Gudalur, Theni

Gudalur is a municipal town in Theni district in the Indian state of Tamil Nadu. As of 2011, the population of the town was 41,915.

Gudalur is located at . It has an average elevation of 1182 metres (3888 ft).

According to 2011 census, Gudalur had a population of 41,915 with a sex-ratio of 1,006 females for every 1,000 males, much above the national average of 929. A total of 3,355 were under the age of six, constituting 1,727 males and 1,628 females. Scheduled Castes and Scheduled Tribes accounted for 6.61% and .56% of the population respectively. The average literacy of the town was 66.83%, compared to the national average of 72.99%. The town had a total of 12001 households. There were a total of 20,860 workers, comprising 799 cultivators, 13,578 main agricultural labourers, 637 in house hold industries, 4,206 other workers, 1,640 marginal workers, 22 marginal cultivators, 1,055 marginal agricultural labourers, 121 marginal workers in household industries and 442 other marginal workers.

As per the religious census of 2011, Gudalur (M) had 92.31% Hindus, 5.25% Muslims, 2.34% Christians, 0.01% Sikhs and 0.1% following other religions.

Gudalur is very beautiful place located in the western Ghats region. Different race and community people are living with harmony. They are united by doing agriculture activities. So the local festivals are based on the monsoon and paddy harvesting seasons. The majority population are belongs to Vokkaliga Gowders, historically they are Migrant settlers from the Mysore region of Karnataka who left due to political instability from the region during the 1760s to the 1790s started arriving in hordes and started clearing forests and tilling the land. They still speak Kannada language within their community and well mingled with local population. During the British period, after the enactment of the Criminal Tribes Act, several settlements were created by the government and members belonging to the notified communities were uprooted from their original habitations and settled here. The British officers posted in the area started regularizing land holdings based on good faith and track record.

The Gudalur Naattamai is credited with the creation and expansion of cardamom plantations in the neighbouring Kerala state and records to this effect were traced in the Village Office of Vandanmedu, Idukki District, Kerala recently.

Life here revolves around agriculture and almost everyone has something or the other to do with farming. This place is a village surrounded by paddy fields, vast expanses of arid land, diverse flora and fauna. Principal crops are paddy, pulses, coconut, grapes, vegetables, flowers and groundnut. Crops such as gingely and cotton are also extensively cultivated. Main source of water is from Periyar Dam. The Tamil Nadu government has undertaken a project to build a memorial for Col. John Penny Cuick, who built the Mullai Periyar Dam at Lower Camp, near Gudalur.

Gudalur is famous for the bullock cart (rekhla) racing heritage. Every year during the Muthalamman temple festival, bullock cart races takes place. This annual event is conducted by Vokkaliga Ilaingarani and The Farmers Development Association. Racing bull & cart such as All originals heroes is all school pupil.[clarification needed] are veterans in this field with their bullocks winning many laurels in the entire state.

The Azhagar Swamy Temple (Thiru koodal azhagiya perumal) is said to be over 1,000 years old but evidences prove that they are probably 500 years old. The Poonjar (Poonaiyar) Rajas of Kerala are said to be the builders of this great temple. It is built with the same architecture of Madurai Alagar temple.

As per Kaval Kottam by Venkatesan (Sahitya Academy Award for this book) has written on his research The novel deals with the unique security system prevailed in Madurai Fort before it was demolished by the British for the purpose of expanding the city. The British defeated the security guards and lodged them in a camp in Gudalur – Cumbum Valley after declaring them as Notified Community. After independence, they were denotified.

The Mangaladevi Kottam, an ancient temple (now in ruins), which is dedicated to Kannagi, the Tamil goddess is situated very close to Gudalur. This temple site is under dispute between the Tamil Nadu and Kerala states and access to the temple is granted by the Kerala State only once every year.

Gudalur has had incidents of violence reported in the past, especially during the anti-Hindi agitations in 1965 and the few casteist clashes in the 1980s.


Faaborg-Midtfyn lea gielda Syddanmark regiuvnnas Dánmárkkus.

