in front of an approaching train. A horrified Adi gives her a shout. The girl then disappears.


title: Ok Jaanu

text: Adi moves into Gopi Srivastava's house (Naseeruddin Shah), his elder brother's senior, a strict, retired High Court judge living with his wife Charu (Leela Samson). Charu is a renowned Hindustani classical singer who suffers from stage two Alzheimer's disease. On his first day at work, Adi is encouraged by his friend Bantee to pitch the idea of his game "Mumbai 2.0" to his boss. Adi impresses his boss and gets a deadline of five months to prepare a prototype for Los Angeles for a competition.


title: Ok Jaanu

text: Later, while at his friend Jenny's wedding, Adi spots the girl from the station. The girl introduces herself as Tara Agnihotri. Adi learns that Tara is planning to pursue architectural studies in Paris, and he says that he dreams of becoming a big shot like Mark Zuckerberg. Adi and Tara strike a chord over their mutual presumptions on the dysfunctionality of the institution of marriage. Tara also reveals that her antic at the railway station was a ploy to get rid of her ex-boyfriend, who desired to marry her. Subsequently, they hang out, exploring the city.


title: Ok Jaanu

text: The next day, Adi pursues Tara to Ahmedabad on her work trip. Tara takes Adi to Sabarmati Ashram, which she used to visit with her father as a kid. She discloses that her decision never to marry was incited by her parents' broken marriage. Adi and Tara decide to live with each other before they go their separate ways for their respective careers. The two approach Gopi and Charu with their wish. Gopi initially strongly disagrees with their desire but then decides to give in when Tara impresses Charu with her classical singing ability.


title: Ok Jaanu

text: Adi's family plans to give Adi a surprise visit, and his sister-in-law finds out that he is living with Tara, which his brother would adamantly be opposed to. She asks Tara to ponder their future when Tara, at some point, would have to pick between her love and her career. Tara and Adi continue living happily, getting a thrill out of their endearing mutual camaraderie and growing affinity and attachment.


title: Ok Jaanu

text: Tara's admission to the institute in Paris gets approved. Tara informs Gopi of this and confides in him that it might now be hard for her to leave Adi and go so far away. The next day, Tara goes to Jaipur for a work trip, and Adi starts to miss her profoundly. Adi gets summoned to Kanpur by Tara's affluent mother, who wishes to know her daughter's intentions. As a result, Tara finds Adi missing when she returns from Jaipur and searches for him miserably, realizing that living without him would make her sad.


title: Ok Jaanu

text: Tara and Adi begin to understand the importance of each other's presence in their life, especially after seeing the love and patience Gopi has for his ailing wife. One day, she goes missing as she bewilderingly forgets the way to her own house and is found by Tara and Adi sitting on a temple platform in heavy rain.


title: Ok Jaanu

text: Tara's mother visits Adi's family to discuss marriage, infuriating Tara. Later in the day, Adi's game, "Mumbai 2.0," gets selected for the competition in Los Angeles, meaning that he has to leave for the United States soon. He confides in Jenny that it'd be hard for him to go to Tara. Tara, too, seems visibly vexed. The next day, Adi and Tara make a pact to enjoy themselves to the fullest for the next ten days, after which they will eventually go their separate ways.


title: Ok Jaanu

text: One day, Charu goes missing again. While looking for her, they start bickering about their relationship. However, after finding Charu and bringing her home back to her husband, Adi finally proposes marriage to Tara before leaving for their respective destinations. They get married in Gopi's house among close friends and family.


title: Ok Jaanu

text: Post marriage, both continue to accomplish their dreams, one in Paris and the other in Los Angeles, keeping in touch and waiting for the day to be together again.


title: Ok Jaanu

text: The film score and soundtrack are composed by A. R. Rahman while the lyrics for songs are written by Gulzar. Rahman re-used most of his compositions from the Tamil soundtrack of "O Kadhal Kanmani", with the exception of three songs. He composed two new songs for the film which are the Hindi counterparts of "Aye Sinamika" and "Malargal Kaetten" that were part of the Tamil version. The Hindi counterpart of "Parandhu Sella Vaa" is a cover version of Rahman's yesteryear classic "Humma Humma" from Ratnam's 1995 Tamil film "Bombay". Dubbed as "The Humma Song", the cover was done by Badshah and Tanishk Bagchi. The full soundtrack was released by Sony Music India on 4 January 2017.


