DOCSLIB.ORG

The Worst of While You Were Sleeping Online

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Worst of While You Were Sleeping Online LNamX (Mobile book) The Worst of While You Were Sleeping Online [LNamX.ebook] The Worst of While You Were Sleeping Pdf Free Roger Gastman ePub | *DOC | audiobook | ebooks | Download PDF Download Now Free Download Here Download eBook #1618310 in Books Schiffer Publishing, Ltd. 2012-06-28Original language:EnglishPDF # 1 11.00 x 1.00 x 9.10l, 3.75 #File Name: 0764342029496 pages | File size: 33.Mb Roger Gastman : The Worst of While You Were Sleeping before purchasing it in order to gage whether or not it would be worth my time, and all praised The Worst of While You Were Sleeping: 0 of 0 people found the following review helpful. Five StarsBy CustomerAwesome!!!!!! A++++++++++0 of 1 people found the following review helpful. Vanity book for creator of WYWSBy Doctor.GenerosityWhile You Were Sleeping was an amateurish, crude, brutally direct zine published in the 90's. Most people probably ran across it in the magazine corner of the very edgy Tower Records, a genuine and unique cultural resource of 90's urban America. WYWS was an artifact of a certain moment of late 20th century street life focussed on graffiti, inappropriate sex, and 20-something stupidity. The very upfront interviews with porn stars and midgets, the low grade photographs, the images of kids puking on street corners, had a gritty honesty not to be found anywhere else - or at least not published anywhere else. The founder, Roger Gastman, believed graffiti was the most important art form of the day, and he made a living selling the Krylon bottles and spray tips. And where else could you buy a T shirt which read "I f-ked your daughter?"Gastman is still - believe it or not - earning a living from graffiti. This coffee-table retrospective is mainly a vanity exercise. Although the magazine was exceedingly rough and uneven, it had an immediacy that the book doesn't capture. It focusses too much on Gastman's personal reminiscences of starting the magazine, leaves out the pieces I remember best, and has way too many graffiti pix. Graffiti is perishable, like whipped cream or yesterday's weather report, and does not hold up well when reviewed decades later. Nevertheless, one must stand in awe that Gastman has turned all this into a career for himself; he is now the curator of pop culture at an LA museum and - so he says on his website "a trusted mediator between the underground art scenes and mainstream culture." Only in America!1 of 1 people found the following review helpful. More Fun Than I ExpectedBy Pop BopIf you know about "While You Were Sleeping", or are knowledgeable about the graff scene, or have followed Roger Gastman's career, then you really don't need much of a review for this book apart from the observation that it's probably pretty heavy in its non-Kindle form and if thrown on the floor could probably hold a door open against a heavy draft. If you don't know anything about any of these things, then here are a few possibly helpful comments. This compilation does an admirable job of catching a brief moment/mindset/movement in time. Everybody does the 50's and 60's, but this is a later, more personal, time and place. Graff was edgy and fringe. Places like Bethesda were fringe. Cool artsy high school nerds were fringe. Before every self-promoter had his/her own reality show, people like Gary Coleman and Ron Jeremy and porn stars were fringe. It was all just sketchy and fun and weird and irresponsible and pre-slacker. Well, this book catches a bit of a taste of all that. It is entertaining, but it also has just a hint of being an authentic historical document. It was all fiction, but now it's real. So, if you were there, this is a nice memory piece. If you weren't there, then this is another reminder of all the cool things you were too young for or too old for or just plain missed. (Like Woodstock, Altamont, Warhol's parties and the '68 Democratic Convention.) Oh well, just ask yourself - "Would you punch an alien?" Please note that I received a free electronic copy of this book from the publisher in exchange for a frank review. This