Egremont  is a market town, civil parish and two electoral wards in Cumbria, England, and historically part of Cumberland. It is situated just outside the Lake District National Park,  south of Whitehaven and on the River Ehen.

The town, which lies at the foot of Uldale Valley and Dent Fell, has a long industrial heritage including dyeing, weaving and iron ore mining. It had a population of 7,444 in 2001, increasing to 8,194 at the 2011 Census.

The town's layout today is much the same as at the time of Richard de Lucy around 1200 with its wide Main Street opening out into the market place. The remains of the Norman castle, built in the 12th century, are situated at the southern end of Main Street near the market place.

Egremont was granted a charter for a market and annual fair by King Henry III in 1266. The resulting annual Crab Fair now hosts the World Gurning Championships.

The modern economy is based around the nuclear industry at Sellafield.

History

The Barony of Copeland (or Egremont)
Egremont pre-dates the Norman conquest. The Danes first established a fort on the site of Egremont Castle around the end of the first millennium AD.

When William Rufus extended Norman rule into Cumbria in around 1092, control of the area was given to Ivo Taillebois, who was married to Lucy of Bolingbroke, heiress of extensive lands in Lincolnshire. When Ivo died in 1094, this authority passed to Lucy's second husband Roger fitz Gerold de Roumare, who survived for only two more years, then to her third husband Ranulph le Meschines. On his becoming the Earl of Chester, his estates were returned to the Crown towards paying for the earldom. Around 1120, Henry I gave the Barony of Copeland to Ranulph's son William who made his home at Egremont and began to build the castle, which took approximately 150 years to complete. The Barony was inherited by William's son Ranulph . With Ranulph having no male heir, the Barony passed to his sister Alice, who married the Scottish prince, William Fitz Duncan; they had a child who, after his death, became known as "the Boy of Egremont"; again, with no living male heir, William Fitz Duncan's estates passed to his three daughters Annabel, Cecily and Alice.

The estates passed down to Annabel's son Richard de Lucy. Richard's two daughters married two brothers of the de Multon family, Alice (now called de Morville) married Alan de Multon and Annabel (also now called de Morville) married Lambert de Multon. Annabel and Lambert de Multon inherited the Barony of Copeland and again, the castle had a lord in residence.

Around 1205, the tale of Grunwilda was told; she was the wife of Richard de Lucy and was killed by a wolf on a hunting trip; this tale is recounted in the poem "The Woeful Chase". Again leaving no male heir, Richard died and the superstition began that no male heir should inherit Egremont Castle because of the conduct of the forefathers. Egremont was granted its royal charter by Henry III in 1267, with the right to hold a weekly market and an annual fair.

When the last male Multon died in 1335, one of the co-heiresses married Thomas Lucy, grandson of Thomas Multon. Anthony, the last Lord Lucy, died in 1369, and the lands passed to his brother-in-law Henry Percy, 1st Earl of Northumberland, staying with the Percy family and its successors ever since. The present lord is John Max Henry Scawen Wyndham, Baron Egremont and Baron Leconfield, who lives in the family home, one of the earliest Percy possessions: Petworth House in West Sussex. The dowager Lady Egremont, Pamela, lived at Cockermouth Castle until her death in 2013.

The town

In about 1300, the town was established much as it is seen today, surrounded by agricultural lands. In 1322, Robert the Bruce attacked the town, causing a huge death toll. For the next 100 years or so an uneasy peace followed and the castle fell into ruins.

In 1565, a stone bridge was built over the River Ehen to access the town, which was now smaller because of frequent Scottish raids. Little changed for a century, until new stone buildings appeared on the Main Street, probably built with stone from the castle. In 1683, Edward Benn and his heirs were given land with the provision that they rebuild the stone bridge and maintain it for ever.

In 1748, another bridge was built at Briscoe Mill at a cost of £28-15s-0d (£28.75), paid for by John Pearson, a local hatter. Soon Egremont began to service the Port of Whitehaven and in 1830, iron ore was mined over several sites.

Over the next 60 years new schools and churches were built. Egremont Town Hall was completed in 1890.

New housing estates were also built to accommodate the growing town, with many old parts of the town being demolished in 1968.

In 1964, Wyndham School was built, an early comprehensive school. In 1970, there was a large increase in workers moving into the town to work on the new nuclear site.

In 1990, the Egremont by-pass was opened.

Industrial history
Historically, dyeing and weaving were traditional local industries based around the River Ehen. Iron ore mining and quarrying has been established in Egremont for more than 800 years. Industrial mining of iron ore started around 1830 with many mines being opened, and ended when the Florence Mine closed in 2007.

Around the early 17th century, agricultural lime was mined at Clints Quarry, with more heavy duty mining being undertaken to supply the iron and ore industry in the mid 19th century, finally ending in 1930. Clints Quarry (now a Site of Special Scientific Interest) can be found just north of Egremont town.

In 1950, Rowntrees built a chocolate crumb factory near Christie Bridge and the nuclear industry became established at Sellafield. The Rowntrees site has become a new housing estate, York Place, which is located at the northern end of Main Street.

June 2010 shootings

On 2 June 2010, the area became the centre of a search after a gunman ran amok in Cumbria. Derrick Bird, a 52-year-old local taxi driver, shot and killed twelve people, two of them in Egremont, before committing suicide.

Governance
Egremont is within the Copeland UK Parliamentary constituency. Trudy Harrison is the Conservative Member of parliament.

Before Brexit, it was in the North West England European Parliamentary Constituency.

For local government purposes, it is in the Cumberland unitary authority.

Egremont has its own Parish Council, Egremont Town Council, which is based in the Market Hall offices.

Economy
Manufacturing industries have declined but service, new media and tourism industries have taken their place.

Egremont's Florence Mine was (until 2008) the last working deep iron ore mine left in Western Europe and produced ore, products for the cosmetics industry and high quality haematite for jewellery. The pit head is a listed building. The Florence Mine can be found just south of Egremont.

A large local employer is the nuclear site at nearby Sellafield. The last few years have seen the running down of the nuclear power industry and the growth of the nuclear decommissioning industry.

Transport
Egremont formerly had a railway station on the Whitehaven, Cleator and Egremont Railway. It was first closed in 1935, with cycles of reopening and closure ending in 1947, but with a special school service running from 1964 to 1969. The nearest train station is at Nethertown, but with a reduced service. St Bees railway station is the nearest mandatory stop station with a full service.

Bus services 6 and X6 link Egremont to Seascale, Gosforth and towns south of Egremont. There is one other bus service operated by Stagecoach that links to Whitehaven, Workington and Maryport (30).

The A595 bypasses Egremont, which gives strong links to  to the south and to the north, Whitehaven and Workington.

Tourism
Egremont has Egremont Castle, Florence Mine, Hartley's Ice Cream, Lowes Court Gallery, various walks, Clint's Quarry (SSSI) and cycle paths.

Community and culture
Egremont has a castle, several churches, two supermarkets and a market selling a variety of goods held every Friday.

It has had a brass band since 1904. The band aims to promote brass band music in the local area.

The town has one secondary school, West Lakes Academy, and four primary schools, which are Bookwell, Orgill and Thornhill primary schools, plus St Bridget's Catholic Primary School.

It has an active public and community arts programme, called Creative Egremont. The town is home to Florence Arts Centre, based at the nearby Florence Mine (now disused), which has a programme of live events - gigs, theatre and stand-up comedy - and an art gallery. There is a studio on-site for the Florence Paintmakers, a co-operative of artists who use the local iron ore pigment to make oil and watercolour paints, pastels and other art materials.

Egremont also has a dedicated town freesheet, published by Egremont & District Labour Party and delivered to thousands of addresses in the town several times a year. The paper is financed by the Copeland Constituency Labour Party, and its treasurer is David Southward MBE.

Crab Fair
Egremont's Crab Fair is held on the third Saturday in September annually, and features unusual events – such as the world-famous 'gurning' and greasy pole climbing. This fair is a major local event, with the town's high street being closed to normal traffic for street dancing and a parade, while sports such as Cumberland & Westmorland Wrestling are held on ground nearby. The fair's origins go back to 1267, and it is claimed to be one of the oldest fairs in the world. The Crab Fair did not take place during the COVID-19 pandemic, but is planned to return in 2022.

Notable residents
William Benn English Non-Conformist Minister and author (b. 1600)
Musician and songwriter Francis Dunnery (the former frontman of It Bites, who scored a Top Ten British chart hit in 1986 with "Calling All the Heroes") was born and brought up in Egremont, as were his It Bites bandmates Bob Dalton and Dick Nolan.
 Martin Hodgson, the 1930s rugby league all-time-great forward for Swinton, Cumberland and Great Britain was born (1909) and bred in the town.
Rob Purdham, international Rugby League player, was born in Egremont in 1980.
John Lindow Calderwood, lawyer & politician, was born and brought up in Egremont, where his father was a local doctor.

See also

Listed buildings in Egremont, Cumbria

References

External links

Cumbria County History Trust: Egremont (nb: provisional research only – see Talk page)
Visit Egremont – official Egremont information website
Virtual Egremont – website of the Egremont and Area Regeneration Partnership with listings, what's on, news, cycling and walking routes and links to Creative Egremont, the town's innovative cultural programme.

Market towns in Cumbria
Civil parishes in Cumbria
Towns in Cumbria
Borough of Copeland

Egremont, Cumbria


George Pusenkoff (; born 1953 in Krasnapolle), Belarus, is a German-Jewish painter, installation artist and photographer. He is a representative of postmodernism.

Biography
George Pusenkoff studied computer science from 1971 to 1976 at the National Research University of Electronic Technology in Moscow. From 1977 to 1983 he studied art (Graphics and Painting) at the then Moscow Polygraphic Institute, today the Moscow State University of Printing Arts. Since 1984 he has participated in exhibition projects in Moscow, the whole USSR and abroad. During his time in the USSR, Pusenkoff was one of the Russian Nonconformists. In 1987 he joined the artists' association Ermitage and in 1988 he became a member of the Moscow Gruppe 88. He has also been a member of the MOSKh (Moscow Union of Artists) since 1987. On invitation of the gallery owner Hans Mayer, George Pusenkoff went to (Germany) in 1990 and has lived and worked in Cologne ever since. Cohen is Jewish. In 2008 Pusenkoff was nominated for the Kandinsky Prize.

