DOCSLIB.ORG

Zhetfostza/Aedjsoutsong 5//?Ce"MISS0URI WALTZ" MISSISSIPPI CRADLE

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Zhetfostza/Aedjsoutsong 5//?Ce Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org 48 THE MUSIC TRADE REVIEW DECEMBER 31, 1921 "SHUFFLE ALONG" A SUCCESS recorded in talking machine record and music roll form. These include: "Love Will Find a She's ^4 Sensation? Colored Entertainers Playing to Packed Way," "Gypsy Blues," "Bandanna Days," "Bal- Audiences—Witmark Publishing the Score timore Buzz," "I'm Wild About Harry" and "Honeysuckle Time." OLD IASHICNED One of the remarkable features of the present theatrical season in New York is the success of BETTER TRADE IN NEW LOCATION GIRL the musical comedy, "Shuffle Along." This show, which has played for eight months to packed J. P. Broder Now With Hauschildt Music Co., San Francisco, Handling a Large Volume of OFFICIAL ROSE FESTIVAL SONQ Popular Sheet Music Business "Beautiful Oregon Rose" Selected for Oregon SAN FRANCISCO, CAL., December 23.—J. P. Bro- Celebration—Popular Songs That Are Selling der, sheet music dealer, who moved in with the PORTLAND, ORE., December 23.—The "Beautiful Hauschildt Music Co. when Byron Mauzy sold Oregon Rose," by H. Edward Mills, has been out a few months ago, reports that he is doing adopted by the Rose Festival Committee as the a very much better business in his new location, official song for the 1922 Rose Festival, and the which is in the center of the theatre district. song will be sung in all the schools of the State He says "Tennessee Moon," "Song of India" in connection with the Arbor Day celebration and "Wabash Blues" are among his best sellers in February. The distribution of the song is in and. that "Baby Face" and "I Want My Mammy" the hands of Mrs. A. A. Cook. are beginning to move. "Sal-o-may" is also Louis Mack, who has his sheet music store on going well. Mr. Broder, however, believes that the main floor of the Bush & Lane Piano Co.'s jazz has reached its maximum popularity. He store, is attractively and artistically featuring the states that, while he has not noticed a decrease latest song of John McCormack, which is pub- in the sales of the more popular music, still lished by Fred Fisher—"Little Town in the Ould people are beginning to ask for the old classical County Down." Mr. Mack says that the song waltzes and even schottisches and lancers. This, is very popular and greatly in demand. he says, with fourteen years of experience be- The McDougall-Conn Music Co.'s sheet music hind him, is the sure prelude to a drop-off in jazz department is supplied with all the latest songs, sales. both classical, semi-classical and popular. Ac- cording to Octavo Stone, in charge of the de- LONDON MUSIC SALES BAD partment, at present the new song, "April Showers," published by the Harms Publishing Noble Sissle and Eubie Blake LONDON, December 12.—The present season has Co., is very popular and much in demand. atfd-iences at the 63rd Street Music Hall, will been particularly bad for music and few songs The Remick Song Shop, under the manage- evidently run well into the Summer season. It is have attracted much attention. There also seems ment of Clyde Freeman, is one of the most popu- presented by all-star colored entertainers, and to be a reduction in the number of music stores, lar music centers in the city. Mr. Freeman is the book, lyrics and music are also by two col- as from St. George's Hospital to the Royal Ex- featuring "Yoo-Hoo," the new Al Jolson song, ored boys, Noble Sissle and Eubie Blake. The change there is not a music shop to be found, at present, and the song has made a big hit music of the show, published by M. Witmark & except one which moved over from another sec- with Portland music lovers. Among the songs Sons, is having a very heavy demand, and prac- tion. Dealers hope that the turn of the year that the Remick Shop is selling in large numbers tiCa-lly all the numbers of the show have been will bring better conditions. is "When Shall We Meet Again?" ZheTfostZa/AedJSoutSong 5//?ce"MISS0URI WALTZ" MISSISSIPPI CRADLE Rock me in my Mis-sis-sip-pi Cra MUSIC PUBLISHER INC. L e t me look in - to my mammy's eyes; 235 SOUTH WABASH AVE. i^w_ CHICAGO _ Published by the publisher of "MISSOURI WALTZj/MAUGHTY WALTZ,'JWEETAHDCOW/ KISS A MISS.
