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Dramaturgy (sociology)

Dramaturgy is a sociological perspective that analyzes micro-sociological accounts of everyday social interactions through the analogy of performativity and theatrical dramaturgy, dividing such interactions between "actors", "audience" members, and various "front" and "back" stages.

The term was first adapted into sociology from the theatre by Erving Goffman, who developed most of the related terminology and ideas in his 1956 book, The Presentation of Self in Everyday Life. Kenneth Burke, whom Goffman would later acknowledge as an influence, had earlier presented his notions of dramatism in 1945, which in turn derives from Shakespeare. The fundamental difference between Burke's and Goffman's view, however, is that Burke believed that life was in fact theatre, whereas Goffman viewed theatre as a metaphor. If people imagine themselves as directors observing what goes on in the theatre of everyday life, they are doing what Goffman called dramaturgical analysis, the study of social interaction in terms of theatrical performance.

In dramaturgical sociology, it is argued that the elements of human interactions are dependent upon time, place, and audience. In other words, to Goffman, the self is a sense of who one is, a dramatic effect emerging from the immediate scene being presented. Goffman forms a theatrical metaphor in defining the method in which one human being presents itself to another based on cultural values, norms, and beliefs. Performances can have disruptions (actors are aware of such), but most are successful. The goal of this presentation of self is acceptance from the audience through carefully conducted performance. If the actor succeeds, the audience will view the actor as he or she wants to be viewed.

A dramaturgical action is a social action that is designed to be seen by others and to improve one's public self-image. In addition to Goffman, this concept has been used by Jürgen Habermas and Harold Garfinkel, among others.

Overview
The theatrical metaphor can be seen in the origins of the word person, which comes from the Latin persona, meaning 'a mask worn by actors'. One behaves differently (plays different roles) in front of different people (audiences). A person picks out clothing (a costume) that is consistent with the image they wish to project. They enlist the help of friends, caterers, and decorators (fellow actors and stage crew) to help them successfully “stage” a dinner for a friend, a birthday party for a relative, or a gala for a fundraiser. If they need to adjust their clothing or wish to say something unflattering about one of their guests, they are careful to do so out of sight of others (backstage). One's presentation of oneself to others is known as dramaturgy.

Dramaturgical perspective is one of several sociological paradigms separated from other sociological theories or theoretical frameworks because, rather than examining the cause of human behavior, it analyzes the context. This is, however, debatable within sociology.

In Frame Analysis (1974), Goffman writes, "What is important is the sense he [a person or actor] provides them [the others or audience] through his dealing with them of what sort of person he is behind the role he is in." The dramaturgical perspective can be seen as an anchor to this perspective, wherein the individual's identity is performed through role(s) and consensus between the actor and the audience. Because of this dependence on consensus to define social situations, the perspective argues that there is no concrete meaning to any interaction that could not be redefined. Dramaturgy emphasizes expressiveness as the main component of interactions; it is thus termed as the "fully two-sided view of human interaction."

Dramaturgical theory suggests that a person's identity is not a stable and independent psychological entity, but rather, it is constantly remade as the person interacts with others. In a dramaturgical model, social interaction is analyzed in terms of how people live their lives, like actors performing on a stage.

This analysis offers a look at the concepts of status, which is like a part in a play; and role, which serves as a script, supplying dialogue and action for the characters. Just as on the stage, people in their everyday lives manage settings, clothing, words, and nonverbal actions to give a particular impression to others. Goffman described each individual's "performance" as the presentation of self; a person's efforts to create specific impressions in the minds of others. This process is also sometimes called impression management.

Goffman makes an important distinction between front stage behaviour, which are actions that are visible to the audience and are part of the performance; and back stage behavior, which are actions that people engage in when no audience is present. For example, a server in a restaurant is likely to perform one way in front of customers but might be much more casual in the kitchen. It is likely that he or she does things in the kitchen that might seem unseemly in front of customers.

Before interaction with another, an individual prepares a role, or impression, that he or she wants to make on the other. These roles are subject to what is, in theater, termed breaking character. Inopportune intrusions may occur in which a backstage performance is interrupted by someone who is not meant to see it. In addition, there are examples of how the audience for any personal performance plays a part in determining the course it takes: how typically people ignore many performance flaws out of tact, such as if someone trips or spits as they speak.

Within dramaturgy analysis, teams are groups of individuals who cooperate with each other in order to share the 'party line.' Team members must share information as mistakes reflect on everyone. Team members also have inside knowledge and are not fooled by one another's performances.

Perinbanayagam's dramaturgical theory
"Signifying Act: Sign: $Symbolic Meaning⁄Vocal Gesture$ $Meaning⁄Object$"

Performance
There are seven important elements Goffman identifies with respect to the performance:
 * 1) Belief in the part that one is playing: Belief is important, even if it cannot be judged by others; the audience can only try to guess whether the performer is sincere or cynical.
 * 2) The front (or "mask"): a standardized, generalizable, and transferable technique for the performer to control the manner in which the audience perceives them. People put on different masks throughout their lives.
 * 3) Dramatic realization: a portrayal of aspects of the performer that they want the audience to know. When the performer wants to stress something, they will carry on the dramatic realization, e.g. showing how accomplished one is when going on a date to make a good first impression.
 * 4) Idealization: a performance often presents an idealized view of the situation to avoid confusion (misrepresentation) and strengthen other elements (e.g., fronts, dramatic realization). Audiences often have an 'idea' of what a given situation (performance) should look like, and performers will try to carry out the performance according to that idea.
 * 5) Maintenance of expressive control: the need to stay 'in character'. The performance has to make sure that they send out the correct signals, as well as silencing the occasional compulsion to convey misleading ones that might detract from the performance.
 * 6) Misrepresentation: the danger of conveying a wrong message. The audience tends to think of a performance as genuine or false, and performers generally wish to avoid having an audience disbelieve them (whether they are being truly genuine or not).
 * 7) Mystification: the concealment of certain information from the audience, whether to increase the audience's interest in the user or to avoid divulging information which could be damaging to the performer.

Stages
Stages or regions refer to the three distinct areas where different individuals with different roles and information can be found. There are three stages: front, back, and outside.

Front stage
Within society, individuals are expected to present themselves in a certain way; however, when a person goes against the norm, society tends to notice. Therefore, individuals are expected to put on a costume and act differently when in front of the 'audience'. Goffman noticed this habit of society and developed the idea of front stage.

In his book The Presentation of Self in Everyday Life, Goffman defines front as "that part of the individual's performance which regularly functions in a general and fixed fashion we define the situation for those who observe the performance. Front, then, is the expressive equipment of a standard kind intentionally or unwittingly employed by the individual during his performance."

During the front stage, the actor formally performs and adheres to conventions that have meaning to the audience. It is a part of the dramaturgical performance that is consistent and contains generalized ways to explain the situation or role the actor is playing to the audience that observes it. The actor knows that they are being watched and acts accordingly.

