title: Hindi Medium

text: After the success of "Hindi Medium", a sequel to the film was planned. Regarding the success of the film, producer Vijan told "Mid-Day", "The response we have got is phenomenal. The entire unit of "Hindi Medium", including Irrfan and Saba, who look cool as a couple on-screen, should be repeated in a film. There is definitely scope for a sequel. We would certainly explore it." On 24 January 2018, Vijan confirmed the sequel to Times Now. He said, "We have just finished typing the second part", with "Just finishing touches are being put", however, "I think you will have to wait for an official announcement for that."


title: Hindi Medium

text: On 30 March 2019, it was announced that Kareena Kapoor has been added to the cast of the sequel to play the role of a police officer and filming will start from April. On 5 April, the sequel's title was announced as "Angrezi Medium" and filming began in Udaipur. This was completed in July. On 17 February 2020, the film's release date was changed to 13 March 2020 from the earlier release date of 20 March. This film marked Irrfan Khan's final film before his death on 29 April 2020.


title: Manuel Akanji

text: Manuel Obafemi Akanji (born 19 July 1995) is a Swiss professional footballer who plays as a defender for club Manchester City and the Switzerland national team.


title: Manuel Akanji

text: Born in Neftenbach, Akanji began his youth career with the local club in Wiesendangen. In May 2007, Akanji changed clubs and was a youth-team player for FC Winterthur, featuring for their Under-18 team and later with their second team. In the 2014–15 Challenge League, he became a regular starter for Winterthur having played two games for them during the second half of the 2013–14 season.


title: Manuel Akanji

text: On 15 April 2015, it was announced that Akanji would transfer to Basel for the 2015–16 Super League season. He made his Swiss Super League debut on 26 September 2015 being substituted in against FC Lugano. Under trainer Urs Fischer, Akanji won the Swiss Super League championship at the end of the 2015–16 Super League season and at the end of the 2016–17 Super League season for the second time. For the club this was the eighth title in a row and their 20th championship title in total. They also won the Swiss Cup for the twelfth time, which meant they had won the double for the sixth time in the club's history.


title: Manuel Akanji

text: As Swiss Champions, Basel qualified for the 2017–18 UEFA Champions League and started in the Group stage. Akanji played in all six games over the full 90 minutes and helped the team finish in second group position, thus qualifying for the next round. On 15 January 2018, Basel announced that Akanji had transferred to Borussia Dortmund.


title: Manuel Akanji

text: Akanji transferred to Borussia Dortmund on 15 January 2018 during the winter transfer window for a reported fee of 18 million euros. He signed a four and a half year contract dated until June 2022. On 27 September, Akanji scored his first goal for the club and his first Bundesliga goal in a 7–0 victory over 1. FC Nürnberg. Akanji was widely criticised for his costly errors during Dortmund's failed challenge to Bayern during the 2019–20 season. Akanji was one of the main players singled out as a weak link in the team.


title: Manuel Akanji

text: On 1 September 2022, Akanji joined Premier League champions Manchester City, signing a contract until 2027 for a reported fee of £15 million. He made his debut for City five days later, starting in a 4–0 away win over Sevilla in the UEFA Champions League group stage. He made his Premier League debut on 17 September, starting in a 3–0 away win over Wolverhampton Wanderers. He was voted the Etihad player of the month for October.


title: Manuel Akanji

text: Akanji made two appearances for the Switzerland U-20 national team. His debut was on 7 September 2014 in the 0–0 draw against the German U-20 national team. From 2014, he was a member of the Switzerland U-21 team and made his debut for them on 26 March in the 0–3 defeat by the Italian U-21 team. Akanji made his debut in the senior team in the 2–0 win against Faroe Islands in the 2018 World Cup qualification match on 9 June 2017. He played the entire 90 minutes. He was included in the Swiss team's 23 man squad for the 2018 World Cup in Russia.


title: Manuel Akanji

text: In May 2019, Akanji played in 2019 UEFA Nations League Finals, where his team finished fourth. In 2021, he was called up to the national team for UEFA Euro 2020.


title: Manuel Akanji

text: Akanji scored his first senior international goal against Spain in a 2–1 UEFA Nations League victory on 24 September 2022.


title: Manuel Akanji

text: Akanji scored the only goal for the Switzerland national team in a 6–1 loss to Portugal in the FIFA World Cup 2022 on 7 December 2022.


title: Manuel Akanji

text: Akanji was born in Neftenbach, Switzerland to a Swiss mother and a Nigerian father. He has two sisters, one of which (Sarah) is a football player and politician for the Social Democrats.


title: Manuel Akanji

text: In 2017, already a professional player, he completed his vocational training as a tradesman (″Kaufmann″). In Swiss TV in 2018 he showed excellent skills at mental calculation.


title: Masaaki Yuasa

text: Yuasa spent much of the 2000s and early 2010s working in television directing, helming a trio of series, "Kemonozume" (2006), "Kaiba" (2008), and "The Tatami Galaxy" (2010), before releasing the crowdfunded short film "Kick-Heart" (2013). During the production of "Kick-Heart", Choi proposed the establishment of Science SARU, and the resultant works created at the studio, combined with increased international distribution, led to mainstream breakout successes in the 2010s and saw Yuasa rise to prominence as one of Japan's foremost independent creators. At Science SARU, Yuasa focused on directing both television and feature film productions, starting with an episode of the American animated series "Adventure Time" (2014);, and continuing with "Ping Pong the Animation" (2014), "The Night Is Short, Walk On Girl" (2017), "Lu Over the Wall" (2017), "Devilman Crybaby" (2018), "Ride Your Wave" (2019), "Super Shiro" (2019), "Keep Your Hands Off Eizouken!" (2020), "Japan Sinks: 2020" (2020), and "Inu-Oh" (2021).


title: Masaaki Yuasa

text: Yuasa's productions have won international critical acclaim, receiving awards from Annecy, the Japan Academy Film Prize, the Mainichi Film Awards, and the Japan Media Arts Festival. In recognition of his collective career accomplishments, he has been recognized by the Japanese government and received the Medal of Honor with Purple Ribbon, as well as the Agency for Cultural Affairs' Cabinet Minister Award for Media Fine Arts.


title: Masaaki Yuasa

text: Yuasa's latest project is the musical drama feature film "Inu-Oh", which premiered at the Venice International Film Festival in September 2021 and was released worldwide in August 2022.


title: Masaaki Yuasa

text: Masaaki Yuasa was born on March 16, 1965 in Fukuoka, Japan. As a child, Yuasa liked animation, and as early as his kindergarten years found he could entertain classmates with his drawings. Despite pressure to abandon animation and move onto more serious interests as he grew to adolescence, Yuasa was encouraged by the early boom of Japanese animation aimed at adults spurred by the success of "Space Battleship Yamato", and this led him to continue drawing. He graduated from Kyushu Sangyo University with a degree in fine arts and a focus on oil painting. During his college years, Yuasa worried he would not be able to make a living as an animator, but continued to study television animation as it aired and familiarize himself with animators whose personal styles resonated with him.


title: Masaaki Yuasa

text: In his youth, Yuasa was initially drawn to the television animation series "Mazinger Z" (1972–1974) and "Space Battleship Yamato" (1974–1975). A crucial influence which led Yuasa to work in the industry was Hayao Miyazaki's landmark feature film debut "Lupin III: The Castle of Cagliostro" (1979). In the 1980s, Yuasa began to focus on the study of individual animators, namely Takashi Nakamura and his work on "Golden Warrior Gold Lightan" (1981–1982). He also studied international animation, with particular influences being the works of Tex Avery, the British film "Yellow Submarine" (1968), "The King and the Mockingbird" (1980) by French filmmaker Paul Grimault, and Glen Keane's animation work on the climactic fight sequence in "The Fox and the Hound" (1981). Outside of animation, Yuasa was also influenced by the art of Salvador Dalí.


title: Masaaki Yuasa

text: I get inspired with a lot of things I see, hear, smell, and touch in everyday life... I often derive inspiration even from really modest visuals; a commercial, a cut from a movie, a movement from an anime as well as nameless flowers and grasses blooming on the road, clouds, stars, and moons in the sky. I’m also inspired with what I’m currently interested in and feeling. My humble wish for creating anime is to have common images, conversations, and scenes sublimed into art works.


title: Masaaki Yuasa

text: Upon graduation, Yuasa sought work by consulting recruitment advertisements published in the animation magazine "Animage". After answering an advertisement posted by Ajia-do, he was hired by the studio as an inbetween animator. Yuasa initially struggled and came to believe he lacked talent and therefore had no future in the business. After an illness, he contemplated quitting, but lacking a good opportunity to actually do so, he continued on. A key turning point in his perception of his artistic skills came during his transition from drawing inbetween animation, which requires clean, uniform lifework that is consistent from artist to artist, to drawing key animation, which establishes the key poses of motion and are more reflective of the individual sensibilities of movement of each artist. Yuasa's natural drawing style was fast, intuitive, and rough; it lacked the fine lines emphasized for inbetweening. As a result, when Yuasa became a key animator, he was able to utilize his rougher line style for greater personal expression and began to make a name for himself. During this time, Yuasa also received encouragement and advice from Ajia-do's co-founder Osamu Kobayashi, a veteran animator with decades of experience. Kobayashi told Yuasa that he could not consider himself a master of animation unless he utilized abstract drawings as part of his movement; though these individual frames are not distinguishable in the blur of completed motion, they subconsciously influence viewer perception of the motion and the scene as a whole. The advice synchronized with Yuasa's own study of international animation techniques, and increasingly, he integrated them into his work. Yuasa was also advised by another co-founder of Ajia-do, animator and director Tsutomu Shibayama, who served as a mentor and gave him formative artistic guidance.


title: Masaaki Yuasa

text: Yuasa earned his first significant credits as a key animator in 1990 on the landmark television series "Chibi Maruko-chan" (1990–1992), which Ajia-do worked on as a subcontractor studio. Based on a popular manga, "Chibi Maruko-chan" was a major hit and provided opportunities for Yuasa to refine his skills. His next breakthrough came with the film "Chibi Maruko-chan: My Favorite Song" (1992), on which he was entrusted with two musical sequences. Yuasa storyboarded the sequences, the first time he'd taken on this responsibility, and was able to animate them in his own characteristic style; he later identified these segments as the first time that appreciation of his work by fellow artists led him to view his own work as good.