Load more

Recommended publications
  • Brian Stokes Mitchell Outside at the Colonial
    Press Contacts: Katie B. Watts Press Manager (413) 448-8084 x15 [email protected] Becky Brighenti Director of Marketing & Public Relations (413) 448-8084 x11 [email protected] For immediate release, please: Monday, July 20 at 10am Berkshire Theatre Group Announces An Intimate Performance with Two-time Tony Award-winner Brian Stokes Mitchell to Benefit Berkshire Theatre Group and a Portion of Sales to go to The Actors Fund and Black Theatre United Pittsfield, MA – Berkshire Theatre Group (BTG) and Kate Maguire (Artistic Director, CEO) are ​ excited to announce two-time Tony Award-winner Brian Stokes Mitchell in an intimate ​ ​ performance and fundraiser to benefit Berkshire Theatre Group. In this very special one-night-only concert, Brian Stokes Mitchell will deliver an unforgettable performance to an audience of less than 100 people, outside under a tent at The Colonial Theatre on Labor Day ​ Weekend, September 5 at 8pm. Dubbed “the last leading man” by The New York Times, Tony Award-winner Brian Stokes ​ ​ Mitchell has enjoyed a career that spans Broadway, television, film, and concert appearances with the country’s finest conductors and orchestras. He received Tony, Drama Desk, and Outer Critics Circle awards for his star turn in Kiss Me, Kate. He also gave Tony-nominated ​ ​ performances in Man of La Mancha, August Wilson’s King Hedley II, and Ragtime. Other ​ ​ ​ ​ ​ ​ notable Broadway shows include: Kiss of the Spider Woman, Jelly’s Last Jam, Women on the ​ Verge of a Nervous Breakdown and Shuffle Along. In 2016 he was awarded his second Tony ​ ​ ​ Award, the prestigious Isabelle Stevenson Tony for his Charitable work with The Actors Fund.
    [Show full text]
  • Starring NOBLE SISSLE EUBIE BLAKE
    Starring NOBLE SISSLE • EUBIE BL AKE BROOKLYN ACADEMY OF MUSIC December 15, 1967 8:30 p.m. PROGRAM NOTES Eubie Blake - Eubie Blake I a native of Baltimore I Md. I was christened James Hubert. However I at an early age he was affectionately called "Hubie". This eventually was short­ ened to "Eubie" by which he is now professionally known. At 17 he started playing the piano professionally. In 1915 he and Noble Sissie formed a partnership as lyricist and composer. They wrote the famous "I'm Just Wild About Harry" for the Broadway show "Shuffle Along". In the early 30's Mr. Blake collaborated with Andy Razaf and wrote the musical score for Lew Leslie's "Blackbirds". Out of this association came the still popular song "Memories of You". In the 40's Mr. Blake became musical conductor for the USO Hospital Unit. He retired in 1940. Mter retirement he returned to school and graduated at the age of 66 from New York University having completed a course "The Schillinger System of Composition." He has been honored by many organizations and the City of New York for more than fifty years of contributing to musical entertainment. On February 7 I 19 68 he will be eighty five years old. Noble Sissie - Noble Sissle was born in Indianapolis on July 10 I 1889. His mother was a schoolteacher - his father a Methodist minister. He graduated from Cleveland High School and attended Butler University until the death of his father at which time he left school to assist his mother with his sister 1 Ruth 1 and brother 1 Andrew.
    [Show full text]
  • The Harlem Renaissance African-Americans After the Civil War • up Until the Civil War, African Americans Lived in the United States As Slaves
    Unit #4: The Changing Face of America (1890 – 1920s) Part 3: The Harlem Renaissance African-Americans after the Civil War • Up until the Civil War, African Americans lived in the United States as slaves. • After the war and the Emancipation Proclamation, African Americans had to shatter the stereotypes projected upon them by their slave ancestry. • They were seen as individuals who were incompetent and docile, and they were viewed as an inferior race, especially intellectually. • The nation gave African Americans this unpopular image, and unfortunately, many African Americans believed it. Rise of the “Black Movement” • Due to the systematic oppression that African Americans as a whole suffered from after the Civil War, many also suffered from self-hatred and low self- esteem. • They were so devalued that they began to internalize the stigma placed upon them by the broader European society. • It wasn't until the rise of the Black Movement, otherwise known as the Harlem Renaissance, did the African American begin to fully liberate himself from society's standards. • It was during this period of time in the 1920s that the "New Negro" emerged and racial identity became the popular topic of many African-American authors. Background of the Harlem Renaissance • African American artists, writers, musicians, and performers were all part of this great cultural movement called the Harlem Renaissance. • After World War I many African Americans migrated from the rural South to the urban North. This movement is called “The Great Migration.” • African Americans of all ages and walks of life moved to the thriving New York City neighborhood called Harlem.
