#Whitechapel Murders

[savage-kult-of-gorthaur]

"MY KNIFE'S SO NICE AND SHARP, I WANT TO GET TO WORK RIGHT AWAY..."

PIC(S) INFO: Part 2 of 2 -- Spotlight on Jack the Ripper 6 inch action figure by McFarlane Toys, part of McFarlane's Monsters Series 3 "Six Faces of Madness," released in June 2004. 📸: Dave Evans & RK*Pictures.

"Grand work the last job was. I gave the lady no time to squeal. How can they catch me now."

-- JACK THE RIPPER, excerpt from the "Dear Boss" letter, dated 25 September 1888

Source: www.flickr.com/photos/54293526@N00/3117874746 (Flickr 3x).

[dramyhsturgis]

ICYMI, my talk “Whitechapel ‘What Ifs’: Evolving Perspectives on the Autumn of Terror in Science Fiction” is now on Rippercast.

[askmalal]

ARCHIVE M: Transmission 1

No: 3531

SECURITY STATUS: Restricted

CLASSIFICATION: Audio-Visual Equipment

RECOVERY: M35,20,1:6

ACQUIRED BY: Saul/DUP/.omicron, Mechanicus

ACQUISITION CONDITIONS: Archaeotech Dig

PROVENANCE: Albia, Terra, M1,19.

PRIMARY INVESTIGATOR OBSERVATIONS:

Collected artifact/item/device from Albia:Brittanicum:North Europa. Archaeotech Dig investigated M1,19 urban site (Londinium Tertius.)

Item is a pict-capture device, monochromatic,photogram,manual. Very early type, using photographic plates. Metal, wood, and rubber construction. Arcane Machine Spirit.

Words “Goulston Street” etched with dull blade/edge of metal tool in precisely eleven locations scattered around the surface of the device.

There is a mounting point for a tripod; the tripod is missing.

Remarkable condition, otherwise.

OBSERVED DEVIANCE:

Subject appears to function as a standard archaic pict-capture machine. However, upon use as such, images developed using Subject are imprinted with hand scrawled graffiti that reads as follows, unaltered:

“The Juwes are the men who will not be blamed for nothing.”

This graffito/inscription/epigraphy appears to have been taken from another photograph, a sort of layering. Writing in primitive pigment, ink, or painting. Handwriting style hurried, frenetic. Likely male hand, human. Does not correspond in any way to words “Goulston Street” carved on exterior of device casing. Writers of the two are different individuals, in our estimation.

A) This was initially believed to be a problem within the inner glass/silicate/ reflective lenses, but replacing these portions of Subject did nothing to appease the Machine Spirit.

B) Acolytes removed each part still present within Subject and replaced them with replicated pieces of the originals. These did nothing to change presence of graffito/inscription/epigraphy.

C) Acolytes attempted replacement of parts with new designs intended to serve same role, accommodate archaeotech design. In no instance did this have any effect upon the presence of graffito/inscription/epigraphy.

Indeed, in all cases, when at least one portion of the original device was present, no matter how insignificant (connective screws, lense caps, etc.), the same graffito/inscriptive/epigraphy appears.

Meaning/Intent/Purpose unclear. Preservation/Archive/Isolation recommended.

ADDENDUM 1

ADDED, ARCHIVE M - Orator/SIM/.psi

ADDENDUM 2

Investigative Notes, Legion Relictory.

Research Notes 1, K.:

We have been able to replicate the same results, and can tell you that the notes by the Martian investigators remain applicable. ANY portion of the original device, when attached to Subject, seems to replicate effect.

One could, of course, completely reconstruct the device in entirety, and this would in theory remove the observed manifestation.

Research Notes 2,K:

Attempted reconstruction using entirely replicated parts. No repeated effect, except for a lovely if utterly arcane and somewhat useless pict-capture device.

Research Notes 3, A:

At request of Krateros, tests were conducted using replicated pict-capture device (hereafter: "Camera"), with portions of Subject within varying ranges (5, 50, 500 meters) of Camera. Camera unaffected by presence of Subject or portions thereof. We hesitate to replicate markings seen on original. Recommend redirection to Librarius for further analysis.