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Helmut Horsch

Helmut Horsch (* 12. Oktober 1948 in Girod/Westerwald) ist ein ehemaliger deutscher Fußballspieler und heutiger Fußballtrainer.

Als aktiver Spieler spielte Horsch in den 1960er Jahren als Angreifer für den damaligen Regionalligisten TuS Neuendorf in Koblenz. Danach wechselte er in den 1970er Jahren zur SG Wattenscheid 09, mit der er in der neu gegründeten 2. Bundesliga spielte. In dieser Zeit spielte er dort u. a. unter Trainerlegende Karl-Heinz Feldkamp in einer starken Mannschaft zusammen mit Spielern wie Hannes Bongartz, Heinz-Josef Koitka, Ewald Hammes oder Carlos Babington. Noch heute gilt die Mannschaft aus den 1970er Jahren als eine der Besten der SG Wattenscheid 09. Allerdings gelang es, trotz des gut zusammengesetzten Kaders und der mehrmaligen Teilnahme an der Aufstiegsrunde, nicht in die Bundesliga aufzusteigen. Ende der 1970er Jahre hatte Horsch immer mehr mit Verletzungen zu kämpfen, was letztendlich ein frühes Karriereende bedeutete. Im Laufe seiner Karriere hat er sich als schneller Außenstürmer einen Namen gemacht. Allerdings glänzte Horsch eher als Vorlagengeber, denn als Vollstrecker. Er absolvierte insgesamt 161 Zweitligaspiele, in denen er 22 Tore erzielte.

Seine Trainerkarriere begann Horsch als Trainer der Amateure des VfL Bochum, wo er zeitgleich zusammen mit Hermann Gerland ebenfalls als Co-Trainer in der Profimannschaft unter Rolf Schafstall arbeitete. Nach zwei erfolgreichen Saisons beim VfL Bochum, in denen der Amateurmannschaft u. a. die Qualifikation zum DFB-Pokal gelang, in dem man in der 2. Runde gegen den damaligen Meister VfB Stuttgart ausschied, wechselte er 1986 zu Preußen Münster und führte den Klub 1987/88 überlegen zur Meisterschaft in der Oberliga Westfalen. In der Aufstiegsrunde zur 2. Bundesliga scheitert der Klub jedoch an Hertha BSC, VfL Wolfsburg, MSV Duisburg und Eintracht Braunschweig. Eine Saison später wurde Münster in einem packenden Ligafinale gegen Arminia Bielefeld erneut Meister und schaffte diesmal auch den Aufstieg in die 2. Liga, indem man sich hinter mit dem MSV Duisburg in der Aufstiegsgruppe mit Göttingen 05, den Reinickendorfer Füchsen und den TSV Havelse als Zweitplatzierter qualifizierte. Mit diesem Erfolg verabschiedete sich Horsch aus Münster und wurde 1989 Verbandstrainer beim Fußball- und Leichtathletik-Verband Westfalen. Diese Position bekleidete Horsch bis zum 30. Dezember 2013.

Beim FLVW war Helmut Horsch als Trainer für den Frauen- und Seniorenfußball zuständig. Darüber hinaus war er Ausbilder der C-Lizenz, mit dem Schwerpunkt im Vertiefungsbereich Senioren, Sprecher der DFB-Verbandssportlehrer und saß in dieser Funktion im Vorstand des Bund Deutscher Fußball-Lehrer sowie Mitglied des Lehrstabes Trainerausbildung des DFB. Im Jahr 2000 begann Horsch überdies für den DFB auf Honorarbasis als Coach der U21-Frauen-Nationalmannschaft zu arbeiten. Von 2007 bis 2008 war er der erste Trainer der neu gegründeten U-23-Juniorinnen des DFB.

Adelina von Fürstenberg

Adelina von Fürstenberg-Herdringen (née Cüberyan) is an international curator and one of the field’s pioneers in broadening contemporary art. A Swiss citizen of Armenian origin — granddaughter of the Armenian architect Dikran Kalfa Cüberyan — she was born in Istanbul. She married when she was still at university, to the photographer Graf Franz Egon von Fürstenberg-Herdringen (b. 1939), son of Gloria Guinness (1912-1980) and Count Franz-Egon von Fürstenberg-Herdringen (1896-1975).

