Emiliana Torrini Tookah Mp3, Flac, Wma

Total Page:16

File Type:pdf, Size:1020Kb

Emiliana Torrini Tookah Mp3, Flac, Wma Emiliana Torrini Tookah mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Pop / Folk, World, & Country Album: Tookah Country: UK & Europe Released: 2013 Style: Synth-pop, Indie Pop MP3 version RAR size: 1903 mb FLAC version RAR size: 1832 mb WMA version RAR size: 1600 mb Rating: 4.5 Votes: 364 Other Formats: TTA AHX VQF MPC AAC AIFF VOC Tracklist Hide Credits Tookah Guitar, Bass, Synthesizer [Prophet, Swarmatron], Drum Programming – Dan 1 3:00 CareyLyrics By – Emilíana Torrini*Piano – Simon ByrtVocals – Emilíana Torrini*Written-By – Dan Carey, Emilíana Torrini* Caterpillar Drums – Liam HuttonGuitar, Bass, Synthesizer [Prophet, Swarmatron], Drum 2 3:52 Programming – Dan CareyLyrics By – Emilíana Torrini*Vocals – Emilíana Torrini*Written-By – Dan Carey, Emilíana Torrini* Autumn Sun 3 Guitar, Bass – Dan CareyLyrics By – Emilíana Torrini*Synthesizer [Oberheim] – Matt 4:11 RobertsonVocals – Emilíana Torrini*Written-By – Dan Carey, Emilíana Torrini* Home 4 Guitar, Drums, Bass – Dan CareyLyrics By – Emilíana Torrini*Vocals, Synthesizer 3:34 [Prophet] – Emilíana Torrini*Written-By – Dan Carey, Emilíana Torrini* Elísabet Bass – Dan CareyDrums – Sigtryggur Baldursson*Guitar – Cameron Miller, Ian 5 3:28 KellettLyrics By – Emilíana Torrini*Synthesizer [Prophet] – Simon ByrtVocals – Emilíana Torrini*Written-By – Emilíana Torrini*, Ian Kellett, Simon Byrt Animal Games Drums, Percussion – Sigtryggur Baldursson*Guitar, Bass, Drum Programming – Dan 6 2:56 CareyLyrics By – Emilíana Torrini*Synthesizer [Oberheim] – Matt RobertsonVocals – Emilíana Torrini*Written-By – Dan Carey, Emilíana Torrini* Speed Of Dark Drum Programming, Synth, Mellotron, Guitar – Dan CareyLyrics By – Emilíana 7 5:37 Torrini*Vocals, Synthesizer [Prophet] – Emilíana Torrini*Written-By – Dan Carey, Emilíana Torrini*, Ian Kellett, Simon Byrt Blood Red Acoustic Guitar – Simon ByrtDrums – Sigtryggur Baldursson*Guitar, Bass – Dan 8 5:07 CareyLyrics By – Emilíana Torrini*Vocals – Emilíana Torrini*Written-By – Emilíana Torrini*, Simon Byrt When Fever Breaks Drums – Liam HuttonGuitar, Bass, Synthesizer [Swarmatron], Organ, Drums – Dan 9 7:29 CareyLyrics By – Emilíana Torrini*Vocals – Emilíana Torrini*Written-By – Dan Carey, Emilíana Torrini* Bonus Track Echo Horse (History Of Horses) 10 Backing Vocals – Lisa Elle, Sigtryggur Baldursson*, Willy MasonGuitar – Dan CareyLyrics By – Emilíana Torrini*Written-By – Dan Carey, Emilíana Torrini* Companies, etc. Phonographic Copyright (p) – Rough Trade Records Ltd. Copyright (c) – Rough Trade Records Ltd. Licensed From – Emiliana Torrini Mastered At – Loud Mastering Recorded At – Mr Dan's Mixed At – Mr Dan's Mixed At – Mr Punch Credits Engineer – Alexis Smith Management – Crush Management* Mastered By – John Dent Mixed By – Alexis Smith, Dan Carey Producer – Dan Carey Notes Issued in hardback book packaging. Barcode and Other Identifiers Barcode: 883870068505 Label Code: LC 11945 Matrix / Runout: arvato 55549925/RTRADCDX685 21 Other versions Category Artist Title (Format) Label Category Country Year Emiliana Tookah (CD, UK, Europe RTRADCD685 Rough Trade RTRADCD685 2013 Torrini Album) & US Emiliana Tookah (LP, UK, Europe RTRADLP685 Rough Trade RTRADLP685 2013 Torrini Album, Gat) & US Emiliana Tookah (CDr, none Rough Trade none UK 2013 Torrini Album, Promo) Emiliana Tookah (CD, High Note HN1116CD HN1116CD Taiwan 2013 Torrini Album) Records Emiliana Tookah (CD, ООО "Союз RTRADCD685 RTRADCD685 Russia 2013 Torrini Album) Мьюзик" Related Music albums to Tookah by Emiliana Torrini The Colorist & Emiliana Torrini - Speed Of Dark Gus Gus - Polydistortion Thievery Corporation - The Richest Man In Babylon Emilíana Torrini - Fisherman's Woman Leikfélag Íslands & Leikfélag Reykjavíkur - Stone Free Various - Rough Cuts 3 Music For Films Emiliana Torrini - Unemployed In Summertime Ali' E Franco - Due Mondi / Un Tulipano Emiliana Torrini - Heartstopper Kazumasa Hashimoto - Euphoriam.