ADDENDUM 3

Remarks by Epistolary-Sergeant Tyche:

Under controlled conditions, markings were reproduced in "Camera." Analogous effect failed to manifest. No Warp energy detected within "Camera."

Remarks by Epistolary-Centurion Monroe:

This thing fairly reeks of Warp energy, but we cannot determine source. No apparent corruption of individuals handling or exposed to Subject. Recommend redirection to Epistolary Primus.

ADDENDUM 4

Remarks by Legionary-Archivist Kalinekos:

Epistolary Primus has asked us to investigate the history of these devices and referenced inscription. Nothing unusual stands out beyond the provenance of the name "Goulston Street," which seems to refer to a series of notorious homicides sometime in M1,19. "Goulston Street Graffito" referenced by archival materials. Subject's connection unclear.

Remarks by Legionary-Archivist Bolobeo:

Looked further into "Goulston Street Graffito" at request, Epistolary Primus. Regret records quite fragmentary. M30 period reconstruction of archives suggests series of murders, unsolved.

Remarks by Legionary-Archivist Kalinekos:

We had a look at this. A very close look. We are completely stumped here. Requesting further instructions from Legionary Epistolary-Primus.

TRANSMISSION ENDS

ENCRYPTED...

....

....

THOUGHT FOR THE DAY:

"To the Strongest."

- The Emperor (Alexander the Great), M-1

[hauntingsoundtracks]

From Hell, directed by Albert and Allen Hughes

Whitechapel Murders, original soundtrack by Trevor Jones

[playitagin]

Apr.03.1888 – Jack the Ripper: The first of 11 unsolved brutal murders of women committed in or near the impoverished Whitechapel district in the East End of London, occurs.[11]

[tonyrossmcmahon]

Jack the Ripper and Walter Sickert!

How did the artist Walter Sickert come to be a suspect in the Jack the Ripper killings? The theory goes back over fifty years - if not further!

Since 1888, so-called Ripperologists and the wider true crime loving public have been trying to discover the identity of Jack the Ripper – the killer who murdered several women that year in London’s east end. Suspects have included royalty, Freemasons, psychopaths, and Americans. But one of the more intriguing candidates has been the painter Walter Sickert (1860-1942). The 1907 Camden Town…

[thetemplarknight]

Jack the Ripper and Walter Sickert!

How did the artist Walter Sickert come to be a suspect in the Jack the Ripper killings? The theory goes back over fifty years - if not further!

Since 1888, so-called Ripperologists and the wider true crime loving public have been trying to discover the identity of Jack the Ripper – the killer who murdered several women that year in London’s east end. Suspects have included royalty, Freemasons, psychopaths, and Americans. But one of the more intriguing candidates has been the painter Walter Sickert (1860-1942). The 1907 Camden Town…

[k-i-l-l-e-r-b-e-e-6-9]

𝔚𝔥𝔦𝔱𝔢𝔠𝔥𝔞𝔭𝔢𝔩 - 𝔄𝔩𝔬𝔫𝔢 ℑ𝔫 𝔗𝔥𝔢 𝔐𝔬𝔯𝔤𝔲𝔢

[s-e-c-t-i-o-n-8]

[andrewmannequin]

Suicide Silence - Green Monster

[blamed-for-nothing]

Stay with me here... he didn't really die at Ford's Theater...

[savage-kult-of-gorthaur]

"FROM HELL..."

PIC INFO: Part 2 of 2 -- Spotlight on more promotional images for the Jack the Ripper 6 inch action figure by McFarlane Toys, part of McFarlane's Monsters Series 3 "Six Faces of Madness," and released in June 2004.

NOTE: All misspellings are deliberate on account of the vocabulary-averse writer:

"...Mr Lusk, Sor I send you half the Kidne I took from one women prasarved it for you tother piece I fried and ate it was very nise. I may send you the bloody knif that took it out if you only wate a whil longer signed Catch me when you can Mishter Lusk."

-- "FROM HELL" letter, which may or may not have been written by Jack the Ripper, postmarked October 15, 1888

Sources: https://whitechapeljack.com/the-ripper-letters & https://action-figure-district.de/mcfarlane-horror.