is a 496-page compilation of The Worst of While You Were Sleeping magazine. With over 900 images of the graffiti crazed, boozed-up partiers, and scantily clad ladies that were WYWS, this magazine content pushed the envelop of morality, sanity, and maturity.While You Were Sleeping was a graffiti and pop culture magazine started by graffiti supply business owner Roger Gastman when he was 19. Here are some of the greatest stories the magazine ever published-and many that are not so good. From stories on admirable serial killers and interviews with child stars to photos of graffiti and people s naked sisters, this book takes you into the dirty minds of Gastman and his team of juvenile delinquents. You ve been warned. Roger Gastman started writing graffiti as a teenager in Bethesda, Maryland, and parlayed his love for it into a legitimate career, becoming a trusted mediator between the underground art scenes and mainstream culture. He founded and published two respected pop-culture magazines While You Were Sleeping and Swindle (co-publisher) as well as more than 30 highly sought-after art books. He is the founder and creative director of R. Rock Enterprises, and has nurtured the careers of internationally recognized artists. Gastman was the supervising producer and creative consultant for the feature-length graffiti documentary Infamy, and served as consulting producer for BANKSY's Exit Through the Gift Shop, which earned an Academy Award nomination for best documentary. Most recently, HarperCollins released Gastman's The History of American Graffiti the definitive story behind the most influential art form in the last 100 years and Jeffrey Deitch asked him to co-curate Art in the Streets at the Museum of Contemporary Art, Los Angeles, which is the first comprehensive U.S. museum survey of graffiti and street art. [LNamX.ebook] The Worst of While You Were Sleeping By Roger Gastman PDF [LNamX.ebook] The Worst of While You Were Sleeping By Roger Gastman Epub [LNamX.ebook] The Worst of While You Were Sleeping By Roger Gastman Ebook [LNamX.ebook] The Worst of While You Were Sleeping By Roger Gastman Rar [LNamX.ebook] The Worst of While You Were Sleeping By Roger Gastman Zip [LNamX.ebook] The Worst of While You Were Sleeping By Roger Gastman Read Online.
Load more

Recommended publications
  • Moral Rights: the Anti-Rebellion Graffiti Heritage of 5Pointz Richard H
    digitalcommons.nyls.edu Faculty Scholarship Articles & Chapters 2018 Moral Rights: The Anti-Rebellion Graffiti Heritage of 5Pointz Richard H. Chused New York Law School, [email protected] Follow this and additional works at: https://digitalcommons.nyls.edu/fac_articles_chapters Part of the Entertainment, Arts, and Sports Law Commons, Land Use Law Commons, and the Property Law and Real Estate Commons Recommended Citation Chused, Richard H., "Moral Rights: The Anti-Rebellion Graffiti Heritage of 5Pointz" (2018). Articles & Chapters. 1172. https://digitalcommons.nyls.edu/fac_articles_chapters/1172 This Article is brought to you for free and open access by the Faculty Scholarship at DigitalCommons@NYLS. It has been accepted for inclusion in Articles & Chapters by an authorized administrator of DigitalCommons@NYLS. Moral Rights: The Anti-Rebellion Graffiti Heritage of 5Pointz Richard Chused* INTRODUCTION Graffiti has blossomed into far more than spray-painted tags and quickly vanishing pieces on abandoned buildings, trains, subway cars, and remote underpasses painted by rebellious urbanites. In some quarters, it has become high art. Works by acclaimed street artists Shepard Fairey, Jean-Michel Basquiat,2 and Banksy,3 among many others, are now highly prized. Though Banksy has consistently refused to sell his work and objected to others doing so, works of other * Professor of Law, New York Law School. I must give a heartfelt, special thank you to my artist wife and muse, Elizabeth Langer, for her careful reading and constructive critiques of various drafts of this essay. Her insights about art are deeply embedded in both this paper and my psyche. Familial thanks are also due to our son, Benjamin Chused, whose knowledge of the graffiti world was especially helpful in composing this paper.