    [Show full text]
  • Brian Stokes Mitchell Feb 10 & 11 / 7:30 Pm
    BRIAN STOKES MITCHELL FEB 10 & 11 / 7:30 PM Brian Stokes Mitchell, vocals Tedd Firth, piano Theatre at The Broad Stage made possible in part by generous gifts from Laurie & Bill Benenson and Susan Stockel. Brian Stokes Mitchell at The Broad Stage made possible in part by a generous gift from Linda & Michael Keston. Tonight’s program will be announced from the stage. There will be no intermission. 4 FEB 2018 BIOS 6. His musical curiosity lead him to an interest in orchestration, arranging and Dubbed “the last leading man” by film scoring which he first started studying The New York Times, Tony® Award-winner on his own in his late teens. He later BRIAN STOKES MITCHELL has enjoyed a studied film scoring, orchestration and career that spans Broadway, television, conducting through UCLA and privately, film and concert appearances with and scored and conducted a number of the country’s finest conductors and Trapper John, MD episodes, a series on orchestras. He received Tony®, Drama which he was also a regular cast member. Desk and Outer Critics Circle awards His musical talent has extended to the for his star turn in Kiss Me, Kate. He also present day as producer, arranger and gave Tony®-nominated performances orchestrator on his own albums, including in Man of La Mancha, August Wilson’s his latest recording, Simply Broadway. King Hedley II and Ragtime. Other notable Simply Broadway is an album of classic Broadway shows include Kiss of the Spider Broadway tunes that have been musically Woman, Jelly’s Last Jam and Women on reimagined but still retain the spirit of the Verge of a Nervous Breakdown.
    [Show full text]
  • John Edward Hasse Collection Ca. 2004 Copies (Ca
    Collection # P 0470 JOHN EDWARD HASSE COLLECTION CA. 2004 COPIES (CA. 1910S–1920S) Collection Information Biographical Sketches Scope and Content Note Series Contents Cataloging Information Processed by Barbara Quigley 27 October 2005 Manuscript and Visual Collections Department William Henry Smith Memorial Library Indiana Historical Society 450 West Ohio Street Indianapolis, IN 46202-3269 www.indianahistory.org COLLECTION INFORMATION VOLUME OF 1 black-and-white photograph folder; 1 color photograph folder COLLECTION: COLLECTION Ca. 2004 copies (ca. 1910s–1920s) DATES: PROVENANCE: Gift from John Edward Hasse of the Smithsonian Institution. RESTRICTIONS: None COPYRIGHT: REPRODUCTION Permission to reproduce or publish material in this collection RIGHTS: must be obtained from the Indiana Historical Society. ALTERNATE FORMATS: RELATED HOLDINGS: ACCESSION 0000.0412 NUMBER: NOTES: The William Henry Smith Memorial Library holds several publications authored by John Edward Hasse. BIOGRAPHICAL SKETCHES Indianapolis was a rich center of ragtime and jazz in the early twentieth century. Ragtime, a uniquely American musical genre based on African-American rhythms, flourished throughout the United States from the late 1890s to the end of World War I. There were several distinguished ragtime composers and performers in Indianapolis during that time. Many were African-Americans who performed along Indiana Avenue, but little of their music was published. Most of the published composers were middle class whites, including numerous women. The city’s ragtime community included May Aufderheide, Cecil Duane Crabb, Will B. Morrison, Julia Lee Niebergall, J. Russel Robinson, and Gladys Yelvington. In the early twentieth century jazz was created primarily by African-Americans. Indianapolis was a favorite destination for touring musical shows, and there was much work for local musicians.