Goffman explains that the front stage involves a differentiation between setting and personal front, two concepts that are necessary for the actor to have a successful performance. Setting is the scene that must be present in order for the actor to perform; if it is gone, the actor cannot perform. Personal front consists of items or equipment needed in order to perform. These items are usually identifiable by the audience as a constant representation of the performance and actor. The personal front is divided into two different aspects:

 * 1) appearance, which refers to the items of the personal front that are a reflection of the actor's social status; and
 * 2) manners, which refers to the way an actor conducts themselves. The actor's manner tells the audience what to expect from their performance.

Back stage
In The Presentation of Self in Everyday Life, Goffman explains that the back stage is where "the performer can relax; he can drop his front, forgo speaking in his lines, and step out of character." When the individual returns to the back stage, they feel a sense of relief knowing the actions that would not be condoned in the front stage are free to be expressed. In the backstage, actions are not to please anyone but the self. Back stage is where performers are present but audience is not, hence the performers can step out of character without fear of disrupting the performance. It is where various kinds of informal actions, or facts suppressed in the front stage, may appear. Simply put, the back stage is completely separate from the front stage, and it is where the performance of a routine is prepared. No members of the audience may appear in the back, and the actor takes many methods to ensure this.

Back region is a relative term, in that it exists only in regards to a specific audience: where two or more people are present, there will almost never be a true 'back region'.

Off-stage
Outside, or off-stage, is the place where individuals who are outsiders are not involved in the performance (although they may not be aware of it). The off-stage is where individual actors meet the audience members independently of the team performance on the front stage. Specific performances may be given when the audience is segmented as such.

Borders/regions
Borders, or boundaries, are important as they prevent or restrict movement of individuals between various regions. Performers need to be able to maneuver boundaries to manage who has the access to the performance, when and how. The border phenomenon is highlighted by Victor Turner's concept of liminality, and thus prolonged in the imaginable field: semiotics of ritual.

The management of thresholds may be operated on several axes; the most crude is exclusion-inclusion, similar to the basic digital on-off (1 – 0). To be a part or not may be seen as the fundamental asset in a society, but as far society is perceived as a rhizomatic conglomerate, rather such than a unitary or arborescent whole. Border-control, so to speak, becomes in a paradoxical fashion the central issue. Thus the study of liminality in sociology, ritual and theatre reveals the fictional elements underpinning society. Rites of passage seem to reflect this as the enactments of exclusion, and dissociation seem to be an essential feature of such. The enactment of exclusion from a society seem to be essential for the formation of an imaginary central governing (cf. Michel Foucault).

Discrepant roles
Many performances need to prevent the audience from getting some information (secrets). For that, several specialized roles are created.

Secrets
There are different types of secrets that have to be concealed for various reasons:
 * Dark secrets: represent information about the performing team which could contradict the image the team is presenting to the audience.
 * Strategic secrets: represent the team's goals, capabilities and know-hows which allows the team to control the audience and lead it in the direction the team desires.
 * Inside secrets: represent information known by the team and are seen as something that is shared only with other teammates to increase team bonding.
 * Entrusted secrets: secrets have to be kept in order to maintain the role and team integrity; keeping them demonstrates trustworthiness.
 * Free secrets: the secrets of another, unrelated to oneself, that can be disclosed while still maintaining the role. Disclosure of such secrets should not affect the performance.

Roles
There are three basic roles in Goffman's scheme, each centered on who has access to what information: performers are most knowledgeable; audiences know only what the performers disclosed and what they have observed themselves; and outsiders have little if any relevant information.

These roles can be divided into three groups:

 * 1) Roles dealing with manipulation information and team borders:
 * 2) *The informer: a pretender to the role of a team member who gains teams trust, is allowed backstage, but then joins the audience and discloses information on the performance. Example: spies, traitors.
 * 3) *The shill: this role is an opposite of the informer; the shill pretends to be a member of the audience but is a member of the performing team. His role is to manipulate the audience reactions.
 * 4) *The spotter: a member of the audience who has much information about the performance in general. The spotter analyzes the performers and may reveal information to the audience. Example: food critic in a restaurant.
 * 5) Roles dealing with facilitating interactions between two other teams:
 * 6) *The go-between or mediator: usually acts with the permission of both sides, acting as a mediator and/or messenger, facilitating communication between various teams. Go-between learn many secrets, and may not be neutral.
 * 7) Roles that mix front and back region up:
 * 8) *The non-person: individuals who are present during the performance, may even be allowed in the back stage but are not part of the 'show'. Their role is usually obvious and thus they are usually ignored by the performers and the audience. Example: a waiter, cleaning lady.
 * 9) *The service specialist: individuals whose specialized services are required, usually by the performers. They are often invited by the performers to the back region. Example: hairdresser, plumbers, bankers with tax knowledge.
 * 10) "The colleague: individuals who are similar to the performers but are not members of the team in question. Example: coworkers.
 * 11) *The confidant: individuals to whom the performer reveals details of the performance.

Communication out of character
Performers may communicate out of character on purpose, in order to signal to others on their team, or by accident.

Common backstage out-of-character communications include:
 * Treatment of the absent: derogatory discussion of the absent audience or performers affecting team cohesion.
 * Staging talk: discussion of technical aspects of the performance, gossip.

Common frontstage communications out of character include:
 * Team collusion: between team members, during the performance but not endangering it. Example: staging cues, kicking a friend under a table.
 * Realigning actions: between members of opposing teams. For example: unofficial grumbling.

Impression management
Impression management refers to work on maintaining the desired impression, and is composed of defensive and protective techniques. Protective techniques are used in order to cover mistakes, only once the interaction begins. For example, relying on audience to use tact and overlook mistakes of the performers. In contrast, defensive techniques are employed before an interaction begins, and involves:
 * Dramaturgical loyalty: work to keep the team members loyal to the team members and to the performance itself.
 * Dramaturgical discipline: dedicating oneself to the performance but without losing oneself in it. Self-control, making sure one can play the part properly, rehearsal.
 * Dramaturgical circumspection: minimizing risk by preparing for expected problems. Being careful to avoid situations where a mistake or a potential problem can occur, choosing the right audience, length and venue of performance.

Criticism
Believing that theories should not be applied where they have not been tested, it has been argued that dramaturgy should only be applied in instances that involve people associated with a total institution, for which the theory was designed.

In addition to this, it also has been said that dramaturgy does not contribute to sociology's goal of understanding the legitimacy of society. It is claimed to be drafting on positivism, which does not offer an interest in both reason and rationality. John Welsh called it a "commodity."

Application
Research on dramaturgy is best done through fieldwork such as participant observation.

For one, dramaturgy has been used to depict how social movements communicate power. Robert D. Benford and Scott A. Hunt argued that "social movements can be described as dramas in which protagonists and antagonists compete to affect audiences' interpretations of power relations in a variety of domains." The people seeking power present their front stage self in order to captivate attention. However, the back stage self is still present, though undetectable. This is a competition of power, a prime example of dramaturgy.