title: Masaaki Yuasa

text: In 1992, the next major step in Yuasa's animation career occurred when he joined the production team of the long-running and immensely popular series "Crayon Shin-chan" (1992–present). Consisting of a television series, numerous television specials, and annual theatrical film releases, the "Crayon Shin-chan" franchise quickly became a massive undertaking with continuous work and production opportunities. Working under the guidance of supervising director Mitsuru Hongo, Yuasa took on a variety of roles within the franchise's many television and film productions, including key animation, storyboarding, set and background design, prop and vehicle design, and contribution of story concepts and ideas. Yuasa quickly became a specialist at imagining, designing, and animating the inventive visual climaxes of the annual "Crayon Shin-chan" films, a practice he continued for nearly a decade. It was during his work on "Crayon Shin-chan" that Yuasa at last found enjoyment in his artistic work, as well as his first desire to become a director. That same year, Yuasa had his first chance to direct with an episode of the original video animation (OVA) series "Anime Rakugo Kan" (1992). Yuasa directed the third episode of the series, entitled "The Squash Seller". Stylistically, the episode reflected Yuasa's admiration for the animation created by Kobayashi and Shimoyama earlier in their careers, and thus had a different visual aesthetic than Yuasa's later works. More than just an homage, the episode reflected a continuation of Yuasa's personal artistry; though he initially thought he would develop a completely different style, in the end, he incorporated elements of Kobayashi and Shimoyama's animation into his own.


title: Masaaki Yuasa

text: 1994 saw two significant developments in Yuasa's animation career: leaving Ajia-do to become a freelance animator, and participating as an animation director on the fourth episode of the landmark OVA series "The Hakkenden: A New Saga" (1993–1995). Based on the epic historical novel "Nansō Satomi Hakkenden" (1814–1842) and animated in a serious, realistic style, "The Hakkenden" was a unique challenge to Yuasa, who until that point had worked on comedic works with a loose, free-flowing visual aesthetic. This resulted in initial mistrust of Yuasa by the production team at AIC, the studio responsible for the series. However, Yuasa had been invited to join the production by episode director and maverick animator Shinya Ohira, who after seeing his work on "Crayon Shin-chan" sought him out and placed him in a position of responsibility for overseeing the animation on his episode of the series, entitled "Hamaji’s Resurrection". Although the production was chaotic due to a compressed schedule which did not allow sufficient time for ensuring the visual coherence traditionally prized in animation, the result was a distinctive episode with an emphasis on realism, moving camera techniques, and expressive attention to small character acting details. As a result of this work, Ohira collaborated with Yuasa on subsequent productions. "Hamaji's Resurrection" generated considerable conversation within Japan's animation industry, was cited as one of the most important Japanese animated productions of the 1990s, and described as a masterpiece of Japanese animation.


title: Masaaki Yuasa

text: Following the success of "Hamaji's Resurrection", Yuasa continued working as a freelance animator for the remainder of the 1990s, including work on the Studio Ghibli feature film "My Neighbors the Yamadas" (1999). This freelance work brought additional early directorial and supervisory opportunities. These included the television pilot film "Vampiyan Kids" (1999), which Yuasa directed and storyboarded; the short film "Slime Adventures: Yay, the Sea!" (1999), based on the popular "Dragon Quest" franchise, which Yuasa directed; and the acclaimed short film "Cat Soup" (2001), on which he served as screenwriter and animation producer. "Cat Soup" was a critical success, winning an Excellence Award for animation at the Japan Media Arts Festival. The "Cat Soup" project in particular served as a springboard for Yuasa to move fully into the directorial phase of his career.


title: Masaaki Yuasa

text: Yuasa's opportunity to move into feature film directing came when Eiko Tanaka, the co-founder and CEO of Studio 4°C, requested Yuasa adapt the Robin Nishi manga "Mind Game". Although the manga was little-known by the general public, several prominent staff members of Studio 4°C were passionate about the title, and studio co-founder Kōji Morimoto had previously introduced Yuasa to the series. Yuasa felt the material suited him and agreed to direct the project. The production utilized an experimental visual sensibility, incorporating a variety of illustrated styles and including the use of live-action footage. Yuasa was inspired to make use of this combination of styles in order to preserve the feeling of the original manga, which was drawn in a rough, visual-gag style. In Yuasa's words, "I wanted it to look as though we hadn’t worked very hard on it, though of course we had." Although the film's story stuck closely to that of the original manga, Yuasa made one significant change: he altered the ending to be more positive for all of the characters, not only the protagonist. The intent of this change would be reflected in Yuasa's future works: a desire to create positive stories, where passionate action results in the culmination of dreams and desires.


title: Masaaki Yuasa

text: Produced on a small budget, the making of "Mind Game" took two years and nine months from planning to completion. The production was also Yuasa's first project with frequent artistic collaborator Nobutake Ito, who was tasked with animating the film's climactic sequence; Ito would subsequently serve as a character designer and animation director on many of Yuasa's later projects. "Mind Game" was released in 2004 but did not achieve commercial success; following the release of the film, Yuasa struggled to find producers who would support him. However, "Mind Game" went on to become a cult hit and achieved widespread global critical acclaim, winning the Mainichi Film Awards' Ōfuji Noburō Award, the Japan Media Arts Festival Grand Prize for Animation, and the Fantasia International Film Festival awards for Best Film, Director, Screenplay, and Visual Accomplishment, as well as the Audience Award for Best Animated Film. Upon the film's eventual release in the United States, "Mind Game" achieved a 100% rating on the review aggregator Rotten Tomatoes.


title: Masaaki Yuasa

text: Following the release of "Mind Game", Yuasa's next directorial opportunity came when Masao Maruyama, the co-founder of Madhouse, provided a unique chance. Maruyama, who over his decades in the business had developed a reputation for making animated projects that no other producer would consider, offered Yuasa the chance to direct television series' at Madhouse. Moreover, Maruyama used his power as a veteran producer to push the television networks to take risks, allowing Yuasa creative freedom and the opportunity to make precisely the sort of content that he wanted to make. The first of these projects was the original horror romance series "Kemonozume" (2006), which Yuasa created, directed, and wrote. The production marked a significant development in Yuasa's career, as it resulted in him meeting a key collaborator: South Korean artist Eunyoung Choi, who had recently moved to Japan to become an animator. Choi's work on "Kemonozume" as a key animator and episode animation director won praise from fellow animators and fans, and led to her participation in Yuasa's subsequent projects. "Kemonozume" was awarded a Jury Selection Prize at the Japan Media Arts Festival, continuing Yuasa's run of critical successes.


title: Masaaki Yuasa

text: Before beginning his next project at Madhouse, Yuasa briefly returned to Studio 4°C to direct a short film for the studio's anthology project "Genius Party" (2007). The film, entitled "Happy Machine", centered on an infant's travels through a mysterious and dangerous world. Produced with a small crew of just four key animators, "Happy Machine" represented a continuation of the development of Yuasa's surreal visual style, winning acclaim both for its atmospheric sense of wonderment, and for Yuasa himself as a leader of Japan's experimental animation scene.


title: Masaaki Yuasa

text: The following year Yuasa helmed his next television production at Madhouse, the original sci-fi drama series "Kaiba" (2008), which he created, directed, and wrote. The project saw an expansion of the collaboration with Eunyoung Choi, who directed and storyboarded episodes of the series, as well as co-writing an episode with Yuasa. A narratively-ambitious series dealing with memory, identity, and societal inequality, "Kaiba" received an Excellence Award at the Japan Media Arts Festival, and earned positive critical attention for its dreamlike visuals and imaginative story, with particular focus on the emotional impact generated from combining childlike imagery with mature themes and at times devastating loss.


title: Masaaki Yuasa

text: In 2010, Yuasa completed his third and final television series at Madhouse, the absurdist psychological dramedy "The Tatami Galaxy" (2010). Adapted from a novel by Tomihiko Morimi, the series follows the misadventures of a nameless student who, via supernatural means, repeatedly relives his final year at college in an attempt to achieve his idealized conceptions of romance and happiness. After being approached with the opportunity to adapt the novel, Yuasa quickly saw the story's appeal and agreed, though the project presented challenges in transferring the witty, dialogue-intensive style of the original work into a visual medium. To capture the appeal of the novel, Yuasa emphasized the use of rapid-fire editing and fast-paced dialogue, in order to convey the protagonist's stream of consciousness narration. Unlike the earlier "Kemonozume" and "Kaiba", which aired on the satellite television network WOWOW, "The Tatami Galaxy" was broadcast on national television via Fuji TV's Noitamina programming block. The broadcasting deal with Fuji TV marked the start of an ongoing relationship with producer Kōji Yamamoto, who served as the chief producer of Noitamina before leaving to found his own development company Twin Engine; this relationship would cover the release of several later projects over the following decade. "The Tatami Galaxy" was an immediate critical success, winning both the Japan Media Arts Festival Grand Prize for Animation, as well as the Award for Outstanding Television Animation at the Tokyo Anime Awards Festival. As the first of Yuasa's projects to receive a streaming release in North America, the series helped increase awareness of his work globally, and was subsequently named one of the best Japanese animated series of the decade.


title: Masaaki Yuasa

text: Following the completion of "The Tatami Galaxy", Madhouse was acquired by the broadcasting media conglomerate NTV. The studio's corporate culture underwent change, and Madhouse's creative head Masao Maruyama left to found a new production company. Yuasa once again sought opportunities with other studios, including briefly joining the production of the A-1 Pictures film "Welcome to the Space Show" (2010), for which he directed and animated a short sequence. He also directed the short series "Shin-men" (2010–2012), a group of special episodes embedded within the main "Crayon Shin-chan" television series.


title: Masaaki Yuasa

text: Yuasa took advantage of the conclusion of his work at Madhouse to reunite with collaborator Eunyoung Choi, who had left Madhouse after working on "The Tatami Galaxy" to lead Ankama Japan, a Japan-based subsidiary of the French entertainment and animation company Ankama. The newly-opened studio combined techniques of traditional hand-drawn animation with digital animation created via Adobe Animate and other programs, a new approach which Yuasa had not previously used. The studio was not only an international business enterprise, but a creative one as well, with 25 European animators working in the Tokyo-based studio. In a reversal of their prior roles, Yuasa joined a project which Choi had organized, an episode of the company’s "Wakfu" animated series entitled "Noximilien the Watchmaker" (2010); Choi directed the episode, while Yuasa served as character designer. Shortly after completion of the episode, the 2011 Tōhoku earthquake and tsunami occurred and Ankama closed the Japan studio. However, the experience at Ankama Japan, which mixed an international animation crew with a production method utilizing both traditional and digital animation, served as a model for Yuasa and Choi's later studio, Science SARU.