    [Show full text]
  • On Site Opera & Harlem Opera Theater Invite You to Take Cast
    ! ON SITE OPERA & HARLEM OPERA THEATER PRESENT GERSHWIN’S Blue Monday! ! PROGRAM MENU: Cast, Production Team and Orchestra | Program Notes | Artist Bi0s About On Site Opera | About Harlem Opera Theater About The Harlem Chamber Players | Special Thanks On Site Opera &more Harlem information: Opera osopera.orgTheater invite you to take On Site Opera & Harlem Opera Theater invite you to take a trip back to the roaring twenties as they present George Gershwin’s Blue Monday at the Cotton Club. Blue Monday A JAZZ OPERA BY GEORGE GERSHWIN LIBRETTO BY BUDDY DESYLVA JUNE 18-20, 2013 | THE COTTON CLUB 7PM: DANCING & COCKTAILS | 8PM: BLUE MONDAY CAST: IN ORDER OF VOCAL APPEARANCE MIKE, THE CLUB OWNER CLAYTON MATHEWS SAM, A CLUB EMPLOYEE ALVIN CRAWFORD TOM, THE CLUB HEADLINER LAWRENCE CRAIG VI, JOE’S GIRLFRIEND ALYSON CAMBRIDGE JOE, A GAMBLER CHASE TAYLOR DANCERS: SARITA ALLEN ELIJAH ISHMAEL AVRAHAM NICCO ANNAN AZAMA BASHIR MAHALIA LEOLA MAYS RAPHAEL THOMAS PRODUCTION TEAM: CONDUCTOR GREGORY HOPKINS STAGE DIRECTOR ERIC EINHORN CHOREOGRAPHER GEORGE FAISON COSTUME DESIGNER CANDIDA K. NICHOLS LIGHTING DESIGNER SHAWN KAUFMAN HAIR & MAKE-UP DESIGNER SHANNON HARRINGTON PRODUCER JESSICA KIGER FIGHT COORDINATOR SHAD RAMSEY ASSISTANT DIRECTOR AUDREY CHAIT PRE-SHOW DANCE COORDINATOR NATALIE DAVIDZON Orchestra: THE COTTON CLUB ALL STARS FLUTE/TENOR SAX: JAMES STEWART OBOE/ALTO SAX: ED PAZANT CLARINET/ALTO SAX: CRIS HEMMINGWAY TENOR SAX: JOHN SIMON BASSOON/BARITONE SAX: RAY JOHNSTON TRUMPET I: AL PAZANT TRUMPET II: MAC GOLLEHON TROMBONE I: TIM WILLIAMS TROMBONE II: ROBERT STRINGER PIANO: NORIKO KAMO BASS: STAN THOMPSON GUITAR: SOLOMON HICKS DRUMS: ELI FONTAINE THE HARLEM CHAMBER PLAYERS: VIOLIN I: MONICA DAVIS VIOLIN II: CHARLENE BISHOP VIOLA: ADAM HILL CELLO: LAWRENCE ZOERNIG Please be aware that live gunshots are used in this production.
    [Show full text]
  • The Harlem Renaissance Chapter 21 Sect. #4
    Harlem Renaissance Chapter 21.4 African-Americans in the 1920's The Move North 1910-1920, Great Migration of thousands of African Americans ◦ By 1920, over 40% of African Americans live in cities Racial tensions escalate in North; about 25 urban race riots in 1919 ◦ African-Americans continue to migrate in large numbers in 1920’s African Americans in the 1920's African-American Goals National Association for the Advancement of Colored People ◦ protests racial violence NAACP leader James Weldon Johnson fights for civil rights legislation NAACP anti-lynching campaign leads to a drop in number of lynchings Harlem Renaissance African-American Writers Harlem Renaissance – African-American literary, artistic movement ◦ express pride in African-American experience Claude McKay’s poems urge blacks to resist prejudice, discrimination Langston Hughes’s poems describe difficult lives of working class ◦ many written in jazz, blues tempo Zora Neale Hurston shows folkways, values of poor, Southern blacks Harlem Renaissance in NY African-American Performers Influence, popularity of Harlem Renaissance go beyond black audience Musical, comedy Shuffle Along launches movement ◦ is popular with white audiences African-American performers win large followings Paul Robeson – major dramatic actor in London, New York https://youtu.be/A6dXrm1YjBE https://youtu.be/-_swtbIi2F0 Harlem Renaissance in NY African Americans and Jazz Jazz born in early 20th century New Orleans, spreads across U.S. Trumpeter Louis Armstrong makes personal expression key part of jazz ◦
