Skip to main content

Search on Wikipedia

Search results

SO Sad! Transgender Woman Pleads For Life Before Mob Beat Her To Death. click image to read story

SO Sad! Transgender Woman Pleads For Life Before Mob Beat Her To Death. click image to read story
42-year-old Dandara dos Santos was kicked, punched, and hit with shoes and a plank of wood in front of residents in Fortaleza, Ceara state, Brazil... till death. click image to read story

Featured Post

10 Reasons Why Men Should Quit Watching Po*n

The corpse of Madame Debeinche, who was murdered in her Paris apartment on May 5, 1903, lay completely motionless

You are looking at one of the first crime scene photos ever taken




The corpse of Madame Debeinche, who was murdered in her Paris apartment on May 5, 1903, lay completely motionless.

Her photo is one of thousands snapped by Alphonse Bertillon, a police clerk in Paris who revolutionized detective work. Not only was Bertillon the first to photograph a crime scene, but he also streamlined the use of mugshots.

By 1884, his groundbreaking new criminal codification method helped catch 241 repeat offenders in Paris.


At first glance, the faded 1903 photograph of Mme Debeinche’s bedroom, bound in the yellowed pages of an early 20th-century album, shows what looks to be an unremarkable middle-class Parisian apartment of the time. The overstuffed room brims with floral decoration, from the wallpaper and heavy swag curtains to the carpeting, chair upholstery—even the chamber pot. A large reproduction of Alexandre Cabanel’s voluptuous 1863 painting, “Birth of Venus,” hangs on the wall. A sizeable unmade bed with a hefty carved-wood frame dominates the scene.

But on closer look, there is something unnerving about the tableau. The Venus is crooked. A spindle chair lies on its side. And a curious dark stain has pooled on the otherwise clean white linen sheets. One need only to turn the page of the album to solve the mystery, since the next photo captures the grislier sight on the floor behind the bed: the Madame’s dead body.

When the Paris police investigated Mme Debeinche’s May 1903 murder, they began by photographing the crime scene. And while that might seem mundane to anyone accustomed to TV police procedurals, documenting foul play was a relatively novel use of the camera in 1903. Her bedroom remains one the earliest recorded crime scenes, and the Madame herself has the unfortunate distinction of being one of the earliest murder victims preserved in a photograph.


These images now reside in the Metropolitan Museum of Art, part of an extraordinary historical document: a nearly 100-page album of unflinching crime photos from the dawn of the 20th century. It was originally made under the direction of Alphonse Bertillon, a Parisian-records-clerk-turned-pioneering-criminologist who is now largely regarded as the father of forensic photography. While working for the Paris police prefecture, he not only pioneered the crime-scene photograph and its counterpart, the mugshot, but he used his lowly filing job to create the first cross-referenced, retrievable index-card system of criminal data. His work documenting, measuring and categorizing victims and criminals alike revolutionized how photography was used both by the police—and, subsequently, in courts of law.

By all accounts, Bertillon was an exacting and obsessive man who, after an unsuccessful stint in the army, joined the Paris police department in 1879 at the urging of his medical-professor father. He soon turned his attention to the problem of recidivism, a chronic problem in Paris since the record-keeping of convicts’ names and photos was haphazard at best; repeat offenders couldn’t often be identified as such, and thus weren’t given commensurate punishments. Attempts to systematize criminal records before Bertillon—including detective Allan Pinkerton’s “Rogues’ Gallery”—hadn’t been efficient or effective. Less than a year after starting his job, the French police clerk proposed addressing the problem with a three-part system that came to be known as Bertillonage.

First, he outlined measurements to map a criminal’s body—things like head width, arm span, sitting height and finger length. Then came a physical description that he called a “speaking portrait,” that included unique identifiers ranging from tattoos, moles and scars to hair-growth pattern and shoulder inclination. And finally, the system called for two photographs of the criminal—one frontal and the other in profile. (Bertillon believed ear size and shape could especially aid in identification.) All that information would be placed onto a single card that could be filed into an orderly, cross-referenced archive that could help police more easily run a check and identify a repeat offender. The system was quickly adopted by the Paris police department, throughout Europe and, before the close of the 19th century, in New York and Chicago too.