Von Fürstenberg was one of the first curators to show an interest in non-European artists, thus opening the way for a multicultural approach in art. She also took a more global and flexible approach to contemporary art exhibitions, in bringing art into spaces such as monasteries, medersas, large public buildings, squares, islands, and parks. Her objective is to give a larger context for visual art in making it a more vigorous part of our lives, in creating a more vivid dialogue for it with other arts, and relating it more to worldwide social issues.

During her studies of political science at the University of Geneva, Switzerland, Adelina von Fürstenberg founded the Centre d’Art Contemporain Genève, which she directed until 1989, presenting several solo shows of the pioneers of pop art, Fluxus, conceptual art, and minimal art, such as Christian Boltanski, Daniel Buren, Sol LeWitt, Andy Warhol, and Laurence Weiner. In the same period she organized performances with John Cage, Laurie Anderson, Philip Glass, Joan Jonas, Trisha Brown, Marina Abramović, and Robert Wilson, as well as many group exhibitions, among them the well known open-air exhibition Promenades (1985), on the Lake Leman shores at Parc Lullin, Genthod with sculptures, and site-specific art installations with the Arte Povera artists.

During her stay in Geneva, she opened the door of many international organisations to contemporary culture. In 1989 she organized large exhibitions in the Geneva headquarters of international organisations such as the ILO (International Labour Organization), where she presented The Line of Fire, a model by the American architect Daniel Libeskind, scale 1/1, that would later become the Jewish Museum Berlin.

From 1989 to 1994, she directed Le Magasin, Centre d’Art Contemporain of Grenoble, France, where she curated large solo exhibitions of major artists, such as Gino De Dominicis and Alighiero Boetti, as well as symposia and lectures on architecture, science and philosophy. For five years she has directed the Ecole du Magasin (School of Curators). In 1993 for the 45th Venice Biennale she co-curated the Italian Pavilion and the Russian Pavilion (Ilya Kabakov). She also curated the exhibition Trésors du Voyage on the island of San Lazzaro. On this occasion, the international Jury of the Biennale awarded her a prize for her direction of Le Magasin and her work at the School of Curators.

In 1995, on the occasion of the United Nations‘ 50th anniversary, she was invited to conceive and curate the exhibition Dialogues of Peace, an international exhibition presented at the UN Headquarters in Geneva. Chen Zhen, Tadashi Kawamata, and Alfredo Jaar were some of the 60 artists from various continents who contributed to the exhibition.

In 1996 she founded ART for The World, a non-governmental organization (NGO) associate to the UN Department of Public Information for the diffusion and promotion of the principles of the Universal Declaration of Human Rights through the organization of exhibitions and events around the world.

Adelina von Fürstenberg has curated with ART for The World, at the occasion of the Venice Biennale at the Armenian Monastery of San Lazzaro, solo shows of Robert Rauschenberg (1997), Jannis Kounellis (2003) and Joseph Kosuth (2007) and in Palazzo Zenobio the Children Museum of the architect Philip Johnson. Since 2005, with ART for The World Europa, in Milan, she has worked with Hangar Bicocca, in creating a series of shows, among them the world avant-première Balkan Epic by Marina Abramović (2006).

Since 1998, she has worked in partnership with the Regional Direction of SESC Sao Paulo, Brazil, in curating large exhibitions, among them The Overexcited Body. Art and Sport in Contemporary Art, Voom Portraits by Robert Wilson (2008), and, in 2010, Urban Manners 2 on Indian contemporary art, for the first time in South America.

Between 2011-2013 Von Fürstenberg curated The Mediterranean Approach, an itinerant exhibition under the auspices of the Cultural Council of the Union pour la Méditerranée (UPM), Marseille Provence 2013, Cultural Capital of Europe and the City of Geneva. Aiming to emphasize differences as well as similarities as part of the underlying deep identity connecting all Mediterranean peoples, the exhibition was presented in avant première during the 54. Biennale of Venice, at Palazzo Zenobio (June–August,2011), in Marseille at the mac – Museum of Contemporary Art (February–May, 2012) and at SESC Pinheiros in Sao Paulo (October 2012-January 2013) in collaboration with the Regional Direction of SESC Sao Paulo.