[thisaintascenereviews]

I Was Wrong About Deathcore

Deathcore as a genre has gone through quite a transformation over the last 20 years, especially in its early years. Bands like Bring Me The Horizon, Veil Of Maya, All Shall Perish, Suicide Silence, Whitechapel, and Job For A Cowboy brought forth a style of metalcore that took death metal elements into the fold, creating a heavier and more menacing sound. Unfortunately, the metal community hated it, and deathcore was mocked incessantly by the metal community. I remember countless metal publications crapping all over the genre, like it was nothing, and many elitists would say it’s not “real metal,” which you also heard with metalcore, but look at how big both genres are now. In retrospect, those people that doubted the genre and mocked it, their comments haven’t aged well, because both of these genres are insanely huge. Deathcore, in particular, is doing well for itself, but it wasn’t always like that. You can say the same for metalcore as well, and I’ve got a piece in the works about that, but for now, let’s talk about deathcore, and where it’s been for the past decade and where it may potentially go in the future.

I’ve expressed before that I’m just not into the genre anymore, but I’ve recently spent some time with a handful of albums, both from bands I know and bands I don’t, and I’ve come to the realization that I was wrong about the quality of the genre over the last few years. That’s not to say I’m a diehard fan now, but I wanted to write this piece to explain how I went from loving the genre as a teenager to not being much of a fan in my late 20s, only to enjoy it more now at 30. It seems like things like this go full circle, because I was the same way with metalcore as well, and only up until about five or six years ago, I didn’t really listen to a lot for the longest time. I loved deathcore in high school, partially because it was the “heaviest” music I had ever heard, at least at the time. I had already been a fan of metalcore, but deathcore was even heavier. The genre reached its peak in the early 2010s with the second coming of the genre, and that included Carnifex, Whitechapel, Thy Art Is Murder, and a lot of other bands. Those bands were already around, but they only ended up getting bigger. After a certain point, however, I saw the genre start to turn to how heavy and “brutal” a band could get, instead of writing good songs.

One of my biggest issues with heavier music that I run into a lot, depending on the genre, is that bands never know how to write a cohesive song, and instead, they want to be as heavy and brutal as possible, as well as cram as many riffs and breakdowns as possible. Bonus points if the vocalist sounds like a garbage disposal as well. I see this in progressive metal a lot, too, where the bands play as intricately and technical as possible, but they can’t make a catchy or accessible song worth a damn. There was a point where I thought musicianship was more important, but I don’t think so these days. These days, I’m more into listening to catchy and accessible stuff that has something to go back to, versus something that sounds impressive. Sure, you can play your instruments well, but why should I care if I don’t have anything to go back to? Deathcore has been going in that direction recently, being that bands are starting to be more accessible and memorable, versus trying to be as heavy and brutal as possible.

Lorna Shore’s latest record, Pain Remains, is a good example of that, but at the same time, that album is a good example of being over the top and overblown. Pain Remains is at an 11 constantly with its brand of symphonic and blackened deathcore, and while the album does try to get heavy and brutal, there is a lot of variety in both the musicianship and vocals. I reviewed that album a couple of years ago, and my biggest issue with it was how intense and over the top it was, but I don’t think it bothers me as much now, because I just needed to sink my teeth more into it. I didn’t spend enough time with it, and I see the album’s importance now, but I will admit that it’s a very overwhelming album at times, because it throws a lot at you. It throws a lot of different things, though, and that’s a good thing. Relistening to that album recently made me dive back into the genre for a bit, including the new Carnifex album from last year, Necromanteum. I liked that album a lot when it came out, despite it being pretty similar to what they’ve been doing, but Carnifex is a good example of a deathcore band that has more going for them than just being brutal and heavy. They utilize symphonics as well, and black metal riffery, so there’s more or less a good amount of variety on the album.

I’ve listened to a handful of other things, including the new Drown In Sulphur album, Dark Secrets Of The Soul, and I will say that blackened deathcore has become the new trend of the genre, aside from being brutal and heavy, but it all depends on the band’s ability to execute it. Like with all trends, it’ll fade, and the next new thing will come, but it looks like bands trying to be as brutal as possible is the thing of the past and the blackened deathcore sound is what’s big, so I’m looking at the genre with some optimism again, and I’m enjoying some of what I’m hearing. Another great album I’ve been into is the debut Ov Sulfur album, The Burden Ov Faith, in which the band tackles symphonic and blackened deathcore, along with some metalcore and hard rock influence by including clean vocals on the majority of the record.