title: Masaaki Yuasa

text: Yuasa and Choi continued their collaboration on their next project, the crowdfunded short film "Kick-Heart" (2013), which Yuasa directed and wrote, and for which Choi served as assistant director. An unlikely love story revolving around a masochistic male wrestler and his sadistic female opponent, the film was produced at Production I.G and was the first large-scale Japanese animated project to be successfully crowdfunded on Kickstarter, raising over $200,000 from more than 3,200 backers worldwide. The film received a pair of unannounced surprise screenings on Cartoon Network's Toonami programming block which achieved viewer ratings of 708,000 and 618,000, and earned positive reviews for its colorful visual storytelling. "Kick-Heart" was an official competition selection at Annecy, was awarded a Jury Selection Prize at the Japan Media Arts Festival, and won the prize for Best Animated Short Film at the Fantasia Festival.


title: Masaaki Yuasa

text: During the production of "Kick-Heart", Choi proposed establishing a studio with Yuasa. In February 2013, the new company was established under the name Science SARU. Yuasa and Choi settled on the name, which translates into English as "Science Monkey", in an attempt to combine both an international, technological focus (the 'Science' portion of the name, rendered in English), with a Japanese, traditional animation identity (the 'SARU' portion, rendered in Japanese). Additionally, Yuasa, who frequently drew himself as a monkey in self-portraits, wanted the studio to be smarter than an ape; as a result, he added the word "Science" in front of "SARU" with the intent of having a company that possesses both instinct and intelligence. The studio's first production location was a small suburban house converted into an impromptu workspace; by the end of 2013, the company had expanded to a staff of five.


title: Masaaki Yuasa

text: Yuasa's new studio began its corporate activities by taking on subcontracting work, as well as by collaborating with other companies. Science SARU's first project was an episode of the American television series "Adventure Time"; the episode, entitled "Food Chain" (2014), was directed by Yuasa, co-directed by Choi, and produced entirely in-house. "Food Chain" received critical acclaim as one of the best episodes of the series, was an official competition selection at Annecy, and was nominated for the Annie Award for Outstanding Television Direction.


title: Masaaki Yuasa

text: Later the same year, Yuasa returned to television series direction with an adaptation of Taiyō Matsumoto's sports manga "Ping Pong the Animation" (2014). In addition to directing the series, Yuasa wrote and storyboarded all of the episodes. Science SARU provided 'digitally assisted' animation production services, while Tatsunoko Production served as the primary studio. The series also reunited Yuasa with his old animation collaborator Shinya Ohira, who contributed the opening credits sequence. A major critical success, the series was highlighted as one of the best Japanese animated series of the decade. "Ping Pong the Animation" was awarded a Jury Selection Prize at the Japan Media Arts Festival, and won the Grand Prize for Television Animation at the Tokyo Anime Awards Festival; additionally, character designer and longtime collaborator Nobutake Ito won the Best Animator award for individual achievement.


title: Masaaki Yuasa

text: Yuasa finished 2014 by directing an episode of the BONES television series "Space Dandy" (2014). The episode, entitled ""Slow and Steady Wins the Race, Baby"", was jointly produced by BONES and Science SARU and received critical acclaim.


title: Masaaki Yuasa

text: By early 2016, Science SARU had gained experience and was ready to undertake large-scale projects. The studio's first feature film production, the family-friendly fantasy film "Lu Over the Wall" (2017), was produced in less than 16 months using 'digitally assisted' animation techniques. Yuasa directed and co-wrote "Lu Over the Wall"; it was his first feature film with an original story. The film features the importance of self-expression as a central theme; Yuasa emphasized this aspect of the story in hopes of encouraging young people in Japan, who he felt were often not able to express their true feelings and emotions. Yuasa also decided to focus this project on a family audience out of a desire to return to the sensibility of his earlier works as an animator, including "Crayon Shin-chan" and "Chibi Maruko-chan".


title: Masaaki Yuasa

text: During the production of "Lu Over the Wall", Yuasa was offered the opportunity to produce a second feature film, the comedy romance "The Night Is Short, Walk On Girl" (2017), based on the novel by Tomihiko Morimi. The offer served as a unique chance for Yuasa, who had previously hoped to adapt the novel in 2010 after the completion of "The Tatami Galaxy", but due to circumstances at the time was unable to. When he was given another chance in 2016, he immediately agreed and made use of the preparatory work he had done when initially offered the project. The film reunited a majority of the key creative staff who had worked on "The Tatami Galaxy", with the story serving both as a spiritual successor and as a parallel narrative to the earlier series. The timing of the project resulted in the pre-production work on "The Night is Short, Walk On Girl" overlapping with the post-production of "Lu Over the Wall". Although "Lu Over the Wall" was completed first, it was released after "The Night is Short, Walk On Girl"; this was in part due to a marketing suggestion that it might be preferable for the studio's first film to be based on a pre-existing property familiar to Japanese audiences.


title: Masaaki Yuasa

text: Both "Lu Over the Wall" and "The Night is Short, Walk On Girl" received immediate critical acclaim. "Lu Over the Wall" received the Annecy Cristal du long métrage, the Mainichi Film Awards' Ōfuji Noburō Award, and the Japan Media Arts Festival Grand Prize for Animation. "The Night is Short, Walk On Girl" was awarded the Japan Academy Film Prize for Animation of the Year, the Ottawa International Animation Festival Grand Prize for Best Animated Feature, a Jury Selection Prize at the Japan Media Arts Festival, and has been listed as one of the best Japanese animated films of the decade.


title: Masaaki Yuasa

text: In 2018, Yuasa achieved widespread international recognition following the release of his prior feature film works, as well as the debut of a landmark new series. The beginning of the year saw "Mind Game", "Lu Over the Wall", and "The Night is Short, Walk On Girl" licensed for North American release by acclaimed animation distributor GKIDS. However, even more important for Yuasa's international prominence was the release of the Netflix series "Devilman crybaby" (2018), based on the manga by Go Nagai. Yuasa had been a fan of the original manga since childhood, but had never dreamed he would have the opportunity to adapt it. Among his key creative decisions in adapting the story were to depict the sexual and violent content in an unrestricted way that was not possible when the manga was initially published, and to update the juvenile delinquent characters of the original as young rappers who use music to speak their minds freely. "Devilman crybaby" was an immediate and massive international hit; with 90% of its viewers outside Japan, the series achieved the largest global audience for both Yuasa and Science SARU to that date. The series inspired internet memes, was profiled by YouTuber PewDiePie, and was widely discussed on Twitter. The series was nominated in 7 categories at the Crunchyroll Anime Awards and won for Anime of the Year and Director of the Year, was awarded a Jury Selection Prize at the Japan Media Arts Festival, was cited by "Vulture" as containing one of the 100 most influential sequences in global animation history, and was listed as one of the best Japanese animated series of the decade.


title: Masaaki Yuasa

text: In 2019, Yuasa directed his next feature film, the romance "Ride Your Wave" (2019). An original story, the film centers on an unlikely couple who are able to come together despite heartbreak, and deals with meditative themes of loss. Despite the success of "Lu Over the Wall", following completion of that film, Yuasa grappled with the same lack of confidence in his work that had marked his earlier career. He felt that depicting a story with two characters who lacked self-confidence, but were able to overcome this and other obstacles by accepting risk and riding the metaphorical waves of life, would be meaningful to both audiences and himself. "Ride Your Wave" received worldwide critical acclaim. The film was an official competition selection at Annecy, was nominated for the Mainichi Film Award for Best Animation Film, was nominated for Annie Awards in the categories of Best Indie Feature and Outstanding Feature Film Direction, received a Jury Selection Prize at the Japan Media Arts Festival, and won Best Animated Feature Film awards at the Shanghai International Film Festival, Fantasia International Film Festival, and Sitges Film Festival.


title: Masaaki Yuasa

text: Also in 2019, Yuasa served as director of the series "Super Shiro" (2019–2020), an installment of the popular "Crayon Shin-chan" franchise. Yuasa collaborated on directorial duties with veteran animator Tomohisa Shimoyama, who made his directorial debut with the series. The project, animated at Science SARU and produced in association with main "Crayon Shin-chan" studio Shin-Ei Animation, served as a culmination of Yuasa's long and enduring association with "Crayon Shin-chan" which dated back to his years as an animator. The series was distributed via streaming and broadcast in Japan and throughout the Asia-Pacific region, excluding China. The end of the year saw the 2010s heralded as Masaaki Yuasa's "breakout decade"; collectively, "Devilman crybaby" and the release of Yuasa's films in the United States led to him being acknowledged as one of the most important and exciting directors in animation.


title: Masaaki Yuasa

text: In 2020, Yuasa directed the comedy television series "Keep Your Hands Off Eizouken!" (2020), based on the manga by Sumito Ōwara. The series revolves around three high school girls who create animation as passionate amateurs. Prior to the project being proposed, Yuasa had discovered the manga after seeing comments from fans online suggesting that he adapt the title. The production encouraged members of the Science SARU staff, including Yuasa, to share their own experiences about creating animation, all of which added to the story. The series boosted sales of the original manga, inspired internet memes, and won the Japanese Broadcast Critics Association's monthly Galaxy Award during its broadcast run. Following the conclusion of the broadcast, "Keep Your Hands Off Eizouken!" received critical acclaim as one of the best Japanese animated series of both the season that it aired and the year as a whole, and was recognized by "The New York Times" and "The New Yorker" as one of the best television series of 2020. The series was nominated in 10 categories at the Crunchyroll Anime Awards and won for Director of the Year and Best Animation, was awarded the Grand Prize for Television Animation at the Tokyo Anime Awards Festival, and received the Japan Media Arts Festival Grand Prize for Animation.


title: Masaaki Yuasa

text: Later that year, Science SARU produced the Netflix series "Japan Sinks: 2020" (2020), based on the disaster novel by Sakyo Komatsu. Yuasa directed in conjunction with Pyeon-Gang Ho, who made her directorial debut with the series. The project represented a unique challenge for Science SARU in that it depicted serious subject matter in a more realistic style. Central to Yuasa's conception of the series were the immediacy of focus on a single family amid national catastrophe, as well as the idea of societal reincarnation, where the process of breaking and rebuilding can yield something better than what came before. The series attracted criticism within Japan for its condemnation of Japanese nationalism, but also received positive attention for its multiculturalism and inclusiveness, and was named as one of the best anime series of 2020. The first episode of the series was awarded the Annecy Jury Prize for a Television Series, and the series as a whole received two nominations at the Crunchyroll Anime Awards. A film compilation version of the series was subsequently released in Japanese theaters in November 2020, and was awarded a Jury Selection Prize at the Japan Media Arts Festival.


