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Sure Roschler! Be the funny guy Roschler! But now you will see the wrath of Roschler in the first ever live televised Execution On Flickr!
On 29 December 1880 Tuhiata, the convicted murderer of artist Mary Dobie, was executed in Wellington gaol.
Tuhiata, usually known as Tuhi, had later said the he never intended Mary harm. The pair had a fatal meeting out in the countryside where she was sketching, and by his account his attempt to ask her where she was from was misunderstood as she spoke no Māori and he little English. But when he dismounted from his horse and came towards her she became frightened and tried to give him the coins in her pocket to make him go away. She then uttered the fatal words that would lead to her death, telling him she would tell the soldiers about him. Fearful of being charged with theft he grabbed her and committed the far greater crime of murder, cutting her throat and dragging her body behind a flax bush.
Blood stained trousers believed to be Tuhi’s were recovered from the scene and his bloody knife was also found. The day of Mary’s murder was fine and she had visited the local store to buy a carpenter’s pencil for her sketching. A gifted artist she had supplied sketches of New Zealand scenery which were published in the London Graphic magazine. As she made her purchase Tuhi was also in the store where he unsuccessfully tried to buy a pair of moleskin trousers on credit. The same day he was seen dancing in the tap room of the local pub before riding his black horse in the direction Mary had taken. Before the murder he had been well thought of and was described by one witness as “usually a quiet man. He is not quarrelsome.” He was arrested and tried in Wellington where the jury took only 20 minutes to unanimously decide on his guilt. He was hanged soon after and the newspapers reported that he had walked “firmly” onto the scaffold and that death was instantaneous
Shown here is the coroner’s certification of Tuhiata’s death. It includes the official cause of death by hanging and the names of all witnesses present at the execution.
ACGS 16211 J1/283/u 1881/9
collections.archives.govt.nz/web/arena/search#/?q=R24425793
More information can be found here:
paperspast.natlib.govt.nz/newspapers/NZTIM18801230.2.50?q...
nzhistory.govt.nz/hokianga-chief-patuone-arrives-in-sydne...
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Material supplied by Archives New Zealand Te Rua Mahara o te Kāwanatanga
Foggy, panoramic view of the Long Island Sound and Execution Rocks Lighthouse (1850) from Sands Point, Long Island, NY.
It is rumored that the lighthouse's site got its name before the American Revolutionary War when British colonial authorities executed people by chaining them to the rocks at low tide, allowing the rising water to drown them. This folklore has never been verified by any historical record. The name for this island was actually chosen to reflect the historically dangerous shipping area created by the rocks' exposure during low tides. On March 3, 1847, the United States Congress appropriated $25,000 for creation of Execution Rocks Lighthouse. Designed by Alexander Parris, construction was completed in 1849, although it was not lit until 1850. Over the years, it has survived both a fire and a shipwreck. [Wikipedia]
Moving back in time again! After I recently found a NIB Takara kit of the Duey attack helicopter, I decided to salvaged the same kit I had already built about 20 years ago and had been resting in the basement in pieces for maybe 15 years.
This specimen was released in 1985 or 1986 by Revell, in a set called "Assault Squad" together with an 1:72 scale "Ironfoot" robot and the company's hodgepodge 'Robotech' label. I found the Duey's design cool at that time, and you can clearly tell that the AH-1 HueyCobra was the most prominent real combat helicopter around and the AH-64 pure science fiction. But you can find many design influences of these real helis in this mecha's design. Additionally, the experimental YAH-56A Cheyenne obviously had major impact on the Duey's look and concept, even though the Duey is surprisingly stout and compact. An AH-1 is much larger, esp. longer!
This kit has already seen one build OOB and was later re-painted, with doubtful colors, paints and methods. With rising personal execution standards, the kit disappeared from the “public collection” about 15 years ago, legitimately. But now it is back with a vengeance!
Fortunately, the disassembled kit was 90% complete, just some parts missing, but I would do some conversion, anyway, to have a personal variant. The NIB kit would be built in the official livery.
But before anything could be done, the thick(!) color coat had to go. Sanding was no option, so I used the slow method of bathing the parts in brake fluid for about one week, with frequent scrubbing with a tooth brush. Patience paid out and the original, bare surface was revealed with only minor suffering, and paint residue could easily be scraped off later.