It’s not that I don’t like bands being really heavy and brutal, it’s that I don’t care for it when that itself is the gimmick. There’s nothing with merely doing that, and sounding like that, but I want there to be more at this point in time. Maybe 20 years ago, it was new and fresh, but now it’s boring and played out, so I’m happy to see a band like Lorna Shore really do something with that. Other bands are following suit, and who knows where the genre will go in the next few years, especially when this trend dies down, but if this is where the the genre is now, I could get into this. Deathcore may not reach the same heights it did ten years ago, but times change, and it’s great to see some newer bands carrying the torch for any certain style of music.

[conradscrime]

The Canonical Five: Mary Jane Kelly

April 02, 2023

Mary Jane Kelly is who is known as Jack the Ripper’s 5th and final canonical five victim, however, there is much less information known about her upbringing compared to the other four women. 

It is believed by many that the information we do know about Mary Kelly is embellished, with her having fabricated details that are known about her early life. 

The man Mary Kelly had most recently been living with before her murder was named Joseph Barnett, and he later claimed Mary had told him she was born in Limerick, Ireland around 1863 and her family had moved to Wales when she was a child. 

Supposedly Mary Kelly had told an acquaintance that she had been disowned by her parents, but she was close with her sister. It was said from Joseph and Mary’s landlady that she had come from a somewhat wealthy, good family. Joseph also claimed Mary confirmed she had seven brothers and at least one sister. 

Mary’s landlord, a man named John McCarthy claimed she had received mail from Ireland, but not regularly. It was also believed that Mary was illiterate, as Joseph claimed she would ask him to read her the newspaper reports of the Jack the Ripper killings. 

Though it’s been reported Mary had blonde or red hair, she went by the nickname of “Black Mary” suggesting she actually had quite dark hair. She also had blue eyes and some claimed to have known her as “Fair Emma.” It is estimated that Mary stood at about 5′7″ tall, and some said she was quite attractive. 

On November 10, 1888, the day after her murder,

the Daily Telegraph

described Mary as “tall, slim, fair of fresh complexion, and of attractive appearance.” 

In 1879, at around the age of 16, Mary married a coal miner named Davis or Davies who ended up getting killed 2-3 years later in a mining explosion. After this, Mary lived with a cousin in Cardiff, and this is where it is believed she started being involved in sex work. 

In 1884, Mary left Cardiff and moved to London, where she worked as a domestic servant while lodging in Crispin Street, Spitalfields. In 1885, it’s believed she moved to the district of Fitzrovia. 

Mary eventually began working in a high class brothel in the West End of London, becoming one of the most popular girls. She did quite well for herself and bought expensive clothes and hired a carriage at this time. Supposedly Mary had met a client named Francis Craig who took her to France, but she returned to London two weeks later, not having liked the France life. 

It is believed that in 1885 Mary Kelly began drinking heavily. She moved around quite a bit lodging with different women and different men around this time. 

It was on April 8, 1887, that Mary Kelly met Joseph Barnett, with the pair agreeing to live with each other after only knowing one another for a day. They lived in George Street, and soon a place called Little Paternoster Row, but were evicted for not paying rent and of drunk and disorderly conduct. 

In early 1888, the two moved into 13 Miller’s Court, a single room a the back of 26 Dorset Street, Spitalfields. Mary had lost her key to the door, so she would bolt and unbolt the door from outside, putting her hand through a broken window by the door. A neighbour claimed Mary had broken the window when she was drunk, and a man’s coat often was used to act as a curtain. 

It was said by Mary’s friend Lizzie Albrook, that Mary was sick of how she was living in 1888 and wanted to go back to Ireland. Her landlord said that she was a quiet woman when she was sober but very noisy when drunk. When Mary was drunk she often could be abusive to people, and was nicknamed “Dark Mary.” 