A useful, and everyday way of understanding dramaturgy (specifically front stage and back stage) is to think of a waiter or waitress at a restaurant. The main avenue of concern for the waiter is "customer service." Even if a customer is rude, one is expected to be polite ("the customer is always right") as part of their job responsibilities. They speak differently when going out to the break room: they may complain, mimic and discuss with their fellow peers how irritating and rude the customer is. In this example, the waiter acts a certain way when dealing with customers and acts a completely different way when with her/his fellow employees.

Dramaturgy has also been applied to the emerging interdisciplinary domain of scholarly research known as technoself studies, which deals with human identity in a technological society.

In terms of social media profiles, users and their followers share a social space online. Social media users create profiles and post things that are specifically curated to portray a certain image that they want their followers to see. Often times this curated image is a facade. This is an “authoritative performance” of ones lifestyle. A dynamic is created between the user and their followers where the user is in control of how and what represents them, while the followers are spectators to this presentation of the user's self but they themselves are also presenting themselves in the same way.

Dramaturgy can also be applied to all aspects of theatre performers.

title: Dramaturgy (sociology)


text:
User talk:Specialkay985

Wait, is it "Mr. Internet" or "Specialkay985"? Or maybe "NMLDoc"?

-Chinju 21:09, 1 May 2005 (UTC)

Welcome to the Wikipedia
I noticed you were new, and wanted to share some links I thought useful:

 * Tutorial
 * Help desk
 * Foundation issues
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For more information click  here . You can sign your name by typing 4 tildes, like this: ~.

(Sam Spade | talk | contributions) 19:16, 8 Apr 2005 (UTC)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: User talk:Specialkay985


text:
Asa River (Japan)

Asa River (浅川) is a tributary of the Tama River in Tokyo, Japan. It is 30.15 km long, flowing from mountains in Hachiōji to the Tama in the city of Hino.

title: Asa River (Japan)


text: User talk:165.139.69.200

title: User talk:165.139.69.200


text:
User talk:Adventuresofthestarkiller

Welcome to the Wikipedia
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title: User talk:Adventuresofthestarkiller


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User:Omphaloscope/monobook.js

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text: User talk:68.69.187.115

title: User talk:68.69.187.115


text: User talk:65.123.151.221

title: User talk:65.123.151.221


text:
G.I. Blues

G.I. Blues is a 1960 American musical comedy film directed by Norman Taurog and starring Elvis Presley and Juliet Prowse. The movie – Presley’s fifth, but his first after discharge from the US Army – was filmed at Paramount Pictures studio, with some pre-production scenery shot on location in West Germany while Presley was stationed there. The movie won a 2nd place Laurel Award in the category of Top Musical of 1960.

Plot
U.S. Army Specialist Tulsa McLean is a tank crewman with a singing career. Serving with the 3rd Armored Division in West Germany, McLean dreams of running his own nightclub when he leaves the army, but such dreams don't come cheap. Tulsa and his buddies have formed a band and perform in various German "Gasthauses", night clubs, and on an Armed Forces stage. In one bar, he even discovers the record "Blue Suede Shoes" on a jukebox – sung by some guy named Elvis Presley.

To raise money, Tulsa places a bet that his tank commander, Dynamite, can spend the night with a club dancer named Lili, who is rumoured to be hard to get since she turned down another soldier, Turk. Dynamite and Turk have vied for women before when the two were stationed in Hawaii. When Dynamite gets transferred to Alaska, Tulsa is brought in to take his place in the bet. He is not looking forward to it, but must go through with it.

Tulsa uses his Southern charm and calls Lili "ma'am." She at first sees Tulsa as another Occupation Duty GI. Then after a day on the Rhine, Lili begins to fall for him. Tulsa's friend Cookie, meanwhile, falls in love with Lili's roommate, Tina from Italy. In the end, Rick's and Marla's baby son Tiger helps Tulsa win the bet for the outfit – and Lili's heart.

Cast
In addition, in uncredited roles, Edson Stroll appears as Dynamite, while Presley's real band mates, Scotty Moore and D. J. Fontana, and his regular backup singers, The Jordanaires, perform onscreen in those same roles.

Background
Elvis Presley's Army career began in 1958, and by 1960 it had been two years since Presley had made his last film, King Creole. Despite his previous three films being mostly slammed by the critics, they warmed to King Creole and its star. Presley felt confident that he had a future in acting after this praise and he was looking forward to returning to Hollywood after his time in the army.

The script was written by Edmund Beloin and Henry Garson, who had done the final revisions for Hal Wallis on Don't Give Up the Ship. In 1958 they came up with an original treatment for an Elvis Presley movie called Christmas in Berlin. It was later known as Cafe Europa before becoming GI Blues.

Eight months prior to Presley being discharged, in August 1959, producer Hal Wallis visited with him in West Germany to go over the script for G.I. Blues and film some on-location scenes. Although some scenes were used in the final film, Presley did not film at any time during his time there. Elvis' double, Private First Class Tom Creel, was used for some shots.

The U.S. Army supplied tanks and vehicles on manoeuvres to be used in the filming, and appointed public information officer John J. Mawn as technical advisor for the film. Mawn had presided over Presley's military press conferences.

Presley returned to the U.S. in March 1960 and began work on the film in late April.

Hal Wallis originally wanted Michael Curtiz to direct but eventually selected Norman Taurog. Dolores Hart, Joan Blackman and Ursula Andress were all tested to play the female lead before deciding on Juliet Prowse.

Reception and box office
The film received mixed reviews from critics. Bosley Crowther of The New York Times was noncommittal, mostly remarking on Presley's new clean-cut image: "Gone is that rock 'n' roll wriggle, that ludicrously lecherous leer, that precocious country-bumpkin image, that unruly mop of oily hair ... Elvis is now a fellow you can almost stand." Variety remarked that the film "restores Elvis Presley to the screen in a picture that seems to have been left over from the frivolous filmusicals of World War II" and called it "rather juvenile." Harrison's Reports graded the film as "Fair-to-good ... The cast performs well and direction and production values are good. A prime attraction, aside from Juliet Prowse is the beautiful scenery of Europe in wondrous Technicolor." John L. Scott of the Los Angeles Times wrote in a generally positive review, "I wouldn't actually call Elvis sophisticated in the picture, but he has grown up, for which we give thanks. And he's learning how to act, too, particularly in the lighter sequences. I'm certain most mature theatergoers will welcome the change in Presley. Now as for his squealing teenage fans—it is hoped they also will go along with the metamorphosis." Richard L. Coe of The Washington Post write that the film "probably will satisfy the audiences for which it has been so awarely, if depressingly, created." The Monthly Film Bulletin dismissed the picture as "a series of numbers loosely strung around a trite and thin and terribly insubstantial plot. Juliet Prowse manoeuvres her superbly engineered torso through two meagre dances with infectious exuberance, but she deserves a better rôle and a more mature leading man; certainly one with more genuine fire than Presley." The film opened at the Victoria Theater in New York City on November 4, 1960 grossing $31,000 in its first week. After opening in more cities in Thanksgiving week, it reached number 2 on Variety's weekly national box office chart. It finished the year as the fourteenth biggest box office grossing film of the year generating $4.3 million.