In addition to revolutionizing police work, Bertillon’s approach to photography had a profound effect on how photos were understood and used. Believing that the medium was more objective than the human eye, he saw it as a powerful tool in his quest to apply scientific methods to collecting evidence and identifying lawbreakers. But he didn’t see photos as entirely objective, since gazing at a portrait, for example, came with a number of cultural precepts about how and why to look. So to distinguish the mug shot from its better known cousin, the half-length portrait—and create documentary evidence that would hold up better in court—he deployed his secret weapon: detailed standardization of everything from how a suspect is lighted to how he or she is posed. He also developed a system called metric photography, using a series of measured grids to standardize the scale between photos and quantify both the dimensions of objects and the distances between them.

By the time Bertillon began photographing crime scenes, his reputation was well-established. In 1888, he had been appointed head of the newly created Department of Judicial Identity in the Paris police prefecture. In 1902, the year prior to the Madame’s murder, Bertillon had been celebrated as the greatest police officer in all of Europe by Sir Arthur Conan Doyle who, in The Hound of the Baskervilles, placed Bertillon higher than his own fictional genius, Sherlock Holmes, writing: “To the man of precisely scientific mind, the work of Monsieur Bertillon must always appeal strongly.” As his Bertillon system spread, he was lauded with medals and recognitions all around the continent, from France, England and Holland to Sweden and Romania.

As the Metropolitan Museum’s album shows, Bertillon documented crime scenes with the same unflinching eye as he did criminal perpetrators. Some of the victims, like Madame Debeinche, were found in their bedrooms. Others lay in kitchens or living rooms. Some bodies had been abandoned in warehouses or left lying among garbage on a crumbling tile floor. The album shows ransacked rooms, chillingly exposed nude cadavers and close-ups of their ghastly head wounds.

In some cases, the album jarringly juxtaposes images of the dead with photos of when they were still alive. On one page, women are rendered in lovely carte-de-visites (late-19th-century photographic calling cards), depicted as daughters or sisters, as glamorous women once flattered by the beneficial lighting of a portrait photographer. On the next page, their human value is gone; they become corpses, bloody and harshly lit.

At first glance, the faded 1903 photograph of Mme Debeinche’s bedroom, bound in the yellowed pages of an early 20th-century album, shows what looks to be an unremarkable middle-class Parisian apartment of the time. The overstuffed room brims with floral decoration, from the wallpaper and heavy swag curtains to the carpeting, chair upholstery—even the chamber pot. A large reproduction of Alexandre Cabanel’s voluptuous 1863 painting, “Birth of Venus,” hangs on the wall. A sizeable unmade bed with a hefty carved-wood frame dominates the scene.

But on closer look, there is something unnerving about the tableau. The Venus is crooked. A spindle chair lies on its side. And a curious dark stain has pooled on the otherwise clean white linen sheets. One need only to turn the page of the album to solve the mystery, since the next photo captures the grislier sight on the floor behind the bed: the Madame’s dead body.

When the Paris police investigated Mme Debeinche’s May 1903 murder, they began by photographing the crime scene. And while that might seem mundane to anyone accustomed to TV police procedurals, documenting foul play was a relatively novel use of the camera in 1903. Her bedroom remains one the earliest recorded crime scenes, and the Madame herself has the unfortunate distinction of being one of the earliest murder victims preserved in a photograph.

These images now reside in the Metropolitan Museum of Art, part of an extraordinary historical document: a nearly 100-page album of unflinching crime photos from the dawn of the 20th century. It was originally made under the direction of Alphonse Bertillon, a Parisian-records-clerk-turned-pioneering-criminologist who is now largely regarded as the father of forensic photography. While working for the Paris police prefecture, he not only pioneered the crime-scene photograph and its counterpart, the mugshot, but he used his lowly filing job to create the first cross-referenced, retrievable index-card system of criminal data. His work documenting, measuring and categorizing victims and criminals alike revolutionized how photography was used both by the police—and, subsequently, in courts of law.