Artistic work
In his works, George Pusenkoff often refers to art-historically significant events of the 20th century.  In the beginnings of his artistic career Pusenkoff was close to Appropriation Art, since the 2000s he has increasingly turned to Abstract Art. His paintings are now dominated by color, line, and surface. These works in which he quotes from art history appear very catchy and "familiar", because the viewer already knows them in other contexts, such as the famous The Black Square by Kasimir Malevich. Pusenkoff also quotes or modifies, for example, works by Josef Albers (Homage to Albers, 1998), Robert Rauschenberg (Erased Rauschenberg, 1997), Piet Mondrian (Mondrian 2, 1999) and other important artists of historical significance. These works of Pusenkoff are to be understood and perceived as a statement about the present; cultural criticism takes immanently place in the image. For Pusenkoff, good art is always also an artistic examination of the Zeitgeist. For him this means dealing with the upheavals of our time through the emergence of computers on an artistic level: "Pusenkoff is a conceptual painter in the sense that he doesn't work spontaneously and intuitively, but that a reflection on questions of image formation, perception, the original and painting in the media age is the basis of his art." (in German: "Pusenkoff ist ein konzeptueller Maler in dem Sinne, daß [!] er nicht spontan und intuitiv ans Werk geht, sondern ein Nachdenken über Fragen der Bildentstehung, der Wahrnehmung, des Originals und der Malerei im Medienzeitalter Grundlage seiner Kunst ist.")

In 1993 George Pusenkoff had the opportunity of a solo exhibition in a room of the Tretyakov Gallery. The room, which was not originally designed as an exhibition space, was dominated by a 42-meter-long front window, which directed the viewer's gaze outwards and not to the exhibited works of art inside. Pusenkoff developed an installation for this room in which the front window was covered by a wooden wall. The works of art were then installed on this wall: "To block off an enormous windowfront, I built a wall measuring six meters high and 42 meters long. This surface was covered by 24 paintings, each two by two meters, as well as 600 smaller copies of these arranged to a particular pattern. The whole resembled an endlessly unfolding molecular matrix. Of major importance was the contrast between the space of the room and that of the window-wall."

Pusenkoff's painting said Duchamp, in which he integrated an image of Mona Lisa into his work for the first time, was created especially for this exhibition. It shows a smiling Frank Sinatra as a reminiscence of Readymades of Marcel Duchamp and the Mona Lisa. George Pusenkoff explains: "Actually, the picture was thus created for a very special place on this wall and became a key work for the entire installation." In 2008 the installation The Wall was shown for the first time in the West on the occasion of a comprehensive art exhibition in the Kunstmuseum Bochum La Condition Humaine.

The fusion of digital techniques with representations of well-known icons of art history leads to works of art that are striking and reminiscent of Pop Art. Pusenkoff's art was therefore often compared with Andy Warhols. Like Warhol, Pusenkoff also uses reproductions and sequences, uses bright colors, and thematizes the comprehensive availability of art objects in the media age. Warhol's art was primarily concerned with revealing the industrial manufacturing process of art in The Work of Art in the Age of Mechanical Reproduction. Pusenkoff's theme, on the other hand, is the significance of painting as an antithesis to the computer-generated flood of images of the present: "I love painting," says Pusenkoff, and his entire oeuvre impressively testifies to this preference.

Computer Interface and Pixel
Although Pusenkoff defines himself as a classical painter, he uses the possibilities of the computer to create his works. He loads pictures from the Internet onto his computer, edits them using Photoshop, enlarges or reduces sections, erases them with a digital eraser, etc. He then uses the computer to create his works. In the next work step a plotter produces films, in which the represented motif dissolved in light and dark, and the parts previously marked by Cohen are pre-punched. They are cut out of the foils and transferred to the canvas. The artist then applies eight to twelve layers of acrylic paint, partly mixed with sand, so that relief-like raised parts form in the picture. This technique of image processing is called Pochoir."

In 1996, Pusenkoff painted a work depicting a Windows screen (Big Square (1:1)). The picture shows the screen in detail with all the task bars. At the top is the title of the file Square, next to it the information that this image is displayed in the image editing software in the ratio 1:1, so this image has the same size as the original. Below is information about how much space this file needs – 28 KB. Nothing in the picture reveals an artistic comment of any kind, it is a pure image of a user interface. And yet it is not.

By describing the computer interface as a "window," Microsoft unconsciously gives the computer the role that the panel painting had before the advent of mass media. Already in 1435 the architect Leon Battista Alberti described in his work de pictura the painted picture as a "window to the world". The central element of the new technology is the pixel that constantly returns in Pusenkoff's pictures: "What a good graphics card and a fast computer make forget when the picture appears on the screen, Pusenkoff wants to raise awareness as a painter, namely the pixel and thus the media character, the 'madeness' of the seemingly so immaterial virtual picture worlds." (in German: "Was eine gute Grafikkarte und ein schneller Rechner vergessen lassen, wenn das Bild auf dem Bildschirm erscheint, das möchte Pusenkoff als Maler ins Bewusstsein heben, nämlich das Pixel und damit den medialen Charakter, die 'Gemachtheit' auch der scheinbar so unstofflichen virtuellen Bildwelten.")

Many of Pusenkoff's works show components of a computer screen, and the work titles also repeatedly refer to the possibilities of the computer in the design of images, such as "Cancel" (Who is afraid Cancel Cancel, 1998), "Matrix" (Paint Matrix, 2001) or "Erased" (Erased Painting, 2003). The human being who processes, manipulates, distorts, brings images into other contexts and can share them with other users on the computer seems godlike. He masters everything and is himself untouchable behind his computer. Pusenkoff's works irritate by imitating the screen surface. The viewer believes he sees a work of art that he can change and design. But in reality it is a painted picture that is unchangeable. This irritation is intended by the artist: "Moreover, I am sure that constant irritation is the main condition for the perception of any artistic language."

Virtually you can experience and understand everything, but man is not only his consciousness, he is also and above all a body. The virtual world does not reach it. There is a big difference whether one stands directly in front of a painted work of art, or whether one looks at virtual pictures on the computer. In the one case you stand as a three-dimensional being in a real space in front of the artwork and react to it with your entire body-mind-mind continuum – in the other case you yourself are reduced to a virtual being in which only consciousness counts. By transforming the surface of the virtual screen into a real touchable panel painting, Pusenkoff invites the viewer to become aware of this revolutionary change in his sensory perception. Colour, haptics, the use of light in his works – all this has an effect on the body and mind of the viewer and has an energizing effect. According to Pusenkoff, the computer itself can neither produce art nor create a deep space between viewer and observer that would lead to a resonant vibration. In this context, Pusenkoff's pictures seem like exclamation marks: "Look, this is how the computer changes us".

Mona Lisa in the work of George Pusenkoff
Leonardo da Vincis masterpiece Mona Lisa has become part of our cultural memory and has inspired many artists of the 20th century to create their own works with the painting. George Pusenkoff also dealt with the Mona Lisa. In 1993 he painted his first work with an image of the Mona Lisa. Its title is said Duchamp. Since then, he has repeatedly worked with the image of Mona Lisa, to an extent as no other artist before him:" For Pusenkoff, the Mona Lisa has become his female alter ego, an iconic representation of his own artistic identity."

Single Mona Lisa (1:1)
 In 1997 he created probably his best known work of the Mona Lisa with his drawing Single Mona Lisa (1:1). It shows the face of the young woman, colored by Pusenkoff in white, black and yellow. He first downloaded the picture digitally from the Louvre's website, then edited it on the computer and then painted it with acrylic paint on canvas. The work shows – as usual for Pusenkoff – a computer frame around the face of the Mona Lisa, task bars are shown as if one could edit the picture, at the top is the title of the picture Single Mona Lisa (1:1), at the bottom is the file size in megabytes. Again, the illusion is perfect that this is a pure digital copy of Leonardo Da Vinci's artwork. But not only it is a painted picture, also the picture detail, which Pusenkoff chose, differs from the original. George Pusenkoff: "I tried various things with a pixel brush, created concentrations of pixel modules, placed them in different sizes and as accents on different places on the face. I wanted even the abstraction to breathe and vibrate like the original."

The fact that Leonardo da Vinci's work became a media icon in the course of the 20th century is the reason why the Pusenkoff's work can nevertheless create the impression of the original in the viewer. George Pusenkoff says: "When an old Russian icon-painter paints an icon, he doesn't paint the picture of a saint but the saint himself in the form of color. What results is an identification between the painting and that which is painted. My picture can say: I am the Mona Lisa. When you see me, you see the Mona Lisa, you remember her. In the memory of the viewers who have seen my picture, what remains is that they have seen the Mona Lisa, not a picture of the Mona Lisa i have painted."

Mona Lisa Travels
 In 1998 the painting Single Mona Lisa was exhibited at the Russian Museum in St. Petersburg. Pusenkoff himself transported the work of art by car from Moscow to St. Petersburg and spontaneously took photographs of the work in front of various backgrounds. As a result, he travelled with the artwork through all of Russia and photographed it in various situations. The photos were taken with a medium format camera and show very different situations. Pusenkoff arranged the picture details according to purely artistic considerations and included effects such as reflections or light and shadow in his conception: "I see a location where i think the Mona Lisa would function well. The goal of the action is to make a photo and not merely to arrange a beautiful or poetic moment. I have to balance the Mona Lisa in the surroundings so that the photo on the one hand seems harmonious but, on the other, captures the surprising act of the moment. And most of the time the performance is also ended with the photo."
  Some examples of these illustrations with his work Single Mona Lisa are mentioned here: One can see e.g. market scenes with Pusenkoff's Mona Lisa, a dacha with the picture; Pusenkoff also brought the picture to the ship Aurora, which played an important role in the October Revolution. In the Russian Museum he photographed his work in front of famous Russian works of art of the 19th century; he placed it in front of monuments, positioned it in front of a blue church at the entrance door, showed homeless people in front of the picture and contrasted it with a shot of his Mona Lisa in the casino of St. Petersburg. The most spectacular picture is a shot of an elephant balancing the work in its trunk – a shot made possible because there was a shooting for a movie with an elephant in a Moscow suburb at the time. So far the painting has travelled through Russia, Israel, Germany and Italy.

Mona Lisa Time Tower
 In 2002 George Pusenkoff started working on his project Mona Lisa 500. The starting point for this project was an invitation from the Tretyakov Gallery for a solo exhibition in 2004, and the 500th birthday of the original painting. Together with the then director of Museum Ludwig, Marc Scheps, Pusenkoff developed the concept of making 500 versions of his painting Single Mona Lisa (1:1) produced in silkscreen appearing together in one installation. A huge round tower with a diameter of ten meters, an extent of 30 meters and a height of six meters was created. The exterior of the tower consists of 500 squares made of aluminium, measuring 60 × 60 × 4 cm, coated with black industrial lacquer, which brilliantly reflect the surroundings and sunlight. For the entrance to the walk-in installation, 8 squares were removed. From the inside, the viewer is confronted with 500 screen-printed versions of the painting Single Mona Lisa (1:1), gleaming in all the colours of the rainbow. The particular challenge was to bring the colours close to those of a rainbow in a natural-looking colour gradient: "I thought one could simply pick the colors from an RAL chart and the smooth transitions would come about automatically. But with the standard values one doesn't achieve the fluid transitions and the impression that a color wheel seems to close. For that one requires a spectrum of 50 precisely structured tones and half-tones that i developed for this work with the RAL Institute. This color sequence has now been patented; every color has its own number, a code, and all of them together are my little secret." (George Pusenkoff)
Inside the room one hears an endless loop of the music Voice of Mona Lisa. Pusenkoff composed it from archive material of Leonardo da Vinci. The spatial installation was not only exhibited in the Tretyakov Gallery, it was also shown at the 51st International Biennale in Venice in 2005. Since 2005, the tower has been located on the grounds of the Museum Ritter in Waldenbuch, Germany.