Despite critics being dismissive of the overall plot, the film was nominated for three awards in 1961: Best Soundtrack album Grammy, Grammy for Best Vocal Performance, Album, Male, and WGA Best Written Musical.

The success of G.I. Blues may have been the catalyst for the formulaic films that Presley was to make for much of the 1960s. His next two films, Flaming Star and Wild in the Country, were more straight acting vehicles, with fewer songs and a more serious approach to the plot lines. However, despite Presley relishing a meatier role and enjoying the chance to act dramatically, both films were less successful at the box office than G.I. Blues had been, resulting in a return to the musical-comedy genre with Blue Hawaii as his next film role. Blue Hawaii proved to be even more profitable than G.I. Blues. Currently on Rotten Tomatoes, the film has 0% rating based on 5 critics reviews, but an audience score of 69%.

Soundtrack
The G.I. Blues soundtrack album was nominated for two Grammy Awards in 1960 in the categories Best Sound Track Album Or Recording Of Original Cast From A Motion Picture Or Television and Best Vocal Performance Album, Male. Edmund Beloin and Henry Garson were both nominated in 1961 by the Writers Guild of America for G.I. Blues in the category of Best Written American Musical.

Movie reviews

 * Comprehensive review by Chad Plambeck at 3-B Theater
 * Review by Dan Jardine	at Apollo Movie Guide.
 * Review by Andy Webb at The Movie Scene.

DVD Reviews

 * Review of the movie collection "Lights! Camera! Elvis! Collection (King Creole, Blue Hawaii, G.I. Blues, Fun in Acapulco, Roustabout, Girls! Girls! Girls!, Paradise, Hawaiian Style, Easy Come, Easy Go) By Noel Murray at The AV Club, August 29, 2007.
 * Review of the movie collection "Lights! Camera! Elvis! Collection (King Creole, Blue Hawaii, G.I. Blues, Fun in Acapulco, Roustabout, Girls! Girls! Girls!, Paradise, Hawaiian Style, Easy Come, Easy Go) by Paul Mavis at DVD Talk, August 6, 2007.
 * Review by Fusion3600 at DVD Authority.

title: G.I. Blues


text:
E. Stewart Williams

Emerson Stewart Williams, FAIA (November 15, 1909 – September 10, 2005) was a prolific Palm Springs, California-based architect whose distinctive modernist buildings, in the Mid-century modern style, significantly shaped the Coachella Valley's architectural landscape and legacy.

History
E. Stewart Williams's father, Harry Williams, was a well-respected architect originally based in Dayton, Ohio best known for designing the offices of National Cash Register-NCR. In 1934, Julia Carnell, whose husband was the comptroller of NCR, decided that a commercial development in Palm Springs, where she wintered, would be a good investment and brought Harry Williams to Palm Springs to design the historic La Plaza Shopping Center. Harry Williams stayed on in the city afterward, opening his own architectural practice, which was later joined by E. Stewart's younger brother, Roger, also an architect.

E. Stewart Williams completed his undergraduate studies at Cornell University in 1932 and was elected to the Sphinx Head Society. Williams then taught at Columbia University from 1934 to 1938. In 1938, Williams traveled through northern Europe and he met a Swedish woman on the trip, who he would marry two years later after a prolonged separation due to the war. Upon returning, he worked in Raymond Loewy's office. In Loewy's office Williams' responsibilities included projects for the 1939 New York World's Fair, and the Lord and Taylor department store in Manhasset, Long Island in 1941, one of the first large suburban branches of a department store to be built.

In 1941, Williams began working in his father's Dayton, Ohio office on defense-related projects. By 1943, E. Stewart Williams was involved in the building of ships at the Bechtel Marin County facility in Sausalito, California, followed by a stint at Mare Island in the San Francisco Bay with the Navy.

A resident of Palm Springs, California, Williams had a Golden Palm Star on the Palm Springs Walk of Stars dedicated to him in 2008. Williams died in 2005 and is buried in the Welwood Murray Cemetery in Palm Springs.

Palm Springs era
In 1946, Williams joined his father and brother in their Palm Springs practice, forming the 'Williams, Williams, & Williams' firm.

Sinatra residence
The 'Williams, Williams, & Williams' firm's first residential commission was a house for Frank Sinatra. Williams said that on May 1, 1947 Sinatra wandered into their office eating an ice cream cone and stating that he wanted a house built by Christmas, meaning Williams had roughly only three months to design it and another three months to build it. Sinatra's other requirement was that it be a Georgian-style mansion, a style neither aesthetically nor functionally suited to the desert.

Williams ended up presenting Sinatra two designs, one in the style he requested, and the other a low-lying, modern design, well integrated into the surrounding landscape and functionally appropriate to the climate. Luckily for all Sinatra chose the latter.

Though a relatively conservative design in comparison to the works of other notable modernist architects then designing and building in the area, particularly Richard Neutra and Albert Frey, the house would become an architectural trend-setter (being the first "shed roof" house in the desert) and serve as model of "hipness" in the desert community, thought this was perhaps as much due to its occupant as to its design. Roger Williams in a much later interview spoke about Sinatra's final choice of a modern design: "I'm so glad. We'd ['Williams, Williams, & Williams'] have been ruined if we'd been forced to build Georgian in the desert."

Other projects
What followed were an unbroken string of commissions, large and small, institutional and private, commercial and residential that made the practice of Williams, Williams, & Williams, and in particular E. Stewart Williams, one those most fecund practices and architects in the region. Williams' father died in 1957, and John Porter Clark joined the practice in the 1960s.

Among those significant commissions was one for a house for the Seattle hotel owners William and Marjorie Edris. Having purchased a large lot in Palm Springs, the Edris' commissioned Williams as both the architect and the contractor for the job. Williams' design was more sophisticated and integrated into its Colorado Desert habitat surroundings than the earlier Sinatra house.

The Edris House, as it is now known, remains largely unchanged, containing many of the original Williams' designed fixtures and details, and is protected from alteration since 2004 by being designated a 'Historic Building' by the Palm Springs City Council. The home went up for sale in January 2017 with a list price of $4.2 million. At the time, then-owner J.R. Roberts said that the "house as it exists today is exactly how the house was in 1954."