By all accounts, Bertillon was an exacting and obsessive man who, after an unsuccessful stint in the army, joined the Paris police department in 1879 at the urging of his medical-professor father. He soon turned his attention to the problem of recidivism, a chronic problem in Paris since the record-keeping of convicts’ names and photos was haphazard at best; repeat offenders couldn’t often be identified as such, and thus weren’t given commensurate punishments. Attempts to systematize criminal records before Bertillon—including detective Allan Pinkerton’s “Rogues’ Gallery”—hadn’t been efficient or effective. Less than a year after starting his job, the French police clerk proposed addressing the problem with a three-part system that came to be known as Bertillonage.

First, he outlined measurements to map a criminal’s body—things like head width, arm span, sitting height and finger length. Then came a physical description that he called a “speaking portrait,” that included unique identifiers ranging from tattoos, moles and scars to hair-growth pattern and shoulder inclination. And finally, the system called for two photographs of the criminal—one frontal and the other in profile. (Bertillon believed ear size and shape could especially aid in identification.) All that information would be placed onto a single card that could be filed into an orderly, cross-referenced archive that could help police more easily run a check and identify a repeat offender. The system was quickly adopted by the Paris police department, throughout Europe and, before the close of the 19th century, in New York and Chicago too.

In addition to revolutionizing police work, Bertillon’s approach to photography had a profound effect on how photos were understood and used. Believing that the medium was more objective than the human eye, he saw it as a powerful tool in his quest to apply scientific methods to collecting evidence and identifying lawbreakers. But he didn’t see photos as entirely objective, since gazing at a portrait, for example, came with a number of cultural precepts about how and why to look. So to distinguish the mug shot from its better known cousin, the half-length portrait—and create documentary evidence that would hold up better in court—he deployed his secret weapon: detailed standardization of everything from how a suspect is lighted to how he or she is posed. He also developed a system called metric photography, using a series of measured grids to standardize the scale between photos and quantify both the dimensions of objects and the distances between them.

By the time Bertillon began photographing crime scenes, his reputation was well-established. In 1888, he had been appointed head of the newly created Department of Judicial Identity in the Paris police prefecture. In 1902, the year prior to the Madame’s murder, Bertillon had been celebrated as the greatest police officer in all of Europe by Sir Arthur Conan Doyle who, in The Hound of the Baskervilles, placed Bertillon higher than his own fictional genius, Sherlock Holmes, writing: “To the man of precisely scientific mind, the work of Monsieur Bertillon must always appeal strongly.” As his Bertillon system spread, he was lauded with medals and recognitions all around the continent, from France, England and Holland to Sweden and Romania.

As the Metropolitan Museum’s album shows, Bertillon documented crime scenes with the same unflinching eye as he did criminal perpetrators. Some of the victims, like Madame Debeinche, were found in their bedrooms. Others lay in kitchens or living rooms. Some bodies had been abandoned in warehouses or left lying among garbage on a crumbling tile floor. The album shows ransacked rooms, chillingly exposed nude cadavers and close-ups of their ghastly head wounds.

In some cases, the album jarringly juxtaposes images of the dead with photos of when they were still alive. On one page, women are rendered in lovely carte-de-visites (late-19th-century photographic calling cards), depicted as daughters or sisters, as glamorous women once flattered by the beneficial lighting of a portrait photographer. On the next page, their human value is gone; they become corpses, bloody and harshly lit.

Like the criminals whose bodies were subjected to detailed documentation, victims were recorded with similarly exacting methods at the crime scene. Bertillon developed a system that could indefinitely preserve the scene while teasing out pertinent details that might be used more effectively in court than less scientifically conceived photographs of previous decades.

Using his metric photography grids and hand-drawn diagrams, Bertillon helped clarified the scale of crime scenes and the distance between objects, often allowing inspectors to reconstruct a scene in three dimensions. Though there is only a crude, early iteration of Bertillon’s grid in the Met’s album, more refined examples of the method are housed in the Archives de la Préfecture de Police in Paris. That collection also holds examples of Bertillon’s use of the grid that recreate the topographical dimensions of an entire crime scene. In one compelling example from 1909, Bertillon mapped three rooms of a Parisian home that was the site of a double murder.