Since some parts were missing, some modifications were made:
The original rotor was still there, but not its axis. Besides, I wanted to add a display to the kit to show it in flight. I used the original rotor head, but replaced the blades with a self-made disc from thin clear plastic, which mimics the rotation blur. The same technique was also used for the stabilizer rotor.
Since the original gatling gun part was missing, I decided not to build one from from scratch but implant a three-barreled 20mm turret from an AH-1W. The orginal gun cowling could be used, though, and the small turret blends well with the Duey's lines. The AH-1W's sensor turret from its nose was salvaged and implanted on the Duey, too.
Ordnance was changed, too, but not the hardpoints. Instead of the massive 7-rocket-launchers and the twin missile starters I went for classic ordnance: two huge FFAR starters (Russian style) and six Hellfire missiles, mounted on a TER. This is not "authentic", since the TER is supposed to hold just bombs, but, heck! It looks cool - and justifies the small sensor turret in the Duey's nose as a target designation instrument.
The clear canopy was in bad shape, poor painting. I wet-sanded the piece, and later polished. Even though this cleaned the clear piece, the canopy still is a bit milky, but overall O.K.
The pilot figures could not be saved. Searching for replacements I found them to be VERY small - they seem to be 1:100, not 1:72 scale! I tried fitting 1:72 pilot figures, but there was no space, so I went for slightly converted 1:87 scale (HO gauge) soldier figures from Preiser, which also offered some posing options and were much more slender than the original pygmies.
For painting, instead of the "official" Dougram livery (all sand with some contrasts in dark green and with red rocket launchers), I wanted a true desert camouflage scheme. Since I find the USMC livery for helicopters from the 80ies quite attractive (a wrap-around scheme in light grey, olive and black), I decided to use the respective paint scheme from the AH-1 and replace colors, which became Middle Stone (a WWII RAF tone, very yellow-ish - I like to call it mustard yellow), Leather (for a red earth tone, but different from FS30219) and Brown Bess (Humbrol 225, 62 and 170, respectively). Pretty harsh contrasts, but together with the paint scheme this effectively breaks up the helicopter's lines, and later, weathering would tone things down anyway.
After basic painting, a light ink wash with black was applied, some weathering through light dry painting, and letters and stencelling from an aftermarket A-10 decal sheet. A matte varnish coat sealed everything in place, and, finally, exhaust stains and guns moke were simulated with grinded soft pencil mine. Some light dry painting with silver emphasized leading edges.
The display is a soft iron wire, which is attached to a heavy base. The respective female plug is a simple polystyrene tube hidden in the kit's belly, which allows simple detachment and is almost invisible.
A simple kit, nothing complicated. It is not as crisp as if built right from the box, but I am happy that I finally resurrected this one, too, since these kits become more and more a rarity ;)
The execution post inside the Town Hall yard at Poperinge.
At least five executions were carried out here.
Posted with permission of Anne & George Rennison.
legos will be spilt this night!
I used a single flash(580EXII) inside of a westcott apollo softbox at camera left and triggered with pocket wizards TT1. shot at 1/400th to take down the ambient light.
1st panel, top: The execution of Maximilian in 1867.
Maximilian of the House of Hapsburg was an Austrian archduke who was proclaimed Emperor of Mexico with the backing of France and Mexican monarchists. Republican forces led by Benito Juárez, refused to recognize his administration. When France withdrew its military support after pressure from America, Maximilian and his generals were captured and executed in 1867. His last words were, "I forgive everyone, and I ask everyone to forgive me. May my blood which is about to be shed, be for the good of the country. Viva Mexico, viva la independencia!".
In the mural, the imperial eagle of the Hapsburgs flies away from Mexico, towards Europe after Maximilian's death.
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1st panel, bottom: Indians constructing new buildings and the branding of Indian slaves by the Spanish conquistadors.
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Between 1st & 2nd panel, middle: Hernán Cortés and his Mexican mistress La Malinche, with their son Martin. Below this is the suppression of the Mayan culture with the burning of the Mayan codices & manuscripts by the Bishops Juan de Zumárraga and Diego de Landa.
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2nd panel, top: The Mexican Revolution (1910-20).
On the left side is the dictator Porfirio Diaz. His policies gave most of Mexico's resources away to foreign companies, as shown by the various industries in the background.
On the right are the leading Revolutionaries. Notable figures are Otilio Montaño who is the figure wearing his headband. He stands next to Emiliano Zapata, a leading figure in the Mexican Revolution. Pancho Villa is the figure sporting a macho mustache and wearing the sombrero.