In December 2012 she curated FOOD, a large art project on Mother Earth, agriculture and nutrition, inviting artists to explore the fascinating question of food, a highly complex issue, simultaneously dealing with survival, health, economy and culture. Under the auspicies of EXPO Milan 2015 and in partnership with the Department of Culture of Geneva, the world première opening was in Geneva on December 18, 2012 in the large temporary exhibitions spaces of the Musée Ariana, located next to the UN Headquarters. Between March 2014 and June 2014, Sao Paulo hosted a new version of FOOD at SESC Belezinho and between October 2014 to February 2015, the 3rd venue of FOOD has taken place at MuCEM (Musée des Civilisations et de la Méditerranée).

Among her most recent curatorships are ICI l’AFRIQUE at the Château de Penthes, Geneva ( May–July 2014), and AQUIAFRICA the SESC Belenzhino, Sao Paulo ( November 2015 – March 2016).

In 2015, Adelina von Füstenberg was the curator of the National Pavilion of the Republic of Armenia at the 56.Biennale di Venezia, awarded with the Golden Lion for the best National Pavilion by the international Jury of the Biennale of Venezia.

In 2016, Adelina von Fürstenberg received the Swiss Grand Award for Art / Prix Meret Oppenheim.

Adelina von Fürstenberg shares the common belief that art and cinema are two of the strongest catalysts that can facilitate human relations, especially within the context of political, ideological or religious spheres. Knowing that cinema is peculiarly potent to familiarize cultures to each other, to create endless possibilities that regenerate and enrich our social lives, in 2008, to commemorate the 60th anniversary of the Universal Declaration of Human Rights (UDHR), she created and produced the long feature film Stories on Human Rights, inspired by the UDHR and composed a series of short movies directed by 22 prominent video artists and filmmakers from all over the world. Premiered at the Palais de Chaillot, Trocadero, in Paris on December 2008, the film has been screened in more than 70 film festivals.

In 2010-2011 Adelina von Fürstenberg produced with ART for The World the new series of seven short films, THEN AND NOW Beyond Borders and Differences, under the auspices of the UN Alliance of Civilizations and the Council of Europe. Inspired by article 18 of the Universal Declaration of Human Rights, „Everyone has the right to freedom of thought, conscience and religion“, the omnibus film involves seven independent well known filmmakers from five continents to promote tolerance by creating films and stories highlighting the long-standing historical, spiritual and cultural links across cultures and beliefs. The filmmakers were Tata Amaral (Brazil), Fanny Ardant (France), Hüseyin Karabey (Turkey), Masbedo (Italy), Idrissa Ouedraogo (Burkina Faso), Jafar Panahi (Iran), and Robert Wilson (US). A first series of five short movies was screened in a world première at the Museum of Modern Art in Rio de Janeiro on the occasion of the 3rd Forum of the Alliance of Civilizations, while the short movie The Accordion by Jafar Panahi was presented in a world première at Venice Days during the Venice International Film Festival in September 2010. The short Chimères Absentes by Fanny Ardant was premiered at the Rome Film Festival in October 2010. Since then, both the long feature and the single shorts have been independently distributed in more than 40 film festivals around the world.

Von Fürstenberg is currently working on a new film production, Myths and Misconceptions, to eliminate cancer as a life-threatening disease for future generations and to support the mission of those who are fighting this illness. Myths and Misconceptions aims to present and discuss issues related to cancer, cancer control and cancer prevention, increasing awareness as well as hope in fighting this illness, with the help of the great variety of themes concretely illustrated by the different short films.