Mona Lisa goes Space
 On 15 April 2005 – coincidentally the day of the birth date of Leonardo da Vinci – the Russian Soyuz spaceship TMA-6 launched from the spaceport Baikonur to the International Space Station (ISS). On board it had the painting by George Pusenkoff Single Mona Lisa (1:1). It is the ultimate continuation of the project "Mona Lisa Travels" developed by Pusenkoff and could only be realized under difficult conditions. The authorities found the idea good in theory, but constantly put forward new reasons why the project was unrealizable. Only when George Pusenkoff wrote to the then Italian ambassador in Russia, Gianfranco Facco Bonetti, the possibility of realizing the idea arose. The connection between science and art, which was also important in Leonardo da Vinci's life, found here an "actualization" in the form of this journey of an image of Mona Lisa into space. For the action, Pusenkoff's painting was removed from the frame so that it could be rolled. On board the spaceship, the painting was supervised by the Italian astronaut Roberto Vittori. On 25 April 2005, the Soyuz returned to Earth with the painting.

 In addition to Pusenkoff's original painting "Single Mona Lisa (1:1)", an artificially created crystal also flew on this mission, on which an image of the painting was applied in nanotechnology: "The actual image of the Mona Lisa is found on a metal plate that measures approximately two by two millimeters and is suspended in a synthetic crystal. On this minute piece of metal there is a tiny point. Within this point, an area is defined that is approximately 1/100th of this point itself, and here there is a relief of the Mona Lisa. To produce this relief, the tip of a needle is electronically charged and with a computer–driven robot guided to the area on which the image should appear. Finally, the oxygen is withdrawn, and everywhere where the tip of the needle has touched the carrier material, it oxidizes. In this way, a relief is created that is built up of molecules."

 It is not possible to see this image with the naked eye. Only through the use of a computer that scans signals is it possible to make the work of art visible. The crystal with the image of Mona Lisa painted by Pusenkoff is still on the International Space Station and orbits our planet several times a day.

Collections (selection)
 Bolshoi Theatre -Museum, Moscow, Russia
 State Russian Museum, St. Petersburg, Russia
 State Tretjakov Gallery, Moscow, Russia
 Moscow Museum of Modern Art, Russia
 Institution of Engineering and Technology (IEE), Moscow, Russia
 ART4.RU Contemporary Art Museum, Moscow, Russia
 Stella Art Foundation, Moscow, Russia
 Collection Daimler-Benz, Stuttgart, Germany
 Museum Ludwig, Cologne, Germany
 Museum Ludwig, Koblenz, Germany
 Ludwig Forum für Internationale Kunst, Aachen, Germany
 Kunstmuseum Bochum, Germany
 Märkisches Museum Witten, Germany
 Jüdisches Museum Westfalen, Dorsten, Germany
 Ritter Museum, Waldenbuch, Germany
 Collection of the Federal Ministry of Labour, Berlin, Germany
 Collection of the Federal State of Hesse
 Hessian State Museum (Darmstadt), Germany
 Collection Solomon Oppenheim Bank, Cologne, Germany
 Museo La Biennale di Venezia, Venice, Italy
 Art Collection Rockefeller University, New York City, United Nations

The Copyright-Violation-Process initiated by Helmut Newton (The Power of Blue)
In 1995 George Pusenkoff was sued by the photographer Helmut Newton because he saw in a work of art by Pusenkoff "Power of Blue" a (unauthorized) derivative work of one of his photographs entitled "Miss Livingstone I, Beverly Hills, 1981". Newton argued that Pusenkoff's artwork resembled his work in its critical components so much that it was plagiarism. The Copyright law of Germany clearly regulates in §24 that an "independent" work created in "Fair use (in German "freie Benutzung") of another's work" may be exploited without the author's permission. Pusenkoff referred to this norm. The court now had to decide whether the picture "Power of Blue" was to be regarded as an adaptation or a "fair use". The black and white photography of Helmut Newton shows a female nude from the front, sitting on a folding chair. The background is white, right and left the surroundings can be seen in outlines. The woman sits with her legs widely spread on the chair, one leg bent so that her genitals are clearly visible, and radiates self-confidence. The woman's face is recognizable and at the edge of the photo a stylized, yet recognizable, environment is visible. George Pusenkoff's work, on the other hand, is colored – in the typical deep blue tone quoted from Yves Klein. The nude itself is recognizable only as a silhouette. A yellow square covers the woman's shame and reaches up to her knee. The yellow square is to be understood as a reminiscence of Kasimir Malevich.

The Hanseatisches Oberlandesgericht decided in favor of Pusenkoff, since his processing had so alienated almost all core elements of Helmut Newton's photograph that there was hardly anything left that reminded one of Newton's work of art. The court went into detail about the differences in Newton's and Pusenkoff's works. The judges argued that Newton's metier is that of a photographer who primarily works with light. In contrast, Pusenkoff's profession is that of a painter, his field of work is the surface. While Newton is concerned with the objectified representation of eroticism, none of this is visible in George Pusenkoff's work. In his picture, the woman depicted in the nude can only be seen as a silhouette, the yellow square hides her naked shame, the color blue is clearly perceived as a reminiscence of Yves Klein. While Newton insisted that the special pose in which the woman can be seen in Pusenkoff's painting "Power of Blue" was identical to the one in his photograph, the court declared that merely the posture and pose of a photograph were not protected by copyright.

At the time, the process caused a lot of sensation, also internationally, not only because of the plaintiff Helmut Newton, but above all because it was one of the first processes on the subject of the appropriation and alienation of existing works of art, as they were used by postmodern artists, e.g. in Appropriation art.

Exhibitions (selection)

Solo exhibitions
 1991: Galerei Hans Mayer, Düsseldorf, Germany
 1993: The Wall, Tretyakov Gallery, Moscow, Russia (This exhibition was also shown in the same year at the Galerie Hans Mayer in Düsseldorf)
 1995: Ursula-Blickle-Stiftung, Kraital, Germany
 1995: Russian Museum, St. Petersburg, Russia
 1997: Simply Virtual, Mannheimer Kunstverein, Mannheim, Germany
 1998: Simply Virtual, Museum Ludwig in the Russian Museum, St. Petersburg, Russia
 2002: Erased Malevich, Felix Nussbaum Haus, Osnabrück, Germany
 2002: George Pusenkoff: Painted and Erased, Märkisches Museum (Witten),Witten, Germany
 2003: George Pusenkoff: Erased or Not Erased, Jüdisches Museum Westfalen, Dorsten, Germany
 2004: Mona Lisa 500, Tretyakov Gallery, Moscow, Russia
 2007: Mona Lisa und das schwarze Quadrat, Museum Ritter, Waldenbuch, Germany
 2007: George Pusenkoff: Who is afraid, Moscow Museum of Modern Art (MMoMA), Moscow, Russia
 2008: La Condition Humaine, Museum Bochum, Germany
 2011: George Pusenkoff: Neo–Gau Malerei, Mannheimer Kunstverein, Germany
 2013: Pusenkoff & Pusenkoff: After Reality, (Art project of corresponding works by George Pusenkoff and his son Ilya Pusenkoff) Ludwig Museum Koblenz, Koblenz, Germany (The exhibition was later shown at the Moscow Museum of Modern Art (MMoMA), Moscow, Russia

Group exhibitions
 1986: 17 th Exhibition of Young Artists, Moscow, Russia
 1987: Rock–Art Parade ASSA, Culture House of the Moscow Electric Lamp Factory, Moscow, Russia
 1987: Culture of Visual Art, Hermitage Amateur Society, Moscow, Profsojusnaja 100, Russia
 1988: Labyrinth, Youth Palace, Moscow, Russia
 1988: 18.th Exhibition of Young Artists, Moscow, Russia
 1988: Gruppe 88, Armenian Embassy, Moscow, Russia
 1994: Europa – Europa. Das Jahrhundert der Avantgarde in Mittel- und Osteuropa, Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn, Germany
 2002: Abstract Art in Russia, XX Century, Russian Museum, St. Petersburg, Russia
 2002: Das Rote Haus, Städtische Galerie Villa Zanders, Bergisch Gladbach, Germany
 2002: Kunst nach Kunst,Neues Museum Weserburg Bremen, Germany
 2003: Das Recht des Bildes. Jüdische Perspektiven in der modernen Kunst, Museum Bochum, Germany
 2003: Das Quadrat in der Kunst, Sammlung Marli Hoppe-Ritter, Museum Ettlingen, Germany
 2003: New Countdown – Digital Russia, Guelman Gallery (together with Sony), Central House of Artists, Moscow, Russia
 2004: Stella Art Gallery, Moscow, Russia
 2004: Moskau – Berlin, State Historical Museum, Moscow, Russia
 2005: Faces, Guelman Gallery, Central House of Artists, Moscow, Russia
 2005: Russian Pop Art, Tretyakov Gallery, Moscow, Russia
 2005: Mona Lisa goes Space, Biennale di Venezia, 51. International Art Exhibition, Italy
 2005: Square, Museum Ritter, Waldenbuch, Germany
 2005: Between Digital and Analog, Sacral and Profane, 1. Biennale of Contemporary Art, Moscow, Russia
 2005: Mona Lisa goes Space, 51. International Art Exhibition, Biennale di Venezia, Italien
 2005: Square, Museum Ritter, Waldenbuch, Deutschland
 2007: I Believe, 2. Biennale of Contemporary Art, Moscow, Russia
 2012: Decoration of the Beautiful. Elitism And Kitsch in Contemporary Art, Tretyakov Gallery, Moscow, Russia
 2014: Post Pop: East Meets West, The Saatchi Gallery, London, England
 2015: 6th International Biennale Peking: Memory and Dream, National Art Museum of China (NAMOC), Peking, China
 2017:  7th International Biennale Peking: The Silk Road and World's Civilizations, National Art Museum of China (NAMOC), Peking, China
 2017: Wanderausstellung Aqua, Chateau de Penthes, Art for The World, Genf, Switzerland
 2021: Kein Tag ohne Linie, Museum Ritter, Waldenbuch, Germany

Further reading

External links
 Website of George Pusenkoff
 George Pusenkoff at Artfacts.net
 George Pusenkoff at Kunstaspekte.art

 Fair use of a figure from a photograph for a painting – The Judgement in Wording in Wikimedia Commons

References

Attribution

1953 births
Living people
People from Krasnapolle District
20th-century German artists
21st-century German artists
German contemporary artists
German installation artists
Belarusian Jews
German abstract artists
Jewish painters
Modern painters
Postmodern artists
Kandinsky Prize

George Pusenkoff


Camel urine is a liquid by-product of metabolism in a camel's anatomy. Urine from camels has been used in prophetic medicine for centuries, being a part of ancient Bedouin practices and also Muslim tradition. According to the World Health Organization, the use of camel urine as a traditional medicine lacks scientific evidence.