Recommended publications
  • Arxiv:1910.11997V1 [Cs.SD] 26 Oct 2019 Ited Access to Such Data
    MELLOTRON: MULTISPEAKER EXPRESSIVE VOICE SYNTHESIS BY CONDITIONING ON RHYTHM, PITCH AND GLOBAL STYLE TOKENS Rafael Valle*, Jason Li*, Ryan Prenger, Bryan Catanzaro NVIDIA Corporation ABSTRACT easily extended to singing voice synthesis (SVS) [3, 4]. Un- fortunately, recent attempts [4] require a singing voice dataset Mellotron is a multispeaker voice synthesis model based on and heavily quantized pitch and rhythm data obtained from a Tacotron 2 GST that can make a voice emote and sing with- digital representation of a music score, for example MIDI [5] out emotive or singing training data. By explicitly condition- or musicXML [6]. Mellotron does not require any singing ing on rhythm and continuous pitch contours from an audio voice in the dataset nor manually aligned pitch and text in signal or music score, Mellotron is able to generate speech order to synthesize singing voice. in a variety of styles ranging from read speech to expressive Mellotron can make a voice emote and sing without emo- speech, from slow drawls to rap and from monotonous voice tion or singing data. Training Mellotron is very simple and to singing voice. Unlike other methods, we train Mellotron only requires read speech and transcriptions. During infer- using only read speech data without alignments between text ence, we can change the generated voice’s speaking style, and audio. We evaluate our models using the LJSpeech and make it emote or sing by extracting pitch and rhythm char- LibriTTS datasets. We provide F0 Frame Errors and synthe- acteristics from an audio file or a music score. As a bonus, sized samples that include style transfer from other speakers, with Mellotron we can explore latent characteristics from an singers and styles not seen during training, procedural manip- audio corpus by sampling a dictionary of learned latent char- ulation of rhythm and pitch and choir synthesis.
    [Show full text]
  • Latin American Nimes: Electronic Musical Instruments and Experimental Sound Devices in the Twentieth Century
    Latin American NIMEs: Electronic Musical Instruments and Experimental Sound Devices in the Twentieth Century Martín Matus Lerner Desarrollos Tecnológicos Aplicados a las Artes EUdA, Universidad Nacional de Quilmes Buenos Aires, Argentina [email protected] ABSTRACT 2. EARLY EXPERIENCES During the twentieth century several Latin American nations 2.1 The singing arc in Argentina (such as Argentina, Brazil, Chile, Cuba and Mexico) have In 1900 William du Bois Duddell publishes an article in which originated relevant antecedents in the NIME field. Their describes his experiments with “the singing arc”, one of the first innovative authors have interrelated musical composition, electroacoustic musical instruments. Based on the carbon arc lutherie, electronics and computing. This paper provides a lamp (in common use until the appearance of the electric light panoramic view of their original electronic instruments and bulb), the singing or speaking arc produces a high volume buzz experimental sound practices, as well as a perspective of them which can be modulated by means of a variable resistor or a regarding other inventions around the World. microphone [35]. Its functioning principle is present in later technologies such as plasma loudspeakers and microphones. Author Keywords In 1909 German physicist Emil Bose assumes direction of the Latin America, music and technology history, synthesizer, drawn High School of Physics at the Universidad de La Plata. Within sound, luthería electrónica. two years Bose turns this institution into a first-rate Department of Physics (pioneer in South America). On March 29th 1911 CCS Concepts Bose presents the speaking arc at a science event motivated by the purchase of equipment and scientific instruments from the • Applied computing → Sound and music German company Max Kohl.