title: Masaaki Yuasa

text: On March 25, 2020, Yuasa stepped down as president and representative director of Science SARU. He cited his desire to take a break from directing after seven years of continuous work, but reaffirmed his commitment to completing additional projects with Science SARU in the future. Eunyoung Choi subsequently became CEO and president of the studio. She likewise affirmed Yuasa's continued involvement with the studio as a creator. Yuasa spoke further about his planned break from directing in September 2021, stating that he was "taking a break to study" during his time away from active production.


title: Masaaki Yuasa

text: In early 2021, Yuasa was recognized by the Japanese government's Agency for Cultural Affairs, which awarded him the Cabinet Minister Award for Media Fine Arts for his career achievements. Yuasa thanked the creative collaborators, artistic staff, and cast members of his works, saying that they shared jointly in the honor. Later that year, Yuasa was further recognized with the Medal of Honor with Purple Ribbon by the Japanese government in recognition of his distinguished contributions to artistic and cultural development.


title: Masaaki Yuasa

text: Yuasa's latest project is the musical drama "Inu-Oh" (2021), based on the novel by Hideo Furukawa. Set in 14th Century Japan, the story centers on a blind musician and a Noh actor afflicted by a terrible curse; Yuasa's goals with the film were to portray both characters as historical equivalents of modern-day pop stars, and to utilize the themes of the narrative to highlight people marginalized by society. The film features character designs by "Ping Pong" creator Taiyō Matsumoto, is produced by Science SARU, and was licensed for North American theatrical and home-video distribution by GKIDS. The film made its world premiere at the Venice International Film Festival in September 2021, and a worldwide theatrical release followed in August 2022. "Inu-Oh" earned Yuasa the best reviews of his career and achieved universal critical acclaim during its international film festival run. The film won the won the Best Animated Feature Film award at the Fantasia International Film Festival, the Bucheon International Animation Festival's Special Distinction Prize for an International Feature Film, and was nominated for the Golden Globe Award for Best Animated Feature Film.


title: Masaaki Yuasa

text: Yuasa's works have been described as emphasizing love, kindness, and acceptance. The importance of communication, self-expression, and the ability to reveal one's true feelings are themes that Yuasa has repeatedly expressed and highlighted as central to his works. Yuasa feels a particular affinity for intensely-felt love stories; in portrayals of sex and eroticism, he seeks to visualize the emotions his characters are experiencing, and to understand how their desires would be expressed. In depicting emotions, Yuasa's intent is to maintain realism and authenticity, but the visuals through which the emotions are represented can be expressionistic; moreover, it is Yuasa's view that characters who move freely and unrestrained by strict realism can express a greater and more faithful range of emotionality. Transformation is also a central and recurring motif, whether utilized for the frightening body horror of "Kemonozume" and "Devilman: crybaby", the visualization of life cycles in "Food Chain", the unexpected transformation of a dog into a superhero of "Super Shiro", the magical shapeshifting of "Lu Over the Wall", or the societal renewal of "Japan Sinks: 2020". Yuasa's male protagonists have been described as quintessentially aimless, hapless, and afraid to communicate honestly, but who are able to find their voice over the course of the story. While female characters in his earlier works received some criticism for not being as well developed, Yuasa's later works have received recognition for strong, independent female protagonists who are neither defined nor restricted by gender assumptions. Generational issues are also presented in Yuasa's works, with a recurring theme of young people utilizing acceptance and positivity to help the older generation overcome fears that have caused pain and discrimination in the past. A representative and humanistic identification with people marginalized by society, whether due to race, disability, gender identity, sexuality, or other reasons, runs throughout Yuasa's work. In telling a story, Yuasa has noted that he hopes to give the audience freedom to feel a variety of different ways about the work. He does not see it as his place to tell viewers how they must feel, but rather to maintain a space between his intent and the audience's interpretation that allows for individual impressions of meaning.


title: Masaaki Yuasa

text: With regard to Yuasa's views on the Japanese animation industry, Yuasa has expressed a desire to move away from a culture of excessive work and long hours which have traditionally been endemic to the business, and to instead focus on practices which more closely resemble those utilized in American and European animation. As a result, Science SARU has modeled itself on these ideas, with emphasis on providing rest, taking time off, and maintaining regular working hours. It is Yuasa's opinion that, in order for Japanese animation to achieve true global success, the industry must itself create a better work environment for its artists and creators. Yuasa has also noted the importance of preserving traditional animation, noting that if the industry does not continuously show how wonderful traditional animation can be, the pressure to switch to computer animation will result in it being supplanted.


title: Masaaki Yuasa

text: Masaaki Yuasa's works have achieved significant acclaim both in Japan and throughout the world. Projects which Yuasa has directed, or for which he has served as a chief creative collaborator, have been recognized by the Annecy International Animated Film Festival (2 wins, 3 nominations), the Japan Academy Film Prize Association (1 win), the Golden Globe Awards (1 nomination), the Mainichi Film Awards (2 wins, 1 nomination), the Japan Media Arts Festival (4 wins, 2 excellence awards, 7 jury selections), the Tokyo Anime Awards (4 wins), the Crunchyroll Anime Awards (4 wins, 16 nominations), the Ottawa International Animation Festival (1 win, 1 nomination), the Shanghai International Film Festival (1 win, 1 nomination) the Sitges Film Festival (1 win, 3 nominations), the Fantasia International Film Festival (3 wins, 1 silver, 1 bronze), the Satellite Awards (1 nomination), and the Annie Awards (3 nominations). Additionally, Yuasa has been recognized by the Japanese government, receiving the Agency for Cultural Affairs' Cabinet Minister Award for Media Fine Arts, and the Medal of Honor with Purple Ribbon for his career accomplishments.


title: Lethe

text: In Greek mythology, Lethe (; Ancient Greek: "Lḗthē"; , ), also referred to as Lemosyne, was one of the five rivers of the underworld of Hades. Also known as the "Ameles potamos" (river of unmindfulness), the Lethe flowed around the cave of Hypnos and through the Underworld where all those who drank from it experienced complete forgetfulness. Lethe was also the name of the Greek spirit of forgetfulness and oblivion, with whom the river was often identified.


title: Lethe

text: In Classical Greek, the word "lethe" (λήθη) literally means "oblivion", "forgetfulness", or "concealment". It is related to the Greek word for "truth", "aletheia" (ἀλήθεια), which through the privative alpha literally means "un-forgetfulness" or "un-concealment".


title: Lethe

text: Lethe, the river of forgetfulness, is one of the five rivers of the Greek underworld; the other four are Acheron (the river of sorrow), Cocytus (the river of lamentation), Phlegethon (the river of fire) and Styx (the river that separates Earth and the Underworld). According to Statius, Lethe bordered Elysium, the final resting place of the virtuous. Ovid wrote that the river flowed through the cave of Hypnos, god of sleep, where its murmuring would induce drowsiness.


title: Lethe

text: The shades of the dead were required to drink the waters of the Lethe in order to forget their earthly life. In the "Aeneid" (VI.703-751), Virgil writes that it is only when the dead have had their memories erased by the Lethe that they may be reincarnated.


title: Lethe

text: The river Lethe was said to be located next to Hades' palace in the underworld under a cypress tree. Orpheus would give some shades (the Greek term for ghosts or spirits) a password to tell Hades' servants which would allow them to drink instead from the Mnemosyne (the pool of memory), which was located under a poplar tree. An Orphic inscription, said to be dated from between the second and third century B.C. warns readers to avoid the Lethe and to seek the Mnemosyne instead. Drinkers of the Lethe's water would not be quenched of their thirst, often causing them to drink more than necessary.


title: Lethe

text: Lethe was also the name of the personification of forgetfulness and oblivion, with whom the river was often associated. Although some sources have mistakenly identified Lethe as the daughter of Oceanus, the father of other river goddesses, Hesiod's "Theogony" identifies her as the daughter of Eris (Strife):


title: Lethe

text: Lethe is often compared to Mnemosyne, the goddess of memory. Roger Brooke describes their dynamic in his 1999 book "Pathways into the Jungian World: Phenomenology and Analytical Psychology" stating "Rather than only constituting disaster and darkness, Lethe also presents their obliteration – something like the withdrawal of life...".


title: Lethe

text: Some ancient Greeks believed that souls were made to drink from the river before being reincarnated, so that they would not remember their past lives. The Myth of Er in Book X of Plato's "Republic" tells of the dead arriving at a barren waste called the "plain of Lethe", through which the river "Ameles" ("careless") runs. "Of this they were all obliged to drink a certain quantity," Plato wrote, "and those who were not saved by wisdom drank more than was necessary; and each one as he drank forgot all things." A few mystery religions taught the existence of another river, the Mnemosyne; those who drank from the Mnemosyne would remember everything and attain omniscience. Initiates were taught that they would receive a choice of rivers to drink from after death, and to drink from Mnemosyne instead of Lethe.


title: Lethe

text: These two rivers are attested in several verse inscriptions on gold plates dating to the 4th century BC and onward, found at Thurii in Southern Italy and elsewhere throughout the Greek world. There were rivers of Lethe and Mnemosyne at the oracular shrine of Trophonius in Boeotia, from which worshippers would drink before making oracular consultations with the god.


title: Lethe

text: More recently, Martin Heidegger used "lēthē" to symbolize not only the "concealment of Being" or "forgetting of Being", but also the "concealment of concealment", which he saw as a major problem of modern philosophy. Examples are found in his books on Nietzsche (Vol 1, p. 194) and on Parmenides. Philosophers since, such as William J. Richardson have expanded on this school of thought.


title: Lethe

text: The goddess Lethe has been compared to the goddess Meng Po of Chinese Mythology, who would wait on the Bridge of Forgetfulness to serve dead souls soup which would erase their memories before they were reincarnated.


title: Lethe

text: Amongst authors in antiquity, the tiny Lima river between Norte Region, Portugal, and Galicia, Spain, was said to have the same properties of memory loss as the legendary Lethe River, being mistaken for it. In 138 BCE, the Roman general Decimus Junius Brutus Callaicus sought to dispose of the myth, as it impeded his military campaigns in the area. He was said to have personally crossed the Lima, and then called his soldiers from the other side, one by one, by name. The soldiers, astonished that their general remembered their names, crossed the river as well without fear. This act proved that the Lima was not as dangerous as the local myths described.