In 1903, he constructed a custom tripod with long legs designed for placing the camera directly over a body. The “God’s-eye view,” as it was called, was meant to survey the scene from above, and the eerily omniscient photos it produced offered a comprehensive view to investigators before they turned to more granularly detailed images.

One album page containing six photographs illustrates Bertillon’s measuring and inventorying impulses. The unnamed victim has been propped up to be photographed according to the guidelines of biometric measurement system. Three of the photographs show the anonymous body, one with his hat perched on his head, and three are of objects in his possession: a pair of boots and a pocket watch.

But even Bertillon’s ordered approach couldn’t mask the messy or random details of a victim’s life—the unruly bric-à-brac, the unmade bed, the missing shoe. More than a century after Mme Debeinche’s death, the crime-scene photographs offer specifics about her life—her penchant for floral upholstery, her appreciation of shaggy carpets—that continue to compel the eye. Evident, too, is that the Madame had been dead for several hours before she was photographed, her hands and feet both having begun the unmistakable process of post-mortem darkening.

The images never brought investigators any closer to solving her case. There are no surviving records of either an arrest or a prosecution for her murder.

History Logo

HomeStoriesA Look Back at the Crime Scene Photos That Changed How Murder is Documented
A Look Back at the Crime Scene Photos That Changed How Murder is Documented
A Parisian police clerk created scientific methods for capturing images of murder and mayhem.
BY: STASSA EDWARDS

UPDATED: OCTOBER 15, 2018 | ORIGINAL: OCTOBER 26, 2017

copy page link

crime scene photography
THE METROPOLITAN MUSEUM OF ART
At first glance, the faded 1903 photograph of Mme Debeinche’s bedroom, bound in the yellowed pages of an early 20th-century album, shows what looks to be an unremarkable middle-class Parisian apartment of the time. The overstuffed room brims with floral decoration, from the wallpaper and heavy swag curtains to the carpeting, chair upholstery—even the chamber pot. A large reproduction of Alexandre Cabanel’s voluptuous 1863 painting, “Birth of Venus,” hangs on the wall. A sizeable unmade bed with a hefty carved-wood frame dominates the scene.


Crime Scene photography
THE METROPOLITAN MUSEUM OF ART
<EM>BEDROOM OF MADAME DEBEINCHE, MURDERED MAY 5, 1903. FROM THIS ANGLE,THE SCENE LOOKS UNSETTLING, WITH THE PICTURE ASKEW AND THE DARK STAIN ON THE BED.</EM>
But on closer look, there is something unnerving about the tableau. The Venus is crooked. A spindle chair lies on its side. And a curious dark stain has pooled on the otherwise clean white linen sheets. One need only to turn the page of the album to solve the mystery, since the next photo captures the grislier sight on the floor behind the bed: the Madame’s dead body.

When the Paris police investigated Mme Debeinche’s May 1903 murder, they began by photographing the crime scene. And while that might seem mundane to anyone accustomed to TV police procedurals, documenting foul play was a relatively novel use of the camera in 1903. Her bedroom remains one the earliest recorded crime scenes, and the Madame herself has the unfortunate distinction of being one of the earliest murder victims preserved in a photograph.


Crime Scene photography
THE METROPOLITAN MUSEUM OF ART
<EM>MADAME DEBEINCHE, DEAD ON THE FLOOR OF HER BEDROOM IN PARIS. HER DARKENING HANDS AND FEET ARE A CLUE THAT SOME TIME HAD PASSED SINCE THE KILLING.</EM>
These images now reside in the Metropolitan Museum of Art, part of an extraordinary historical document: a nearly 100-page album of unflinching crime photos from the dawn of the 20th century. It was originally made under the direction of Alphonse Bertillon, a Parisian-records-clerk-turned-pioneering-criminologist who is now largely regarded as the father of forensic photography. While working for the Paris police prefecture, he not only pioneered the crime-scene photograph and its counterpart, the mugshot, but he used his lowly filing job to create the first cross-referenced, retrievable index-card system of criminal data. His work documenting, measuring and categorizing victims and criminals alike revolutionized how photography was used both by the police—and, subsequently, in courts of law.