    [Show full text]
  • For Immediate Release
    NEWS Contact: Janet Crystal Direct dial number: 203-762-6324 E-mail: [email protected] www.wiltonlibrary.org May 19, 2021 FOR IMMEDIATE RELEASE Wilton Library brings Broadway talk to town June 1 Wilton, CT – Broadway shows are still a few months away from opening, but Wilton Library is bringing the sense of Broadway to town with a virtual visit from Caseen Gaines, author of Footnotes, on Tuesday, June 1, 7 to 8 p.m. Gaines’s engaging account captures the triumphant story of the all-Black Broadway musical that changed the world forever. Footnotes: The Black Artists Who Rewrote the Rules of the Great White Way recounts how Noble Sissle and Eubie Blake, along with comedians Flournoy Miller and Aubrey Lyles, overcame poverty, racism, and violence to harness the energy of the Harlem Renaissance and produce a runaway Broadway hit. The show launched the careers of many of the twentieth century’s most beloved Black performers. Born in the shadow of slavery and establishing their careers at a time of increasing demands for racial justice and representation for people of color, Sissle, Blake, Miller, and Lyles broke down innumerable barriers between Black and white communities at a crucial point in American history. Author and pop culture expert Caseen Gaines leads the audience through the glitz and glamour of New York City during the Roaring Twenties to reveal the revolutionary impact one show had on generations of Americans, and how its legacy continues to resonate today. From the publisher, “Opening night was going better than any of them could have expected, but the performers knew the rapturous applause was obscuring the truth: there was a good chance someone was going to get killed at any moment, and it was likely to be one of them.
    [Show full text]
  • Music of the Harlem Renaissance a Four-Part Lecture Series with Eric Elder January 23 & 30, February 6 and 13
    Music of the Harlem Renaissance A four-part lecture series with Eric Elder January 23 & 30, February 6 and 13. Snow date (if needed) February 20. 10:30 am - 12:00 pm. LECTURE 1 (January 23) “O, rise, shine for Thy Light is a’coming”: Framing the Harlem Renaissance In the first lecture of the series, we will look behind the romantic façade that has come to represent the Harlem Renaissance to identify the political underpinnings and cultural goals of its driving force, the New Negro movement. In considering the historical context of this important moment in American history, we will examine the musical landscape of the crucible of the Harlem Renaissance, early twentieth-century New York. Suggested readings: Locke, Alain. “The New Negro.” In The New Negro, edited by Alain Locke, 3–16. New York: Touchstone, 1997. First published 1925 by Albert and Charles Boni. Rampersad, Arnold. Introduction to The New Negro, edited by Alain Locke, ix–xxiii. New York: Touchstone, 1997. Additional recommended readings: Carpio, Glenda. Introduction to The Gift of Black Folk, by W. E. B. Du Bois, xxiii–xxvi. New York: Oxford University Press, 2014. Gates, Henry Louis, Jr. “The Black Letters on the Sign: W. E. B. Du Bois and the Canon.” In The Gift of Black Folk, by W. E. B. Du Bois, ix–xxii. New York: Oxford University Press, 2014. Harris, Norman. Introduction to The Souls of Black Folk, by W. E. B. Du Bois, vii–xv. New York: Simon and Schuster, 2005. Huggins, Nathan Irvin. “Introduction.” In Harlem Renaissance, 2nd ed., 3–12.