title: Lethe

text: In Cádiz, Spain, the river Guadalete was originally named "Lethe" by local Greek and Phoenician colonists who, about to go to war, solved instead their differences by diplomacy and named the river Lethe to forever forget their former differences. When the Arabs conquered the region much later, their name for the river became Guadalete from the Arabic phrase "وادي لكة" (Wadi lakath) meaning "River of Forgetfulness".


title: Lethe

text: In Alaska, a river which runs through the Valley of Ten Thousand Smokes is called the River Lethe. It is located within the Katmai National Park and Preserve in southwest Alaska.


title: Abstract algebra

text: In mathematics, more specifically algebra, abstract algebra or modern algebra is the study of algebraic structures. Algebraic structures include groups, rings, fields, modules, vector spaces, lattices, and algebras over a field. The term "abstract algebra" was coined in the early 20th century to distinguish this area of study from older parts of algebra, and more specifically from elementary algebra, the use of variables to represent numbers in computation and reasoning.


title: Abstract algebra

text: Algebraic structures, with their associated homomorphisms, form mathematical categories. Category theory is a formalism that allows a unified way for expressing properties and constructions that are similar for various structures.


title: Abstract algebra

text: Universal algebra is a related subject that studies types of algebraic structures as single objects. For example, the structure of groups is a single object in universal algebra, which is called the "variety of groups".


title: Abstract algebra

text: Before the nineteenth century, algebra meant the study of the solution of polynomial equations. Abstract algebra came into existence during the nineteenth century as more complex problems and solution methods developed. Concrete problems and examples came from number theory, geometry, analysis, and the solutions of algebraic equations. Most theories that are now recognized as parts of abstract algebra started as collections of disparate facts from various branches of mathematics, acquired a common theme that served as a core around which various results were grouped, and finally became unified on a basis of a common set of concepts. This unification occurred in the early decades of the 20th century and resulted in the formal axiomatic definitions of various algebraic structures such as groups, rings, and fields. This historical development is almost the opposite of the treatment found in popular textbooks, such as van der Waerden's Moderne Algebra, which start each chapter with a formal definition of a structure and then follow it with concrete examples.


title: Abstract algebra

text: The study of polynomial equations or algebraic equations has a long history. Circa 1700 BC, the Babylonians were able to solve quadratic equations specified as word problems. This word problem stage is classified as rhetorical algebra and was the dominant approach up to the 16th century. Muhammad ibn Mūsā al-Khwārizmī originated the word "algebra" in 830 AD, but his work was entirely rhetorical algebra. Fully symbolic algebra did not appear until François Viète's 1591 New Algebra, and even this had some spelled out words that were given symbols in Descartes's 1637 La Géométrie. The formal study of solving symbolic equations led Leonhard Euler to accept what were then considered "nonsense" roots such as negative numbers and imaginary numbers, in the late 18th century. However, European mathematicians, for the most part, resisted these concepts until the middle of the 19th century.


title: Abstract algebra

text: George Peacock's 1830 "Treatise of Algebra" was the first attempt to place algebra on a strictly symbolic basis. He distinguished a new symbolical algebra, distinct from the old arithmetical algebra. Whereas in arithmetical algebra formula_1 is restricted to formula_2, in symbolical algebra all rules of operations hold with no restrictions. Using this Peacock could show laws such as formula_3, by letting formula_4 in formula_5. Peacock used what he termed the principle of the permanence of equivalent forms to justify his argument, but his reasoning suffered from the problem of induction. For example, formula_6 holds for the nonnegative real numbers, but not for general complex numbers.


title: Abstract algebra

text: Several areas of mathematics led to the study of groups. Lagrange's 1770 study of the solutions of the quintic led to the Galois group of a polynomial. Gauss's 1801 study of Fermat's little theorem led to the ring of integers modulo n, the multiplicative group of integers modulo n, and the more general concepts of cyclic groups and abelian groups. Klein's 1872 Erlangen program studied geometry and led to symmetry groups such as the Euclidean group and the group of projective transformations. In 1874 Lie introduced the theory of Lie groups, aiming for "the Galois theory of differential equations". In 1976 Poincaré and Klein introduced the group of Möbius transformations, and its subgroups such as the modular group and Fuchsian group, based on work on automorphic functions in analysis.


title: Abstract algebra

text: The abstract concept of group emerged slowly over the middle of the nineteenth century. Galois in 1832 was the first to use the term “group”, signifying a collection of permutations closed under composition. Arthur Cayley's 1854 paper "On the theory of groups" defined a group as a set with an associative composition operation and the identity 1, today called a monoid. In 1870 Kronecker defined an abstract binary operation that was closed, commutative, associative, and had the left cancellation property formula_7, similar to the modern laws for a finite abelian group. Weber's 1882 definition of a group was a closed binary operation that was associative and had left and right cancellation. Walther von Dyck in 1882 was the first to require inverse elements as part of the definition of a group.


title: Abstract algebra

text: Once this abstract group concept emerged, results were reformulated in this abstract setting. For example, Sylow's theorem was reproven by Frobenius in 1887 directly from the laws of a finite group, although Frobenius remarked that the theorem followed from Cauchy's theorem on permutation groups and the fact that every finite group is a subgroup of a permutation group. Otto Hölder was particularly prolific in this area, defining quotient groups in 1889, group automorphisms in 1893, as well as simple groups. He also completed the Jordan–Hölder theorem. Dedekind and Miller independently characterized Hamiltonian groups and introduced the notion of the commutator of two elements. Burnside, Frobenius, and Molien created the representation theory of finite groups at the end of the nineteenth century. J. A. de Séguier's 1904 monograph "Elements of the Theory of Abstract Groups" presented many of these results in an abstract, general form, relegating "concrete" groups to an appendix, although it was limited to finite groups. The first monograph on both finite and infinite abstract groups was O. K. Schmidt's 1916 "Abstract Theory of Groups".


title: Abstract algebra

text: Noncommutative ring theory began with extensions of the complex numbers to hypercomplex numbers, specifically William Rowan Hamilton's quaternions in 1843. Many other number systems followed shortly. In 1844, Hamilton presented biquaternions, Cayley introduced octonions, and Grassman introduced exterior algebras. James Cockle presented tessarines in 1848 and coquaternions in 1849. William Kingdon Clifford introduced split-biquaternions in 1873. In addition Cayley introduced group algebras over the real and complex numbers in 1854 and square matrices in two papers of 1855 and 1858.


title: Abstract algebra

text: Once there were sufficient examples, it remained to classify them. In an 1870 monograph, Benjamin Peirce classified the more than 150 hypercomplex number systems of dimension below 6, and gave an explicit definition of an associative algebra. He defined nilpotent and idempotent elements and proved that any algebra contains one or the other. He also defined the Peirce decomposition. Frobenius in 1878 and Charles Sanders Peirce in 1881 independently proved that the only finite-dimensional division algebras over formula_8 were the real numbers, the complex numbers, and the quaternions. In the 1880s Killing and Cartan showed that semisimple Lie algebras could be decomposed into simple ones, and classified all simple Lie algebras. Inspired by this, in the 1890s Cartan, Frobenius, and Molien proved (independently) that a finite-dimensional associative algebra over formula_8 or formula_10 uniquely decomposes into the direct sums of a nilpotent algebra and a semisimple algebra that is the product of some number of simple algebras, square matrices over division algebras. Cartan was the first to define concepts such as direct sum and simple algebra, and these concepts proved quite influential. In 1907 Wedderburn extended Cartan's results to an arbitrary field, in what are now called the Wedderburn principal theorem and Artin–Wedderburn theorem.


title: Abstract algebra

text: For commutative rings, several areas together led to commutative ring theory. In two papers in 1828 and 1832, Gauss formulated the Gaussian integers and showed that they form a unique factorization domain (UFD) and proved the biquadratic reciprocity law. Jacobi and Eisenstein at around the same time proved a cubic reciprocity law for the Eisenstein integers. The study of Fermat's last theorem led to the algebraic integers. In 1847, Gabriel Lamé thought he had proven FLT, but his proof was faulty as he assumed all the cyclotomic fields were UFDs, yet as Kummer pointed out, formula_11 was not a UFD. In 1846 and 1847 Kummer introduced ideal numbers and proved unique factorization into ideal primes for cyclotomic fields. Dedekind extended this in 1971 to show that every nonzero ideal in the domain of integers of an algebraic number field is a unique product of prime ideals, a precursor of the theory of Dedekind domains. Overall, Dedekind's work created the subject of algebraic number theory.


title: Abstract algebra

text: In the 1850s, Riemann introduced the fundamental concept of a Riemann surface. Riemann's methods relied on an assumption he called Dirichlet's principle, which in 1870 was questioned by Weierstrass. Much later, in 1900, Hilbert justified Riemann's approach by developing the direct method in the calculus of variations. In the 1860s and 1870s, Clebsch, Gordan, Brill, and especially M. Noether studied algebraic functions and curves. In particular, Noether studied what conditions were required for a polynomial to be an element of the ideal generated by two algebraic curves in the polynomial ring formula_12, although Noether did not use this modern language. In 1882 Dedekind and Weber, in analogy with Dedekind's earlier work on algebraic number theory, created a theory of algebraic function fields which allowed the first rigorous definition of a Riemann surface and a rigorous proof of the Riemann–Roch theorem. Kronecker in the 1880s, Hilbert in 1890, Lasker in 1905, and Macauley in 1913 further investigated the ideals of polynomial rings implicit in E. Noether's work. Lasker proved a special case of the Lasker-Noether theorem, namely that every ideal in a polynomial ring is a finite intersection of primary ideals. Macauley proved the uniqueness of this decomposition. Overall, this work led to the development of algebraic geometry.


title: Abstract algebra

text: In 1801 Gauss introduced binary quadratic forms over the integers and defined their equivalence. He further defined the discriminant of these forms, which is an invariant of a binary form. Between the 1860s and 1890s invariant theory developed and became a major field of algebra. Cayley, Sylvester, Gordan and others found the Jacobian and the Hessian for binary quartic forms and cubic forms. In 1868 Gordan proved that the graded algebra of invariants of a binary form over the complex numbers was finitely generated, i.e., has a basis. Hilbert wrote a thesis on invariants in 1885 and in 1890 showed that any form of any degree or number of variables has a basis. He extended this further in 1890 to Hilbert's basis theorem.