Written in Portuguese:

Israël aux Jeux olympiques

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1952 • 1956 • 1960 • 1964 • 1968 • 1972 • 1976 • 1984 • 1988 • 1992 • 1996 • 2000 • 2004 • 2008 • 2012 • 2016

Jeux olympiques d’hiver

1994 • 1998 • 2002 • 2006 • 2010 • 2010 • 2014

Israël a participé pour la première fois aux Jeux olympiques en 1952. Le comité olympique d’Israël a été créé en 1933 lors de la Palestine mandataire mais ne représentait alors que le Maccabi et non l’Hapoël.

Comme l’équipe représente uniquement la communauté juive, elle a boycotté les Jeux olympiques d’été de 1936 en Allemagne pour protester contre les lois antisémites du Troisième Reich. Par la suite, Israël a envoyé une équipe à chaque édition des Jeux olympiques d’été depuis 1952 sauf aux Jeux olympiques d’été de 1980 de Moscou, et à chaque édition des Jeux Olympiques d’hiver depuis 1994.

Lors des Jeux olympiques d’été de 1972, 11 membres de la délégation israélienne ont été assassinés par des terroristes du Septembre noir lors d’une célèbre prise d’otages.

Israël a gagné sa première médaille olympique en 1992 où la judoka Yael Arad a gagné une médaille d’argent.

Israël a eu plus de succès aux Jeux paralympiques qu’aux Jeux olympiques. Israël a remporté 124 médailles d’or aux Jeux paralympiques d’été, mais seulement 1 aux Jeux olympiques d’été avec Gal Fridman.

Takanosato Toshihide

Takanosato Toshihide (jap. 隆の里 俊英, eig. Takaya Toshihide, 高谷 俊英; * 29. September 1952 in Namioka (heute: Aomori), Präfektur Aomori; † 7. November 2011 in Fukuoka ) war ein japanischer Sumōringer und der 59. Yokozuna.

Takanosato war als Jugendlicher bereits ein begeisterter Fußballspieler und Judoka. Er stammt aus der gleichen Gegend wie der spätere Yokozuna Wakanohana Kanji II. und wurde zusammen mit diesem vom damaligen Futagoyama Oyakata, dem ehemaligen Yokozuna Wakanohana Kanji I., nach Tokio geholt. Takanosato war einer der ersten Ringer überhaupt, der Krafttraining mit Gewichten ausübte.

Als Rikishi (Sumōringer) debütierte er im Juli 1968. 1975 stand sein Name zum ersten Mal auf der Rangliste der Makuuchi-Division, er wurde jedoch mehrmals wieder zurückgestuft. Meist blieb er als Maegashira in den mittleren Rängen und fiel durch keine besonderen Erfolge auf. Erst ab Mitte 1980 verbesserte er sich, so dass er in die Sanyaku-Ränge vorrückte.

Neben dem ungefähr gleichaltrigen Wakanohana kämpften zur selben Zeit auch überaus starke Ringer wie Chiyonofuji und Kitanoumi an der Spitze der Division. Stallkollege Wakanohana war schon längst Yokozuna, als Takanosato 1982 mit schon fast 30 Jahren zum Ōzeki ernannt wurde. Kurz vor seinem Geburtstag gelang Takanosato mit dem Sieg im Septemberturnier Aki-Basho ein Coup. Dabei kassierte er nicht eine einzige Niederlage. Er hielt seine Form auch in den anschließenden Turnieren, und sein Turniersieg im Juli 1983 überzeugte die Verantwortlichen, ihm den Titel Yokozuna zuzugestehen.

Am letzten Kampftag des folgenden Aki-Basho, seinem ersten Basho als Yokozuna, traf Takanosato, der bisher ungeschlagen geblieben war, auf den in diesem Turnier bis dahin ebenfalls unbesiegten Chiyonofuji – und setzte sich durch. Damit konnte erstmals ein Yokozuna auf seinem Antrittsturnier mit Zensho-Yusho siegen. Im Januar 1984 gewann er den Kaiserpokal zum letzten Mal. Wegen Verletzungen konnte er im ganzen Jahr 1985 kaum noch an Turnieren teilnehmen und erklärte schließlich seinen Rücktritt.