Anatomy
Camel urine comes out as a thick syrup.

The kidneys and intestines of a camel are very efficient at reabsorbing water. Camels' kidneys have a 1:4 cortex to medulla ratio. Thus, the medullary part of a camel's kidney occupies twice as much area as a cow's kidney. Secondly, renal corpuscles have a smaller diameter, which reduces surface area for filtration. These two major anatomical characteristics enable camels to conserve water and limit the volume of urine in extreme desert conditions.

Each kidney of an Arabian camel has a capacity around 0.86 litres and can produce urine with high chloride concentrations. Like the horse, the dromedary has no gall bladder, an organ that requires water to function.  Consequently, bile flows constantly. Most food is digested and absorbed into the bloodstream from the small intestine. Any remaining liquids and roughage move into the large intestine.

Hadith on camel urine
A hadith in Book 4 (Ablution) of al-Bukhari's collection narrated by Anas ibn Malik was used to promote the consumption of Arabian camel urine as a medicine. The climate of Medina did not suit some people, so the Muhammad ordered them to follow his shepherd, i.e. his camels, and drink their milk and urine (as a medicine). So they followed the shepherd that is the camels and drank their milk and urine till their bodies became healthy. Then they killed the shepherd and drove away the camels. When the news reached Muhammad he sent some people in their pursuit. When they were brought, he cut their hands and feet and their eyes were branded with heated pieces of iron.  The authentic hadith also states "Some people of 'Ukl or 'Uraina tribe came to Medina and its climate did not suit them ... So the Prophet ordered them to go to the herd of Milch camels and to drink their milk and urine (as a medicine). ... So they went as directed and after they became healthy". Bukhari also narrated, an otherwise identical version of this Hadith, without the mention of "urine". The event has also been recorded in Sahih Muslim, History of the Prophets and Kings and Kitāb aṭ-ṭabaqāt al-kabīr.

Indian Islamic scholar Mohammad Najeeb Qasmi notes various theories proposed by Hanafi and Shaafi'e scholars for a canonical understanding of the implications. This book refers to topical application of milch camel urine as the actual word of the saying has the word Azmadu which means to apply a layer of something. However, Bachtiar Nasir, an Islamic scholar, advocated for and defended the consumption of camel urine, claiming the mixture of camel urine and milk has medicinal benefits.

Medieval times

Avicenna in The Canon of Medicine noted that a diet of camel milk and Arabian camel urine can be beneficial for diseases of the liver.

Usage and research
In Yemen, camel urine is consumed and used for treating ailments, though it has been widely denounced. Some salons are said use it as a treatment for hair loss. The camel urine from a virgin camel is priced at twenty dollars per liter, with herders saying that it has curative powers. It is traditionally mixed with milk.

Certain preclinical studies have claimed that camel urine possesses various therapeutic advantages, including antimicrobial, anti-inflammatory, and anticancer properties, and even potential cardiovascular benefits. For example, in 2012, a study conducted at the Department of Molecular Oncology of King Faisal Specialist Hospital and Research Center, and published in the Journal of Ethnopharmacology, found that camel urine contains anti-cancerous agents that are cytotoxic against various, but not all, human cancer cell lines in vitro.

A study published on the World Health Organization's Eastern Mediterranean Health Journal found that camel urine showed no clinical benefits in cancer patients, with two of the participants developing brucellosis. Given the lack of scientific evidence supporting the use of camel urine as a traditional medicine, it is advisable to discontinue its promotion.

In 2017, a joint study by King Faisal University and University of Hong Kong found that experimental infections of dromedaries from with MERS‐CoV didn't show any evidence of virus in the urine. Therefore, the camel urine is an unlikely source of virus transmission to humans.

See also
 Dromedary
 Prophetic medicine
 Zoonosis

References

Medicine in the medieval Islamic world
Urine
Camel products
Alternative medicine
Pseudoscience

Camel urine


George Payne (3 April 1803 Sulby – 2 September 1878 Mayfair), was an English breeder of thoroughbred horses, an inveterate gambler, a patron of the Turf and a Master of the Hunt.

Biography
Payne was orphaned while still a young boy when his father was shot dead in a duel. Being the eldest son he inherited Sulby Hall. Sulby Hall was located southwest of Market Harborough in Northamptonshire, was constructed in 1792 for his grandfather, Rene Payne, a partner in the banking firm of Smith, Payne and Lepper, and was designed by John Soane. It was bought by the Hon. Frederick William Child Villiers, son of George Child Villiers, 5th Earl of Jersey, in 1849, having been hired between 1847 & 1849 by the Duke of Montrose, and was demolished in 1949.

In addition to Sulby Hall, Payne was left £300 000 in cash and securities and was appointed Sheriff of Northamptonshire for 1826. Being rendered financially independent, he pursued a life of gambling on horses and at the card-table. A year before coming of age he wagered and lost £33 000 by Jerry's 1824 victory in the St Leger. He failed to win £60 000 when Lord Lyon beat Savernake by a short head in the 1866 Derby, and lost a further £40 000 when Cremorne beat Pell Mell by a head in 1872.

His own horses brought him no greater luck. His training of horses at Sulby Hall continued without interruption from the age of twenty until his death. Here he bred Pauline, the dam of Gladiator, an exceptional sire of the nineteenth century. A notable win was that of Clementina in the 1847 1000 Guineas Stakes, a filly he had acquired against his better judgement. He inherited Musket from Lord Glasgow, and always ran him in Lord Glasgow's colours.

Payne shared the horses left him by Lord Glasgow with his lifelong friend and companion, Colonel Peel and jointly they bred the 1878 Derby winner Sefton. This was to be Payne's last winner before his death, netting him £20 000.

Payne was missed for his amiable disposition, his colourful personality and his sparkling wit. Racing historian "Thormanby", the actor William Willmott Dixon, remembered him as "a true English gentleman, large-hearted, high-spirited, the pink of chivalry and the soul of honour – a man of a most lovable nature".

References

1804 births
1878 deaths
British racehorse owners and breeders
High Sheriffs of Northamptonshire

George Payne (racehorse owner)


DisneyNow (stylized as DisneyNOW) is an online hybrid TV Everywhere and FAST app and website for Disney Channel, Disney Junior, and Disney XD. It launched on September 29, 2017, replacing the individual "Watch" apps that originally launched for these networks in 2012, as well as the networks' respective official websites.

History
Disney first launched TV Everywhere services for Disney Channel, Disney Junior, and Disney XD in June 2012—the "Watch" apps—as part of new carriage agreements with Comcast Xfinity that included digital rights to the programming of Disney's cable channels via authenticated streaming.

In February 2017, during upfronts presentations for its children's channels, Disney announced that the individual Watch Disney Channel, Watch Disney Junior, and Watch Disney XD apps would be replaced by a new service known as DisneyNOW. The new service combines the content of all three services, along with Radio Disney, into a unified library. The new application also includes games based on programs from the three channels, a profile system, and parental controls that can lock the app to Disney Junior only. The new apps launched in late-September 2017 for Android, iOS, Apple TV, and Roku. Web, Android TV, and Amazon Fire TV versions were released in 2018. On December 1, 2018, Chinese animated series Stitch & Ai, a spin-off of the Lilo & Stitch franchise that originally aired in 2017, made its American debut on DisneyNow, with twelve of the series's thirteen episodes released on the service.

With the launch of the subscription streaming service Disney+ in November 2019, Disney began to remove library content from DisneyNow including Mickey Mouse Clubhouse, That's So Raven, The Suite Life of Zack & Cody, Phineas and Ferb, Gravity Falls, The Proud Family, and Andi Mack, as well as older seasons of shows like Raven's Home, Bunk'd, Big City Greens, and DuckTales in order to encourage subscription to the service.

See also
Disney+
WatchESPN
Philo

References

External links

Disney Media Networks
Subscription video on demand services
Internet television streaming services
2017 introductions

DisneyNow


Today every one want luxarious life. that,s why for their need they are cutting the trees . They don't no themself that they are destroing their own life . we should not cut the trees . we should let it grow.

वनों की कटाई


Richard Thomas Seubert (; born March 30, 1979) is a former American football guard who played his entire career with the New York Giants of the National Football League (NFL).

High school career
Born in Stratford, Wisconsin, Seubert attended Columbus Catholic High School in Marshfield, Wisconsin, and was a standout in football, basketball, and baseball. He helped lead his football and basketball teams to two state championships each.

College career
Seubert attended Western Illinois University and played tight end as a freshman. In his sophomore year he moved to tackle and was a first team All-Gateway honoree as a senior.

Professional career
Seubert joined the New York Giants as an undrafted Free Agent in 2001. He made an impression on the Giants, and in his second season, he started at left guard for every game.

Seubert was at the center of an officiating controversy in the 2002 NFC playoffs, where the Giants faced the San Francisco 49ers. The Giants, who had led by a score of 38–14, were trailing 39-38 when Matt Bryant had a chance to kick a game-winning field goal. When Trey Junkin botched the snap, Seubert, an eligible receiver on the play, went out to try to catch holder Matt Allen's pass. Allen underthrew Seubert, who was grabbed and pulled down by Chike Okeafor, apparently drawing a pass interference penalty. Instead, an illegal man downfield penalty was called on Seubert, ending the game. The next day the NFL revealed that Seubert had checked in prior to the play, but one of his downfield teammates, Tam Hopkins, had not. Okeafor's interference call and the Hopkins call would have offset the penalties and forced a replaying of the down. The NFL drew a fair amount of criticism for the non-call on Seubert's play. The NFL later issued an official apology to the Giants in the offseason. The play ended up on NFL Top 10's Top Ten Meltdowns at #10 and #7 on Top Ten Controversial Calls.

During a game against Philadelphia in October 2003, Seubert was blocking when his opponent N. D. Kalu stepped on the back of his right leg, breaking Seubert's tibia, fibula, and ankle. After 5 surgeries, he returned to play in 2005, mainly on special teams, or filling in for injured players, as Chris Snee had taken over as the starter.  In December, he made his first start since the injury, helping Tiki Barber rush for a team-record 220 yards.  He regained a starting job in the 2007 season.

The Giants began to use Seubert as a tight end in 2006, but due to his jersey number (69), he must be announced over the public address system by the referees as an eligible receiver when he plays in that position. He was announced in this way roughly 20 times per game.

On March 24, 2008, he signed a 3-year extension through 2012.

Seubert started 16 games for the Giants in 2010, playing both guard and center. Seubert received praise for his solid performance from GM Jerry Reese, who remarked he was the MVP of the team.

On July 28, 2011, the Giants announced they released Seubert.