    [Show full text]
  • L'exposition D'os Gemeos À L'ica De Boston
    Université de Montréal L’institutionnalisation du Street Art : l’exposition d’Os Gemeos à l’ICA de Boston par Linakim Champagne Département d’histoire de l’art et d’études cinématographiques Faculté des arts et des sciences Mémoire présenté en vue de l’obtention du grade de M.A. en histoire de l’art Août 2017 © Linakim Champagne, 2017 Résumé Street Art Le est un mouvement artistique contemporain englobant plusieurs formes d’art, apparues dans les années 1970, que nous retrouvons dans la rue et dans l’espace public. Certains chercheurs se sont intéressés à ce mouvement d’un point de vue historique en suivant son évolution jusqu’à nos jours. Étant une forme d’art Street Art de la contre-culture américaine, le a maintenant évolué en nous présentant plusieurs artistes connus mondialement, tel que Shepard Fairey et Banksy. Autrefois anti-institutionnel, l’art de rue semble avoir beaucoup progressé, Street Art considérant notamment le nombre impressionnant d’expositions de que l’on a pu observer dans les musées au cours des dernières années. La récente évolution du mouvement vers les institutions muséales est particulièrement intéressante. Nous nous posons Street Art donc la question suivante : comment la dimension sociale et politique du est institutionnalisée par les Street Art musées ? Afin d’analyser ce phénomène de transition du mouvement du , l’étude d’expositions muséales s’impose, car nous croyons que cette institutionnalisation passe par la muséalisation de l’art de rue. Nous avons Street donc effectuéArt nos recherches en analysant différentes expositions collectives de , pour ensuite nous concentrer sur certaines expositions monographiques majeures ayant eu lieu aux États-Unis.
    [Show full text]
  • Department of Art and Art History the University of Utah GRAFFITI, ART
    GRAFFITI, ART, AND IDENTITY: EXPLORING GAJIN FUJITA’S HOOD RATS by Patricia Kathleen Guiley A thesis submitted to the faculty of The University of Utah in partial fulfillment of the requirements for the degree of Master of Arts in Art History Department of Art and Art History The University of Utah May 2015 Copyright © Patricia Kathleen Guiley 2015 All Rights Reserved The University of Utah Graduate School STATEMENT OF THESIS APPROVAL The thesis of Patricia Kathleen Guiley has been approved by the following supervisory committee members: Winston Kyan , Chair 10/13/2014 Date Approved Paul Monty Paret , Member 10/13/2014 Date Approved Wesley Sasaki-Uemura , Member 10/13/2014 Date Approved and by Brian Snapp , Chair/Dean of the Department/College/School of Art History and by David B. Kieda, Dean of The Graduate School. ABSTRACT While contemporary historians have explored the advent of graffiti as well as its link to the social and financial world, little attention has been given to overarching lenses that attempt to encompass the new global contemporary form of graffiti. In a recent catalogue of street art, Carlo McCormick argues that many of the fundamental motives and aesthetics of graffiti have transformed, requiring new lenses of analysis when comprehending the work. One of the main outcomes in the art-world system of the global contemporary is the dissolving of geographical distances that once divided art worlds from each other. As a result of evolving cultural paradigms, new parameters are required when analyzing contemporary art. It is here, in the global contemporary climate, that Gajin Fujita’s Hood Rats shows how representations of American identity have transformed.
    [Show full text]
  • Parallel Tracks: Three Case Studies of the Relationship Between Street Art and U.S. Museums in the Twenty-First Century
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 11-2-2018 Parallel Tracks: Three Case Studies of the Relationship between Street Art and U.S. Museums in the Twenty-First Century Erin Rolfs Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Art Practice Commons, Museum Studies Commons, and the Urban, Community and Regional Planning Commons Recommended Citation Rolfs, Erin, "Parallel Tracks: Three Case Studies of the Relationship between Street Art and U.S. Museums in the Twenty-First Century" (2018). LSU Master's Theses. 4835. https://digitalcommons.lsu.edu/gradschool_theses/4835 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 11-2-2018 Parallel Tracks: Three Case Studies of the Relationship between Street Art and U.S. Museums in the Twenty-First Century Erin Rolfs Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Art Practice Commons, Museum Studies Commons, and the Urban, Community and Regional Planning Commons PARALLEL TRACKS THREE CASE STUDIES OF THE RELATIONSHIP BETWEEN STREET ART AND U.S. MUSEUMS IN THE TWENTY-FIRST CENTURY A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Erin Rolfs B.A., Louisiana State University, 2006 December 2018 Table of Contents Abstract ................................................................................................................................................................