title: Ok Jaanu

text: The film grossed an estimated worldwide, with approximately earned domestically, and from international releases."Box Office India" declared the film a "flop".


title: Ok Jaanu

text: "Ok Jaanu" garnered mixed to negative reviews from critics. "Bollywood Hungama" rated the film 2.5 out of 5 stars, stating that it is "a decent love story which works only in parts mainly because of the chemistry between Aditya Roy Kapur and Shraddha Kapoor."


title: Ok Jaanu

text: Writing for "Hindustan Times", Anupama Chopra rated the film 2 out of 5, commenting, "This is just a pointless film, because an exact frame-for-frame version already exists in Tamil", referring to "O Kadhal Kanmani", directed by Mani Ratnam. Chopra described Kapur and Kapoor as "too lightweight" to bring a comparable depth to the characters that the original actors did.


title: The Amazing Race 32

text: The Amazing Race 32 is the thirty-second season of the American reality television show "The Amazing Race". It featured eleven teams of two competing in a race around the world.


title: The Amazing Race 32

text: Boyfriends Will Jardell and James Wallington were the winners of this season, while married parents Hung Nguyen and Chee Lee finished in second place, and professional volleyball players Riley McKibbin and Maddison McKibbin finished in third.


title: The Amazing Race 32

text: During the airing of season 30 in January 2018, Phil Keoghan suggested that the show could return to filming two seasons a year after two years of only filming one. After season 31 completed filming in July 2018, "The Amazing Race 32" began on November 10, 2018 with filming of first leg reported on the island of Tobago, marking the first time "The Amazing Race" visited Trinidad and Tobago. The season concluded filming on December 3, 2018 in New Orleans, Louisiana.


title: The Amazing Race 32

text: According to Phil Keoghan, this season was the most physically demanding to film since "The Amazing Race 3". This season also saw "The Amazing Race" reach a milestone of traveling one million cumulative miles.


title: The Amazing Race 32

text: At twenty-two months, "The Amazing Race 32" has the longest gap between its filming completion and its premiere. This is primarily attributed to the filming of the season prior to season 31's broadcast and the delays on the 2020–21 television season as television production was suspended following the COVID-19 pandemic. CBS first announced on April 13, 2020, that the season would originally premiere with a two-hour special on May 20, 2020, taking over the Wednesday slot of "". Following this, the show would have returned to the standard one-hour episode format. However, on April 29, 2020, CBS announced that it was postponing the premiere until later in 2020, and the freshman game show "Game On!" would assume "Survivor"'s former timeslot. The postponement was designed to allow "The Amazing Race" to replace shows scheduled in the 2020–21 television season whose production has not begun as a result of suspended television production following the COVID-19 pandemic.


title: The Amazing Race 32

text: Outside of a message from Keoghan at the start of the first episode describing the timing of filming of this season relative to the COVID-19 pandemic, the season made no other changes or mention of the pandemic. Keoghan explained this choice was made by production to keep the show evergreen.


title: The Amazing Race 32

text: This season was the first to eliminate the last place team during a no-rest leg. It also saw the first appearance of the Yield since the first "All-Stars" edition back in 2007, making this the first season to feature both the Yield and the U-Turn. The mechanics of the Yield were changed such that teams had to find an hourglass during Leg 2 that they could use later in the season to Yield another team.


title: The Amazing Race 32

text: Two new twists were introduced this season: the Mega Leg and City Sprint. Leg 8 featured a Mega Leg: a rebranding of the double-length leg last seen on "The Amazing Race 14", which featured two Detours and two Roadblocks over the course of one leg. Leg 10 featured the City Sprint, where teams did not have to complete any Detours or Roadblocks, but rather a series of tasks that they had to complete as quickly as possible.


title: The Amazing Race 32

text: Unlike five of the past six seasons, which had particular themes, Phil Keoghan referred to this season as taking a "back to basics" approach with the cast and the show going back to core elements.


title: The Amazing Race 32

text: This cast included former Carolina Panthers players DeAngelo Williams and Gary Barnidge, Olympic hurdlers Kellie Wells-Brinkley and LaVonne Idlette, professional volleyball player Riley McKibbin, college basketball coach Jerry Eaves, and "America's Next Top Model" cycle 21 runner-up Will Jardell.