title: Abstract algebra

text: Once these theories had been developed, it was still several decades until an abstract ring concept emerged. The first axiomatic definition was given by Abraham Fraenkel in 1914. His definition was mainly the standard axioms: a set with two operations addition, which forms a group (not necessarily commutative), and multiplication, which is associative, distributes over addition, and has an identity element. In addition, he had two axioms on "regular elements" inspired by work on the p-adic numbers, which excluded now-common rings such as the ring of integers. These allowed Fraenkel to prove that addition was commutative. Fraenkel's work aimed to transfer Steinitz's 1910 definition of fields over to rings, but it was not connected with the existing work on concrete systems. Masazo Sono's 1917 definition was the first equivalent to the present one.


title: Abstract algebra

text: In 1920, Emmy Noether, in collaboration with W. Schmeidler, published a paper about the theory of ideals in which they defined left and right ideals in a ring. The following year she published a landmark paper called "Idealtheorie in Ringbereichen" ("Ideal theory in rings"'), analyzing ascending chain conditions with regard to (mathematical) ideals. The publication gave rise to the term "Noetherian ring", and several other mathematical objects being called "Noetherian". Noted algebraist Irving Kaplansky called this work "revolutionary"; results which seemed inextricably connected to properties of polynomial rings were shown to follow from a single axiom. Artin, inspired by Noether’s work, came up with the descending chain condition. These definitions marked the birth of abstract ring theory.


title: Abstract algebra

text: In 1801 Gauss introduced the integers mod p, where p is a prime number. Galois extended this in 1830 to finite fields with formula_13 elements. In 1871 Richard Dedekind introduced, for a set of real or complex numbers that is closed under the four arithmetic operations, the German word "Körper", which means "body" or "corpus" (to suggest an organically closed entity). The English term "field" was introduced by Moore in 1893. In 1881 Leopold Kronecker defined what he called a "domain of rationality", which is a field of rational fractions in modern terms. The first clear definition of an abstract field was due to Heinrich Martin Weber in 1893. It was missing the associative law for multiplication, but covered finite fields and the fields of algebraic number theory and algebraic geometry. In 1910 Steinitz synthesized the knowledge of abstract field theory accumulated so far. He axiomatically defined fields with the modern definition, classified them by their characteristic, and proved many theorems commonly seen today.


title: Abstract algebra

text: The end of the 19th and the beginning of the 20th century saw a shift in the methodology of mathematics. Abstract algebra emerged around the start of the 20th century, under the name "modern algebra". Its study was part of the drive for more intellectual rigor in mathematics. Initially, the assumptions in classical algebra, on which the whole of mathematics (and major parts of the natural sciences) depend, took the form of axiomatic systems. No longer satisfied with establishing properties of concrete objects, mathematicians started to turn their attention to general theory. Formal definitions of certain algebraic structures began to emerge in the 19th century. For example, results about various groups of permutations came to be seen as instances of general theorems that concern a general notion of an "abstract group". Questions of structure and classification of various mathematical objects came to forefront.


title: Abstract algebra

text: These processes were occurring throughout all of mathematics, but became especially pronounced in algebra. Formal definition through primitive operations and axioms were proposed for many basic algebraic structures, such as groups, rings, and fields. Hence such things as group theory and ring theory took their places in pure mathematics. The algebraic investigations of general fields by Ernst Steinitz and of commutative and then general rings by David Hilbert, Emil Artin and Emmy Noether, building up on the work of Ernst Kummer, Leopold Kronecker and Richard Dedekind, who had considered ideals in commutative rings, and of Georg Frobenius and Issai Schur, concerning representation theory of groups, came to define abstract algebra. These developments of the last quarter of the 19th century and the first quarter of 20th century were systematically exposed in Bartel van der Waerden's "Moderne Algebra", the two-volume monograph published in 1930–1931 that forever changed for the mathematical world the meaning of the word "algebra" from "the theory of equations" to the "theory of algebraic structures".


title: Abstract algebra

text: By abstracting away various amounts of detail, mathematicians have defined various algebraic structures that are used in many areas of mathematics. For instance, almost all systems studied are sets, to which the theorems of set theory apply. Those sets that have a certain binary operation defined on them form magmas, to which the concepts concerning magmas, as well those concerning sets, apply. We can add additional constraints on the algebraic structure, such as associativity (to form semigroups); identity, and inverses (to form groups); and other more complex structures. With additional structure, more theorems could be proved, but the generality is reduced. The "hierarchy" of algebraic objects (in terms of generality) creates a hierarchy of the corresponding theories: for instance, the theorems of group theory may be used when studying rings (algebraic objects that have two binary operations with certain axioms) since a ring is a group over one of its operations. In general there is a balance between the amount of generality and the richness of the theory: more general structures have usually fewer nontrivial theorems and fewer applications.


title: Abstract algebra

text: A group is a set formula_14 together with a "group product", a binary operation formula_15. The group satisfies the following defining axioms:


title: Abstract algebra

text: Identity: there exists an element formula_16 such that, for each element formula_17 in formula_14, it holds that formula_19.


title: Abstract algebra

text: Inverse: for each element formula_17 of formula_14, there exists an element formula_22 so that formula_23.


title: Abstract algebra

text: A ring is a set formula_27 together with two binary operations, addition: formula_28 and multiplication: formula_29. Additionally, formula_27 satisfies the following defining axioms:


title: Abstract algebra

text: Because of its generality, abstract algebra is used in many fields of mathematics and science. For instance, algebraic topology uses algebraic objects to study topologies. The Poincaré conjecture, proved in 2003, asserts that the fundamental group of a manifold, which encodes information about connectedness, can be used to determine whether a manifold is a sphere or not. Algebraic number theory studies various number rings that generalize the set of integers. Using tools of algebraic number theory, Andrew Wiles proved Fermat's Last Theorem.


title: Abstract algebra

text: In physics, groups are used to represent symmetry operations, and the usage of group theory could simplify differential equations. In gauge theory, the requirement of local symmetry can be used to deduce the equations describing a system. The groups that describe those symmetries are Lie groups, and the study of Lie groups and Lie algebras reveals much about the physical system; for instance, the number of force carriers in a theory is equal to the dimension of the Lie algebra, and these bosons interact with the force they mediate if the Lie algebra is nonabelian.


title: Pontiac Silverdome

text: The Pontiac Silverdome (also known simply as the Silverdome) was a stadium in Pontiac, Michigan. It opened in 1975 and sat on 199 acres (51 ha) of land. When the stadium opened, it featured a fiberglass fabric roof held up by air pressure, the first use of the architectural technique in a major athletic facility. With a seating capacity of 82,666+, it was the largest stadium in the National Football League (NFL) until FedExField in Landover, Maryland, a suburb of Washington, D.C. expanded its capacity to over 85,000 in 2000.


title: Pontiac Silverdome

text: It was primarily the home of the Detroit Lions of the NFL from 1975 to 2001 and was also home to the Detroit Pistons of the National Basketball Association (NBA) from 1978 to 1988. In addition, the Silverdome also served as the home venue for the Detroit Express of the North American Soccer League and the Michigan Panthers of the United States Football League, as well as two college bowl games: the Cherry Bowl and the Motor City Bowl. In 2012, the Silverdome served as the home venue of the Detroit Mechanix of the American Ultimate Disc League and hosted the league championship game that season.


title: Pontiac Silverdome

text: The stadium was a regular concert venue and hosted a number of athletic and non-athletic events, including the 1979 NBA All-Star Game, Super Bowl XVI, WrestleMania III, early round games of the 1994 FIFA World Cup, and regional games in the NCAA Division I men's basketball tournament.


title: Pontiac Silverdome

text: After the opening of Ford Field in 2002, the stadium was left without a permanent tenant. The city of Pontiac was unable to find a good use for the stadium, leaving it empty for 8 years; the city ran out of money, and was forced to sell due to the rising maintenance costs. After multiple attempts to solicit redevelopment plans, the city eventually sold the stadium at auction in 2009 with no reserve for $550,000 (less than 1% of the cost to build the dome) to a Canadian real estate developer. The property had fallen into disrepair brought on by the city's financial crises, and The City of Pontiac's inability to afford to spend the necessary capital investments it required. After a significant financial investment by the new owners, the facility was brought back to its original glory. The millions of dollars invested by the new owners were needed to bring The Silverdome back to a safe and clean facility. The Pontiac Silverdome reopened in 2010 and hosted many events, including soccer matches, concerts, HBO championship boxing, monster truck shows and many more. The harsh Michigan weather eventually got the best of the aging venue, and in 2013 an excessive amount of snow caused a portion of the antiquated roof system to tear. The Pontiac Silverdome's roof issues dated back to the 1980s with a long list of weather related problems. The Pontiac Silverdome's uniqueness was also its downfall. As one of the last air supported football stadiums left, the inability to find a qualified company capable enough to repair the damaged roof, paired with the financial woes of the city, and the city's inability to pay for police, emergency services and road maintenance, the decision to close the facility for good was decided in 2013. The owners later auctioned the stadium's contents in 2014 and for a few years the parking lot was home to tens of thousands of recalled Volkswagen vehicles.


title: Pontiac Silverdome

text: In 2017, the Silverdome owner decided to tear down the closed facility. The upper ring of the stadium, which had supported the roof structure, was imploded on December 4, 2017, after a failed attempt the previous day. Following the implosion, the remains of the stadium were brought down in sections with hydraulic excavators, and the last free standing section was felled by late March 2018. In September 2019, it was announced that Amazon would develop the site.


title: Pontiac Silverdome

text: The Silverdome hosted the Detroit Lions of the NFL (1975–2001), the Detroit Pistons of the NBA (1978–1988), the Detroit Express (for both outdoor and indoor soccer) of the NASL (1978–1980), the Michigan Panthers of the USFL (1983–1984), college football's Cherry Bowl (1984–1985), the Motor City Bowl (1997–2001), the MHSAA football state finals (1976–2004) and four first-round games during soccer's 1994 FIFA World Cup.


title: Pontiac Silverdome

text: For the World Cup matches, a natural grass surface capable of growing inside the dome was developed and installed by a team from Michigan State University. This grass surface was laid upon wooden pallets atop the artificial turf that was usually used. It was the first time that World Cup games were played indoors. The Silverdome also hosted the 1979 NBA All-Star Game, Super Bowl XVI on January 24, 1982, and the 1988 and 1991 NCAA Division I men's basketball tournament Midwest Regionals and NCAA Men's Division I Indoor Track and Field Championships in 1982 and 1983.


title: Pontiac Silverdome

text: On March 29, 1987, the World Wrestling Federation's WrestleMania III reportedly established the record for attendance of 93,173, the largest recorded attendance for a live indoor sporting event in North America. The record stood until February 14, 2010, when the 2010 NBA All-Star Game broke the indoor sporting event record with an attendance of 108,713 at Cowboys Stadium.