    [Show full text]
  • A History of Sampling
    Organised Sound http://journals.cambridge.org/OSO Additional services for Organised Sound: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here A history of sampling HUGH DAVIES Organised Sound / Volume 1 / Issue 01 / April 1996, pp 3 - 11 DOI: null, Published online: 08 September 2000 Link to this article: http://journals.cambridge.org/abstract_S135577189600012X How to cite this article: HUGH DAVIES (1996). A history of sampling. Organised Sound, 1, pp 3-11 Request Permissions : Click here Downloaded from http://journals.cambridge.org/OSO, IP address: 128.59.222.12 on 11 May 2014 TUTORIAL ARTICLE A history of sampling HUGH DAVIES 25 Albert Road, London N4 3RR Since the mid-1980s commercial digital samplers have At the end of the 1980s other digital methods of become widespread. The idea of musical instruments which solving some of the problems inherent in high quality have no sounds of their own is, however, much older, not PCM began to be explored. In ®gure 1(b) pulse-ampli- just in the form of analogue samplers like the Mellotron, tude is shown as a vertical measurement in which but in ancient myths and legends from China and elsewhere. information is encoded as the relative height of each This history of both digital and analogue samplers relates successive regular pulse. The remaining possibilities the latter to the early musique concreÁte of Pierre Schaeffer and others, and also describes a variety of one-off systems are horizontal, such as a string of coded numerical devised by composers and performers. values for PCM, and the relative widths (lengths) of otherwise identical pulses and their density (the spac- ing between them).
    [Show full text]
  • Arturia V Collection 7 NIGEL JOPSON Re-Visits Past Glories… in the Box
    Reviews Arturia V Collection 7 NIGEL JOPSON re-visits past glories… in the box one of the most adaptable replicas of Synthi V — silver machine the real instrument I’ve heard. The new Synthi V (EMS Synthi/VCS 3) The three other brand new instrument was what drew me to this instruments are emulations of two Arturia collection. Thanks to a meeting classics, the EMS Synthi (Synthi V), the with EMS-founder Peter Zinovieff I had Casio CZ (CZ V), and the legendary an early AKS (suitcase version) in my ‘dawn of man’ sampler, Mellotron V. The studio, and I once tried to persuade Mellotron was a massive electro- Roger Waters to ‘lend’ me his VCS3. I mechanical device which played a loved the device — and what engineer (3-track) tape strip for each note. The wouldn’t? There’s a patchbay on the strips were kept in ridiculously long front panel! In an effort to improve on plastic sleeves, and played by the Heath the ridiculous dangling cables of other Robinson means of pressing a tape modular synths of the era, Peter replay head (attached to each wooden mandated a pin-board matrix for key) on to a capstan which ran the length patching oscillators to filters and so on. of the instrument. The Beatles famously This was part of the charm of the he French software company are back with the latest used a MkII on Strawberry Fields, but it is original, as weird sounds were version of their epic synth emulation bundle, V the later 400 model depicted in the generated by crosstalk and interactions Collection 7, which comes with three new virtual Arturia virtual instrument.