title: The Amazing Race 32

text: After Phil Keoghan announced to Will & James that they had won "The Amazing Race", Will proposed to James, who accepted. Will & James were married on December 3, 2021: the three year anniversary of their "Amazing Race" win and their engagement.


title: The Amazing Race 32

text: The following teams are listed with their placements in each leg. Placements are listed in finishing order.


title: The Amazing Race 32

text: "The Amazing Race 32" received mixed reviews. Andy Dehnart of "reality blurred" wrote that the season was "imperfect but thoroughly enjoyable" and that the biggest letdown of the season was the Mine Five alliance. Justin Fedich of "Screen Rant" called the season a "standout" and praised the diversity in casting and the gameplay and engagement of winners Will & James. Mack Rawden of CinemaBlend criticized seeing "an entire season controlled and ultimately ruined by an alliance". Matt Roush of TV Insider criticized the answer-sharing among the "Mine Five" alliance saying that it felt like "cheating on a test" and that it "soured" the season. In response to criticism from critics and fans about answer-sharing among alliance members, "Amazing Race" co-creator and executive producer Elise Doganieri stated in an interview after the season that the show was considering challenge-specific rules to limit answer-sharing.


title: Top Cat

text: Top Cat is an American animated sitcom produced by Hanna-Barbera Productions and originally broadcast in prime time on the ABC network. It aired in a weekly evening time slot from September 27, 1961, to April 18, 1962, for a single season of 30 episodes. The show was a ratings failure in prime time, but became successful upon its time on Saturday morning television. The show also became very popular in Latin American countries (especially Mexico), and the United Kingdom.


title: Top Cat

text: "Top Cat" was created as a parody of "The Phil Silvers Show" with Arnold Stang imitating Sgt Bilko's voice for the titular character. Hanna-Barbera sold the cartoon to ABC based on a drawing of the main character. This was only the second cartoon series to premiere on prime time network television in the United States.


title: Top Cat

text: The title character, Top Cat (T.C.) (voiced by Arnold Stang) is the leader of a gang of Manhattan alley cats living in Hoagy's Alley: Fancy-Fancy, Spook, Benny the Ball, Brain, and Choo-Choo.


title: Top Cat

text: Top Cat and his gang were inspired by the East Side Kids, roguish, street-smart characters from a series of 1940s B movies, but their more immediate roots lay in "The Phil Silvers Show" (1955–59), a successful military comedy whose lead character (Sergeant Bilko, played by Silvers) was a fast-talking con artist. Maurice Gosfield, who played Private Duane Doberman in "The Phil Silvers Show", provided the voice for Benny the Ball in "Top Cat", and Benny's chubby appearance was based on Gosfield's. Additionally, Arnold Stang's vocal characterization was originally based on an impression of Phil Silvers's voice. During the original network run, the sponsor objected to the Silvers impersonation—insisting that he was buying Arnold Stang, not Phil Silvers—so in later episodes Stang modified the Top Cat voice, to a closer tone of his own voice.


title: Top Cat

text: The gang constantly hatch get-rich-quick schemes through scams but most of them usually backfire, and a frequent plot thread revolves around the local police officer, Charles "Charlie" Dibble (voiced by Allen Jenkins), ineffectually trying to either arrest them, evict them from the alley, get them to clean the alley, or stopping them using the policebox phone.


title: Top Cat

text: Like "The Flintstones", all the episodes feature a cold open, which is a small scene from the episode that takes place "in medias res", and after that, a long flashback that leads to the scene begins with the series' theme song "The Most Effectual Top Cat" and features Top Cat's misadventures that happen before the scene from the beginning plays. The story then continues from where it left off. In some episodes, the flashback stops near the middle when the same scene plays.


title: Top Cat

text: "Top Cat" aired on Wednesday nights in Prime Time from 8:30 to 9:00 pm. Hanna-Barbera created 30 half hour episodes of Top Cat. The show was broadcast in black and white but was created in color. The show aired on Saturdays in 1962 and 1963 on ABC, and was then rerun in various Saturday morning slots on NBC from 1965 to 1969, and occasionally in the 1980s.