title: Pontiac Silverdome

text: In 2012, the Silverdome became the home stadium of the city's professional Ultimate Frisbee team, the Detroit Mechanix, of the American Ultimate Disc League. That year, the Silverdome hosted the AUDL championship game, as on August 11, the Philadelphia Spinners defeated the Indianapolis AlleyCats 29–22.


title: Pontiac Silverdome

text: After the roof had been collapsed and the stadium abandoned, Red Bull produced a video of BMX rider Tyler Fernengel riding inside the Silverdome in 2015. Some notable tricks in the video were Fernengel's barspin to double peg to 180° spin on one of the handrails inside the stadium and an impressive "truckdriver" (handlebars spinning 360° while the bike frame spins 360°) out of the luxury boxes onto a ramp that led down to the field. That same year, a drag racing event at the former parking lot marked the beginning of Woodward Dream Cruise.


title: Pontiac Silverdome

text: The idea of a major sports complex was part of a dream of C. Don Davidson, a Pontiac native and star high school athlete. Davidson, upon graduating from Pontiac Central High School in 1947 and completing active duty with the U.S. Marine Corps, attended North Carolina State University on a football scholarship. After earning a master's degree in urban planning and architecture, Davidson began his career as an architect and was recognized for several government and city projects throughout the south including Florida's Jacksonville International Airport. He returned to Pontiac in 1965 and was shocked to see the deterioration of the city and its lack of a future plan. Davidson embarked upon what would eventually become an obsession for him to see his beloved city succeed. In 1965–66, he was hired as a professor of architecture and urban planning at the University of Detroit under the direction of Bruno Leon.


title: Pontiac Silverdome

text: As part of an ongoing, comprehensive study by his architecture class on urban renewal for the city of Pontiac, Davidson met with various city and state authorities including William Clay Ford, owner of the Detroit Lions, to discuss the possibility of a new stadium, made it a college class project to find a suitable site for a new stadium and even started his own weekly newspaper known as "The Pontiac Times", to help promote his vision. After much controversy and sparring with Detroit city officials, Pontiac was chosen over several other sites including the Michigan Fairgrounds, Walled Lake and the Detroit Riverfront as the best place for construction of what would become known as the Pontiac Silverdome. Already having a stadium concept as part of his master plan for the city, Davidson was interviewed and ultimately hired as chief project designer for the stadium project by the architectural firm of O'Dell, Hewlett & Luckenbach. Initial designs included a dual stadium complex for both football and baseball (potentially housing the Detroit Tigers) that was later scrapped due to high costs. Davidson was pleased to see a part of his vision for the city of Pontiac accomplished in the building of the 80,000-seat sports complex. Completed in 1975 as the Pontiac Metropolitan Stadium, at a cost of $55.7 million, the Silverdome seated 80,311. It contained 102 luxury suites and 7,384 club seats. It sometimes incorporated the arrowhead emblem from its namesake General Motors division into its own logo.


title: Pontiac Silverdome

text: The original silver-like roof was built of Teflon-coated fiberglass panels, and supported by air pressure inside the stadium. Although the roof has always been white in color as viewed with the naked eye, the stadium obtained the name "Silverdome" (which it would officially take on in 1977) due to a silver-like reflection caused by the Sun, mainly noticed from the sky. (Initially, however, the stadium also went by its shortened nickname of "PonMet", but that nickname was disliked by Pontiac city commissioners.) The roof was replaced by a new canvas fabric, reinforced by steel girders after a strong snowstorm on March 4, 1985, caused structural damage to the old roof. Because of the damage, the Detroit Pistons played the remainder of the 1984–85 season at the now-closed Joe Louis Arena. The accident, and the delay in repairs, partially prompted the Pistons moving three seasons later north to their new, privately owned, 20,000-seat sports arena, The Palace of Auburn Hills (like Joe Louis Arena, it also has since closed down).


title: Pontiac Silverdome

text: The 1985 repairs were necessitated by a collapse of the original 1975 roof around noon EST on March 4, 1985. Heavy, wet snow accumulated on the southwest corner of the dome and depressed the fabric panels low enough so that the fabric came in contact with a steel lighting catwalk that was positioned just below the inner lip of the roof's ring beam. The hole caused a loss of air pressure and the Dome deflated slowly – there were no injuries. The shift from a "dome" to "bowl" caused all the heavy, wet snow to slide down into the bowl and rupture more roof panels, collapse some precast risers in the SW upper deck, and dislodge more plastic seats "... than a Rolling Stones concert" according to Bob Haney, the Dome's Operations Manager. Crews from Owens-Corning Fiberglas, the dome's original roof installer, were on site by 1:30 pm on March 4. Repair operations began immediately but were interrupted for over a week due to high winds. During the high winds event nearly all of the remaining panels in the deflated roof, 100 in all, were badly damaged. The decision was made to replace the entire roof and incorporate some improvements to prevent a similar event from occurring in the future. Repair cost of the roof was just under $8 million.


title: Pontiac Silverdome

text: The repairs were completed and the dome re-inflated at noon on May 28, 1985. A thunderstorm passed through the Pontiac area the morning the Dome was to be re-inflated and a partial inflation, or "puff", was performed so that the scheduled inflation could occur in the presence of the many city and area politicians as well as a number of corporate executives. The original-style, Teflon-coated fiberglass material was used to make the repairs – not canvas as described in the article. There were several snow-melting and waterproofing improvements that kept the dome inflated until January 2, 2013 – almost 28 years.


title: Pontiac Silverdome

text: The largest crowd to ever gather at the Silverdome was on September 18, 1987, for Mass with Pope John Paul II, with a reported attendance of 93,682 — just shading the reported record of 93,173 set at the Silverdome on March 29, 1987, for WrestleMania III. Another notable audience attendance record had earlier been broken on April 30, 1977, when the English rock band Led Zeppelin played in front of 76,229 fans at the Silverdome. This was, at the time, a new world record attendance for a solo indoor attraction, beating the 75,962 that The Who attracted there on December 6, 1975. The Detroit Pistons also set numerous NBA attendance records during their time at the Silverdome; Regular Season, 61,983 vs. Boston, January 29, 1988; Playoffs, 41,732, vs. L.A. Lakers, June 16, 1988.


title: Pontiac Silverdome

text: The Silverdome was a venue for the 1994 FIFA World Cup. In an exhibition game between Germany and England in June 1993, English coach Graham Taylor criticized the indoor venue's lack of weather as removing an unpredictability factor from soccer. The lack of air conditioning contributed to extreme heat and humidity, an advantage to the Germans playing on Italian clubs. The 62,126 attendance was the highest in any US soccer match since 1984.


title: Pontiac Silverdome

text: On June 18, 1994, the United States tied 1–1 with Switzerland in the first World Cup game ever to be played indoors. Swiss coach Roy Hodgson later admitted that his team had not prepared for the extreme temperature and humidity.


title: Pontiac Silverdome

text: The Silverdome was also the home to many marching band activities and events, including the Michigan Competing Band Association State Marching Band Championships until 2005, the Bands of America Regional championships from 2003 to 2005, and the Bands of America Grand National Championships in 1987 and 1988. Following its reopening, the Silverdome was host to the 2010, 2011 and 2012 Bands of America Pontiac Regional Championship.


title: Pontiac Silverdome

text: The Lions moved from the Silverdome to Ford Field after the end of their 2001 season. Despite being the Lions' home for 27 seasons, the day of the last home game, January 6, 2002, was marked by a noticeable absence of nostalgia among the fans as well as the players. In particular, long-time Lions' defensive end Robert Porcher singled out the stadium's artificial turf as the worst part about playing at the Silverdome, echoing other players present that day.


title: Pontiac Silverdome

text: The upper concourse was used for inline skating and provided skaters with a 25-foot wide track measuring 0.4 miles on the inner edge and 0.5 miles on the outer edge.


title: Pontiac Silverdome

text: When the World Hockey Association (WHA) tried to re-introduce itself, the new WHA Detroit team was slated to play its home games at the Silverdome. Plans were also mooted for a Windsor-based Canadian Football League team which could have used the dome for possible playoff games, but that team also did not materialize.


title: Pontiac Silverdome

text: After the Lions relocated, activity in the Silverdome dropped drastically; however, it still staged some events. Annually, Jehovah's Witnesses used the Silverdome from the late 1970s to 2004. Due to talk of renovation in 2004, the Witnesses opted to travel to The Dow Event Center in Saginaw, and the SeaGate Convention Centre in Toledo, Ohio for their District Conventions. Between 2003 and 2006, a three-screen drive-in theater operated in the parking lot; this theater reopened in 2010 before closing again on July 13, 2011.


title: Pontiac Silverdome

text: The Silverdome hosted Monster Jam on January 7, 2006, and was used as a practice facility for the AFC champion Pittsburgh Steelers for Super Bowl XL, with the NFL adding FieldTurf, which was later donated to a local high school.


title: Pontiac Silverdome

text: After the Lions' departure, the city of Pontiac began to experience several years of serious financial problems. Due to the continued high maintenance costs of the structure, it made several unsuccessful attempts to sell the stadium. In early 2008, United Assurance Company Ltd. made the highest purchase offer to date, with a bid of $18 million to convert the Silverdome into a Hollywood-style entertainment complex, following an earlier bid of $12 million by an attorney. However, the city announced in October 2009 that the property would go to auction with no minimum bid, and that zoning regulations would be relaxed for any buyer in order to spark development. The city engaged the firm of Williams & Williams to conduct the auction in November 2009.


title: Pontiac Silverdome

text: After reading about the auction in a newspaper, Greek-born Canadian real estate developer Andreas Apostolopoulos, CEO of Toronto-based Triple Properties Inc., submitted a winning bid of US$550,000. Real estate fees of 6% raised the price to US$583,000. The sale of the Silverdome, completed in 1975 at a cost of $55.7 million (approx. $225 million in 2012 dollars) and sold in 2009 for $583,000, was viewed by many as a symbol of the collapse of real estate prices in the Detroit metropolitan area though many local leaders and residents claimed the sale was brought about due to the incompetence of city management and their not having a vision or future plans for the stadium and surrounding area.


title: Pontiac Silverdome

text: In the March 11, 2010, edition of the "Detroit Free Press", Apostolopoulos vowed "to revive the stadium as a big-event venue by investing millions of dollars".


title: Pontiac Silverdome

text: A.C. Milan and Panathinaikos F.C. played an exhibition game on August 6, 2010. On January 29, 2011, professional boxer Timothy Bradley defended his WBO light welterweight title in a unification fight against WBC champion Devon Alexander. The fight aired live on "HBO World Championship Boxing", with an attendance of about 7,000.