Significant and Modern Buildings

 * 1946 Potter Building - Palm Springs, California
 * 1947 Sinatra House, "Twin Palms" - Palm Springs, California
 * 1949 The Colony: a Studio Apartment group - Palm Springs, California
 * 1950 Maceo House, Galveston, Texas.
 * 1952 Oasis Building - Palm Springs, California
 * 1952 Temple Isaiah - Palm Springs, California
 * 1954 Edris House - Palm Springs, California
 * 1955 Coachella Savings and Loan - Palm Springs, California
 * 1955 Koerner House - Palm Springs, California
 * 1956 Williams House - Palm Springs, California
 * 1957 Kenaston House, - Rancho Mirage, California
 * 1958 Sutter House - Palm Springs, California (Photography by Julius Shulman, 1960; original interiors by Arthur Elrod)
 * 1960 Palm Springs Unified School District Educational Administrative Center - Palm Springs, California
 * 1960 Santa Fe Federal Savings and Loan Association - Palm Springs, California
 * 1961 Palm Springs Aerial Tramway Mountain Station, Mount San Jacinto State Park, above Palm Springs, California
 * 1961 Coachella Savings and Loan (II) - Palm Springs, California
 * 1972 Crafton Hills College - Yucaipa, California
 * 1976 Palm Springs Desert Museum - Palm Springs, California
 * 1986 Erik and Sidney Williams House - Palm Springs, California

Books and sources

 * Palm Springs Modern by Adele Cygelman. 1999. Rizzoli International Press. 191 pages
 * Once Upon a Time in the West by Andrea Truppin. Modernism magazine. Spring 2005 issue
 * Palm Springs Weekend by Alan Hess and Andrew Danish. 2001. Chronicle Books. 180 pages
 * "Cedar Lawn Historic District, Galveston, Texas," National Register of Historic Places nomination, 2002.

title: E. Stewart Williams


text:
Enz

The Enz is a river flowing north from the Black Forest to the Neckar in Baden-Württemberg. It is 106 km long.

Its headstreams – the Little Enz (Kleine Enz) and the Great Enz or Big Enz (Große Enz) – rise in the Northern Black Forest, the latter at Enzklösterle. In Calmbach, the Little Enz and the Big Enz join to form the Enz. The river passes through Neuenbürg and Pforzheim, where it leaves the Black Forest. It then flows through the cities of Vaihingen and Bietigheim-Bissingen. Along the lower course, wine is grown.

Major tributaries to the Enz are Glems and Nagold (with its tributary Würm). Near Besigheim, the Enz feeds into the Neckar.

In earlier times, the Enz was important for the timber rafting industry.

River system
The Enz flows through two large natural regions: in the upper half of its course, the river and its tributaries drain the eastern half of the Northern Black Forest; later it flows through the southwest German Gäu landscape, mostly through the Neckar Basin.

Including its main headstream, the Poppelbach, the Enz has a total length of about 105 kilometres. However, unusually, its right tributary, the Nagold, which discharges into the Enz in Pforzheim on emerging from the Black Forest, is longer - in fact almost twice as long as its own headstream to that point. In addition, the Nagold carries twice as much water at its mouth. Thus, above Pforzheim, the Nagold is hydrographically the main branch of the river system of the Enz, which is then about 149 kilometres long, and thus the third longest of the Neckar tributaries after the river systems of the Kocher and the Jagst.

Headstreams
The Enz bears its name without any qualifier until it reaches the town of Calmbach, where the Great Enz (Große Enz) and Little Enz (Kleine Enz) merge. The Great Enz has two headstreams, both approximately 5 kilometres long: the Poppelbach and the Kaltenbach, which unite at Gompelscheuer. As with the source of the Danube in Donaueschingen, this purely nominal beginning of the (Great) Enz is symbolized by the nearby Enz Spring (Enzbrunnen) and, likewise, has been erroneously marketed as such to tourists.

In terms of water quantity and size of catchment area, the Poppelbach, which flows from the south, is the main headstream, whilst the Kaltenbach, which flows from the west, has a slightly greater length and higher source. The Poppelbach rises to the south, only 1 km north of the source of the River Nagold at 822 m (in the parish of Besenfeld); the Kaltenbach rises to the northwest, on the southern slopes of the Schramberg at 907 m (in the parish of Forbach in the Murg valley).

Great Enz and upper reaches in the Black Forest
From the confluence of the Poppelbach and Kaltenbach, the Great Enz initially flows through a narrow wooded valley that, after a small change in gradient, opens into the much broader valley of the Rombach, joining from the west. The valleys of the Enz, Rombach and other western tributaries of the upper reaches are characterised by glacial cirques from the last ice age. After the Enz valley widens at Enzklösterle it narrows again until it reaches the next glacial valley, the Kegeltal, at Sprollenhaus. Having hitherto flowed northeast, the Great Enz swings northwards and flows through a steep valley that cuts across the mostly wooded bunter sandstone plateaux of the northern Black Forest. From the well-known Old Württemberg resort of Wildbad, the valley is densely populated. At Calmbach, where the Little Enz empties into the main river, follow the settlements of Höfen an der Enz and Neuenbürg. Here the Enz makes a wide loop enclosing a mountain spur atop which is Neuenbürg Castle. The Black Forest valley of the Enz has, including the valley of the Great Enz from Gompelscheuer, a length of approximately 38 kilometres and ends as it enters the Kraichgau region at Birkenfeld above Pforzheim.

Enz valley in the Gäu and Neckar Basin
After emerging from the Black Forest, the Enz flows down to its mouth in the Neckar Gäu country in the muschelkalk beds of the South German Scarplands. From a natural regional perspective, the Enz valley between Birkenfeld and Enzberg is counted as part of the Kraichgau, which continues to the north, further downstream it is part of the Neckar Basin between Stuttgart and Heilbronn.

Overview of the tributaries
Tributaries from the confluence of the Little (Kleine) and Great (Große'') Enz. Tributary lengths are based on the source furthest from the mouth.''

 * Kleine Enz, from the right in Calmbach, 20 km and 88 km2.
 * Förtelbach, from the right in Höfen an der Enz.
 * Eyach, from the left between Höfen an der Enz and Neuenbürg, 18.5 km and 52.6 km2.
 * Rotenbach, from the left in hamlet of Rotenbach near Neuenbürg.
 * Größelbach, from the right between Neuenbürg and Birkenfeld.
 * Tiefenbach, from the left in Birkenfeld.
 * Nagold, from the right in Pforzheim, 90.4 km and 1,151 km2.
 * Mäuerachklinge, from the right im Pforzheim village of Mäuerach.
 * Igelsbach, from the left between Eutingen and Niefern.
 * Schlupfgraben, from the left in Enzberg
 * Erlenbach, from the left in Mühlacker, 11.1 km.
 * Schmie, from the left near Vaihingen, 12.1 km and 47.4 km2.
 * Strudelbach, from the right near Enzweihingen, 15 km and 55 km2.
 * Dürre Enz, from the left in Oberriexingen.
 * Glems, from the right near Unterriexingen, 47.2 km.
 * Leudelsbach, from the right between Unterriexingen and Untermberg, 6.5 km and 22.7 km2.
 * Saubach, from the right in Bissingen.
 * Metter, from the left in Bietigheim, 28 km.
 * Steinbach, from the left in Besigheim.