title: Top Cat

text: Reruns of the series aired on Cartoon Network from 1992 until 2004, and on Boomerang from 2000 until 2014.


title: Top Cat

text: Animation historian Christopher P. Lehman says that the series can be seen as social commentary. The cats may represent disenfranchised people confined to living in a poor environment. Top Cat's get-rich-quick schemes are efforts to escape to a better life. The gang faces a human police officer who frustrates their efforts and keeps them trapped in the alley. This enforcement of the social order by police ensures that the cats will not escape their current living conditions.


title: Top Cat

text: Co-creator Bill Hanna said it was one of the wittiest and most sophisticated shows he produced with a rare appeal to audiences of all ages.


title: Top Cat

text: "Top Cat" was conceived along the lines of a traditional, live-action situation comedy, and Hanna-Barbera recruited top sitcom writers of the day to furnish scripts, including Barry Blitzer (a "Bilko" veteran), Harvey Bullock, and Kin Platt. In the current DVD versions, however, only Platt gets writing credit due to a production error: the closing credits from Platt's episode were used for "every" episode, so Platt gets screen credit regardless of who wrote the actual scripts.


title: Top Cat

text: Episodes of the series were released on VHS in Europe, as well as Worldvision Home Video in the United States.


title: Top Cat

text: The series' episode, ""All That Jazz"", was edited into a 7-minute preview as part of the "A Sample of Boomerang" tape, from Cartoon Network's sister channel, Boomerang.


title: Top Cat

text: Episodes of the series were also released on Laserdisc in the United Kingdom by Guild Home Video, as well as Image Entertainment in the United States.


title: Top Cat

text: Warner Home Video released "Top Cat: The Complete Series" on DVD in Region 1 on December 7, 2004, as part of their Hanna-Barbera Classic Collection. This set was re-released by Warner Archive on January 10, 2017, albeit as a manufacture-on-demand (MOD) release. On June 6 of that year, "Top Cat" was re-released in stores again as part of the Hanna-Barbera Diamond Collection in honor of Hanna-Barbera's 60th anniversary; however, all bonus features were removed.


title: Top Cat

text: In the UK, the complete series box set was released in 2007, initially as a HMV exclusive until 2008. Alternatively, five single DVD volumes, each containing 6 episodes, were released. The covers were originally from the US edition but later re-released with a new design. Each volume shows a group picture of Top Cat using Dibble's phone with his gang beside him, but the colour-coding is:


title: Top Cat

text: The gang's adventures continued off-screen in comic books as Dell (which became Gold Key) published 31 issues from 1961 to 1970. Charlton Comics published 20 more issues from 1970 to 1973. In Mexico, Ediciones Latinoamericanas' "La Colección Primavera" featured Don Gato in 1968.


title: Top Cat

text: Top Cat had a backup story in "Adam Strange/Future Quest Annual #1" in where he escapes from prison and meets Batman through a cosmic portal. Unlike the cartoon, Top Cat is from a world where cats are the dominant species. As a follow-up, Top Cat also appears in one issue of a crossover series between DC and Hanna-Barbera, titled "Superman/Top Cat Special" (October 2018).


title: Top Cat

text: Little Golden Books and Durabooks have both produced hardcover children's books starring Top Cat. In the UK, World Distributors published annuals during the 1960s sourced from the Dell comics strips. BrownWatson later published a 1978 annual entitled "The Great Grape Ape and Boss Cat".


title: Top Cat

text: T.C. and friends appeared on three View-Master reels in 1962. These were titled "Medal for Meddling", "Zoo-Operation", and "No Cat Fishing".


title: Top Cat

text: The Original TV Soundtrack, written and recorded by Hoyt Curtin, was released by Colpix Records in 1962, consisting of slightly edited versions of "The Unscratchables" and "Top Cat Falls in Love". Hanna-Barbera Records released an LP in 1965 titled "Robin Hood Starring Top Cat". T.C. and the gang were pictured as Merry Men on the cover. Its songs included "Top Cat", "M-O-N-E-Y", "Dibble", "Robin Hood", and "Buddies". It was re-released in 1977 on Columbia Records' Special Products label. A jazzy arrangement of the "Top Cat" theme can be heard most weeks over the end credits of Bob Dylan's "Theme Time Radio Hour".