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2nd panel, middle: An auto-da-fé during the Inquisition in Mexico. The figure in glasses to the left side of the heretics is the archbishop Juan de Mendoza and the religious figure to the right is Pedro Moya de Contreras who was the inquisitor general, and archbishop & Viceroy of Mexico.
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2nd panel, bottom: A Conquistador rapes an Indian woman and behind him, native Tlaxcaltecans who sided & fought alongside with the Spanish.
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3rd panel, top: Banner with the Zapatista slogan "Tierra y Libertad" (Land and Liberty). From left to right above the banner are Emiliano Zapata (the revolutionary leader), Felipe Carrillo Puerto (governor of Yucatán), and José Guadalupe Rodríquez..
On the top left are Álvaro Obregón Salido and Plutarco Elías Calles. Both were key players in the Mexican Revolution. Alvaro Obregón Salido was was a Mexican farmer and general who became President in 1920. Plutarco Elías Calles was a Mexican general and politician who suceeded Obregón as President.
Below Álvaro Obregón in the mural are Agustín de Iturbide (in red and white regal costume) and Vicente Guerrero (in red vest holding the banner).
At the end of the Mexican War of Independence, the Army of the Three Guarantees was created to fight Spanish royalist forces which refused to accept Mexican independence. The army was formed from the unification of the Spanish troops led by Agustín de Iturbide and the Mexican insurgent troops of Vicente Guerrero. The decree creating this army stated the three guarantees which it was meant to defend: religion, independence, and unity.
In the mural, Vicente Guerrero is holding the flag of the Three Guarantees. On 27 September 1821, Iturbide led the Army of the Three Guarantees triumphantly into Mexico City; the following day Mexico was declared independent.
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3rd panel, centre: Miguel Hidalgo's response to the Spanish prohibition against growing grapes to protect the sales of Spanish imports of the items.
Miguel Hidalgo, was a Mexican priest and a leader of the Mexican War of Independence. He tried to help the poor by showing them how to grow olives and grape. In 1810 he gave the famous speech, "The Cry of Dolores", calling upon the people to protect the interest of their King Fernando VII (held captive by Napoleon) by revolting against the Spaniards. He led an army of poor farmers & civilians across Mexico, but was eventually defeated and killed by the Spanish.
The figure holding the sword is Martín Cortée (son of Hernán Cortés and La Malinche). He was educated in Spain and returned to Mexico in 1563. However, he was accused of conspiracy against the Crown and subsequently imprisoned, tortured and sentenced to indefinite exile in Spain, never to return to Mexico.
Eagle clutching the Aztec symbol of war, the Atl-Tlachinolli ("burning water").
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3rd panel, bottom: The siege of Tenochtitlan 1521.
Tenochtitlan was the capital of the Aztec Empire. During the Spanish conquest of the Aztec Empire, Hernán Cortés allied with rivals of the Aztecs, including the Totonacs, and the Tlaxcaltecas. Cortés fought numerous battles against the Aztecs, but it was the siege of Tenochtitlan in 1521 that was the final and decisive battle that led to the downfall of the Aztec civilization.
Cuauhtémoc was the Aztec ruler of Tenochtitlan at the time of the siege. His name means "One That Has Descended Like an Eagle". As Tenochtitlán fell to the Spanish, Cuauhtémoc was captured and tortured by Hernán Cortés. In 1525, he was hanged for treason while accompanying a Spanish expedition to Guatemala.
In the mural, Hernán Cortés is on horseback with vizer up leading the attack. Beneath him are indigenous peoples who fought alongside the Spanish against the Aztecs.
Cuauhtémoc is dressed in an eagle costume, leading the defense of Tenochtitlán. Next to him is a priest who offers up a Spanish victim's heart. Next to the Priest is Cuitláhuac, who ruled Tenochtitlan for just 80 days and was succeeded by Cuauhtémoc. Cuitláhuac died of smallpox that had been introduced to the New World by the Europeans.
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4th panel, top: The Federal Constitution of the United Mexican States of 1857.
The Constitution of 1957 was ratified on February 5, 1857 establishing individual rights for Mexicans such as freedom of speech, freedom of the press and the right to bear arms. It also reaffirmed the abolition of slavery.