    [Show full text]
  • Underwater Music: Tuning Composition to the Sounds of Science
    OUP UNCORRECTED FIRST-PROOF 7/6/11 CENVEO chapter 6 UNDERWATER MUSIC: TUNING COMPOSITION TO THE SOUNDS OF SCIENCE stefan helmreich Introduction How should we apprehend sounds subaqueous and submarine? As humans, our access to underwater sonic realms is modulated by means fl eshy and technological. Bones, endolymph fl uid, cilia, hydrophones, and sonar equipment are just a few apparatuses that bring watery sounds into human audio worlds. As this list sug- gests, the media through which humans hear sound under water can reach from the scale of the singular biological body up through the socially distributed and techno- logically tuned-in community. For the social scale, which is peopled by submari- ners, physical oceanographers, marine biologists, and others, the underwater world —and the undersea world in particular — often emerge as a “fi eld” (a wildish, distributed space for investigation) and occasionally as a “lab” (a contained place for controlled experiments). In this chapter I investigate the ways the underwater realm manifests as such a scientifi cally, technologically, and epistemologically apprehensible zone. I do so by auditing underwater music, a genre of twentieth- and twenty-fi rst-century 006-Pinch-06.indd6-Pinch-06.indd 115151 77/6/2011/6/2011 55:06:52:06:52 PPMM OUP UNCORRECTED FIRST-PROOF 7/6/11 CENVEO 152 the oxford handbook of sound studies composition performed or recorded under water in settings ranging from swim- ming pools to the ocean, with playback unfolding above water or beneath. Composers of underwater music are especially curious about scientifi c accounts of how sound behaves in water and eager to acquire technologies of subaqueous sound production.
    [Show full text]
  • Mellotron Mark VI What’S a T APE-PLAYBACK KEYBOARD Chamberlin? See Page 54
    Korg D1600 Reports Mellotron Mark VI What’s a T APE-PLAYBACK KEYBOARD Chamberlin? See page 54. Speed selector offers two Lid is hinged at the Exclusive!Exclusive! user-adjustable speeds. back, facilitating quick tape-frame changes. Even with the major upgrades, Mark VI tape frames can be used in vintage M400s (and vice-versa). Tone control helps tailor high Silhouette is the same, but there’s Heads are original never-used EQ to Mellotron and the more almost nothing that hasn’t been Mellotron parts. hi-fi Chamberlin libraries. changed, upgraded, or enhanced. by Ken Hughes parts. Kean eventually acquired the worldwide Mellotron trademark as well. The original idea ince this is your April issue, A quick back story is in order: According to was to resume making tapes and parts available you’re naturally expecting Markus Resch of Mellotron Archives, vintage to the vintage Mellotron user base, a small but some kind of joke content. synth and keyboard conservator David Kean loyal band of enthusiasts who keep these Well, this ain’t it. The acquired the master tapes and tape-making charming tape players alive.At some point some- Mellotron Mark VI is indeed equipment of the U.S.-based Mellotron company one asked for a motor control board, and Resch a real product, and while it’s in 1990. He later acquired the masters from the got involved. Resch also built over a hundred Sfunctionally identical to its ancestor the M400, British Mellotron operation as well, along with upgraded M400 tape frames. From there, the it couldn’t in reality be a more different instru- a cache of NOS (“New, Old Stock;” refers to project mushroomed into a completely new ment; even the exterior dimensions have parts made back in the day but never built into ’Tron — the Mark VI — which is now available.
    [Show full text]
  • Hydraulophone Design Considerations: Absement, Displacement, and Velocity-Sensitive Music Keyboard in Which Each Key Is a Water Jet
    Hydraulophone Design Considerations: Absement, Displacement, and Velocity-Sensitive Music Keyboard in which each key is a Water Jet Steve Mann, Ryan Janzen, Mark Post University of Toronto, Dept. of Electrical and Computer Engineering, Toronto, Ontario, Canada For more information, see http://funtain.ca ABSTRACT General Terms We present a musical keyboard that is not only velocity- Measurement, Performance, Design, Experimentation, Hu- sensitive, but in fact responds to absement (presement), dis- man Factors, Theory placement (placement), velocity, acceleration, jerk, jounce, etc. (i.e. to all the derivatives, as well as the integral, of Keywords displacement). Fluid-user-interface, tangible user interface, direct user in- Moreover, unlike a piano keyboard in which the keys reach terface, water-based immersive multimedia, FUNtain, hy- a point of maximal displacement, our keys are essentially draulophone, pneumatophone, underwater musical instru- infinite in length, and thus never reach an end to their key ment, harmelodica, harmelotron (harmellotron), duringtouch, travel. Our infinite length keys are achieved by using water haptic surface, hydraulic-action, tracker-action jet streams that continue to flow past the fingers of a per- son playing the instrument. The instrument takes the form 1. INTRODUCTION: VELOCITY SENSING of a pipe with a row of holes, in which water flows out of KEYBOARDS each hole, while a user is invited to play the instrument by High quality music keyboards are typically velocity-sensing, interfering with the flow of water coming out of the holes. i.e. the notes sound louder when the keys are hit faster. The instrument resembles a large flute, but, unlike a flute, Velocity-sensing is ideal for instruments like the piano, there is no complicated fingering pattern.