title: Top Cat

text: The titles and underscore were released as part of the CD release, "The Best of Hanna-Barbera: Tunes from the Toons" by Music Club in 2002 in Europe.


title: Top Cat

text: The series has spawned two theatrical films produced by Mexican animation studio, Ánima Estudios. Both films have grossed a combined total of $19.3 million (MX$166.35 million pesos).


title: Top Cat

text: The show premiered on the National Television Network (now known as the Nine Network) on October 5, 1962, and ran on the Nine Network until 1971.


title: Top Cat

text: "Top Cat" ("Turpi úrfi") was one of the first American cartoons premiered on Hungarian television channels in 1969. It also broadcast later with "The Huckleberry Hound Show", "Tom and Jerry", "Looney Tunes", "The Flintstones" and "The Jetsons" on Magyar Televízió from 1985 to 1990, and tv2 from 1997 to 1999 (together with "Wacky Races", "Scooby-Doo, Where Are You!" and "Scooby-Doo and Scrappy-Doo"). Boomerang began broadcasting it in Hungarian in 2012.


title: Top Cat

text: The show was dubbed to spanish in Mexico in 1963, using some of the same voice actors who worked in "The Flintstones". It was renamed "" (literally "Mr. Cat and his gang") and the main characters adopted different accents. The voice acting improved the show, adding new jokes and local references.


title: Top Cat

text: In spite of the modest success of the show in the United States, the show was a massive hit in Mexico, Chile, Peru, Venezuela and Argentina, where it is recognized as one of the most famous Hanna Barbera characters ever, being as popular as The Flintstones.


title: Top Cat

text: Besides Top Cat, all the other characters from the show were famous, and their popularity is commonly attributed by the excellent dubbing and voice acting:


title: Top Cat

text: The adaptation and translation was made by Rubén Arvizu. The main voice actors were Julio Lucena (voice of Top Cat), Jorge Arvizu (voice of Benny and Choo Choo), Víctor Alcocer (voice of Dibble), and David Reynoso, among others. "Top Cat" is still rerun every few years.


title: Top Cat

text: In Brazil, the character is known as "Manda-Chuva" (Brazilian Portuguese for "big shot") and was voiced by actor Lima Duarte. In addition, the city of New York was replaced by Brasília (federal capital) in the Brazilian version.


title: Top Cat

text: "Top Cat" was one of the early favorites on Cartoon Network. It was aired in India in the 1990s. Top Cat was aired again in 2003 until 2004.


title: Top Cat

text: "Top Cat" (Japanese: "ドラ猫大将") first aired on TV Asahi back in 1963 under the title translating to "Stray Cat Boss." It was then rebroadcast many times over the years. In 1990, A new dub was produced for VHS sold by Columbia Records and released under its original name in Katakana ("トップキャット"). This new dub was also carried over to airing on Cartoon Network Japan since its launch in 1997.


title: Top Cat

text: "Top Cat" (Sinhala: () literally "Crazy Cat") was one of the most popular cartoon shows in Sri Lanka early 1980s and it has been repeated several times on the national television channel "Rupavahini". The series is dubbed in Sinhala and directed by Titus Thotawatte.


title: Top Cat

text: "Top Cat" premiered on the BBC Television Service (now BBC One) on May 16, 1962, under its original name but after only four weeks was renamed "The Boss Cat" on June 13, 1962. This was shortened on 22 February 1967 to "Boss Cat". This rapid name change was made because Top Cat was also the name of a then-popular British brand of cat food, and the cartoon was aired on the BBC which does not carry advertising. The dialogue and theme tune still referred to the character by his original name, but a small cut was made at the climax of the opening credits (resulting in a slight jump in the film) and a title card carrying the revised title inserted before the episode proper. Similarly, the Top Cat name was edited from the final section of the show's closing credits, causing another slight jump (as Top Cat is putting on his eyeshades and readying himself for sleep in his trash can). The BBC run comprised only 26 of the original 30 episodes, with notable omissions including "Choo-Choo Goes Ga-Ga", with its repeated scenes of Choo-Choo attempting suicide. This 26-episode selection was repeated on the BBC from 1962 to 1989.