Political geography
The Enz flows mainly through the counties of Calw, Enzkreis, Pforzheim and Ludwigsburg. Some headwaters of tributaries of the Great Enz and the headwaters of the Kaltenbach flow partly through Rastatt.

Until the great territorial upheavals around 1803 and 1806, the course of the Enz ran mainly through the territory of Old Württemberg, with short sections in the Old Baden or through knightly estates. Wildbad, Neuenbürg, Vaihingen, Bietigheim and Besigheim were Old Württemberg centres of administration. The current territory of the counties of Rastatt and the Enz around Pforzheim (parishes of Brötzingen, Pforzheim, Eutingen and Niefern) belonged to Baden. In Oberriexingen, sovereignty was divided between imperial knights and Württemberg.

Flora and fauna
The lower reaches of the Enz, with their typical water meadow shore structures, are an ideal habitat for many riparian plant and animal species. Many of the oxbow lakes and riparian woodlands are protected habitats; the Enz itself and parts of the valley such as the nature reserve near Vaihingen-Roßwag and the mouth of the Leudelsbach at Unterriexingen are part of the Europe-wide protected network of nature protection areas known as Natura 2000.

In the shallow waters up to 10,000 larvae - of mayflies, caddis flies, dragonflies, beetles, snails and mussels - have been counted. Even Western vairone, barbel, nase and bullhead have their spawning grounds here.

From early summer, the Enz is home to dense communities of river water crowfoot and watermilfoil.

Some rare and endangered species live all year round on the Enz, which is an important resting stop for many migratory birds. These include, inter alia, kingfisher, sandpiper, goosander, grey wagtail, moorhen and dipper. Other guests and residents of the coppiced willows and the trees lining the banks of the river are white wagtail, Icterine warbler, spotted flycatcher, nightingale and golden oriole.

Economy
Until the early 20th century, timber rafting was an important branch of the economy in the Black Forest. Like its neighbouring rivers, the Murg and Nagold, the Enz was used for transporting tree trunks and, especially, logs. Schwallungen (storage ponds that were drained for rafting), such as the Poppelsee and Kaltenbachsee at Gompelscheuer, recall this activity. In the Black Forest section of the Enz valley today, forest products and tourism dominate the economy.

In the muschelkalk area of the river, agriculture has a certain significance, and viticulture is practised on steep, terraced vineyards of the Enz valley. Industry and service are concentrated in Pforzheim (jewellery, precious metals, watches, commercial and administration), but can also be found in smaller centres in the catchment area of Stuttgart (especially Bietigheim-Bissingen).

Since the 5th century; B.C. (the early La Tène period) iron ore mining has been carried out in the Enz region. The visitor mine of Frischglück Pit is an example of an individual mine.

Water sports
The upper reaches of the Enz are mainly used by white water canoeists. The most famous section is the challenging Kurparkstrecke in Bad Wildbad.

Water sports are restricted on some sections of the river in order to protect the ecosystem:

 * Enzkreis: traffic lights on the weir at Mühlhausen: no boating on the mill's loop when there is a red light
 * Ludwigsburg county: Enter from the riverbank and landing stages only at the marked entry and exit points. Keep off pebble islands and shoals; no camping, barbecues or fires on the waterfront, except at signed and equipped places. 1 May to 30 September 30: Roßwag (river km 34.12) closed as far as the Vaihingen Seemühle (km 29.94) Same period, but to Bietigheim-Bissingen Sawmill (km 13.16): at water levels below 65 cm (Vaihingen Gauge) Boating only with trained guide; prohibited at levels less than 45 cm.

Literature

 * Max Scheifele: Als die Wälder auf Reisen gingen. Flößerei im Enz-Nagold-Gebiet. Verlag G. Braun, Karlsruhe, 1996, ISBN 3-7650-8164-7.

title: Enz


text:
Talk:Mudita

Every time I have read Mudita I have failed to read or understand what "Buddhist teacher Ayya Khema [wrote about] showing joy towards sadistic pleasure[clarification needed] is wrong" Thank you for whom ever added that. A very, very important insight.

I hope your journeys are filled with joy, mudita and light Hugs to you all Kate

[Untitled]
In the penultimate version, Mudita was said to be: Unlike the other brahmaviharas, mudita is traditionally not cultivated with respect to one's own good fortune, only that of others (one of the implications of the translation of this term as "sympathetic" joy).

NONE of the 4 brahmaviharas are in respect to one's fortune. How about Compassion, and Benevolence (Metta), and Equanimity??? These 'loving-faculties' are at the core of Bodhicitta. Vajrallan 05:51, 30 November 2006 (UTC)

Spelling
It was suggested to me that the spelling that is provided here is actually wrong - Mudita would actually be spelled मुदिता. Any confirmation on this? I found one source for that: http://www.ashtangayoga.info/philosophy/yoga-sutra-patanjali/chapter-1/item/maitri-karuna-mudito-pekshanam-sukha-duhkha/ Regards, --Xolani (talk) 11:35, 22 December 2011 (UTC)

title: Talk:Mudita


text:
Requiem (disambiguation)

The Requiem is a Roman Catholic liturgical service.

Requiem may also refer to:

Ballet

 * Requiem (Baynes) (2001)
 * Requiem (Eifman) (1998)
 * Requiem (MacMillan) (1976)
 * Requiem (Rushton), a 2006 ballet by Tim Rushton

Film

 * Requiem (1982 film), a Hungarian film
 * Requiem (1995 film), an American short film
 * Requiem (2006 film), a German film about exorcism
 * Aliens vs. Predator: Requiem, a 2007 science fiction film
 * Requiem (2021 film), a British horror short film

Literature

 * Requiem (Anna Akhmatova), a lyrical cycle of elegy by Anna Akhmatova
 * Requiem (Fisher novel), a 1933 novel by A. E. Fisher
 * Requiem (Gō novel), a 1972 novel by Shizuko Gō
 * Requiem (short story collection), a 1992 Robert A. Heinlein retrospective
 * Requiem: A Hallucination, a 1991 novel by Antonio Tabucchi
 * Requiem (Young novel), a 2008 historical fiction novel by Robyn Young
 * "The Requiem" (short story), an 1886 story by Anton Chekhov
 * "Requiem" (short story), a short story by Robert A. Heinlein
 * Requiem Chevalier Vampire, a French comics series by Pat Mills
 * Silver Surfer: Requiem, a Marvel Knight's limited series by J. Michael Straczynski
 * Requiem (DC Comics), a comic book series based on the character Artemis of Bana-Mighdall
 * Requiem, a book about photographers killed in the Vietnam War, co-edited by Horst Faas and Tim Page
 * "Requiem", a comic book tie-in to Final Crisis
 * "Requiem", a poem by Robert Louis Stevenson