title: Pontiac Silverdome

text: The owners indicated that they were pursuing a possible expansion team for Major League Soccer, and contemplated renovating the Silverdome for this purpose. Ultimately, the lack of events coming into the stadium, combined with the 2013 roof collapse, put any further development plans on indefinite hold.


title: Pontiac Silverdome

text: In March 2014, the owners announced that they would be auctioning off the contents of the facility, including seats and fixtures.


title: Pontiac Silverdome

text: In December 2014, Cleveland-based photographer Johnny Joo captured the Silverdome in a state of abandonment, showing destruction caused by the 2013 roof collapse.


title: Pontiac Silverdome

text: Afterwards, in October 2015, it was announced that the Silverdome would be demolished in the Spring of 2016, and the area would be part of an Oakland County mixed-use development. Demolition was then scheduled for December 3, 2017. In June 2016, fire caused by arson destroyed the former press box. Around the same time, the parking lot began being used as storage for hundreds of VW diesel cars as a result of Volkswagen's 2015 emissions scandal. The dome owner and the city were in conflict over the condition of the dome and the cars in the lot.


title: Pontiac Silverdome

text: In 2017, the Silverdome was condemned and cleared for demolition. Workers had been on the site for the past few months before main power feeds were disconnected preparing the Silverdome for demolition, including completing environmental remediation, universal waste removal and tearing out transite asbestos panels that were used in a majority of the suites around the perimeter of the dome; though not without a few local trespasser visits to explore the place leading up to the demolition. On September 18 and 19, 2017, four power feeds were disconnected, officially starting the final preparation process for demolition. The firm contracted to handle the demolition, the Detroit-based Adamo Group, also imploded the Georgia Dome in Atlanta on November 20 before moving on to the Silverdome. The demolition of the Silverdome was to commence on December 3, 2017, with a partial implosion of the upper deck, followed by an excavation of the building from the inside out.


title: Pontiac Silverdome

text: Due to a wiring issue, eight of the explosive charges failed to detonate, preventing the stadium from imploding as planned. A second attempt was successful the next day. While Adamo could not pinpoint the exact cause of the issues, they did note that trespassers had been seen on the property a couple of days prior to the first attempt. It was noted that on the second attempt, Adamo doubled the amount of explosives used from of TNT.


title: Pontiac Silverdome

text: By the end of March 2018, the last free standing wall of the Silverdome was destroyed, leaving a deep hole where the stadium once stood. of crushed concrete remained on site to be used as landfill material. Demolition officials stated that final filling and grading operations of the former Silverdome site were expected to be completed by the end of November 2018.


title: Pontiac Silverdome

text: In September 2019, the City of Pontiac announced that Amazon was going to develop the Silverdome site into both a distribution facility and delivery center. The delivery center opened in September 2020, while the distribution center opened in 2021. The project cost an estimated at $250 million.


title: The Blacklist (season 3)

text: The third season of the American crime thriller television series "The Blacklist" premiered on NBC on October 1, 2015 and concluded on May 19, 2016. The season consisted of 23 episodes. The season was produced by Davis Entertainment, Universal Television, and Sony Pictures Television, and the executive producers were Jon Bokenkamp, John Davis, John Eisendrath, John Fox, and Joe Carnahan.


title: The Blacklist (season 3)

text: The third season sees Liz and Reddington on the run from the government and the Task Force. The first part of the season explores The Cabal's efforts to capture Liz and Reddington and their efforts to clear Liz's name. The Cabal is represented by the ruthless Director of the National Clandestine Service Peter Kotsiopulos (David Strathairn). The season also introduces Susan "Scottie" Hargrave (Famke Janssen), the mother of Tom Keen, Mattias Solomon (Edi Gathegi) and Nez Rowan (Tawny Cypress), key characters for the spin-off series "", focusing on Tom and Scottie Hargrave. The final episodes of the season also introduce a new series antagonist Alexander Kirk, AKA Konstantin Rostov, who claims to be Liz's father and will stop at nothing to protect her and win her loyalty. An important subplot for the season is Liz's pregnancy and Mr. Kaplan's (Susan Blommaert) efforts to protect Liz and Tom's daughter from Reddington.


title: The Blacklist (season 3)

text: Hisham Tawfiq, who plays Red's body man, Dembe Zuma, was promoted to series regular beginning with Season 3.


title: The Blacklist (season 3)

text: Episode 22 was written by Bokenkamp and Eisendrath and directed by Michael Dinner as a potential spin-off of the series. It aired on May 12, 2016.


title: The Blacklist (season 3)

text: The third season of "The Blacklist" received positive reviews from critics. The review aggregator website Rotten Tomatoes reports a 93% approval rating based on 14 reviews, with an average score of 7.41/10. The consensus reads: ""The Blacklist" is back in top form with fresh dangers that put Red on the ropes while giving James Spader room to shine".


title: Raja Hindustani

text: Raja Hindustani/Prema Bandham(/ప్రేమ బంధం) is a 1996 Indian Hindi-language romantic drama film directed by Dharmesh Darshan. It tells the story of a cab driver from a small town who falls in love with a rich young woman. Aamir Khan and Karisma Kapoor play the lead roles. Released on 15 November 1996, the film's plot was inspired from the 1965 film "Jab Jab Phool Khile", starring Shashi Kapoor and Nanda. The film's music was composed by Nadeem-Shravan, with lyrics by Sameer. It went on to win five Filmfare Awards, including the awards for Best Film and Best Actors, and seven Screen Awards.


title: Raja Hindustani

text: "Raja Hindustani" was the third most commercially successful Hindi film of the 1990s in terms of net gross. Made on a budget of 5.75 crore, the film went on to gross 76.34 crore worldwide, becoming the highest-grossing film of the year, and the fourth highest-grossing film in India of the 1990s behind "Hum Aapke Hain Koun..!", "Dilwale Dulhania Le Jayenge" and "Kuch Kuch Hota Hai." The film's music became popular and was successful, especially in the central and eastern states of India. Karisma Kapoor was complimented for her looks and performance as Aarti: a rich, beautiful, sensitive, young woman full of dreams and desires. It is Kapoor's biggest commercial success till date and is regarded as one of her best performances; it was a major turning point in her career. She won the Filmfare Best Actress Award for her role. The chemistry between the lead pair of Aamir Khan and Karisma Kapoor was praised and there was a much talked-about kissing scene. The film was remade in Kannada as "Naanu Naane" in 2002, starring Upendra and Sakshi Shivanand in lead roles and in Odia as "Priya Mo Priya" in 2005 and was later dubbed in Telugu as Prema Bandham"."


title: Raja Hindustani

text: Aarti Sehgal is a beautiful young girl. Her evil stepmother Shalini wants to gain her father Bakshrath's wealth. Aarti arrives in Palankhet for a vacation to discover memories of her late mother and hires the services of available driver, Raja Hindustani. Ultimately, they bond and fall in love after an accidental passionate romantic kiss.


title: Raja Hindustani

text: Bakshrath arrives to take Aarti back to Mumbai and rejects Raja as his son-in-law, but they disobey him and marry. He later accepts their love, bringing them to Mumbai.


title: Raja Hindustani

text: To gain total control of Bakshrath's assets, Shalini sets a trap that causes Raja and Aarti to get separated. Upon knowing her pregnancy, Aarti decides to inform and reunite with Raja. The doctor advises her not to travel. Shalini is asked to reach Palankhet to inform and convince Raja to come back to Mumbai. However, she misleads him that Aarti wants to divorce him, and then Aarti that Raja now hates her. Thus they get stuck in misunderstandings and separate.


title: Raja Hindustani

text: Aarti gives birth to a son, whom she dearly loves. Raja later gets to know that she has his child and is under the impression she intends to keep him away from it. Fearing he can never see his son, Raja kidnaps him. The lies and deception of Shalini come out. Distraught, Aarti reveals the truth to Raja, and they unite.


title: Raja Hindustani

text: Juhi Chawla was first offered the lead actress role, but she refused. Pooja Bhatt and Aishwarya Rai were also among those actresses who were considered for the role. Palankhet was a fictional location created for the film, and is a portmanteau of two real hill stations' names: Palampur and Ranikhet.


title: Raja Hindustani

text: Film critic Anupama Chopra, while reviewing "Raja Hindustani" for "India Today" wrote, "the film is disappointingly dated, but Darshan scores with his music-catchy 'Pardesi, Pardesi'— and with his leading lady, Karisma." She went on to praise Kapoor's performance saying, "Karisma looks stunning and acts surprisingly well. She is the lifeblood of this otherwise-banal film."


title: Raja Hindustani

text: "Raja Hindustani" earned 76.34 crore worldwide, including a domestic gross of 73.84crore. Its domestic nett was 43.15crore, and its adjusted worldwide gross is equivalent to 394crore.


title: Raja Hindustani

text: "Box Office India" declared it an "All-Time Blockbuster". Domestically, it was the fourth highest-grossing film of the 1990s, after "Hum Aapke Hain Koun" (1994) (116 crore), "Dilwale Dulhaniya Le Jayenge" (1995) (86.49 crore) and "Kuch Kuch Hota Hai" (1998) (80.12 crore). Adjusted for inflation, "Raja Hindustani" is the fifth highest-grossing film of India since the 1990s.


title: Raja Hindustani

text: The soundtrack was composed by Nadeem-Shravan. "Planet Bollywood" ranks the film's soundtrack at 56 in its all-time top 100 greatest Bollywood soundtracks.


title: Raja Hindustani

text: It consisted of tracks like "Kitna Pyara Tujhe Rab Ne" (which is uncredited and unofficial translation of the Punjabi song "Kinna Sohna Tenu Rab Ne Banaya" by Nusrat Fateh Ali Khan), "Aaye Ho Meri Zindagi Mein", which had become an immensely popular wedding song, and Udit Narayan and Alka Yagnik's "Pardesi Pardesi", which was a major chartbuster at the time and which also led to the film's success. Udit Narayan won his 3rd Filmfare Award for Best Male Playback Singer for this song. The album became the best-selling Bollywood soundtrack of the year by a wide margin.


title: Raja Hindustani

text: Aniket Joshi of "Planet Bollywood" gave the album a rating of 9.5 out of 10 stating, ""Raja Hindustani" is a must for lovers of good ever lasting melody." The soundtrack album sold 11 million copies and is one of the best-selling Bollywood soundtrack albums of all time. It was the third best selling album of the 1990s after "Aashiqui" (1990) and "Dil To Pagal Hai" (1997).