title: Top Cat

text: Despite the show being renamed "Boss Cat", the character's name was unchanged as Top Cat or the initials "TC". The "Boss Cat" title card was last used for a repeat run in 1989; by the time the series was next aired, in 1999, the Top Cat pet food brand had been discontinued in the United Kingdom, allowing the original US title sequence to be used. This continues to be the case in contemporary showings on satellite station Boomerang and BBC Two.


title: Top Cat

text: In 2016, the characters from the show (all the cats and Officer Dibble) were used as part of a set of television commercials for the British bank Halifax.


title: Shout at the Devil

text: Shout at the Devil is the second studio album by American heavy metal band Mötley Crüe, released on September 26, 1983. It was the band's breakthrough album, establishing Mötley Crüe as one of the top selling heavy metal acts of the 1980s. The singles "Looks That Kill" and "Too Young to Fall in Love" were moderate hits for the band.


title: Shout at the Devil

text: "Shout at the Devil" was Mötley Crüe's breakthrough success, selling 200,000 copies in its first two weeks. The album's title and the band's use of a pentagram caused a great deal of controversy upon its 1983 release, as Christian and conservative groups claimed the band was encouraging their listeners to worship Satan. The Pentagram was something Nikki Sixx brought with him from Sister, a very theatrical band he had been a member of (along with future W.A.S.P. vocalist Blackie Lawless) in the late 1970s prior to the formation of Mötley Crüe. Sister were the first L.A. band to fuse occult symbolism such as the Pentagram into a theatrical heavy metal show incorporating blood and facial makeup. Sixx asked Lawless for permission to use some of Sister's occult-related imagery for "Shout at the Devil", as at that point Lawless was intent on moving in a different direction. "I said 'take whatever you want' because at that point, I realised that with an image like that, you end up painting yourself in a corner and you can't get out," said Lawless.


title: Shout at the Devil

text: Just prior to returning home to Los Angeles to begin recording the album, Mötley Crüe was famously kicked off their support spot on Kiss' "Creatures of the Night" tour. The bands played only five shows together before Gene Simmons demanded they be replaced, citing their "bad behavior".


title: Shout at the Devil

text: During recording, bassist Sixx was involved in a serious car crash after drunkenly stealing a friend's Porsche in Los Angeles. At around the same time, actress and friend Demi Moore told Sixx he needed Alcoholics Anonymous, though Sixx dismissed her concerns. Sixx badly injured his shoulder in the crash and was prescribed Percocet, a combination of acetaminophen and the powerful opioid oxycodone which was commonly prescribed to treat severe short-term pain. Sixx's use of Percocet transitioned directly to a crippling addiction to heroin which would cost him $3,500 a day and almost claim his life later in the decade.


title: Shout at the Devil

text: As the band toured with Ozzy Osbourne in support of "Shout at the Devil", they discussed replacing guitarist Mick Mars. Mars was several years older than the other members of the band, and his bandmates were eager to add a more technically proficient guitarist in the vein of Yngwie Malmsteen. Bob Daisley, Osbourne's bassist, was present during the tour-bus discussion and told the band "do not try to fix something that isn't broken" when asked for his opinion. Daisley has said the band was serious at that time about replacing the guitarist.


title: Shout at the Devil

text: As the tour continued, the band was invited to take part in the 1984 Monsters of Rock festival supporting headliners Van Halen and AC/DC. Guitarist Eddie Van Halen was bitten by Vince Neil during a dinner, with drummer Tommy Lee also biting Malcolm Young at some point. Van Halen and Young were both reportedly furious over this behaviour. Lee also became involved in a fistfight with David Lee Roth which saw Mötley Crüe expelled from their hotel. AC/DC and Van Halen both subsequently demanded Mötley Crüe be removed from the bill, but the band's popularity at that time made such a move difficult. The promoter came up with an unusual solution: Mötley Crüe would enter their trailer immediately upon arrival at the concert venue, and a large crane would then lift the trailer several meters off the ground to prevent the band members from leaving and causing trouble prior to their performance. They would also be required to leave the concert venue immediately following their performance. "You apologized every day", said manager Doc McGhee of Mötley Crüe's behaviour during this period, which eventually resulted in him having to pay a $15,000 deposit before any hotel would allow the band to stay. McGhee also established a rule in which each band member would submit to him a list of everything they had destroyed in a hotel before he'd allow them to check out.