Compositions

 * Requiem (Berlioz)
 * A German Requiem (Brahms)
 * Requiem (Bruckner)
 * Requiem (Cherubini)
 * Requiem (Delius)
 * Requiem (Duruflé)
 * Requiem (Dvořák)
 * Requiem (Fauré)
 * Requiem (Harbison)
 * Requiem (Michael Haydn)
 * Requiem (Henze)
 * Requiem (Howells)
 * Requiem (Jenkins)
 * Requiem (Ligeti)
 * Requiem (Lloyd Webber)
 * Requiem (Martin)
 * Requiem (Mozart)
 * Requiem (Ockeghem)
 * Requiem for my friend (Preisner)
 * Requiem (Reger)
 * Requiem (Rouse)
 * Requiem (Rutter)
 * Requiem (Saint-Saëns)
 * Requiem (Tishchenko)
 * Requiem (Verdi)
 * Requiem (Weinberg)
 * War Requiem

Albums

 * Requiem (The Autumn Offering album) (2009)
 * Requiem (Bathory album) (1994)
 * Requiem (Bracket album) (2005)
 * Requiem (The Confession album) (2007)
 * Requiem (The Getaway Plan album) (2011)
 * Requiem (Goat album) (2016)
 * Requiem (John 5 album) (2008)
 * Requiem (Karl Jenkins album) (2005)
 * Requiem (Killing Joke album) (2009)
 * Requiem (Korn album) (2022)
 * Requiem (Jón Leifs)
 * Requiem (Branford Marsalis album) (1999)
 * Requiem (William Parker album) (2006)
 * Requiem (Verdena album) (2007)
 * Requiem, a 2005 album by Skarp
 * Requiem, a trilogy of albums by Virgin Black

Songs

 * "Requiem" (Alma song) (2017)
 * "Requiem" (Killing Joke song) (1980)
 * "Requiem" (London Boys song) (1988)
 * "Requiem", a song by Avenged Sevenfold from Hail to the King
 * "Requiem", a song by Cave In from Jupiter
 * "Requiem", a song by Devin Townsend from Empath
 * "Requiem", a song by Jethro Tull from Minstrel in the Gallery
 * "Requiem", a song by Lamb of God from Sacrament
 * "Requiem", a song by Make Them Suffer from Old Souls
 * "Requiem", a song by Opeth from Orchid
 * "Requiem", a song by Paradise Lost from In Requiem
 * "Requiem (We Will Remember)", a 1991 song by Saxon from Solid Ball of Rock
 * "Requiem", a song by Structures from Life Through a Window
 * "Requiem", a song by Trivium from Ember to Inferno
 * "Requiem", a song featuring Cory Taylor from Strait Up
 * "Requiem", a song from the 2015 stage musical Dear Evan Hansen
 * "Requiem", a song by Đorđe Balašević from Panta Rei

Television

 * Requiem (TV series), a 2018 BBC drama serial
 * "Requiem" (NCIS), an episode of NCIS
 * "Requiem" (Sanctuary), an episode of Sanctuary
 * "Requiem" (Sliders), an episode of Sliders
 * "Requiem" (The West Wing), an episode of The West Wing
 * "Requiem" (The X-Files), an episode of The X-Files
 * "Requiem", a 2017 episode of The Blacklist
 * "Requiem", an episode of Dungeons & Dragons
 * "Requiem", a 2008 episode of Smallville
 * "Requiem," an episode of Teenage Mutant Ninja Turtles

Video games

 * Requiem: Avenging Angel, a 1999 PC game
 * Requiem: Memento Mori, a 2007 PC game
 * Penumbra: Requiem, a 2008 expansion to the game Penumbra: Black Plague
 * A Plague Tale: Requiem, a 2022 sequel to the game A Plague Tale: Innocence

Other uses

 * Requiem (typeface), an old-style serif font
 * Requiem shark, a classification of sharks
 * Requiem Studio, an audio effects production company
 * Requiem Stand, a manifestation of supernatural powers in JoJo's Bizarre Adventure
 * Vampire: The Requiem, a 2004 tabletop role-playing game

title: Requiem (disambiguation)


text:
Twin Town

Twin Town is a 1997 Welsh dark comedy crime film, filmed mainly around Port Talbot and set in Swansea, Wales. It was directed by Kevin Allen and had a working title of Hot Dog; a hot dog van features in a number of scenes in the film. It stars real-life brothers Rhys Ifans (in his first major movie role) and Llŷr Ifans (credited as Llyr Evans) along with Dougray Scott. The director appears on screen, briefly seen as a show host on a TV set in the static caravan home of the twins while co-writer Paul Durden briefly appears as a rude taxi driver.

Plot
Set in Port Talbot and Swansea, the Lewis "twins" of the title are not twins but brothers. They live with their parents and sister Adie in a caravan on a mobile home site. Constantly mocking their sister's employment at a local massage parlour, they spend most of their time joking around, taking drugs and stealing cars.

Their father "Fatty Lewis", falls from a ladder while doing roofing work for Bryn Cartwright, a wealthy, prominent local businessman and small-time gangster. Laying blame, the twins attempt to demand workers' compensation for the accident. Bryn claims it was a cash arrangement with no legal representation and refuses the request for compensation. The twins take this personally and seek revenge by gatecrashing and ruining a local karaoke competition in which Bryn's daughter, beautiful Bonny is singing, by appearing from back stage and urinating on her during the performance in the Barons nightclub in Swansea. Bryn vows to get even and acquires the help of his associates Greyo and Terry (two corrupt police detectives), to assist him getting revenge on the twins. After several efforts to disrupt their way of life, Bryn appears to succeed by having one of the detectives to assist him in beating up the twins down a back street.

As retaliation continues, the feud spirals out of control, progressing with the twins breaking into Bryn's property and beheading the Cartwrights' pet poodle. Terry Walsh responds by setting fire to the Lewis' dog's kennel with their pet inside. However, an adjacent gas bottle explodes, destroying the Lewises' mobile home and killing the twins' family. Clearly upset, the twins make arrangements with the local male voice choir and steal their father's hearse at his funeral. Terry meanwhile, much to Greyo's distress, accuses Fatty's co-workers Dai and Chip of destroying the caravan by placing items from the scene of the crime in their builder's van. The twins soon come down from the hills where they have been hiding out and go after Bryn, breaking into his house again and tying him up with washing line rigged to his own electric garage door. The twins ask to borrow Bryn's boat to which he agrees, with the hope of the twins letting him go unhurt. The twins disappear leaving Bryn tied up and at the brink of asphyxiation in his own garage. When his wife Lucy arrives later that evening, she attempts to use the electric gate remote from outside while returning home, causing the garage door to lift, hanging Bryn. On looking under the door and discovering the hanging, Lucy hysterically runs through the house and finds their daughter floating on a lilo in their indoor swimming pool listening to music through headphones, blissfully unaware of what has gone on.