By all accounts, Bertillon was an exacting and obsessive man who, after an unsuccessful stint in the army, joined the Paris police department in 1879 at the urging of his medical-professor father. He soon turned his attention to the problem of recidivism, a chronic problem in Paris since the record-keeping of convicts’ names and photos was haphazard at best; repeat offenders couldn’t often be identified as such, and thus weren’t given commensurate punishments. Attempts to systematize criminal records before Bertillon—including detective Allan Pinkerton’s “Rogues’ Gallery”—hadn’t been efficient or effective. Less than a year after starting his job, the French police clerk proposed addressing the problem with a three-part system that came to be known as Bertillonage.

First, he outlined measurements to map a criminal’s body—things like head width, arm span, sitting height and finger length. Then came a physical description that he called a “speaking portrait,” that included unique identifiers ranging from tattoos, moles and scars to hair-growth pattern and shoulder inclination. And finally, the system called for two photographs of the criminal—one frontal and the other in profile. (Bertillon believed ear size and shape could especially aid in identification.) All that information would be placed onto a single card that could be filed into an orderly, cross-referenced archive that could help police more easily run a check and identify a repeat offender. The system was quickly adopted by the Paris police department, throughout Europe and, before the close of the 19th century, in New York and Chicago too.

In addition to revolutionizing police work, Bertillon’s approach to photography had a profound effect on how photos were understood and used. Believing that the medium was more objective than the human eye, he saw it as a powerful tool in his quest to apply scientific methods to collecting evidence and identifying lawbreakers. But he didn’t see photos as entirely objective, since gazing at a portrait, for example, came with a number of cultural precepts about how and why to look. So to distinguish the mug shot from its better known cousin, the half-length portrait—and create documentary evidence that would hold up better in court—he deployed his secret weapon: detailed standardization of everything from how a suspect is lighted to how he or she is posed. He also developed a system called metric photography, using a series of measured grids to standardize the scale between photos and quantify both the dimensions of objects and the distances between them.

By the time Bertillon began photographing crime scenes, his reputation was well-established. In 1888, he had been appointed head of the newly created Department of Judicial Identity in the Paris police prefecture. In 1902, the year prior to the Madame’s murder, Bertillon had been celebrated as the greatest police officer in all of Europe by Sir Arthur Conan Doyle who, in The Hound of the Baskervilles, placed Bertillon higher than his own fictional genius, Sherlock Holmes, writing: “To the man of precisely scientific mind, the work of Monsieur Bertillon must always appeal strongly.” As his Bertillon system spread, he was lauded with medals and recognitions all around the continent, from France, England and Holland to Sweden and Romania.

As the Metropolitan Museum’s album shows, Bertillon documented crime scenes with the same unflinching eye as he did criminal perpetrators. Some of the victims, like Madame Debeinche, were found in their bedrooms. Others lay in kitchens or living rooms. Some bodies had been abandoned in warehouses or left lying among garbage on a crumbling tile floor. The album shows ransacked rooms, chillingly exposed nude cadavers and close-ups of their ghastly head wounds.

In some cases, the album jarringly juxtaposes images of the dead with photos of when they were still alive. On one page, women are rendered in lovely carte-de-visites (late-19th-century photographic calling cards), depicted as daughters or sisters, as glamorous women once flattered by the beneficial lighting of a portrait photographer. On the next page, their human value is gone; they become corpses, bloody and harshly lit.

Like the criminals whose bodies were subjected to detailed documentation, victims were recorded with similarly exacting methods at the crime scene. Bertillon developed a system that could indefinitely preserve the scene while teasing out pertinent details that might be used more effectively in court than less scientifically conceived photographs of previous decades.