title: Shout at the Devil

text: It was an article published in the June 1984 issue of "Hit Parader" magazine that brought the band's shocking antics to national attention for the first time. Andy Secher, the magazine's editor, traveled to Mexico for an interview with the band and was shocked to find "this young woman, spread eagle on the bed, naked, and they're going at her with a wine bottle". Though Secher had to heavily sanitize the story before it could be printed, the depiction of the band's behaviour nonetheless shocked America and created a firestorm of controversy which saw some retailers threaten to remove the magazine from its shelves. The magazine not only survived, but soon saw its readership increase dramatically, with Secher saying "We happened to hit perfectly with Mötley Crüe. That June issue was on the stands in April, just when "Shout At The Devil" was peaking."


title: Shout at the Devil

text: "Looks That Kill" was a moderate hit for the band and played a large role in exposing the band to a wider audience. The music video produced for the song was shot over the course of an 18-hour day on the main sound stage at A&M Records in Los Angeles. Model Wendy Barry, who portrayed the "warrior princess" in the "Looks That Kill" music video, has said her experience with the band was very positive, describing Mötley Crüe as "all very nice. Really down-to-earth and fun", in stark contrast with their growing reputation for depravity. While Barry acknowledges the music video "generated a stir", she later said of it "I personally thought it was just a well-executed video as far as production, and the song was killer." A year later Barry would appear again with Sixx and Lee in the music video for Ratt's "Back For More".


title: Shout at the Devil

text: The song "Bastard" was targeted by Tipper Gore and the PMRC, who were behind the move to have warning labels placed on albums with lyrics or other content they found disturbing. According to Mick Mars, the song wasn't a call to violence but rather was about "a certain person that we used to work with that we felt we were stabbed in the back by."


title: Shout at the Devil

text: "Knock 'Em Dead, Kid" was inspired by a violent encounter between Sixx and a group of Hells Angels. Sixx somehow wound up in a fight with a group of bikers, even hitting one member in the face with a chain he had been wearing as a belt. The Hells Angels turned out to be undercover cops, and the bassist was subsequently badly beaten and jailed, resulting in a black eye and broken cheekbone. After being released from jail, he was inspired to write a song about the ordeal.


title: Shout at the Devil

text: The album also features a cover of The Beatles' 1968 song "Helter Skelter", a song that allegedly inspired cult leader Charles Manson. Sixx was not a Beatles' fan, referring to the band as "fucking wimpy", but he lists "Helter Skelter" and "The White Album" among his favorites of all time.


title: Shout at the Devil

text: In a contemporary review for "The Village Voice", Robert Christgau panned "Shout at the Devil" and felt the band's commercial appeal lay in false braggadocio on an album that is poor "even by heavy metal standards". "Rolling Stone"'s J. D. Considine found their style of rock formulaic, innocuous, and unoriginal: "The whole point of bands like Motley Crue is to provide cheap thrills to jaded teens, and that's where the album ultimately disappoints." In "The Rolling Stone Album Guide" (2004), he dismissed the music as "a distressingly mild-mannered distillation of Kiss and Aerosmith clichés". In 2017, the same magazine would later go on to rank the album at 44th, in the list of "The 100 Greatest Metal Albums of All Time". On the contrary, Dave Constable of "Metal Forces" wrote that Mötley Crüe had "possibly come up with the major label metal LP of '83."


title: Shout at the Devil

text: AllMusic's Barry Weber was more positive in a retrospective review, referring to the album as their best, displaying Mötley Crüe's "sleazy and notorious (yet quite entertaining) metal at its best." Canadian journalist Martin Popoff considered "Shout at the Devil" inferior to Mötley's debut album, but found its music extremely addictive if unoriginal, calling it "punk rocking lobotomy metal". Adrian Begrand of PopMatters called the album a sleazy and menacing "timeless L.A. metal classic". In his opinion, the album contained the band's best singles and "remains to this day Mötley Crüe's finest hour".


title: Shout at the Devil

text: Ultimate Classic Rock's Eduardo Rivadavia gave much praise to the album calling it the, "ultimate L.A. glam metal album", and called the band, "the first heavy metal band to truly cross over from the male to female audience, which automatically doubled the band’s fan-base-building prospects".