    [Show full text]
  • Caledonia Curry Aka Swoon
    CALEDONIA CURRY AKA SWOON Born in 1977 in New London, Connecticut; art to respond to crisis. These include Konbit grew up in Daytona Beach, Florida. Lives Shelter, a sustainable building project developed and work in Brooklyn. Graduated from Pratt in the aftermath of the 2010 earthquake that Institute, NY. devastated Haiti; Music Box Village , an immersive musical environment built to and address the cultural toll of Hurricane Katrina by fostering collaborations between the New Orleans’ creative community and artists from around the world; and Braddock Tiles , a job-readiness and soft skills training program for local youth that responds to the decades-long disinvestment and economic crisis in Braddock, Pennsylvania. Curry’s recent work has been focused specifically on the relationship of trauma and addiction, drawing from her experience growing up in an opioid addicted family. In 2015, she developed The Road Home in collaboration with Philadelphia Mural Arts and the Million Person Project to serve Caledonia Curry, or Swoon, is recognized around a community ravaged by the opioid epidemic in the world for her pioneering vision of public North Philadelphia. The project included daily artwork. Through intimate portraits, immersive drop-in art therapy workshops and an ambitious installations and multi-year community based advocacy component that culminated with projects, she has spent over 20 years exploring harm-reduction workshops with the Philadelphia the relationships of individuals to the built Department of Health and a public symposium. environment, using her art as a catalyst for social change and healing. Curry has a long history of executing projects of ambitious scale and vision.
    [Show full text]
  • Art in the Streets, MOCA, L.A
    Art in the Streets Patti Astor at her NYC Fun Gallery, hosting Keith Haring’s 1983 exhibition "Art in the Streets" at L.A.'s Museum of Contemporary Art (MOCA) was a controversial exhibition with works by more than 100 "artists," depicting this underground art genre. At the April 2011 exhibition press preview, MOCA's director Jeffrey Deitch (at that time) with co-curators Roger Gastman and Aaron Rose, compared the works to cubism, constructivism, Dadaism and surrealism, in its potential impact on the art world. The show was an enormous amalgam of graffiti, street art, murals, assemblage pieces, installations of decrepit graffiti filled streets, hip re-created bedrooms and galleries from the 1970's and 80's, displays of aerosol spray cans, numerous photographs of graffiti sprayed buildings, subway cars, bridges, photos of people who did the "artwork" and much more. The exhibition was filled with small to large graffiti pieces and massive installations - fascinating works that brought the viewer to places she/he might otherwise avoid. The art was displayed museum and salon style, in cogent, logical ways and with adequate signage, giving viewers a comprehensive understanding of graffiti and street art. Running throughout was a timeline of the evolution of the genre. There was also a display about a graffiti forerunner, railroad writings, going back to late 19th century. The exhibition demonstrated that several graffiti artists, Shepard Fairey, Bansky, Barry McGee, Mr. Cartoon, are producing works with form, color, harmony and aesthetic beauty. The show was also infused with dynamic youthful energy, with large swirling swaths of color and occasional in-your-face comments on the state of the world.