Joseph lost his job as a fish porter in July 1888 due to committing theft, and because of this, Mary turned back to sex work. Mary would often let other sex workers sleep in their room at night when it was really cold because she did not have it in her to refuse them shelter. 

It is believed that on October 30, 1888, Joseph moved out as him and Mary got into a fight about a sex worker named Julia sharing their room with them. Between November 1 and November 8, Joseph visited Mary almost everyday, sometimes giving her money. 

The last time Joseph visited Mary was between 7-8 pm on November 8, 1888. Joseph claimed Mary was with her friend, Maria Harvey and that he did not stay long. He also apologized to Mary for not having any money to give. It is reported that both Joseph and Maria left Miller’s Court at the same time. 

Joseph went back to his lodging house and played cards, falling asleep around 12:30 am. Before Joseph left Mary that night, her friend Lizzie Albrook also visited. Lizzie claimed Mary was sober. 

In the evening, Mary reportedly had one drink in the Ten Bells public house with a woman named Elizabeth Foster. Later on, Mary was seen drinking with two other people at the Horn of Plenty pub on Dorset Street. 

A sex worker named Mary Ann Cox, who also was a resident of Miller’s Court claimed to have seen Mary going home drunk with a stout, ginger haired man, around the age of 36 at 11:45 pm. The man was wearing a black bowler felt hat, had a thick moustache, had blotches on his face and was holding a can of beer.

Mary Ann actually had spoken to Mary Kelly, they both said goodnight. Mary Kelly then entered the room with the man. Mary Ann heard her singing the song, “A Violet from Mother’s Grave.” She was still singing when Mary Ann left her place at midnight, and when she returned an hour later around 1 am. 

Elizabeth Prater lived in the room directly above Mary Kelly. She reportedly went to bed at 1:30 am, and the singing had stopped. 

A man named George Hutchinson who knew Mary, claimed he had met up with her around 2 am on November 9, 1888 on Flower and Dean Street. Mary had asked George for a loan of sixpence, though he claimed to be broke. George said Mary Kelly walked toward the direction Thrawl Street when she was approached by a man of “Jewish appearance.” 

The man was looked to be about 34-35 years old and George said he was suspicious of him because while it did seem like Mary knew him, his appearance made him look suspicious in that particular part of town. It was also said that this man made an obvious effort to disguise his looks from George, having his hat covering over his eyes as he passed. 

George provided police with a very detailed description of said man, and told them he had overheard Mary talking with the man, complaining she had lost her handkerchief, and the mysterious man gave her a red one that he had. George heard Mary say to the man, “Alright my dear, come along. You will be comfortable.” And then the two walked into 13 Miller’s Court with George following them, though George never saw either one of them again. 

A laundress named Sarah Lewis also claimed she had been walking in the area to meet up with friends around 2:30 am, when she noticed two or three people standing near the Britannia pub, among the people was a nicely dressed young man with a dark moustache and he was talking to a woman. 

Both the man and woman appeared to be drunk and there was a poorly dressed woman standing near them. Opposite from Miller’s Court, Sarah said she saw a stout looking shorter man standing at the entrance to the courtyard. Sarah also saw an obviously drunk woman with a man further up the courtyard. 

Mary Ann returned to her room around 3 am that morning and claimed she did not hear or see any light coming from Mary Kelly’s room at the time. She did think she heard someone leaving at around 5:45 am. 

Elizabeth Prater who lived in the room above Mary Kelly and Sarah Lewis who was sleeping at 2 Miller’s Court that night both reported hearing a faint cry that said “Murder!” between 3:30 and 4 am, but didn’t do anything about it because this was common to hear cries in the area. Sarah Lewis said it was only one scream so she did not think much of it. She also claimed she did not sleep that night and heard people coming and going out of the court throughout the night. 

Elizabeth Prater said she left her room at 5:30 am to walk to the pub for a drink, but saw nothing out of the ordinary. 

On the morning of November 9, 1888, Mary’s landlord sent his assistant to collect the rent. Mary herself was 6 weeks behind, owing 29 shillings. Shortly after 10:45 am, the assistant knocked on her door but got no response. He tried to then turn the handle, but the door was locked. He looked through the keyhole but did not see anyone in the room. 