Personal life
Seubert is married and has three children. Hailey (Youngest), Isaac (Middle), and Hunter (Oldest). They live in Warren, New Jersey where he coaches football at Watchung Hills Regional High School. Seubert has been a deer hunter since childhood.

References

External links
New York Giants bio

1979 births
Living people
American football offensive guards
New York Giants players
People from Marshfield, Wisconsin
People from Stratford, Wisconsin
People from Wayne, New Jersey
Players of American football from Wisconsin
Players of American football from Passaic County, New Jersey
Western Illinois Leathernecks football players

Rich Seubert


Kainic acid, or kainate, is an acid that naturally occurs in some seaweed.  Kainic acid is a potent neuroexcitatory amino acid agonist that acts by activating receptors for glutamate, the principal excitatory neurotransmitter in the central nervous system. Glutamate is produced by the cell's metabolic processes and there are four major classifications of glutamate receptors: NMDA receptors, AMPA receptors, kainate receptors, and the metabotropic glutamate receptors. Kainic acid is an agonist for kainate receptors, a type of ionotropic glutamate receptor. Kainate receptors likely control a sodium channel that produces excitatory postsynaptic potentials (EPSPs) when glutamate binds.

Kainic acid is commonly injected into laboratory animal models to study the effects of experimental ablation. Kainic acid is a direct agonist of the glutamic kainate receptors and large doses of concentrated solutions produce immediate neuronal death by overstimulating neurons to death. Such damage and death of neurons is referred to as an excitotoxic lesion. Thus, in large, concentrated doses kainic acid can be considered a neurotoxin, and in small doses of dilute solution kainic acid will chemically stimulate neurons. In fact, kainate seems to regulate serotonergic activity in the vertebrate retina.

Electrical stimulation of designated areas of the brain are generally administered by passing an electric current through a wire that is inserted into the brain to lesion a particular area of the brain. Electrical stimulation indiscriminately destroys anything in the vicinity of the electrode tip, including neural bodies and axons of neurons passing through; therefore it is difficult to attribute the effects of the lesion to a single area. Chemical stimulation is typically administered through a cannula that is inserted into the brain via stereotactic surgery. Chemical stimulation, while more complicated than electrical stimulation, has the distinct advantage of activating cell bodies, but not nearby axons, because only cell bodies and subsequent dendrites contain glutamate receptors. Therefore, chemical stimulation by kainic acid is more localized than electrical stimulation. Both chemical and electrical lesions potentially cause additional damage to the brain due to the very nature of the inserted electrode or cannula. Therefore, the most effective ablation studies are performed in comparison to a sham lesion that duplicates all the steps of producing a brain lesion except the one that actually causes the brain damage, that is, injection of kainic acid or administration of an electrical shock.

Biosynthesis
In 2019, Chekan et al. were able to use bioinformatic tools to look for domoic acid gene homologs in the seaweed Digenea simplex. Researchers identified a cluster containing genes identified as the kainic acid biosynthesis (kab) genes. This cluster contains an annotated N-prenyltransferase, α-ketoglutarate (αKG)-dependent dioxygenase, and several retrotransposable elements. To confirm production of kainic acid through the identified cluster, Chekan et al. expressed the genes in Escherichia coli and validated the enzymatic functions of each proposed gene.

The first step of the pathway involves the N-prenyltransferase, KabA, which allows for the prenylation of L-glutamic acid with dimethylallyl pyrophosphate (DMAPP) to form the intermediate N-dimethylallyl-l-glutamic acid (prekainic acid). KabC then catalyzes the stereocontrolled formation of the trisubstituted pyrrolidine ring, taking prekainic acid to the final kainic acid. KabC was also able to produce another kainic acid isomer, kainic acid lactone.

Occurrence
Kainic acid was originally isolated from the seaweeds Digenea simplex and Chondria armata in 1953. They are called "Kainin-sou" or "Makuri" in Japan, and are used as an anthelmintic.

Pharmacological activity
Kainic acid is utilised in primary neuronal cell cultures and in the acute brain slice preparation to study the physiological effect of excitotoxicity and assess the neuroprotective capabilities of potential therapeutics.

Kainic acid is a potent central nervous system excitant that is used in epilepsy research to induce seizures in experimental animals, at a typical dose of 10–30 mg/kg in mice. In addition to inducing seizures, kainic acid is excitotoxic and epileptogenic. Kainic acid induces seizures via activation of kainate receptors containing the GluK2 subunit and also through activation of AMPA receptors, for which it serves as a partial agonist. Also, infusion with kainic acid in the hippocampus of animals results in major damage of pyramidal neurons and subsequent seizure activity. Supply shortages beginning in 2000 have caused the cost of kainic acid to rise significantly.

Applications
 neuroscience research
 neurodegenerative agent
 modeling of epilepsy
 modeling of Alzheimer's disease

See also
 Dihydrokainic acid
 Domoic acid
 Kainate receptor

References

External links
Kainate Receptors

Glutamic acids
Pyrrolidines
Convulsants
Marine neurotoxins
Kainate receptor agonists
Chelating agents
Toxic amino acids
Excitotoxins
Isopropenyl compounds

Kainic acid


Capital punishment is a long unused form of punishment in Brazil. Its last recorded use was in 1876. Although virtually abolished, it is still legal during wartime, according to the Article 5, XLVII, "a", of the Federal Constitution. Brazil is the most populous country in the world that does not retain the death penalty in practice (Mexico is the most populous to have abolished it entirely). It is also one of seven countries to have abolished capital punishment for ordinary crimes only.

History

The last execution carried out in Brazil was that of Francisco, an enslaved man, in Pilar, Alagoas on April 28, 1876. The last execution of a free man was, according to official records, of José Pereira de Sousa, in Santa Luzia, Goiás. He was hanged on October 30, 1861. The last execution of a woman, as far as can be established, was Peregrina, one of slaves of Rosa Cassange in Sabará, MG, executed by hanging on April 14, 1858 (some sources also quote April 13, 1858), by the Province of Minas Gerais. The executioner was the slave Fortunato José. It was later discovered that Peregrina was innocent.

Until the final years of the Brazilian Empire, defendants were still condemned to death despite the fact that Emperor Pedro II of Brazil commuted all death sentences passed after 1876, for both free men and slaves. However, the death sentence was only fully abolished for common crimes after the proclamation of the Republic in 1889. It was not abolished for certain military offenses in wartime.

The 1937 Constitution, which ruled the country during Getúlio Vargas' Estado Novo dictatorship, made it possible for the Justice to sentence prisoners to death for crimes beyond military offenses in wartime. According to popular belief, integralist writer Gerardo Mello Mourão would have been sentenced to death in 1942 under the accusation of committing espionage for the Axis powers. As he later said in an interview, he was sentenced to life imprisonment during that time. He claims to have "never been sentenced to death as the pundits of history and bad faith insinuate". As a matter of fact, there are no records of an execution taking place during the period of time in which this Constitution ruled, which lasted until 1946.

From 1969 to 1978, during the military dictatorship, execution once again became available as a form of punishment for political crimes which resulted in death. As such, Teodomiro Romeiro dos Santos, a militant of the Brazilian Revolutionary Communist Party, was sentenced to death under the accusation of shooting an Air Force sergeant, who died, and a Federal Police officer, who was injured. Santos, now a retired judge, is recognized as the only person sentenced to death during the Republican history of Brazil. His sentence was commuted to life imprisonment in 1971. There are no official records of executions taking place during the military rule. However, the regime was responsible for the extrajudicial killing of at least 300 of its opponents.

Capital punishment for all non-military offences was abolished in Brazil by the 1988 Constitution. Currently, the death penalty may be applicable in Brazil only for military offenses such as treason, murder, genocide, crimes against humanity, war crimes, and terrorism during wartime. The sole method prescribed by law is death by firing squad. The Military Penal Code advises that this penalty should be sentenced only in extreme cases, and that the president may grant a pardon for the convicted officer. However, Brazil has not engaged in any major armed conflict since the end of World War II. Brazil is the only Portuguese-speaking country that still maintains the death penalty for some offenses.

Law
The Brazilian Constitution of 1988 expressly prohibits the usage of capital punishment by the penal justice system. However, death penalty may be applicable, according to international law, in case of a declared war, under the terms of Article 84, paragraph 19, of the Constitution. It also prohibits, in the same article that refers to the death penalty, the usage of life sentences, making Brazil one of the few countries which has abolished both life imprisonment and death penalty. According to the Brazilian Penal Code, a citizen cannot spend more than 40 continuous years incarcerated.

Brazil is a State Party to the Protocol of the American Convention on Human Rights to Abolish the Death Penalty, which was ratified on August 13, 1996.

According to international law, the "application of the death penalty in time of war pursuant to a conviction for a serious crime of a military nature committed during wartime" is admissible. Article 2, paragraph 1 of the United Nations Second Optional Protocol to the International Covenant on Civil and Political Rights Aiming at the Abolition of the Death Penalty, allows members to make a reservation in these terms, at the time of ratification or accession to the Protocol.

Opinion polls

Datafolha, a polling institute linked to the Folha de S.Paulo newspaper, has conducted an annual survey since the early 1990s regarding the acceptance of the death penalty in Brazilian society. The majority of these surveys indicate that most Brazilians are in favor of this form of punishment. The most recent poll (dated March 2008), however, indicates that there is no longer a clear majority on the issue. The difference between those who agree and oppose to the usage of the method is only 1%, and thus, within the margin of error of the poll. The results are similar to a 2000 poll conducted by the same institute, when approval of the death penalty had an abrupt drop, only to rise up again in subsequent years. The newspaper indicates that murder cases widely explored by the mass media during the time of the survey, such as the death of boy João Hélio (which also opened a debate on the criminal responsibility age), may influence the outcome of the polls.

A poll conducted by Sensus institute in January 2010 has indicated that most Brazilians are against the death penalty. More than 55 per cent of the 2,000 respondents share this opinion, practically the same percentage from a poll conducted by the same institute in January 2001.

By 2018, support for the use of the death penalty had grown significantly. 57% of Brazilians support the death penalty. The age group that shows the greatest support for execution of those condemned is the 25 to 34-year-old category, in which 61% say they are in favour.

References

External links
 Capital punishment in Brazil on the Brazilian embassy website in London, United Kingdom.
 Capital punishment in Brazil on the Portuguese Wikipedia.

Brazil
Law enforcement in Brazil
Legal history of Brazil
Death in Brazil
Human rights abuses in Brazil

Capital punishment in Brazil


Adam, Abraham, or Adriaen van Salm, also van (der) Salm (c.1660–1720), was a Dutch draftsman and painter. He produced primarily marine art. These were done in pen with India ink applied to a cloth or a pre-processed panel.