Der ehemalige Yokozuna eröffnete nach der Ringerlaufbahn als Stallmeister Naruto Toshihide seinen eigenen Ringerstall, den Naruto-Beya, der seither einige bekannte Rikishi hervorgebracht hat, wie beispielsweise den ehemaligen Sekiwake Wakanosato Shinobu.

Takanosato litt an Diabetes. Diesen Umstand hielt er jedoch jahrelang geheim. Später schrieb er einen Ratgeber für Betroffene, wie nach seinen Erfahrungen mit der Erkrankung umzugehen sei.



Hiering ist ein Ort im Hausruckviertler Hügelland in Oberösterreich, und Ortschaft der Gemeinde Schlüßlberg und der Stadtgemeinde Grieskirchen im Bezirk Grieskirchen.

Vorlage:Infobox Gemeindeteil in Österreich/Wartung/Nebenboxf1

Der Ort befindet sich 2½ Kilometer direkt südlich von Grieskirchen. Er liegt an der B 135 Gallspacher Straße, ein Straßendorf auf etwa 800 Metern mit einigen Ortslagen abseits, auf um die 340 m ü. A. Höhe. Entlang fließt auch der Leitnerbach nordostwärts, der 1½ km weiter in die Trattnach mündet.

Die beiden Ortschaften umfassen knapp 30 Gebäude mit etwa 100 Einwohnern, davon der Gutteil in der Grieskirchener Rotte, nördlich (links) des Leitnerbaches, der Rest in den Ortslagen, die sich nordwärts über den Riedl bis hinüber zur L1192 Jörger Straße und den Steinbach, und an die Trattnach zwischen den Mündungen der beiden Bäche erstrecken, und den zerstreuten Häusern von Schlüßlberg.

Landschaftlich gehört die Gegend zur Raumeinheit Inn- und Hausruckviertler Hügelland.

Vornwald (Gem. Grieskirchen u. Gallspach)

Fischleithen (Gem. Schlüßlberg)
Anzenberg (Gem. Schlüßlberg)

Der -ing-Name (hier- dann zu einem Personennamen) zeigt die alte Besiedelung aus der Zeit der bajuwarischen Landnahme um das 8. Jahrhundert, Grieskirchen wird 1075 erstmals urkundlich.

Der Hof Ochsenberger gegen Grieskirchen hin (1667/9 als Oxnberg) war im 17. Jh. ein adeliger Freisitz., weitere alte Gehöfte sind Hiering selbst (Hiering 2, Grieskirchen), Wolf und Hauer, Roith südlich, der Hochsriener am Riedl, der Ochsenberger und der Bruckmayer am Leitnerbach gegen Unterberg.
Im frühen 19. Jahrhundert gehörte Hiering zum Pfarrdistrikt Grieskirchen im Distriktskommissariat Parz.

Die B 135 war hier ursprünglich die Grieskirchen-Gallspach-Höfter Bezirksstraße Unternberg – Höft, und war 1973 bis 2002 Bundesstraße.

Katastralgemeinden: Grieskirchen | Manglburg | Parz

Ortschaften: Grieskirchen | Hiering | Kickendorf | Moosham | Niederndorf | Parz | Paschallern | Steindlberg | Tolleterau | Unternberg | Untersteinbach | Vornwald

Stadt: Grieskirchen
Dorf: Moosham | Weiler: Unternberg | Rotten: Hiering • Paschallern • Untersteinbach | Zerstreute Häuser: Kickendorf • Parz | Sonstige Ortslagen: Kehrbach • Lanzenberg • Niederndorf • Schloss Parz • Schamosberg • Steindlberg • Tolleterau • Vornwald

Zählsprengel: Grieskirchen-West | Grieskirchen-Ost | Grieskirchen-West | Grieskirchen-Umgebung