    [Show full text]
  • Banksy. Urban Art in a Material World
    Ulrich Blanché BANKSY Ulrich Blanché Banksy Urban Art in a Material World Translated from German by Rebekah Jonas and Ulrich Blanché Tectum Ulrich Blanché Banksy. Urban Art in a Material World Translated by Rebekah Jonas and Ulrich Blanché Proofread by Rebekah Jonas Tectum Verlag Marburg, 2016 ISBN 978-3-8288-6357-6 (Dieser Titel ist zugleich als gedrucktes Buch unter der ISBN 978-3-8288-3541-2 im Tectum Verlag erschienen.) Umschlagabbildung: Food Art made in 2008 by Prudence Emma Staite. Reprinted by kind permission of Nestlé and Prudence Emma Staite. Besuchen Sie uns im Internet www.tectum-verlag.de www.facebook.com/tectum.verlag Bibliografische Informationen der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Angaben sind im Internet über http://dnb.ddb.de abrufbar. Table of Content 1) Introduction 11 a) How Does Banksy Depict Consumerism? 11 b) How is the Term Consumer Culture Used in this Study? 15 c) Sources 17 2) Terms and Definitions 19 a) Consumerism and Consumption 19 i) The Term Consumption 19 ii) The Concept of Consumerism 20 b) Cultural Critique, Critique of Authority and Environmental Criticism 23 c) Consumer Society 23 i) Narrowing Down »Consumer Society« 24 ii) Emergence of Consumer Societies 25 d) Consumption and Religion 28 e) Consumption in Art History 31 i) Marcel Duchamp 32 ii) Andy Warhol 35 iii) Jeff Koons 39 f) Graffiti, Street Art, and Urban Art 43 i) Graffiti 43 ii) The Term Street Art 44 iii) Definition
    [Show full text]
  • Moral Rights: the Anti-Rebellion Graffiti Heritage of 5Pointz
    RICHARD CHUSED, MORAL RIGHTS: THE ANTI-REBELLION GRAFFITI OF 5POINTZ, 41 COLUM. J.L. & ARTS 583 (2018) Moral Rights: The Anti-Rebellion Graffiti Heritage of 5Pointz Richard Chused* INTRODUCTION Graffiti has blossomed into far more than spray-painted tags and quickly vanishing pieces on abandoned buildings, trains, subway cars, and remote underpasses painted by rebellious urbanites. In some quarters, it has become high art. Works by acclaimed street artists Shepard Fairey,1 Jean-Michel Basquiat,2 and Banksy,3 among many others, are now highly prized. Though Banksy has consistently refused to sell his work and objected to others doing so, works of other * Professor of Law, New York Law School. I must give a heartfelt, special thank you to my artist wife and muse, Elizabeth Langer, for her careful reading and constructive critiques of various drafts of this essay. Her insights about art are deeply embedded in both this paper and my psyche. Familial thanks are also due to our son, Benjamin Chused, whose knowledge of the graffiti world was especially helpful in composing this paper. In addition, I owe a debt of gratitude to my colleagues Ari Waldman and Jacob Sherkow for reading earlier drafts, to many others on the New York Law School faculty who commented on this paper during two faculty colloquia and to New York Law School for providing me with summer writer grants for many years. Finally, I commend the staff at the Columbia Journal of Law and the Arts for their comments on the paper when they accepted it for publication. They were sophisticated and important contributors to the final version.
    [Show full text]
  • The Effect Street Art Has on Gentrification: a Case Study of Miami’S Wynwood Arts District" (2014)
    Sotheby's Institute of Art Digital Commons @ SIA MA Theses Student Scholarship and Creative Work Spring 3-28-2014 The ffecE t Street Art has on Gentrification: A case study of Miami’s Wynwood Arts District Bianca Gonzalez [email protected] Follow this and additional works at: https://digitalcommons.sia.edu/stu_theses Part of the Arts Management Commons, Contemporary Art Commons, Fine Arts Commons, Public Affairs, Public Policy and Public Administration Commons, Urban, Community and Regional Planning Commons, and the Urban Studies and Planning Commons Recommended Citation Gonzalez, Bianca, "The Effect Street Art has on Gentrification: A case study of Miami’s Wynwood Arts District" (2014). MA Theses. 2. https://digitalcommons.sia.edu/stu_theses/2 This Thesis is brought to you for free and open access by the Student Scholarship and Creative Work at Digital Commons @ SIA. It has been accepted for inclusion in MA Theses by an authorized administrator of Digital Commons @ SIA. For more information, please contact [email protected]. The Effect Street Art has on Gentrification: A case study of Miami’s Wynwood Arts District by Bianca M. Gonzalez A thesis submitted in conformity with the requirements for a Master’s Degree in Art Business Sotheby’s Institute of Art 2013 14,395 words The Effect Street Art has on Gentrification: A case study of Miami’s Wynwood Arts District By: Bianca M. Gonzalez The aim of this paper is to examine the role that street art and the artist plays in the gentrification of a city, with a specific focus on Miami’s Wynwood Arts District.