Adriaen van Salm was born in Delfshaven.  He was the father of Roelof van Salm and in 1706 he was listed as a draughtsman member of the Guild of Saint Luke in Delft. The Dordrechts Museum mentions further that he was also a schoolmaster and later a draper. Salm was the father and teacher of the artist Roelof van Salm, who wielded the same technique as well as his father and especially scenes of ships and naval battles. When Abraham Jacob van der Aa was writing, he saw a painting by this artist in the collection of the marine painter Johannes Christiaan Schotel.

References

External links

Adriaen van Salm on Artnet

1660 births
1720 deaths
18th-century Dutch painters
18th-century Dutch male artists
Painters from Rotterdam
Dutch male painters
Dutch marine artists
Painters from Delft

Adriaen van Salm


Carl Frampton  (born 21 February 1987) is a former professional boxer from Northern Ireland who competed from 2009 to 2021. He held world championships in two weight classes, including the WBA (Unified) and IBF super-bantamweight titles between 2014 and 2016, and the WBA (Super) featherweight title from 2016 to 2017. He also held the WBO interim featherweight title in 2018. At regional level, he held the European and Commonwealth super-bantamweight titles between 2011 and 2014.

By winning the featherweight world title in 2016, Frampton became the first boxer from Northern Ireland to have held world titles in two weight classes. This earned him Fighter of the Year awards from The Ring magazine, the Boxing Writers Association of America and ESPN.

In December 2019, Frampton was ranked as the world's fourth-best active super-featherweight by BoxRec and fifth-best active featherweight by The Ring. He retired after losing in his WBO junior-lightweight title fight against Jamel Herring.

Amateur career
Amateur boxing in both the Republic of Ireland and Northern Ireland is governed by the Irish Amateur Boxing Association. As an amateur, Frampton fought out of the Midland Boxing Club in Tiger's Bay and won the Irish senior flyweight title in 2005 and added the Irish featherweight title in 2009, beating David Oliver Joyce in the final.

He also claimed a silver medal at the 2007 European Union Amateur Boxing Championships in Dublin, losing to France's Khedafi Djelkhir in the final.
Frampton is one of Ireland's most successful amateur boxers of recent years, winning 114 of his fights and losing only 11 times.

Later commenting on his decision to box for the Irish team, Frampton, who grew up in a Unionist area of Belfast, said "I get asked all the time, 'would you have liked to have boxed for Great Britain?' And the answer is 'no'. I was looked after by Irish boxing from pretty much 11 years old and was very proud to box for Ireland." He added, "it's very humbling to know that so many people are supporting me from all over Ireland and mainland UK."

Professional career

Super-bantamweight

Early career
Frampton turned professional after his victory in the 2009 Irish featherweight finals. In June 2009, fought his first professional fight at the Olympia, Liverpool, in England and beat Sandor Szinavel with a second-round knock-out on a card that included Grzegorz Proksa and Ajose Olusegan. In January 2010, he was named Ireland's Prospect of the Year at the Irish National Boxing Awards. In September 2010 he recorded an "electrifying" win over the Ukrainian Yuri Voronin in front of an Ulster Hall crowd which included Daniel Day-Lewis. The win led the Belfast Telegraph to liken him to a "reincarnation" of Barry McGuigan.

In December 2010, Frampton won his first professional title, the BBBofC Celtic super-bantamweight title, with a second-round TKO win over Scottish boxer Gavin Reid in the Ulster Hall. Following his victory, Frampton described the super-bantamweight division as being "super-hot" and named Scott Quigg and Rendall Munroe as potential opponents. He then went on to get a fourth-round TKO win over Venezuelan Oscar Chacin, and later fought his first defence of his BBBofC Celtic title against Welshman Robbie Turley in June 2011, winning by a unanimous decision after ten rounds.

Domestic and regional success
Carl fought Australian Mark Quon as a replacement for Kiko Martinez on 10 September for the Commonwealth super-bantamweight title at the Odyssey Arena in Belfast winning by a fourth-round TKO stoppage. On 28 January 2012, he successfully defended his Commonwealth title against Kris Hughes in the York Hall, with the fight having to be stopped in the seventh round. According to the BBC, Frampton controlled the contest from the start and was never threatened by his opponent. On 17 March 2012, Frampton once again defended his title against Ghana's Prosper Ankrah and won by a second-round TKO stoppage. After his victory Frampton challenged the British champion Scott Quigg saying that "I don't know if he wants it but, if he does, he should tell his promoter".

Frampton then beat fellow unbeaten contender Raúl Hirales, Jr. (previously 16–0, 8 KO's) of Mexico by a unanimous decision and won the vacant IBF Inter-continental super-bantamweight title on the undercard of Carl Froch vs. Lucian Bute in Nottingham, UK. The fight took place on 26 May 2012. On 22 September 2012, Frampton took on former two-time world champion Steve Molitor. The fight took place in the Odyssey Arena in Belfast on a card that included Martin Lindsay and Paul McCloskey. Frampton scored an impressive sixth-round TKO and had the former champion on the canvas three times during the bout. After the fight, Frampton announced that he was willing to "fight anyone" and that he was "ready for a world title fight".

On 9 February 2013, Carl Frampton faced hard-punching Spaniard Kiko Martinez in front of 8,000 of his home fans in the Odyssey Arena in Belfast. Martínez, the European champion, had previously knocked out Bernard Dunne in 86 seconds to win the title and had never been knocked down. Frampton won by TKO in Round 9, winning the European super-bantamweight title and retaining the IBF Inter-Continental super-bantamweight title. After the fight Frampton said "I just want the people of Belfast to be proud of me", and described his beaten opponent as "hard as nails". In August 2014, Martinez won the IBF title with a sixth-round stoppage of the previously unbeaten Colombian Jonatan Romero.

On 19 October 2013, Frampton defended his EBU and IBF Inter-Continental titles in an IBF title eliminator against IBF fourth-ranked Jeremy Parodi. The fight took place in front of a maximum capacity 9,000 fans at the Odyssey Arena, Belfast. Frampton knocked Parodi out with a body shot at the end of the sixth round. On 4 April 2014 Frampton faced the Mexican Hugo Cazares at the Odyssey Arena in a final eliminator for Leo Santa Cruz's WBC super-bantamweight title. In front of a sold-out crowd of 9,000 Frampton knocked out Cazares in the second round, with a left hook to the head.

Frampton vs. Martínez II
Frampton challenged for his first world title on 6 September 2014 in a rematch against Kiko Martinez (31-4, 23 KOs). Martinez's IBF super-bantamweight title was at stake and the bout took place in an outdoor arena at the Titanic Quarter in Belfast. In the build-up to the fight, Frampton said of Martinez: "He's very emotional and that's what makes him dangerous... he's a hot-head, he can be very easily agitated but he's coming to win". Fighting in front of a crowd of 16,000 Frampton knocked Martinez down in the fifth round and won by unanimous decision, with two scores of 119-108 and one score of 118–111, winning his first world title. Interviewed after the fight Frampton said "I've got the world title. I feel a bit emotional – it has been a long time coming, it has been a hard road. I intend to hang on to it for a very long time." He went on to call for a unification fight with the WBA champion Scott Quigg, saying "I'll fight him in Manchester, I'll fight him anywhere". After the fight, Barry McGuigan said of his protégé  "This kid could end up as the best Irish fighter there has ever been."

As result of his performances Frampton was nominated for the 2014 RTE Sports Person of the Year. In 2015, he was named Britain's Coolest Man by ZOO Magazine beating the likes of David Beckham, Tom Hardy and Ed Sheeran to get the award. Frampton said after receiving the award,
"I couldn't believe it when they told me, I thought it was a wind-up! But it's great, especially as it's ZOO readers and the people of Britain who have voted for me. It's also great for the sport of boxing."

Frampton was appointed Member of the Order of the British Empire (MBE) in the 2016 New Year Honours for services to boxing.

Frampton vs. Avalos
In December 2014, it was announced that Frampton would make his first defence of his title on 28 February 2015 against American Chris Avalos (25-2, 19 KOs) at the Odyssey Arena in Belfast, Northern Ireland. ITV decided to pick up the bout in the UK. For the fight, Frampton sparred with then-unbeaten Horacio "Violent" García, who later fought each other in 2017. A sell-out crowd of 11,000 filled the arena. Frampton defended his world title against Avalos in a one-sided, fifth-round knockout, where referee Foster waved off the contest at 1 minute, 33 seconds. The fight averaged 1.1 million viewers and peaked at 1.9 million viewers on ITV.

Frampton vs. González Jr.
It was announced that Frampton would make a second defence of his IBF World title on 18 July at the Don Haskins Convention Center, El Paso, Texas, against 22-year-old Alejandro González Jr. live on ITV. Gonzalez, who was a massive underdog, scored two knockdowns in the first round and appeared to ruin Frampton's plans. Frampton shook off the knockdowns, came back strong and rolled to a decisive unanimous decision in a highly entertaining fight that headlined the Premier Boxing Champions card on CBS. Despite the anxious early moments, Frampton won 116–108, 116-108 and 115–109 on the scorecards. Referee Mark Calo-Oy warned González for hitting Frampton with a low blow in the second round and then took away a point when he did it again in the third round. Frampton controlled the fight from there on. According to CompuBox punch statistics, Frampton connected on 246 of 692 blows (36 percent), whilst Gonzalez landed 145 of 593 (24 percent). The fight averaged 1.7 million viewers and peaked at 2.4 million at 10:55pm on ITV.

Frampton vs. Quigg
On 27 February 2016, Frampton fought his long-awaited opponent, undefeated WBA super-bantamweight champion Scott Quigg (31-0-2, 23 KOs) in front of a sell-out crowd in Manchester. In a close fight, Frampton won by split decision with the judges scoring the fight 113–115, 116–112, 116–112. Frampton was in full control of the first half of the fight, during which Quigg simply could not find his range, however Quigg finally came alive down the stretch as the contest turned into a desperate tussle, but Frampton gave as good as he got.

In March 2016, several press releases announced that Frampton did not intend to face Guilerrmo Rigondeaux in his next bout. On 11 March 2016 the WBA wrote to Frampton inquiring whether the press releases were accurate and requested he confirm his intentions on or before 18 March 2016. The WBA received no response. Additionally, Rigondeaux's representatives were not approached by anyone on Frampton's behalf to negotiate a bout. "In light of Frampton's announced intention to face an opponent other than his mandatory", says WBA championships chairman Gilberto Jesus Mendoza, "and for failing to respond to WBA inquiries as to his intent, Frampton's recognition as Champion is removed."