Katastralgemeinden: Atschenbach | Pfleg | Schlüßlberg | Trattenegg | Weinberg

Ortschaften: Aigendorf | Alte Rosenau | Am Kröpflmühlerberg | Anzenberg | Atschenbach | Au | Brandhof | Buchet | Dingbach | Dingberg | Fischleithen | Fürth | Gewerbepark | Haid | Handelspark | Hiererberg | Hiering | Hornesberg | Kehrbach | Kochlöffleck | Kröpflmühle | Kumpfhub | Margarethen | Mitterndorf | Niederndorf | Oberschaffenberg | Parz | Pühret | Rosenau | Schaffenberg | Schlüßlberg | Schnölzenberg | Sonnwies | Straßfeld | Tegernbach | Thal | Trattenegg | Unternberg | Weinberg | Wintersberg

Marktort: Schlüßlberg | Dorf: Dingbach | Weiler: Parz | Rotten: Aigendorf • Am Kröpflmühlerberg • Atschenbach • Au • Fischleithen • Haid • Hornesberg • Kochlöffleck • Kröpflmühle • Margarethen • Mitterndorf • Niederndorf • Oberschaffenberg • Schnölzenberg • Sonnwies • Wintersberg | Siedlungen: Alte Rosenau • Brandhof • Kehrbach • Otto-Weinberger-Siedlung • Rosenau • Schaffenberg • Straßfeld • Unternberg • Weinberg | Häusergruppen: Handelspark | Zerstreute Häuser: Anzenberg • Dingberg • Fürth • Hiererberg • Hiering • Buchet • Pühret • Tegernbach • Thal • Trattenegg | Sonstige Ortslagen: Gewerbepark • Hammermühle • Kumpfhub • Pfleg • Schloss Schlüßlberg

Zählsprengel: Schlüßlberg-Zentrum | Schlüßlberg-Umgebung

Whyalla Football League

The Whyalla Football League is an Australian rules football competition based in the town of Whyalla on the east coast of the Eyre Peninsula region of South Australia. It is an affiliated member of the South Australian National Football League (SANFL).

The Whyalla Football Association was formed in 1939 with founding clubs including Central Whyalla, North Whyalla and South Whyalla, although competition has been noted to have occurred prior to this. In 1961 the Whyalla Football League (together with the Great Northern Football Association and the Port Pirie Football Association) formed the Spencer Gulf Football League. In 1967 the Whyalla-based clubs left the Spencer Gulf Football League and reformed the Whyalla Football League.

Champion past SANFL players from Whyalla include triple Magarey Medallist Barrie Robran and inaugural Adelaide Crows coach Graham Cornes while 4 time SANFL Premiership coach Neil Kerley spent two seasons as Captain-Coach of the North Whyalla Magpies, leading them to the premiership in both seasons (1954 and 1955).

Former Whyalla footballers who have reached the AFL include Robert Shirley, Brett Burton Isaac Weetra and Levi Greenwood.

In 2001 the Whyalla Football League selected its Team of the Century.

Beans (rapper)

Beans (born Robert Edward Stewart, II) is a rapper from White Plains, New York. He was a member of the underground hip hop group Antipop Consortium. He is a founder of the record label Adored And Exploited.

With his distinctive, fast-flowing and poetic style, Beans amalgamates witty, thoughtful lyrics with his own productions of „Chunky psychedelic electro-hop.“ According to the Pitchfork Media review for the album Thorns, „The MC is simply good at what he’s good at, putting together bushy, crooked beats with rhymes that are both confessional and evasive.“

Beans has released two LPs and one EP on AntiPop Consortium’s former label Warp Records since launching his solo career in 2003: Tomorrow Right Now, Now Soon Someday EP and Shock City Maverick. The third solo album Only was released on Thirsty Ear Recordings in 2005, followed by the fourth album Thorns on Adored And Exploited in 2007.

In 2011, Beans released the fifth solo album, End It All. on Anticon. It features productions by Four Tet, Sam Fogarino of Interpol, Clark, Tobacco, Fred Bigot, Nobody, Son Lux, Ade Firth, In Flagranti, and The Bumps.

Beans has collaborated with Vernon Reid of Living Colour, Kool A.D., Ghislain Poirier, Arto Lindsay, Alec Empire, Funkstörung, Holy Fuck, Evil Nine, DJ Shadow among others.