title: Shout at the Devil

text: "Without this album, a lot of the great hair metal bands wouldn't have come about," observed Satchel of Steel Panther. ""Theatre of Pain" was more of their glam look, but "Shout at the Devil" was such a great record. It was fuckin' sick. They set the bar. People looked at that and said, 'Fuck, we gotta dress up cool, man.'


title: Shout at the Devil

text: "Shout at the Devil" peaked at No. 17 on the "Billboard" 200. The singles "Looks That Kill" and "Too Young to Fall in Love", peaked at No.54 and No.90 respectively on the "Billboard" Hot 100 in 1984, while "Shout at the Devil" peaked at No. 30 on the Mainstream Rock chart. The album was awarded 4× Platinum (reaching the four million mark in shipments) on May 15, 1997.


title: Shout at the Devil

text: "When a band like us put out "Shout at the Devil"," Sixx observed in 2000, "and the label does zero marketing, zero publicity and takes zero trade adverts, and you sell five million records, then everybody starts patting themselves on the back. But it's Mötley Crüe that did that, not Elektra Records."


title: Shout at the Devil

text: In 2003, the band re-issued their albums on their own label Mötley Records, including added bonus tracks from each album's specific era. The bonus tracks of the remastered edition of "Shout at the Devil" are mainly composed of demos, but include also the previously unreleased song "I Will Survive", which was recorded in the same sessions. The song "Black Widow", included in the "Red, White & Crüe" compilation, was also recorded and left off this album. The track "Hotter than Hell" was later renamed and re-recorded into "Louder Than Hell" on the "Theatre of Pain" album. This edition also sports a warning that the album may contain masked backwards messages. This is in reference to Sixx and Lee chanting "Jesus is Satan" as an underdub on the title track.


title: Shout at the Devil

text: A limited edition "Mini-LP" Compact Disc version of the album was released in the Japanese market, featuring the original cover that was previously available only on the vinyl LP release.


title: Letrozole

text: Letrozole, sold under the brand name Femara among others, is an aromatase inhibitor medication that is used in the treatment of breast cancer.


title: Letrozole

text: It was patented in 1986 and approved for medical use in 1996. In 2020, it was the 257th most commonly prescribed medication in the United States, with more than 1million prescriptions.


title: Letrozole

text: Letrozole is approved by the United States Food and Drug Administration (FDA) for the treatment of local or metastatic breast cancer that is hormone receptor positive or has an unknown receptor status in postmenopausal women.


title: Letrozole

text: Tamoxifen is also used to treat hormonally-responsive breast cancer, but it does so by interfering with the estrogen receptor. However, letrozole is effective only in post-menopausal women, in whom estrogen is produced predominantly in peripheral tissues (i.e. in adipose tissue, like that of the breast) and a number of sites in the brain. In pre-menopausal women, the main source of estrogen is from the ovaries not the peripheral tissues, and letrozole is ineffective.


title: Letrozole

text: In the BIG 1–98 Study, of post-menopausal women with hormonally-responsive breast cancer, letrozole reduced the recurrence of cancer, but did not change survival rate, compared to tamoxifen.


title: Letrozole

text: Letrozole has been used for ovulation induction by fertility doctors since 2001, because it has fewer side-effects than clomiphene (Clomid) and less chance of multiple gestation. A study of 150 babies following treatment with either letrozole alone or letrozole and gonadotropins presented at the American Society of Reproductive Medicine 2005 Conference found no difference in overall abnormalities but did find a significantly higher rate of locomotor and cardiac abnormalities among the group having taken letrozole compared to natural conception. A larger, follow-up study with 911 babies compared those born following treatment with letrozole to those born following treatment with clomiphene. That study also found no significant difference in the rate of overall abnormalities, but found that congenital cardiac anomalies was significantly higher in the clomiphene group compared to the letrozole group. Despite this, India banned the usage of letrozole in 2011, citing potential risks to infants. In 2012, an Indian parliamentary committee said that the drug controller office colluded with letrozole's makers to approve the drug for infertility in India and also stated that letrozole's use for infertility was illegal worldwide; however, such off-label uses are legal in many countries such as the US and UK.