Featherweight

Frampton vs. Santa Cruz
Frampton moved up a weight class to fight undefeated Mexican Léo Santa Cruz (32-0-1, 22 KO's) for the WBA (Super) featherweight title at the Barclays Centre in New York City on 30 July 2016. In a potential fight of the year candidate, Frampton became the first two-division world champion in the history of Northern Ireland as he dethroned Santa Cruz via a 12-round majority decision win before a crowd of 9,062. One judge scored it a 114–114 draw but the others made Frampton the winner, 116-112 and 117–111. Frampton had a higher accuracy rate, despite both fighters landing equal numbers of punches. According to CompuBox stats, Frampton landed 242 of 668 punches (36 percent), whilst Santa Cruz connected on 255 of 1,002 blows (25 percent). In the post fight, Frampton said he wanted to defend the title in his home city and did not want to rule out a rematch. In the post-fight, Frampton said, "It's a dream come true. I had the dream of winning a world title, but I never thought I'd win in two divisions. It was a tough fight. I wanted a fight the people could remember. I respect Santa Cruz a lot. He was a true warrior." Frampton vowed to break records and become the first Irishman to win world titles at three different weights. The fight averaged 480,000 and peaked at 549,000 viewers.

Frampton vs. Santa Cruz II
As discussed immediately following the first bout, a rematch between Frampton and Santa Cruz was finalised in October. There was talks the fight would take place in Frampton's home town of Belfast; however, the venue was confirmed to be at the MGM Grand in Las Vegas, the first time Frampton would fight there since becoming a professional. The date was set for 28 January 2017. 10,085 were in attendance as Frampton lost his title by majority decision. Santa Cruz and Frampton immediately discussed interest in a third fight, possibly in Belfast. Frampton earned a purse of $1 million compared to $900,000 that Santa Cruz received. Frampton only landed 133 of his 592 punches thrown (22%) whereas Santa Cruz landed 230 of his 884 thrown (26%). Nielsen Media Research reported the fight averaged 587,000 and peaked at 643,000 viewers.

Change of promoters
On 14 May 2017, Frampton was ranked number two by the WBA at super featherweight, which indicated to many that he might be moving up to become a three-weight world champion. By the end of May, talks had begun for a fight against IBF champion Lee Selby. Frampton's promoter Barry McGuigan said the fight would happen, but not immediately due to Selby having a mandatory fight next. On 15 June, Frampton labelled Selby a 'time-waster' and announced that he would be returning to the ring in Belfast on 29 July against an unnamed opponent. Cyclone Promotions confirmed that Frampton would fight 23-year-old Mexican boxer Andrés Gutiérrez (35-1-1, 25 KOs) at the SSE Arena in Belfast in a WBC eliminator. A day before the fight, Frampton weighed 1 lb. over the 126-pound limit. Therefore, the fight was to go ahead without being an eliminator. Frampton apologised to his fans for the turn of events

Later that day, Gutiérrez slipped in his hotel shower and suffered a gash to his chin. It was also reported that he had knocked out some teeth in the process and bruised his head. The fight was, therefore, cancelled. McGuigan was said to be disappointed, but told ticket holders to retain their tickets as the card could be rescheduled. Cyclone Promotions, together with the SSE Arena and the Gutiérrez camp, said they would work quickly to reschedule the fight.

On 17 August 2017, the fight was called off completely. The news came after reports circulated that Frampton would be parting ways with long-time promoter Cyclone Promotions. A date in November was considered but was unsuitable for both boxers. Frampton officially announced the split with Cyclone Promotions on 22 August 2017. The tweet made no mention of whether he would still be trained by Shane McGuigan.

In early September, rumours circulated that Frampton would hire former boxer Jamie Moore as his trainer. On 6 September, Frampton confirmed Moore as his new trainer. On 19 September, Frampton announced he had signed a deal with MTK Global, who would work on his behalf as advisors. On 23 September it was rumoured that Frampton would sign with British promoter Frank Warren. After splitting with Cyclone, Frampton made it known that he would only sign with a promoter who could guarantee him a stadium fight in Ireland. A day later, Frampton revealed he had joined Warren: "I had interest from America and the UK but it really came down to two very similar offers from Eddie Hearn and Frank Warren. I'm desperate to kick on and have a fight before Christmas and I can confirm I will be fighting in Belfast." He wanted to secure a world title in the first half of 2018.

Frampton vs. García
At the official press conference of the promotional announcement, it was announced that Frampton would fight an unnamed opponent on 18 November 2017 in Belfast at the SSE Arena. According to Warren, this would pave the way for a world title fight at Windsor Park in May/June 2018. On 4 October, it was confirmed that Frampton would fight Mexican boxer Horacio García (33-3-1, 24 KOs) in a ten-round bout. Speaking about the fight, Frampton said, "I asked for a ten-round fight. I would have been happy to be doing twelve rounds but speaking to my team after the bad year I've had and the long layoff they thought it was only fair to come back with a ten rounder before we target the big names." This would mark Frampton's first fight in Belfast since February 2015, when he made his first defence of the IBF super-bantamweight title.

The fight was fought at 127 pounds. García's stablemate Canelo Álvarez was introduced to the crowd of 10,000 pro-Frampton fans. Frampton, in what was not his best performance in a long time, decisioned a brave and tough opponent in García after ten rounds. The three judges' scored the fight 98–93, 97-93 and 98–93. Some at ringside had the fight closer, but had Frampton winning nonetheless. Frampton started off strong, however ring-rust became an issue. From the fourth round, García repeatedly trapped Frampton against the ropes and worked him over with body shots. In round 7, Frampton was dropped after García landed a left hook. Referee Victor Loughlin, who was stood behind Frampton when the punch landed, started to count. From Loughlin's point of view, it was a punch that dropped Frampton. Replays showed that it could have been ruled a legitimate slip. Frampton admitted he let himself get into a battle. He said, "I thought it was a good fight and everyone would have enjoyed that more than me. I was boxing lovely at the start then I let him drag me into a fight. I wanted it to be a hard fight, that has got the rust off, the cobwebs have gone and I want one of the big boys. I will let the team decide who I fight next." Frampton and Warren both stated that there would be another fight in the Spring of 2018, followed by a Summer fight at Windsor Park.

Frampton vs. Donaire
In December 2017, Frank Warren announced Frampton would next fight on 7 April 2018 in Belfast with former four-weight world champion Nonito Donaire (38-4, 24 KOs) as a potential opponent. Negotiations began on 19 December between Donaire's promoter Richard Schaefer and Frank Warren. On 21 December, the fight was officially announced by Frank Warren via the BoxNation Facebook page to take place on 21 April 2018 at the SSE Arena, Belfast. A month before the fight, it was announced that the WBO interim title would be at stake.

Frampton put on a defensive performance and beat Donaire in a unanimous decision, becoming the WBO interim featherweight champion. All three judges scored the fight 117-111 for Frampton. Frampton fought well to get a strong lead and after the sixth round started to fight on the backfoot. In the later rounds, Donaire had more success hurting Frampton on a number of occasions, landing a hard left hook in round 11.

Donaire was cut over his right eye after an accidental clash of heads in round 7, with the referee failing to call a time-out. After the fight, Frampton said on live television, "I didn't have to get involved in a fight there, as you saw in the last round Nonito Donaire is a dangerous motherfucker. I survived the round and stuck to my game plan. The only thing on my mind is Windsor Park and I can't wait to get there." According to CompuBox Stats, Frampton landed 164 of 557 punches thrown (29%) and Donaire landed 104 of his 447 thrown (23%).

Frampton vs. Jackson
On 1 May 2018, promoter Frank Warren announced that Windsor Park in Belfast had been booked for Frampton's next fight on 18 August. Although a big name was targeted, Frampton confirmed it would be unlikely. He also stated it would not be a world title fight. After former heavyweight world champion Tyson Fury defeated Sefer Seferi in his comeback fight on 9 June, Warren announced that Fury would also appear on the undercard. On 18 June, Frampton's opponent was confirmed to be unbeaten 33-year-old Australian boxer Luke Jackson (16-0, 7 KOs), in a bout which would see Frampton defend his WBO interim belt. A professional since 2013, Jackson was undefeated in 16 fights going into the fight. Jackson came in light at 124.7 pounds. Frampton had to lose his shorts to make the featherweight limit of 126 pounds. In front of 24,000 fans, Frampton dominated Jackson in stopping him in round 9 after his corner threw in the towel. The fight was stopped at 1 minute and 21 seconds of the round. Frampton controlled the fight from the start and eventually put Jackson down with a body shot late in round 8. Jackson got up but continued to take shots. Jackson had little success. After the fight, Frampton said, "This was unreal. The atmosphere was special, the crowd was fantastic and they made my dream come true. It was unbelievable from start to finish." With the win, Frampton retained the WBO interim title. It was also Frampton's first stoppage win in seven fights, since 2015. It was revealed a few days later that Jackson had ruptured his left ear drum in round 3 and his right ear drum in round 6. In a picture posted by Jackson, his right eye was swollen shut. Although he wanted to finish the fight, he respected his team's decision to stop the fight.

Frampton vs. Warrington

Immediately after Frampton's win over Jackson, Warren announced that Frampton would be challenging IBF featherweight champion Josh Warrington, who was also in attendance and entered the ring. Warren announced the fight would take place in December 2018 and shown live and exclusive on BT Sport Box Office, BT's new pay-per-view platform. On 28 August, Boxing Scene reported a press conference would take place in the coming weeks with the fight likely to take place at the Manchester Arena. Warren wanted the fight to take place in a stadium, however did not want any mandatories to get in the way as a stadium fight would likely take place in Spring 2019. It was reported that Frampton would earn around £2 million for the fight. On 15 September, the fight was officially announced to take place at the Manchester Arena on 22 December 2018. Warrington weighed 125.6 pounds and Frampton came in slightly heavier at 125.9 pounds, both successfully making the featherweight limit. Frampton lost the fight by unanimous decision. The judges scored the fight 116–112, 116-112 and 116–113 in favor of Warrington.

Junior-lightweight

Frampton vs. McCreary
His first fight following the loss to Warrington was scheduled for 10 August 2019, against Emmanuel Dominguez. However, Frampton was forced to withdraw from the fight after a large concrete ornament accidentally struck his left hand, fracturing his metacarpal.

After his hand healed, he moved up in weight, facing Tyler McCreary on 30 November at the Cosmopolitan of Las Vegas. Frampton came out as the aggressor from the opening bell, forcing McCreary on the defensive. In the sixth round, Frampton scored a knockdown with a left-right combination to the body of his opponent, forcing him to go down to the canvas on one knee. McCreary was back on his feet at the count of nine to continue the fight. In the ninth, Frampton landed two left hooks to the body, forcing McCreary to again take a knee. He again beat the referee's count to see out the remainder of the fight on his feet. After the ten-round contest was complete, Frampton was announced as the winner by unanimous decision, with all three judges scoring the bout 100–88. In the post-fight interview, when asked about a potential match up with WBO junior-lightweight champion Jamel Herring, who was sitting ringside, Frampton said, "I know he's a champ. I just want to fight for a world title next. I want to be involved in big fights. I would love the opportunity to fight Jamel. I'm not the champion. He's the champion."

Frampton vs. Traynor
His next fight was scheduled to take place in Belfast on 13 June 2020, against WBO champion Jamel Herring. The bout was subsequently postponed due to the COVID-19 pandemic. With no immediate date in sight, both fighters opted for a stay-busy fight.