Using the broken window, he peered inside the room and found Mary Kelly, completely mutilated lying on the bed. She was estimated to have died 3-9 hours before she was discovered. 

The assistant ran to tell the landlord, and then went to inform the police. The assistant immediately told the police it was the work of Jack the Ripper. A surgeon came to look at the body, and police gave orders to prevent anyone from entering or exiting the yard (I know, impressive for 1888 police work.) 

Bloodhounds were sent in, but it appeared to be impractical. It appeared that women’s clothing had been burning, and authorities believed Mary Kelly’s clothes were burnt by the murderer to provide light so they could see what they were doing. 

Joseph Barnett identified Mary Kelly’s body, he could only identify her by the ear and her eyes due to the severe mutilation. 

The mutilation done to Mary Kelly was the most extensive of all of the Whitechapel murders, with many believing it’s due to the fact that the Ripper had more time to commit this one in a private setting. 

During the autopsy it was noted that it most likely took 2 hours to perform all of the mutilations on Mary’s body, the death was further estimated to have occurred between 2 to 8 am. 

Her body was found lying naked in the bed, her head turned on the left cheek. Her legs were left wide apart, the whole surface of the abdomen and thighs were removed and her abdominal cavity was emptied (but later said there was food found in it). Her breasts were cut off, her face was hacked beyond recognition, gashes occurring in all directions. Her ears were partly removed. 

Her neck was cut through the skin and her other tissues were cut down to the vertebrae. Her air passage was cut at the lower part of the larynx. Her heart was taken. There was also blood splatters on the wall, lining up with her cut throat.

She had a superficial cut on her thumb, which some believe was caused while she tried to defend herself from her attacker. 

It was believed during the autopsy that Mary Kelly had been killed from a slash to her throat, and the mutilations were performed after she had died. It was not believed that the murderer had any medical knowledge. 

The inquest into Mary’s death began on November 12, 1888. After testimony, the jury had a short deliberation and the verdict was that Mary Kelly had been murdered by a person or persons unknown. 

Police did house to house questioning trying to get answers as to who murdered Mary Kelly. A few people claimed to have seen Mary on the morning of November 9, after she had supposedly been murdered, though police could not find anyone to corroborate those sightings, as well as the descriptions of Mary didn’t match. 

On November 10, 1888, Mary’s murder was linked to four other murders: Mary Ann Nicholas, Annie Chapman, Elizabeth Stride, and Catherine Eddowes. There was also an offender profile made, which stated the killer was an eccentric person, who was in an extreme state of satyriasis while performing the mutilations on Mary and the four previous victims. 

There were no other similar murders after Mary Kelly’s and a lot of people believe she was the final victim of Jack the Ripper. Most believe these Whitechapel murders ended due to the killer dying or going to prison. 

Over 100 years after the Whitechapel murders, two authors named Paul Harrison and Bruce Paley theorized that Joseph Barnett, Mary’s partner, had actually murdered her during a jealous rage. They took the theory farther, stating that perhaps Joseph also murdered the other 4 canonical five, trying to scare Mary from engaging in sex work. 

Others believe Joseph did kill Mary, but only Mary and had tried to make it look like a Jack the Ripper killing to avoid being captured. The fact that Mary was found lying naked on her bed, with her clothes folded on a chair leads many to believe that her killer was someone she knew or who she thought was a client. 

Some people do not believe Mary Kelly was a victim of Jack the Ripper at all. Mary was assumed to be around 25 years old, much younger than the other victims who had all been in their 40′s. Also, her mutilations were more extensive than the other four, she was killed in a private location and her murder occurred 5 weeks from the previous killings which had all occurred within a month. 

In 1939, author William Stewart theorized that Mary might have been killed by a midwife, “Jill the Ripper” in which Mary was going to have an abortion. Stewart believed perhaps the midwife had burned her own clothes, putting on Mary’s and that’s why people the next morning believed they saw Mary after she had been killed. 

Mary Kelly was buried on November 19, 1888 in St Patrick’s Roman Catholic Cemetery in Leytonstone. None of her family members could be found to attend her funeral. The inscription on her grave reads, “In loving memory of Marie Jeanette Kelly. None but the lonely hearts can know my sadness. Love lives forever.”