The twins consider their job done and grant their father's wish of having a burial at sea with the assistance of Bryn's boat, with the coffin respectfully draped in the Welsh flag. It is a poignant moment as the local choir (formed from a number of real-life local male voice choirs) sing the Welsh language song Myfanwy at the end of Mumbles Pier. Meanwhile, Terry Walsh, terrified and pleading, has been gagged and bound to the coffin, and lowered into the sea just off the pier head of Mumbles Swansea. The coffin floats for a while before the twins make a bet to how long the coffin would stay afloat, seemingly brushing aside the emotion of their father's funeral at sea.

The coffin sinks and a few tears are shed by the twins. The twins then question each other on how far the boat would travel and imply that they would be heading to Morocco. The boat is last seen heading out to sea, driven by the twins to a haunting choir still singing on Mumbles Pier.

Cast

 * Llŷr Ifans as Julian Lewis
 * Rhys Ifans as Jeremy Lewis
 * Huw Ceredig as Fatty Lewis
 * Rachel Scorgie as Adie Lewis
 * Di Botcher as Jean Lewis
 * Dougray Scott as D.I Terry Walsh
 * Dorien Thomas as D.S Alan 'Greyo' Grey
 * William Thomas as Bryn Cartwright
 * Jenny Evans as Bonny Cartwright
 * Sue Roderick as Lucy Cartwright
 * Brian Hibbard as Dai Rhys
 * Morgan Hopkins as Chip Roberts
 * Buddug Williams as Mrs Mort
 * Ronnie Williams as Mr Mort
 * Boyd Clack as the Vicar

Reception
On Rotten Tomatoes the film has a score of based on reviews from  critics.

Roger Ebert gave the film two stars out of four, saying that he "was not sure where the movie wanted to go and what it wanted to do--this despite the fact that it goes many places and does too much." He also compared it unfavourably to Trainspotting, which had been released the previous year. William Thomas of Empire gave it 4 out of 5 and wrote that the film "is low-life and proud of it. It's gritty, brutal and not for the faint of heart." He called the comparisons to Trainspotting "a masterstroke of marketing but far from accurate".

The film was entered into the 47th Berlin International Film Festival.

It is the favourite movie of the Welsh former international rugby union referee, Nigel Owens.

Composer Mark Thomas won a BAFTA Cymru award for his work on the film.

Documentary and sequel
The 1997 TV documentary Shoot Out in Swansea: The Making of Twin Town by Richard Barber, looked at the making of Twin Town and featured interviews with the cast and crew of the film.

In April 2009, director Kevin Allen revealed plans for a sequel, explaining that Rhys and Llŷr Ifans were willing to reprise their roles, which would see them returning from Africa as Islamic converts. The sequel did not materialise, however, when Allen changed career and became a pig farmer in Ireland three years later. In 2016 Allen stated, in a Wales Online article, that he was working on a sequel set around the Llanelli area; Allen said it would again be a comedy, but with a political spin regarding the legalisation of marijuana.

title: Twin Town


text:
User talk:Davews

Welcome!

'''Hello,, Welcome  to Wikipedia! '''I hope you like working here and want to continue. If you need help on how to name new articles, look at Naming Conventions, and for help on formatting the pages visit the Manual of Style. If you need general help, look at Help and the FAQ, and if you can't find your answer there, check the Village pump (for Wikipedia related questions) or the Reference Desk (for general questions). There's still more help at the Tutorial and the Policy Library. Also, don't forget to visit the Community Portal — and if you have any more questions after that, feel free to post them on my New-Users' Talk Page.'''

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Happy editing! Mel Etitis ( Μελ Ετητης ) 19:26, 8 Apr 2005 (UTC)

title: User talk:Davews


text:
Talk:New Mexico Territory

Why so long a territory?
Does anyone know why New Mexico remained a territory for so long, particularly since there was an organized statehood movement as early as 1850 that was apparently stymied only because of disputes over slavery? --Jfruh (talk) 03:19, 3 February 2011 (UTC)

Anachronistic map in infobox
The map in the infobox is dated 1866, and includes the Gadsden purchase, which occurred in 1866- *after* Arizona Territory had been split from New Mexico Territory, and so includes areas that were never a part of New Mexico Territory. Cottonflop (talk) 07:16, 14 January 2016 (UTC)

Featured picture scheduled for POTD
Hello! This is to let editors know that File:New Mexico territory coat of arms (illustrated, 1876).jpg, a featured picture used in this article, has been selected as the English Wikipedia's picture of the day (POTD) for December 3, 2022. A preview of the POTD is displayed below and can be edited at Template:POTD/2022-12-03. For the greater benefit of readers, any potential improvements or maintenance that could benefit the quality of this article should be done before its scheduled appearance on the Main Page. If you have any concerns, please place a message at Wikipedia talk:Picture of the day. Thank you! Adam Cuerden (talk)Has about 7.9% of all FPs 01:59, 7 June 2022 (UTC)

title: Talk:New Mexico Territory


text:
Elefant (band)

Elefant was an indie rock band from New York City that released two albums in the 2000s.

Band members

 * Diego Garcia – vocals
 * James Ascuitto aka Mod – guitar
 * Jeff Berrall – bass
 * Keven McAdams – drums

Background
Born in Detroit to Argentine parents in the late 1970s, Diego Garcia immersed himself in the sounds of Iggy Pop and MC5 at an early age. Music carried him throughout his tenure until his cardiologist father moved the family back to Tampa, Florida when Garcia was a young teenager, and by age 14 he got himself an acoustic guitar and started writing songs. As Garcia approached college life at Brown University in 1996, music was still calling him despite his course load in economics. During his junior year, Garcia realized he wanted a career in music instead. He left for New York City upon his 2000 graduation and began to look for musicians, eventually playing with the band Circus for a brief time. A year later, Garcia formed Elefant with bassist Jeff Berrall, guitarist Mod, and drummer Kevin McAdams.

Career
Along with bands such as Interpol, Elefant was involved in the indie rock scene in New York City in the 2000s. They signed with Kemado Records in 2002. Their debut EP Gallery Girl was released on February 4, 2003. Their full-length debut, Sunlight Makes Me Paranoid, was released on April 8, 2003, and included the single "Misfit".

After the success of Sunlight Makes Me Paranoid, Elefant signed with Hollywood Records. The album was re-released on Hollywood in October 2004. The band's second album, The Black Magic Show, was released on April 18, 2006. It was made with a bigger budget than their first and signified a change in the band's style, featuring dance rhythms and hard rock guitars.

Breakup
After recording The Black Magic Show, the band went on a hiatus. They officially broke up in June 2010, as announced on their MySpace page. No reason was given for the breakup. Garcia then embarked on a solo career. Jeff Berrall went on to play in Caveman. Mod went on to playing and producing in projects such as Ape Fight.

Discography

 * Gallery Girl (EP) (2003)
 * Sunlight Makes Me Paranoid (LP) (2003)
 * Now That I Miss Her (7") (2004)
 * Misfit (7") (2004)
 * The Black Magic Show (LP) (2006)
 * Lolita (7") (2006)

title: Elefant (band)