    [Show full text]
  • The Restoration of the Mellotron
    LOG IN REGISTER SUBSCRIBE SHOP HELP 0 items Search SOUND ON SOUND NEWS FORUM MAGAZINE REVIEWS TECHNIQUES PEOPLE SOUND ADVICE MUSIC BUSINESS HOME > TECHNIQUES > The Restoration Of The Mellotron - Half’A’Tron Back In Black Keyboards By Gordon Reid This is the story of the fall and rise of a unique Mellotron with an equally unique history. In 1965, Streetly Electronics built the prototype of a single-manual, cycling Mellotron contained in a half–width MkII case. They installed a new set of tapes that concentrated on a range of organ sounds rather than the flutes, violins, brass and choirs that would soon come to define the Mellotron sound, and even made it possible for the user to record new sounds In this article... onto the lowest five keys, which would have made it the world’s first sampler. But what happened next illustrates the strange relationship that existed between Streetly (the Introduction manufacturer in Birmingham) and Mellotronics (the sales organisation in London). One of The Birth Of The Half’A’Tron Mellotronics’ directors, a chap by the name of George Clouston, visited the factory and Limbo The Rebirth Of The Half’A’Tron ordered them to destroy the prototype so that no–one outside the factory would ever see it, A Dream Realised hear it, or even learn of its existence. So the single–manual ’Tron was scrapped and, for the Station To Station next two decades, a pedestal drill was bolted to the top of its forlorn and empty cabinet. Voicing The Half’A’Tron For 50 years, the idea lay dormant.
    [Show full text]
  • Yann Tiersen Kerber Bio
    YANN TIERSEN KERBER BIO “I think there is a similarity between the infinite big and the infinite smallness of everything,” says Yann Tiersen. “It's the same experiment looking through a microscope as it is a telescope.” This exploration of the micro and the macro has permeated through much of Tiersen’s career, as an artist capable of vast expansiveness as often as he is intricate detail. This multifaceted approach can be heard in the stirring piano minimalism of 2016’s EUSA, to the full band intensity of albums such as Infinity and Skyline - not to mention earlier albums such as Le Phare, filled with idiosyncratic compositions and a variety of textures. However, Tiersen is not one to stick to a formula. For him, context is everything and the context keeps changing. When he revisited his own back catalogue on 2019’s Portrait, this was not an exercise in nostalgia, rehashing past glories or an attempt to repeat previous ways of working. It was about re-contextualising his own work. “The purpose of revisiting and playing live some of my previous stuff was to gather a snapshot of what I've done and then move to something else and start again,” he says. “It's good to have an endpoint and a sense of reconciliation. The goal was to put everything back in context.” With that chapter now behind him, Kerber is very much a new one in Tiersen’s career. One that begins with his most overtly electronic material to date. However, true to Tiersen’s nuanced and subtle approach, this isn’t a U-turn-like thumping piece of dance music but instead a beautifully textured, highly immersive and thoughtfully constructed electronic world to step inside of.
    [Show full text]
  • Creative Musical Instrument Design
    CREATIVE MUSICAL INSTRUMENT DESIGN: A report on experimental approaches, unusual creations and new concepts in the world of musical and sound instruments. A thesis submitted to the SAE Institute, London, in fulfillment of the requirements for the degree in Recording Arts, awarded by Middlesex University. Author: Andrea Santini Student: 42792 Intake: RAD0503X Project Tutors: Christopher Hayne Darren Gash London, August 2004 c r e a t i v e m u s i c a l i n s t r u m e n t d e s i g n Abstract The following document presents the results of an investigation into the current reality of creative musical-instrument and sound-instrument design. The focus of this research is on acoustic and electro-acoustic devices only, sound sources involving oscillators, synthesis and sampling, be it analogue or digital, have therefore been excluded. Also, even though occasional reference will be made to historical and ‘ethnical’ instruments, they will not be treated as a core issue, the attention being primarily centered on contemporary creations. The study includes an overview of the most relevant “sonic creations” encountered in the research and chosen as representative examples to discuss the following aspects: o Interaction between body and instrument. o Sonic Space o Tuning and layout of pitches o Shapes, materials and elements o Sonic objects, noise and inharmonic sources o Aesthetics: sound instruments as art objects o Amplification and transducer technologies These where chosen to provide some degree of methodology during the research process and a coherent framework to the analysis of a subject which, due to its nature and to the scarcity of relevant studies, has unclear boundaries and a variety of possible interdisciplinary connections.