Using his metric photography grids and hand-drawn diagrams, Bertillon helped clarified the scale of crime scenes and the distance between objects, often allowing inspectors to reconstruct a scene in three dimensions. Though there is only a crude, early iteration of Bertillon’s grid in the Met’s album, more refined examples of the method are housed in the Archives de la Préfecture de Police in Paris. That collection also holds examples of Bertillon’s use of the grid that recreate the topographical dimensions of an entire crime scene. In one compelling example from 1909, Bertillon mapped three rooms of a Parisian home that was the site of a double murder.

In 1903, he constructed a custom tripod with long legs designed for placing the camera directly over a body. The “God’s-eye view,” as it was called, was meant to survey the scene from above, and the eerily omniscient photos it produced offered a comprehensive view to investigators before they turned to more granularly detailed images.

One album page containing six photographs illustrates Bertillon’s measuring and inventorying impulses. The unnamed victim has been propped up to be photographed according to the guidelines of biometric measurement system. Three of the photographs show the anonymous body, one with his hat perched on his head, and three are of objects in his possession: a pair of boots and a pocket watch.

But even Bertillon’s ordered approach couldn’t mask the messy or random details of a victim’s life—the unruly bric-à-brac, the unmade bed, the missing shoe. More than a century after Mme Debeinche’s death, the crime-scene photographs offer specifics about her life—her penchant for floral upholstery, her appreciation of shaggy carpets—that continue to compel the eye. Evident, too, is that the Madame had been dead for several hours before she was photographed, her hands and feet both having begun the unmistakable process of post-mortem darkening.

The images never brought investigators any closer to solving her case. There are no surviving records of either an arrest or a prosecution for her murder.

Bertillon’s innovations in forensic photography, like his approach to documenting criminals, were adopted quickly. In 1915, New York City, for one, launched its Department of Photographs, to capture everything from crime scenes to the city’s blue-collar workers and the cityscape itself, treating the topography itself as a kind of Bertillon record to be captured and archived.

But by 1907, half of Europe had discarded Bertillonage, believing that the science of fingerprinting (recently refined by Francis Galton, a British contemporary of Bertillon) was a more reliable form of identification, more likely to eliminate the problem of human subjectivity that Bertillon himself identified. Still, the mug shot still endures, as does forensic crime-scene photography.

A macabre genealogy stretches from Mme Debeinche to the reproductions of crime-scene photos that proliferate in true-crime documentaries and dramas today. The very idea that a violent death was worth the gaze of the camera’s lens, its image valued enough to be preserved and archived, belongs to Bertillon. He still haunts the scene of every crime.


Crime Scene photography

Vwegba World Blog, bring you serial killer story, serial killers facts, murder, true crime, true crimecommunity, horror, truecrime addict, crime , tedbundy , homicide ,halloween, killer, rodneyalcala, murder on my mind, ,history ,netflixandchill ,deadlymen ,crimewatchdaily ,murderisthenewblack ,historic ,fearthyneighbor ,netflixandcrime ,crime memes ,dark ,murderer ,horrormovies ,insane ,history and many. Feel free to share and comment. Share your thought

Comments

Popular posts from this blog

How To Fix A Broken Relationship

Hurt is inevitable in significant relationships. Yet pain and strife do not have to mean a relationship is going to end. Many couples find that working through trouble actually makes their relationship even stronger. What they realize is that all relationship require work, love, and patience to succeed, and this is especially true when trying to mend a broken relationship. 1. Determine if the other person wants to fix the relationship. There is no sense in trying to fix something if you are the only one willing to do the work. If your partner is unapologetic for mistakes, dismissive of your desire to talk, or continues hurtful behavior, it might be time to move on. It takes two people to mend a broken relationship. If you are the only one trying to save things then you will never succeed. 2. Determine why the relationship is in trouble. All relationships go through rough patches at one point or another. As the novelty of your first few months together wears off, problem...

