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Herbert Alexander Simon (June 15, 1916 - February 9, 2001) was an American economist and political scientist whose primary interest was decision-making within organizations and is best known for the theories of "bounded rationality" and "satisficing". He received the Nobel Prize in Economics in 1978 and the Turing Award in 1975. His research was noted for its interdisciplinary nature and spanned across the fields of cognitive science, computer science, public administration, management, and political science. He was at Carnegie Mellon University for most of his career, from 1949 to 2001.
Simon was a pioneer in the field of artificial intelligence, creating with Allen Newell the Logic Theory Machine (1956) and the General Problem Solver (GPS) (1957) programs. GPS may possibly be the first method developed for separating problem solving strategy from information about particular problems. Both programs were developed using the Information Processing Language (IPL) (1956) developed by Newell, Cliff Shaw, and Simon. Donald Knuth mentions the development of list processing in IPL, with the linked list originally called "NSS memory" for its inventors. In 1957, Simon predicted that computer chess would surpass human chess abilities within "ten years" when, in reality, that transition took about forty years.  In the early 1960s psychologist Ulric Neisser asserted that while machines are capable of replicating "cold cognition" behaviors such as reasoning, planning, perceiving, and deciding, they would never be able to replicate "hot cognition" behaviors such as pain, pleasure, desire, and other emotions. Simon responded to Neisser's views in 1963 by writing a paper on emotional cognition, which he updated in 1967 and published in Psychological Review. Simon's work on emotional cognition was largely ignored by the artificial intelligence research community for several years, but subsequent work on emotions by Sloman and Picard helped refocus attention on Simon's paper and eventually, made it highly influential on the topic.  Simon also collaborated with James G. March on several works in organization theory.  With Allen Newell, Simon developed a theory for the simulation of human problem solving behavior using production rules. The study of human problem solving required new kinds of human measurements and, with Anders Ericsson, Simon developed the experimental technique of verbal protocol analysis. Simon was interested in the role of knowledge in expertise. He said that to become an expert on a topic required about ten years of experience and he and colleagues estimated that expertise was the result of learning roughly 50,000 chunks of information. A chess expert was said to have learned about 50,000 chunks or chess position patterns.  He was awarded the ACM Turing Award, along with Allen Newell, in 1975. "In joint scientific efforts extending over twenty years, initially in collaboration with J. C. (Cliff) Shaw at the RAND Corporation, and subsequentially [sic] with numerous faculty and student colleagues at Carnegie Mellon University, they have made basic contributions to artificial intelligence, the psychology of human cognition, and list processing."

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With Allen Newell, Simon developed a theory for the simulation of human problem solving behavior using production rules.



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Oklahoma! is the first musical written by the team of composer Richard Rodgers and librettist Oscar Hammerstein II. The musical is based on Lynn Riggs' 1931 play, Green Grow the Lilacs. Set in Oklahoma Territory outside the town of Claremore in 1906, it tells the story of farm girl Laurey Williams and her courtship by two rival suitors, cowboy Curly McLain and the sinister and frightening farmhand Jud Fry. A secondary romance concerns cowboy Will Parker and his flirtatious fiancee, Ado Annie.
The original production of Oklahoma! was an unprecedented critical and popular success. John Anderson of the New York Journal American pronounced the musical "a beautiful and delightful show, fresh and imaginative, as enchanting to the eye as Richard Rodgers's music is to the ear. It has, at a rough estimate, practically everything". In the New York Herald Tribune, Howard Barnes wrote, "Songs, dances, and a story have been triumphantly blended.... The Richard Rodgers score is one of his best, and that is saying plenty. Oscar Hammerstein 2nd has written a dramatically imaginative libretto and a string of catchy lyrics; Agnes de Mille has worked small miracles in devising original dances to fit the story and the tunes, while Rouben Mamoulian has directed an excellent company with great taste and craftsmanship." Louis Kronenberger of PM opined that "Mr. Hammerstein's lyrics have less crispness and wit than Lorenz Hart's at their best, but the songs in Oklahoma! call for less sophisticated words, and Mr. Hammerstein has found very likeable ones."  In the New York Daily News, Burns Mantle declared that "Oklahoma! really is different - beautifully different. With the songs that Richard Rodgers has fitted to a collection of unusually atmospheric and intelligible lyrics by Oscar Hammerstein 2nd, Oklahoma! seems to me to be the most thoroughly and attractively American musical comedy since Edna Ferber's Show Boat". New York World-Telegram critic Burton Rascoe particularly emphasized the groundbreaking choreography, stating that "Richard Rodgers has written for the show one of the finest musical scores any musical play ever had. Next to Mr. Rodgers, however, must stand the amazing Agnes de Mille, whose choreography, carried out to perfection by her ballet [corps], is actually the biggest hit of the show. The "Out of My Dreams" and "All Er Nuthin'" dances are such supreme aesthetic delights.... They are spinetingling, out of this world." In The New York Sun, Ward Morehouse commented that "Oklahoma! is charming and leisurely. And tunely. And certainly not topical," as other shows had been in the early years of World War II. "It reveals Mr. Rodgers, shorn only for the moment of Larry Hart, in good form indeed. And nobody in last night's audience seemed to have a better time than Mr. Hart himself, who applauded the proceedings from a seat in Row B." Lorenz Hart himself "pushed his way through the crowd at the after-show party in Sardi's restaurant and threw his arms around his ex-partner, grinning from ear to ear. He told Rodgers he had never had a better evening at the theater in his life."  The only negative review of the musical appeared in the New York Post: The critic wrote that "it all seemed just a trifle too cute", stating that the score consisted of "a flock of Mr. Rodgers's songs that are pleasant enough, but still manage to sound quite a bit alike ... without much variety in the presentation." She concluded that the show was "very picturesque in a studied fashion, reminding us that life on a farm is apt to become a little tiresome."

What other reviews did it receive?
Songs, dances, and a story have been triumphantly blended.... The Richard Rodgers score is one of his best, and that is saying plenty.