Frampton's stay-busy fight was scheduled for 15 August 2020, against Armenian opponent Vahram Vardanyan at the York Hall. After Vardanyan was unable to secure a visa to enter the UK, former British featherweight title challenger Darren Traynor was brought in as a late replacement. Frampton dropped his much bigger opponent to the canvas with a left hook to the body in round six. In the seventh, Frampton continued his attack to the body, causing Traynor to quit on his feet after another left hook landed. With the win, Frampton moved one step closer to a proposed fight with Herring, with the last remaining obstacle being Herrings upcoming fight against Jonathan Oquendo.

Frampton vs. Herring
After Herring defeated Oquendo in September, the WBO ordered Herring to face his mandatory challenger Shakur Stevenson before January 2021, putting the long-proposed fight with Frampton in jeopardy. The following month, the WBO gave Herring an exception to face Frampton in a voluntary defence. In January 2021, it was announced that the bout would finally take place in London on 27 February. However, after Frampton suffered a hand injury the bout was again postponed to 4 April, with the location changing to Dubai. Frampton was ranked #3 by the WBO at super featherweight. On the night, Frampton caused a cut to open above Herrings right eye in the fourth round. In the fifth, Frampton was knocked to the canvas by a straight left hand. Frampton was knocked down for a second time in the sixth round, this time from a left uppercut. Frampton made it back to his feet on unsteady legs before the referee's count of ten, only to be met with a flurry of punches from Herring, prompting Frampton's trainer to throw in the towel to hand Frampton a sixth-round technical knockout loss.

In the post-fight interview, Frampton announced his retirement, saying, "I said before the fight that I'd retire if I lost. That's exactly what I'm going to do. I've been away too long. I missed them growing up, my own kids. I want to give my life to my family. Boxing's been good to me, it's also been bad to me in recent years. I've enjoyed the best years of my career and now I just want to go home to my beautiful wife and kids."

Legacy
Hailing from Belfast, a city known for its troubled history, Frampton wanted to be remembered like Barry McGuigan, his former manager, who was seen as a symbol of peace during his fighting days: "There I was, a Catholic guy from the south boxing right in the heart of loyalist Belfast with the Troubles at their worst. We beat the East Germans, my dad got up and sang and it was a brilliant night. Boxing was the one thing then that could unify people." "I want to be a legend," Frampton said in 2015. "Honestly, that's what I want to be, a legend in Irish sport. I think it's coming up to 30 years since Barry won his world title in Loftus Road against Pedroza and people are still talking about it. I want to be like that 30 years from now – people are talking about my fights with guys like Chris Avalos and Kiko Martinez in the pubs all over Ireland. That's what I intend to do. I want to create a legacy. I want to keep beating big names. I want to get big fights, bring them back to Belfast as much as possible, and keep winning." Speaking to the BBC, McGuigan said "Carl is doing what I did. He's a beacon for peace and reconciliation and represents the future of Northern Ireland."

In 2014, he claimed Frampton "could end up as the best Irish fighter there has ever been. He can go to featherweight and super-featherweight. I don't know who the greatest Irish fighter is but if he gets the right fights he can really go as far as he wants to go." As a fighter, McGuigan was known for wearing a Dove on his shorts, as a representation of peace. He also had no national anthem played at his fights, he took up dual Irish-British citizenship which allowed him to fight for British Domestic titles, and he married a Protestant woman, all of which had huge significance at the time. It is hard to not draw comparisons, with Frampton following down an almost identical path. He too has married a Catholic woman despite being Protestant, and he too has a large following of die-hard fans from both Catholic and Protestant backgrounds who attend his fights in large numbers.

Professional boxing record

References

External links

Carl Frampton profile at Premier Boxing Champions
Carl Frampton - Profile, News Archive & Current Rankings at Box.Live

1987 births
Living people
Male boxers from Northern Ireland
Boxers from Belfast
Members of the Order of the British Empire
World boxing champions
World Boxing Association champions
International Boxing Federation champions
Commonwealth Boxing Council champions
European Boxing Union champions
World featherweight boxing champions
World super-bantamweight boxing champions

Carl Frampton


, also titled Straits of Hunger or Hunger Straits, is a 1965 Japanese crime drama film directed by Tomu Uchida and starring Rentarō Mikuni, Sachiko Hidari  and Ken Takakura. It is based on the 1962 novel Kiga kaikyō by Tsutomu Minakami.

Plot
In 1947, two ex-convicts on parole murder pawnbroker Sasada and his family in Iwanai, Hokkaido island, take his money and set fire to the house to cover the tracks. They escape together with a third man, Inukai, to Shimokita peninsula. The murderers' dead bodies later wash up on the shore after the Tōya Maru ferry accident, but policeman Yumisaka becomes suspicious because they are not listed as passengers. He believes that the missing Inukai killed his two accomplices while crossing the strait between the islands. Meanwhile, Inukai is sheltered by a prostitute, Yae, and gives her a large sum of money in return, which enables her to start a new life. When Yumisaka questions Yae, she pretends that her customer was not Inukai. He follows Yae to Tokyo, where he loses her trace.

10 years later, Yae, who works as a prostitute in a brothel, recognises Inukai in a newspaper article. Inukai now lives as a respectable citizen in Maizuru under the name Tarumi, who received press coverage for donating money to reintegrate former criminals. She visits him to thank him for his help ten years ago, but he pretends not to know her or having heard the name Inukai before. When she identifies him by his crippled thumb, he kills her in panic. He then strangles his servant Takenaka, who had surprised Inukai kneeling over Yae's body, and disposes of the corpses in the sea.

When Yae's and Takenaka's bodies are found, detective Ajimura rejects his colleague's notion of a shinjū, instead suspecting a crime because of Yae's broken neck. Yae's father tells Ajimura that ten years ago a policeman named Yumisaka had questioned him in search of a man whom his daughter had met. Ajimura contacts Yumisaka, who was forced to resign from the police force because of his obsession with the case, for help. In a series of interrogations, Inukai finally admits that he kept Sasada's money as a means to escape his life in poverty, but denies having been involved in the murders themselves. Knowing that the police have no evidence on him, he insists that he will only speak about Yae when the police believe his story up to this point.

In the evening, Yumisaka visits Inukai in his cell and presents him the ashes of the boat which Inukai had burned after his crossing of the Tsugaru strait. Yumisaka, who had kept the ashes through all these years, declares that he despises Inukai for the killing of Yae who herself would never have betrayed him. The agitated Inukai begs Yumisaka and the police officers to take him to his native Hokkaido one more time, to which they agree. When the ferry passes Yae's hometown on Shimokita, Inukai kills himself by jumping off the boat.

Cast
 Rentarō Mikuni – Takichi Inukai / Kyōichirō Tarumi
 Sachiko Hidari – Yae Sugito
 Ken Takakura – Detective Ajimura
 Junzaburō Ban – Detective Yumisaka
 Kōji Mitsui – Motojima, the brothel owner
 Yoshi Katō – Yae's father
 Sadako Sawamura – Motojima's wife
 Susumu Fujita – Chief of police
 Nobuo Yana – Machida
 Rinichi Yamamoto – Monk
 Akiko Kazami – Toshiko

Production and release
To achieve a grainy effect of the images, A Fugitive from the Past was shot on 16 mm film, blown up to 35 mm and the film material manipulated (a process titled the "Toei W106 method").

Originally scheduled to start on 27 December 1964, the release had to be postponed to 15 January 1965 due to delays in the production. Production commpany and distributor Toei released a shortened version of the 183 minutes running film without Uchida's approval. Uchida protested and left Toei, but later returned to the company to direct Jinsei gekijō: Hishakaku to Kiratsune (1968).

Awards
A Fugitive from the Past ranked #5 on Kinema Junpo's list of the ten best Japanese films of the year. It received the Blue Ribbon Award for Best Screenplay and the Mainichi Film Award for Best Director, Best Screenplay, Best Actor (Rentarō Mikuni), Best Actress (Sachiko Hidari) and Best Supporting Actor (Junzaburō Ban).

Legacy
A Fugitive from the Past was screened at the Berkeley Art Museum and Pacific Film Archive in 2007 and in the Museum of Modern Art in 2016 as part of retrospectives on Tomu Uchida.

The film was included in Kinema Junpo's "critics top 200" list and in the British Film Institute's "The best Japanese film of every year – from 1925 to now" list.

References

External links

1965 crime films
1965 drama films
Japanese black-and-white films
1960s Japanese films
Japanese crime drama films
Films directed by Tomu Uchida
Toei Company films

A Fugitive from the Past


Anne Valerie Hash () (born 1971) is a French haute couture fashion designer.

Biography
She graduated from the Chambre Syndicale de la Couture Parisienne in 1995, and designed for such other labels as Nina Ricci, Chloé, and Chanel. In 1995, she opened a small bridal business. Five years later, she became business partners with Philippe Elkoubi, and launched a signature collection of handmade and ready-to-wear pieces, inspired by 14-year-old Parisian, Lou Liza Lesage. She presented her first collection in 2001.

For the 2014 Fall fashion season, her label will not present any collection.

Exhibitions
In 2016, The Cité de la Dentelle et de la Mode of Calais (France) is hosting an exhibition on the creations of Anne Valérie Hash. This exhibition - the first dedicated to her in France – takes a look at her first 13 years of designing. "Anne Valérie Hash. Décrayonner" explore of a world still under construction.

References

External links

Anne Valérie Hash, New York Fashion Biography

1971 births
Living people
French fashion designers
French women fashion designers
Haute couture

Anne Valérie Hash


Panoraama is a  tall gyro tower at the Linnanmäki amusement park in Helsinki, Finland. Its observation deck rises about  above sea level. Panoraama was built in 1987 by the Swiss Intamin and offers capacity for 400 visitors per hour. It was originally known as Panorama, but the name was changed to Panoraama (with an additional letter "a") when Linnanmäki changed the naming policy for its rides and started to use only words that are correct in the Finnish language.

Originally, Linnanmäki was planning a real observation tower, like the considerably taller Näsinneula at the Särkänniemi park in Tampere, but first there were legal issues and later problems with funding. Eventually, Linnanmäki chose to build a tower in the form of a gyro tower ride.

Panoraama is one of the best places to view the city of Helsinki, as the tower is located only about  from the centre of the city.

See also
 List of towers

References

Amusement rides introduced in 1987
Observation towers in Finland
Buildings and structures in Helsinki
Linnanmäki
1987 establishments in Finland

Panoraama


Cochylimorpha perfusana is a species of moth of the family Tortricidae. It is found in France, Austria, Switzerland, Italy, Slovenia, Croatia, Hungary and Romania, as well as on Corsica.

The wingspan is 18–23 mm. Adults have been recorded on wing from May to September.

The larvae feed on Centaurea stoebe and Centaurea triumfetti. Larvae can be found in June.

References

Moths described in 1845
Cochylimorpha
Moths of Europe

Cochylimorpha perfusana