How Tim Allen Went From Cocaine-Trafficking Criminal To ‘Home Improvement’ Star

How Tim Allen Went From Cocaine-Trafficking Criminal To ‘Home Improvement’ Star After being caught with more than half a kilo of cocaine, Tim Allen faced life imprisonment in 1978. So he decided to make a deal — which eventually led to fame and fortune. See the photos and learn how Tim Allen went from a cocaine cowboy to ‘Home Improvement’ star by clicking the link in our bio. Tim Allen is undoubtedly most famous for his role as Tim Taylor, the family man on ABC’s Home Improvement which catapulted the stand-up comedian into a new stratum of fame. Premiering in 1991, the hit sitcom aired on televisions across America for eight seasons with a total of 204 episodes. While the character Allen played is recognizable, and the actor’s subsequent Hollywood films in the 1990s were successful, few people know he used to be a drug dealer. The family-friendly comic actor you know and love spent two years and four months in a federal prison for drug trafficking. Of course, that deal was only feasib...

Two fall to their deaths down an elevator shaft during robbery

Two fall to their deaths down an elevator shaft during robbery The bodies of two would-be thieves named Robert Green and Jacob Jagendorf after a failed robbery attempt that ended when they accidentally fell down the building's elevator shaft in New York in 1915.⁠ ⁠For more photos of crime scenes of yesteryear reimagined in color, follow the link in our bio.⁠ ⁠ There are robberies, robberies gone wrong, and robberies gone horribly wrong. In the latter category was this effort by Robert Green and Jacob Jagendorf. Green was a night watchman (some accounts say elevator operator) at a New York City shirt factory, and apparently conceived a way to use his access to pull off a theft of expensive silk fabric. Late one night, he and Jagendorf stopped an elevator on the fifth floor of the building, wedged the doors open, and proceeded to load in bolts of the pricy fabric, doing so in the dark to avoid alerting any observers outside the building. At some point the elevator rose to the tenth f...

How Serial Killer Albert Fish’s Letter To The Parents Of One Of His Victims Finally Landed Him In Prison

How Serial Killer Albert Fish’s Letter To The Parents Of One Of His Victims Finally Landed Him In Prison In 1934, Albert Fish wrote a letter to Grace Budd’s mother and described how he'd murdered her before cutting her into pieces and eating her flesh. "Dear Mrs. Budd, On June 3, 1928, I called on you at 406 W. 15 St. and brought you pot cheese and strawberries. We had lunch. Grace sat on my lap and kissed me. I made up my mind to eat her." Grace Budd had been missing for six years when her mother received this disturbing note in the mail. It detailed exactly how her 10-year-old daughter had been abducted, murdered, and then roasted like a turkey. Though the letter was unsigned, investigators were eventually able to trace it back to a gray-haired old man named Albert Fish.  While plenty of Americans spent the Roaring Twenties at wild parties, Albert Fish developed a taste for human flesh. Known as the “Brooklyn Vampire,” he lured children into abandoned homes to kill them...

Inside The Puzzling Death Of Alexander The Great And The Disturbing Theories Behind It

Inside The Puzzling Death Of Alexander The Great And The Disturbing Theories Behind It After spending several hours drinking with friends in 323 B.C.E., 32-year-old Alexander the Great suddenly came down with a fever and began complaining of sharp pain in his back. Though he continued to drink wine, he struggled to quench his thirst — and before long, he could not move or speak. In a matter of days, the legendary Macedonian king was dead, much to the dismay of his loyal subjects. And millennia later, we still don't know exactly what caused Alexander the Great's demise. In the years since then, historians have suggested everything from typhoid to alcohol poisoning to assassination. But one new theory may be the most convincing yet — and the most disturbing. Click the link in our profile to read more.⁠ In 323 B.C.E., Alexander the Great died of an unknown illness — and his body showed no signs of decomposition for six days. Alexander the Great’s death in 323 B.C.E. has puzzled hi...