However, some of the reforms curtailed the power of the Catholic Church, restricting their privileges and forcing the sale of property belonging to the church.
In the mural, Benito Juárez who was the President of the Republic, is seen holding the constitution.
In the background are men with pick-axes destroying churches and the door of the central church is already destroyed.
Between the monk and the Pope is Antonio López de Santa Anna, president of Mexico on several occasions. He was corrupt and funneled government funds into his own pockets.In 1855 a group of liberals led by Benito Juárez and Ignacio Comonfort overthrew Santa Anna and fled to Cuba.
Opposite Antonio López de Santa Anna is Miguel Miramón - a staunch conservative who opposed the Constitution of 1857 and fought in the War of Reform. In 1867, he was shot for treason on the order of President Benito Juárez. The broken sword held by Miguel Miramón in the mural represents his betrayal of Mexico.
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4th panel, centre: The New Laws of 1542.
The New Laws of 1542 were created to prevent the exploitation of the Indigenous peoples of the Americas by the Encomenderos. This included its solemn prohibition of their enslavement and stated that the natives would be considered free persons and the encomenderos could no longer demand their labour.
The Spanish missionary Bartolomé de las Casas was instrumental for the creation of the New Laws, who was able to influence the King to sign the New Laws. His active role in the reform movement earned Bartolomé de las Casas the nickname, "Defender of the Indians".
In the mural, Bartolomé de las Casas is seen holding a cross shielding Indigenous people from the Spanish conquerors. A stone serpent sculpture is used as a Christian baptismal font to baptise Indigenous people.
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5th panel, top: The Mexican–American War (1846-48).
The Mexican–American War started after the 1845 U.S. annexation of Texas, which Mexico considered part of its territory.
The mural shows scenes of the Battle of Chapultepec in September 1847. Nicolás Bravo was the Mexican general who led the troops defending Chapultepec Castle.
In the mural, Nicolás Bravo is holding his sword in front of the Mexican troops. Chapultepec Castle is in the background and the flying eagle holds the Aztec symbol of war, the Atl-Tlachinolli.
The National Palace, Mexico City.
"9956-- Execution by the Garrote in the Yard of the City Prison, Havana, Cuba" copyright 1899 B.L. Singley, Keystone View Company
More photo's of Auschwitz here
Auschwitz-Birkenau was the largest of Nazi Germany's concentration camps. Located in German-occupied southern Poland, it took its name from the nearby town of Oświęcim (Auschwitz in German), situated about 50 kilometers west of Kraków and 286 kilometers from Warsaw. Following the German occupation of Poland in September 1939, Oświęcim was incorporated into Germany and renamed Auschwitz. The word Birkenau means 'Birch tree' of which there are many surrounding the Birkenau area of the complex.
The complex consisted of three main camps: Auschwitz I, the administrative center; Auschwitz II (Birkenau), an extermination camp or Vernichtungslager; and Auschwitz III (Monowitz), a work camp.
The camp commandant, Rudolf Höss, testified at the Nuremberg Trials that up to 2.5 million people had died at Auschwitz. The Auschwitz-Birkenau State Museum revised this figure in 1990, and new calculations now place the figure at 1.1–1.6 million, about 90 percent of them Jews from almost every country in Europe. Most of the dead were killed in gas chambers using Zyklon B; other deaths were caused by systematic starvation, forced labor, lack of disease control, individual executions, and so-called medical experiments.
www.auschwitz.org.pl/new/index.php?language=EN&tryb=s...
en.wikipedia.org/wiki/Auschwitz_concentration_camp
Henri Regnault (1849-1871)
Summary Execution under the Moorish Kings of Grenada
1870
Oil on canvas
H. 305; W. 146 cm
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Henri Regnault was born in Paris in 1843 and killed in 1871 in one of the last battles of the Franco-Prussian war. Yet the young man had already made a name for himself in the Paris art scene. After winning the Prix de Rome in 1868, he was the first not to spend the three compulsory years in the Italian capital that went with the prize but obtained permission to discover other cultures. He went to Spain, whence he sent to the Salon of 1869 the gigantic painting General Juan Prim, also in the Musee d'Orsay, then briefly to North Africa, bringing back a number of astonishing canvases, flooded with light.
Taking his inspiration from local legends, he painted this Summary Execution under the Moorish Kings of Grenada in 1870. Against an architectural background based on the Alhambra in Granada and infused with an orange glow, Regnault has painted a scene of decapitation. The low angle and vigorous rising composition give the main character an imposing presence.