    [Show full text]
  • Shuffle Along
    (though even there, he can be flashy and genuinely surprising). “Baltimore Buzz”, a solo piano instrumental, offers yet more evidence of Blake’s superior skill and fire. This is the bar that Blake and the stride masters have set for up-and-comers who find inspiration in this vital yet underappreciated music. Asherie covers just a subset of the Shuffle Along program, though he Sing Shuffle Along includes two songs, “Everything Reminds Me of You” Sissle & Blake (Harbinger) Shuffle Along and “Goodnight Angeline”, which don’t appear on the Ehud Asherie (Blue Heron) Sissle and Blake CD. His touch is confident, improvising by David R. Adler fluid and astute, arrangements poised on the edge between stride and modern piano languages— Thanks to George C. Wolfe, Savion Glover and the sometimes very consciously as on “Bandana Days” team behind the current Broadway revival of Shuffle and “If You’ve Never Been Vamped by a Brownskin”. Along at the Music Box Theatre, there’s renewed Asherie’s rubato ballads, including the landmark interest in black musical theater of the ‘20s, a fascinating “Love Will Find a Way” (one of the first popular songs ADAM O’FARRILL era when jazz began to define the pop culture to depict romantic love between African-Americans), landscape. This all-black 1921 show, with music by deftly blend a modern sensibility with a fluency in the STRANGER DAYS pianist/songwriter Eubie Blake and vocalist/lyricist sound of the time period. But his Bud Powell-esque SSC 1450 - IN STORES NOW Noble Sissle, challenged the color line in important romp on “I’m Just Wild About Harry” seems to answer ways and showcased the likes of Florence Mills, Sissle’s gently taunting remark above: this is what the Adelaide Hall, Josephine Baker and Paul Robeson.
    [Show full text]
  • Influences on Gershwin
    Irving Berlin born Israel Isidore Baline Irving Berlin was born in Tyumen, Russia, on May 11, 1888, and immigrated to New York as a child. He would become one of the most popular songwriters in the United States, with hits like "Alexander's Ragtime Band," “God Bless America,” " Blue Skies,” “What’ll I Do" and "White Christmas." Berlin's film and Broadway musical work included Puttin’ on the Ritz, Easter Parade and Annie Get Your Gun. He died in New York City on September 22, 1989, at age 101. Irving Berlin was born Israel Baline on May 11, 1888, in the village of Tyumen, Russia. His family fled to escape the region's persecution of the Jewish community and settled in New York City in the mid-1890s. As a teen, Baline worked as a street singer, and by 1906 he had become a singing waiter in Chinatown. His first published tune was 1907's "Marie From Sunny Italy," with Nick Nicholson penning the music. As the lyricist, Baline's name was misspelled as "I. Berlin" on the sheet music. He decided to keep the name, becoming Irving Berlin • He group up in a home in lower Manhattan where Yiddish was the primary language spoken in the home • Most of his compositions were written using the 32-bar American Song Form Having a similar cultural background and upbringing, he served as a role model to both Ira and George Gershwin Musical Example: – Cheek to Cheek YIDDISH THEATRE & TIN PAN ALLEY INFLUENCES • George grew up around the Yiddish Theater District • They frequented the local Yiddish theaters, with George occasionally appearing onstage as an extra • At the age of 15, Gershwin found his first job as a "song plugger" for Jerome H.
    [Show full text]
  • Teaching BROADWAY with Standards Resources
    The Wicked. he he T T ent R nd a can be found at can be found are international blockbusters. ’s triumphant re-imagining of ’s ats, Les Miserables C Jerry Herman, Jonathan , offers tickets at an astronomical $480 each, in rehearsal and opening on Broadway 2nd Street, Miss Saigon, Sunday in Disney leads an astonishing resurrection of ebber 4 , Julie Taymor aiter before leaving his job to create exclusive behind-the-scenes footage of Wicked home movies of Jonathan Larson working as a w ighlights include: ritish imports like arson, 2nd Street. The smash hit musical comedy L ● EPISODE SIX Putting It Together (1980–2004) B This program also features: David Merrick, Cameron Mackintosh, Andrew Lloyd W H ● With Producers Lion King and after 9/11, Broadway’s corporate dominance con- and after 9/11, Broadway’s tinues to grow with big-budget shows such as 4 the Park with George, La Cage Aux Folles, Rent, The Producers Phantom of the Opera for more information. for www.artsedge.kennedy-center.org/ www.artsedge.kennedy-center.org/ WICKED een music and other disciplines and understand- een music and other disciplines usic heater and Music T Theater Standards Education Theater National The following analyzing and cri- when using these materials: apply productions; analyzing the role of the- theater tiquing in the past and the present; and understanding ater to historythe visual arts in relation and cultures. school theater high about more information For to standards, go site. the Arts’ ArtsEdge Web the Kennedy Center for Go to M stan- Music Education’s for Association The National relationships include understanding apply dards that betw to historying music in relation and culture.
    [Show full text]