    [Show full text]
  • Street Art Hunting: Instagram and the Gamification of Creative Placemaking
    STREET ART HUNTING: INSTAGRAM AND THE GAMIFICATION OF CREATIVE PLACEMAKING Danielle Foushée Arizona State University | Assistant Professor Design Phoenix Mural Project | Director, Founder Subversive Creativity Lab | Director, Founder AbstraCt The large scale and public nature of murals are quick and easy social media subject matter for visitors to broadcast their discoveries to the world and claim an authentic experience of a special time and place. Wide access to digital photography and social media—Instagram in particular—delivers a game-like social experience of “hide-and-seek” for street art lovers, cultivating a sense of intimacy with the murals, the artists, and connection to the larger community. This paper explores the unwritten rules of the game through the lens of a case study in Phoenix, Arizona. It unveils the ways in which creative placemaking is fostered through the spontaneous emergence of digital and physical interactions between artists and their audiences, without interference from social organizations or public officials. This position paper ultimately argues that self- organizing, grass roots community arts activities may be more inclusive, egalitarian, and potent than institutionally-driven creative placemaking efforts. Keywords: social media, gaming, creative placemaking, Instagram, street art, urban studies, play, murals, social equity Figure 1: Artist: Tato Caraveo / Photo by the author / Phoenix, Arizona IntroDuCtion I move around a lot, so I know well the feeling of displacement. Finding a sense of place and belonging can be elusive even in familiar locations, and even more challenging to find in a completely new environment with its own geographies and cultures. When I moved to Phoenix, Arizona in 2016, I didn’t know anyone.
    [Show full text]
  • Banksy, Tyler the Creator, and the Growing Nihilistic Mindset Duri Long
    Long: Listen to the Story: Banksy, Tyler the Creator, and the Growing N JOURNAL OF HIP HOP STUDIES . Listen to the Story: Banksy, Tyler the Creator, and the Growing Nihilistic Mindset Duri Long Abstract Art, as an expression of feelings, worldviews, and personal beliefs, is a reflection of our environment and how we interact with it. In this way, urban art such as rap music and graffiti can serve as a lens through which we are able to examine the state of the urban environment. Building on community literature that addresses the presence of nihilism in rap music, this work will establish that nihilism is a prevalent theme in the work of two artists: Tyler the Creator’s rap music and BANKSY’s graffiti art. By examining the growing subculture and appeal of urban art in relation to these two artists, this paper will argue that BANKSY and Tyler the Creator belong to a new wave of urban art, one that appeals to and originates from people of all races and classes. The current work will then examine these artists’ motives in including nihilism within their art in order to argue that the disillusionment and nihilism once found primarily within inner cities is now spreading to new frontiers. Using this analysis, the current work will raise questions as to the possible causes and consequences of this spreading nihilistic mindset. Introduction Art acts as a collective mirror through which we can more closely examine and learn about our society, our surroundings, and ourselves. As John Lennon once said, “My role in society, or any artist’s or poet’s role, is to try and express what we all feel.
    [Show full text]
  • Banksy As Trickster: the Rhetoric of Street Art, Public Identity, and Celebrity Brands
    BANKSY AS TRICKSTER: THE RHETORIC OF STREET ART, PUBLIC IDENTITY, AND CELEBRITY BRANDS ____________________________________ A Thesis Presented to The Honors Tutorial College Ohio University _______________________________________ In Partial Fulfillment of the Requirements for Graduation from the Honors Tutorial College with the degree of Bachelor of Science in Communications ______________________________________ by Elizabeth J. Westendorf June 2010 This thesis has been approved by The Honors Tutorial College and the School of Communication Studies _______________________________ Dr. Judith Yaross Lee Professor, Communication Studies Thesis Advisor Honors Tutorial College, Director of Studies Communication Studies _______________________________ Dr. Jeremy Webster Dean, Honors Tutorial College CONTENTS List of Figures ....................................................................................................... v Acknowledgements ...............................................................................................vi Chapter 1. Introduction: Banksy and the Rhetoric of Street Art .............................. 1 Chapter 2. The Trickster in Action: Banksy’s Rhetorical Performances ............... 23 Chapter 3. Brandalism or Branding? Banksy’s Brand and the Trickster Myth ..... 56 Bibliography ......................................................................................................... 83 LIST OF FIGURES 1.1 Close up of Early Man Goes to Market ............................................................. 2
    [Show full text]