10 BIZARRE UNSOLVED CRIMES FROM AROUND THE WORLD

Most of the crime thrillers of the world are inspired by reality. For crime thriller addicts, it can be interesting to know that many such crimes have been unresolved. These are the crimes where all investigations were futile, and the police could hardly provide an explanation. In this listicle, we’ve detailed 10 such bizarre  unsolved crimes  from around the world. 1. The Setagaya Family Massacre took place in Tokyo, Japan, where four members were assassinated, and the murderer stayed in the house for several hours, leaving much DNA evidence – yet, the killer remained unidentified.  On 31 December 2000, Mikio Miyazawa, along with his wife and two children, were murdered in their Setagaya-based home in western Tokyo. Mikio’s son Rei was strangled in his sleep while the rest of the family members were stabbed to death.  What’s shocking is that this murderer remained inside the house for several hours after these assassinations. The murderer used the home computer, pr...

How My Brother Slept With A Ghost

This is the story of my brother who almost slept with a ghost. It was a Christmas period, a day before Christmas (watch night of Christmas).I accompany My brother  to delta state polytechnic otefe oghara to pay for his school accommodation. It was getting dark i told him(my brother) that it was not good to spend the night in otefe oghara,but he insisted and told me that  he must spend the night  with a lady before travelling back home. I left him there and went home. Since it was a Christmas period all the girls were on their best, and they were all preparing for the Christmas celebration. also it was this period that most adult and teenage girls are in need of money.My brother used this means as an advantage so he went out in search of lady to spend the night with. He actually actually met some ladies but they were not is taste. my brother began the search from 7.pm till 11.pm in the night still in search for a lady.the night was cold and everybody were indoors it was to...

Meet Oliver Sipple, the veteran who saved President Ford's life - and was punished for it

Meet Oliver Sipple, the veteran who saved President Ford's life - and was punished for it In 1975, a disabled Vietnam vet named Oliver Sipple saved President Gerald Ford from an assassin. Although Sipple was hailed a hero at first, the tide quickly turned when the media outed him as a gay man. Not only did the exposure of his homosexuality overshadow his heroic act, it also led to his family essentially disowning him. Years later, Sipple's lifeless body was found next to a cheap bottle of bourbon in his apartment. He'd been dead for nearly two weeks before anyone found him. See the photos and discover the tragic story of the man who saved President Ford’s life and was punished for it — by clicking the link in our bio. After disarming an assassin, Oliver Sipple was hailed a hero. But the ensuing media storm outed him as gay and upended his entire life. One morning in September 1975, 33-year-old ex-Marine Oliver Sipple went for a walk around his San Francisco neighborhood. Wi...

A Germany Regiment marching down from their mountain positions surrender to the Americans, Austria, 1945

A Germany Regiment marching down from their mountain positions surrender to the Americans, Austria, 1945 After Germany's surrender in May 1945, millions of German soldiers remained prisoners of war. In France, their internment lasted a particularly long time. But, for some former soldiers, it was a path to rehabilitation. After Germany's surrender in May 1945, millions of German soldiers remained prisoners of war. In France, their internment lasted a particularly long time. But, for some former soldiers, it was a path to rehabilitation. French units lost out to US soldiers in the last meters of the race to reach Adolf Hitler's destroyed Alpine headquarters, the Berghof. But French troops in southern Germany in early May 1945 nonetheless made good progress, capturing one town after the other. After four years of Nazi occupation, France, under General Charles de Gaulle, joined the ultimately victorious Allied powers in 1944. And the country made sure the defeated German natio...

How To Ask For A Date

Asking someone out on a date can be stressful and anxiety-inducing. If you've ever felt overwhelmed or uncertain on how to approach asking someone out, don't worry, you're not alone. The stress of asking someone out combined with fear of rejection prevent many people from taking the first step in a romantic relationship. In America, 64% of people are single. Luckily, there are a couple of simple strategies and techniques that you can use to get a date with someone and overcome the fears that you may have. 1. Make eye contact and smile. Eye contact and smiling are two universal acts of flirting. Looking at someone from across a room lets them know that you notice them. When you smile, you're showing them that you are open to talking to them and that you may be interested in them, or that you like how they look. Don't force a smile or stare at them, however! -You can meet a potential date at school, work, a grocery store, a bar, or in other social situatio...