The executioner's detached attitude and commonplace gesture contrast with the foreground in which the blood dripping down the steps joins the severed head to the body. The colours also take part in this opposition because the executioner's caftan, which picks up the orange tones of the background, contrasts with the victim's green and black clothing.
The painting was acclaimed by the critics and bought by the State from Regnault's heirs, in 1872, to honour the artist's memory in the Musée du Luxembourg, Paris.
Taken at Swatch FIVB 11 in Stavanger in July.
All copyrights are reserved, if you are interested in using any of the photos please contact me via flickr mail or at arild.barka@gmail.com
Sometimes, when I get an idea, I have to try and execute it. Even if that means doing it with no makeup, still in pj's with REALLY bad bed hair.
Here's a repeat of a capture from 2009...I love bringing it, and the story, back again as it brings back the wonderful memory of the visit with some old friends that I seldom see...and came back with this shot!
"Mr. Tom T. Gobble, it is my pleasure to inform you that a last minute phone call from the Governor of the State of Alabama has granted you a permanent stay of execution..."
LOL...actually this guy was never subject to becoming Thanksgiving Dinner...he and several other turkeys are the beloved pets of my friends Gladys and David and they would never let any harm come to them...they are part of their family! Many thanks to them for giving me the opportunity to have this fine fellow added to my photostream for Thanksgiving! : )
property of the Metropolitan Museum of Art, New York
for educational purpose only
please do not use without permission
Dublin Bus (Summerhill Depot) Leyland Olympian RH31 parks up on Kildare Street operating the Dublin Bus Ghost Tour, March 2014.
Although AV63 has been completed for the tour more problems mean RH 31 will probably last a little longer on the ghost tour than previously thought.
democracystreet.blogspot.com/search?q=execution+island
See also: www.flickr.com/photos/sibadd/3748190033/
Jim Potts wrote to me 'I am interested in the suggestion that Theodorakis' brother may have been buried on Lazaretto Island. What is your source for this information? It seems very unlikely to me. I have a book in Greek about all the executions that took place, and I do not recall any mention of this. Jim
Jim. My source went unchecked. See the comment by Kerkira (Jenny Mulder) - on this photo.
(quote) This is a photo of the islet Lazaretto. Lazaretto was the execution area for at least 112 political prisoners of Corfu between 1942-1944 and 1947-1949. A couple of years ago an old man told me terrible stories how people (mostly communists from the Epirus Mainland) were executed there. To make things legal there was even a public prosecutor present during the executions. The brother of Mikis Theodorakis is also buried here. Every year Mr Theodorakis comes to Corfu to visit the grave of his brother (unquote)
On reflection I wonder if 'brother' might mean 'comrade'. The album of songs that Theodorakis composed supplemented this account - To Tragoudi Tou Nekrou Adelfou-Lipotaktes
en.mikis-theodorakis.net/index.php/article/articleview/31...
Message from Jim Potts on 16 July 2012: Simon, Now back in Corfu for a few days. Today will be the hottest day of the year. Anyway, I checked the book by the Lazaretto Association: "Yia sas adelfia: The Corfu and Lazaretto Prisons 1947-1949" (in Greek; Athens 1996). It has a complete list of all those who were executed- ten pages with all relevant details of 112 people. No mention of any Theodorakis. I don't think the book contains any mention of a visit to Lazaretto by Mikis Theodorakis, so if "The Ballad of the Dead Brother" drew any inspiration from Corfu's Lazaretto Prison, I imagine it would have been part of a more general sense of the tragedy of a fratricidal civil war. Jim
See also: somatio-lazareto.gr/el/
Taken during flickr meet 1 Feb 2009. Not sure what the dude is doing to the ghost, but it looks like an execution...
Edouard Manet - Execution of emperor Maximilian (second version, later cropped and still later put together again) [1867-68] - London NG
Who wants to know more about the historical background, why archduke Maximilian of Hapsburg entered in the Mexican adventure may read the following article:
www.holocaustianity.com/hysteria/maximilian.html
More about the history of Manet's paintings:
1) en.wikipedia.org/wiki/The_Execution_of_Emperor_Maximilian
2) www.moma.org/interactives/exhibitions/2006/Manet/
or
www.moma.org/interactives/exhibitions/2006/Manet/detail_f...