In 2013, Beans collaborated with Ghostly International recording artist, Mux Mool, under the name, Knifefight. The duo recorded a 6 track, cassette only release for Anticon.

Beans has been known to perform in a wide variety of venues, from underground clubs in New York’s East Village to festivals worldwide. In the past has taken to the stage armed with only a microphone and a portable CD player for his backing track, further reflecting the minimalist nature of his style. he has been recently performing and touring with That Kid Prolific.

Beans has performed on the same stage as acts as diverse as Radiohead, Prefuse 73, Public Enemy, Kool Keith, Edan, The Rapture, Missy Elliott, The Locust, Mike Ladd and Tortoise.

„Knifefight Ep“ Produced by Mux Mule

Glamour (presentation)

Glamour originally was a term applied to a magical-occult spell that was cast on somebody to make them see something the spell-caster wished them to see, when in fact it was not what it seemed to be. In the late 19th century terminology, a non-magical item used to help create a more attractive appearance gradually became known as ‚a glamour‘. Today, glamour is the impression of attraction or fascination that a particularly luxurious or elegant appearance creates, an impression which is better than the reality. Typically, a person, event, location, technology, or product such as a piece of clothing can be glamorous or add glamour.

Virginia Postrel says that for glamour to be successful nearly always requires sprezzatura – an appearance of effortlessness, and to appear distant – transcending the everyday, to be slightly mysterious and somewhat idealised, but not to the extent it is no longer possible to identify with the person. Glamorous things are neither opaque, hiding all, nor transparent showing everything, but translucent, favourably showing things.

The early Hollywood star system in particular specialised in Hollywood glamour where they systematically glamorised their actors and actresses.

Glamour can be confused with a style, which is adherence to a particular school of fashion, or intrinsic beauty; whereas glamour can be external and deliberate.

„Glamour“ originally referred to be a magic spell, an illusion cast by Gypsies and witches.

Late in the 19th century the common meaning shifted to being applied to ordinary objects and jewellery without connotations of supernatural, merely upon the effect that it has on appearance. This is a sense used in this article and to some extent is the way that it was used by the early Hollywood system.

In modern usage glamour is often confused with style or beauty; but they may be considered to be distinct, although glamour may give the appearance of beauty or present as a personal style.

Many forms of architecture employ glamorous motifs to enhance the appearance of what may be otherwise mundane buildings. The Art Deco style is generally considered to be a glamorous one.

The „Golden Age“ of „Hollywood Glamour“ was the 1930s and 1940s, following the depression and its aftermath.

Glamour is the result of chiaroscuro, the play of light on the landscape of the face, the use of the surroundings through the composition, through the shaft of the hair and creating mysterious shadows in the eyes. In Hollywood, stars as far apart as Marlene Dietrich, Carole Lombard, Rita Hayworth and Dolores del Rio, own and acquire glamor, technology and willingness to refine the beauty of its own… Are indecipherable magic of the cinema, substance of the dreams of a generation and the admiration of the following meeting“, -filmmaker Josef von Sternberg, .

Hollywood studios presented their female stars in designer gowns and exquisite jewelry, both on screen and in carefully orchestrated occasions for publicity. Joan Crawford is quoted to have said, “I never go outside unless I look like Joan Crawford the movie star.”

Photography was shot in rooms which had been specially painted to flatter the skin tone of the actors and actresses, and attention was paid to hair and clothes. Notably this was successfully done with:

Glamour icons are people that are thought to epitomise glamour, that have an individual style that makes them more attractive.

For example:

Glamour photography is the photographing of a model with the emphasis on the model and the model’s sexuality and allure; with any clothing, fashion, products or environment contained in the image being of minor consideration. Photographers use a combination of cosmetics, lighting and airbrushing techniques to produce the most physically appealing image of the model possible.

Many types of media have been accused of glamorising violence, for example the film A Clockwork Orange by Stanley Kubrick or The Matrix.

The Grand Theft Auto video game series is listed in the Guinness Book of World Records 2009 as the most controversial game series and has often been accused of glamorising violence.