    [Show full text]
  • Ambient Music the Complete Guide
    Ambient music The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Mon, 05 Dec 2011 00:43:32 UTC Contents Articles Ambient music 1 Stylistic origins 9 20th-century classical music 9 Electronic music 17 Minimal music 39 Psychedelic rock 48 Krautrock 59 Space rock 64 New Age music 67 Typical instruments 71 Electronic musical instrument 71 Electroacoustic music 84 Folk instrument 90 Derivative forms 93 Ambient house 93 Lounge music 96 Chill-out music 99 Downtempo 101 Subgenres 103 Dark ambient 103 Drone music 105 Lowercase 115 Detroit techno 116 Fusion genres 122 Illbient 122 Psybient 124 Space music 128 Related topics and lists 138 List of ambient artists 138 List of electronic music genres 147 Furniture music 153 References Article Sources and Contributors 156 Image Sources, Licenses and Contributors 160 Article Licenses License 162 Ambient music 1 Ambient music Ambient music Stylistic origins Electronic art music Minimalist music [1] Drone music Psychedelic rock Krautrock Space rock Frippertronics Cultural origins Early 1970s, United Kingdom Typical instruments Electronic musical instruments, electroacoustic music instruments, and any other instruments or sounds (including world instruments) with electronic processing Mainstream Low popularity Derivative forms Ambient house – Ambient techno – Chillout – Downtempo – Trance – Intelligent dance Subgenres [1] Dark ambient – Drone music – Lowercase – Black ambient – Detroit techno – Shoegaze Fusion genres Ambient dub – Illbient – Psybient – Ambient industrial – Ambient house – Space music – Post-rock Other topics Ambient music artists – List of electronic music genres – Furniture music Ambient music is a musical genre that focuses largely on the timbral characteristics of sounds, often organized or performed to evoke an "atmospheric",[2] "visual"[3] or "unobtrusive" quality.
    [Show full text]
  • A Brief History of Analog Synthesis Ondioline
    Product Information Document Synthesizers and Samplers K-2 Analog and Semi-Modular Synthesizer with Dual VCOs, Ring Modulator, External Signal Processor, 16-Voice Poly Chain and Eurorack Format ## Amazing analog synthesizer with dual VCO design allows for insanely fat music creation ## Authentic reproduction of original circuitry with matched transistors A Brief History of and JFETs Analog Synthesis ## Pure analog signal path based on The modern synthesizer’s evolution authentic VCO, VCF and VCA designs began in 1919, when a Russian physicist ## Semi-modular architecture named Lev Termen (also known as with default routings requires no patching for immediate Léon Theremin) invented one of the performance first electronic musical instruments – ## First and second generation filter the Theremin. It was a simple oscillator design (high pass/low pass with peak/resonance) that was played by moving the performer’s hand in the vicinity of the ## 4 variable oscillator shapes with variable pulse widths and ring instrument’s antenna. An outstanding modulation for ultimate sounds example of the Theremin’s use can be ## Dedicated and fully analog heard on the Beach Boys iconic smash triangle/square wave LFO hit “Good Vibrations”. ## 2 analog Envelope Generators for modulation of VCF and VCA ## 16-voice Poly Chain allows Ondioline combining multiple synthesizers for In the late 1930s, French musician up to 16 voice polyphony Georges Jenny invented what he called ## Complete Eurorack solution – the Ondioline, a monophonic electronic main module can be transferred keyboard capable of generating a wide range to a standard Eurorack case of sounds. The keyboard even allowed the player to produce natural-sounding vibrato by ## 36 controls give you direct and real-time access to all important depressing a key and using side-to-side finger parameters movements.
    [Show full text]