Profile of Serial Killer Jerry Brudos, AKA the Lust Killer

Jerry Brudos was a shoe fetishist, serial killer, rapist, torturer, and necrophiliac who stalked women around Portland, Oregon in 1968 and 1969. The Early Years Jerry Brudos love for shoes began at the age of five after he rescued a pair of high-heel shoes from the garbage. As he grew older, his unusual interest in shoes developed into a fetish which he satisfied by breaking into homes to steal shoes and womens underwear. When he was in his teens he added violence to his repertoire and began knocking down girls, choking them until they were unconscious, then stealing their shoes. At age 17 he was sent to the Oregon State Hospital psychiatric ward after he confessed to holding a girl at knife-point in a hole he dug in the side of a hill for the purpose of keeping sex slaves. There he forced her to pose nude while he took pictures. Brudos was released from the hospital after nine months, even though it was clear he had developed a need to act out his violent fantasies towards women. According to his hospital records, his violence toward women developed from a deep hatred he felt for his mother. Married With Children Once out of the hospital he finished high school and became an electronics technician. Whether he refrained from acting out on his obsessions over the next few years or he just didnt get caught is unknown. What is known is that he married, moved to Portland, Oregon and he and his wife had two children. His mother later joined the family in their small suburban home. Brudos relationship with his wife began to falter after he approached her dressed in womens underwear. Up to that point, she had gone along with his strange bedroom habits, including his request that she walk around the house nude. Rejected by her lack of understanding of his need to wear womens underwear, he retreated to his workshop which was off-limits to the family. No longer intimate, the two remained married despite his wife discovering pictures of nude women and an odd molded breast among her husbands possessions. Brudos Known Victims Between 1968 and 1969 women in and around the Portland area began to disappear. In January 1968, Linda Slawson, 19, working as a door-to-door encyclopedia salesperson, happened to knock on Brudos door. He later confessed to killing her, then cutting off her left foot to use as a model for his collection of stolen shoes. His next victim was Jan Whitney, 23, whose car broke down while driving home from college in November 1968. Brudos later admitted to strangling Whitney in her car, then having sex with her body and bringing her corpse back to his workshop where he continued to violate the body for several days while it hung from a hook on his ceiling. Before disposing of her body he cut off her right breast in order to make a mold from it in the hopes of making paperweights. On March 27, 1969, Karen Sprinker, 19, vanished from the parking garage of a department store where she was to meet her mother for lunch. Brudos later confessed to forcing her into his car at gunpoint, then bringing her to his workshop where he raped her and forced her to put on various womens underwear and pose for pictures. He then killed her by hanging her from the hook in his ceiling. As with his other victims, he violated her corpse, then removed both breasts and disposed of her body. Linda Salee, 22, became Brudos next and last known victim. In April 1969 he kidnapped her from a shopping mall, brought her to his home and raped and then strangled her to death. Like all of his victims, he disposed of her body in a nearby lake. The End of the Killing Spree During the two-year killing spree, Brudos attacked several other women who managed to escape. The clues they were able to provide police eventually led them to Brudos door. While in custody at police headquarters, Brudos gave a detailed confession of the four murders. A search of his home gave police the additional evidence they needed to convict Brudos of three of the four murders. Included in the evidence were various photographs he took of his victims posed in his collection of womens underwear, parts of the corpses which had been found in a lake, along with some of his victims body parts stored in his home. He was convicted and given the death penalty and a life sentence. On March 28, 2006, Brudos, 67, was found dead in his cell at Oregon State Penitentiary. It was determined that he died of natural causes. Source Rule, Ann. Lust Killer. Books: Lust Killer by Ann Rule

Swot Analysis Of Starbucks Coffee Company Singapore Essay

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England Was The Most Powerful Country For A Very Long Time.

England was the most powerful country for a very long time. They were unbeatable. In the history of our world, Europe had been dominant over any region. However, England was the main leader. England conquered various parts throughout the world and colonized the land and took total control, bringing in money, jewelry, and lot of other resources to England. Since America was separate from the world and no one knew it even existed, England started to colonize it as soon as Columbus spread the word, came along other European countries like France, with whom British had conflicts and caused the Seven Years War and the American Revolution. The colonist were mistreated and taken advantage by the British by being taxed unfairly. The first†¦show more content†¦In response to the Coercive act,the colonists created The first Continental congress, and united with the Americans in order to Oppose against the British. After the British resistance to change, the continental congress began passing laws to eliminate the British Authority in the colonies. In 1776, the continental congress gathered the states to form their own government, which was later drafted by Thomas Jefferson known as the Declaration of Independence. On July 1776, the continental congress voted to approve a proposal to separate from Britain. Two days later, the declaration was adopted in the other 12 colonies. As the declaration was signed on August 2nd, the independence war went on for about five years. Declaration of Independence was announced on July 4, 1776. It was on the second gathering of the continental government in Philadelphia. It led to war and declared the colonies as newly independent sovereign states. As the progress towards the independence was running, Thomas Paine, a political activist, who also argued in the favor or independence of the colonies. 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Sanskrit drama Essay Example For Students

Sanskrit drama Essay On a basic level of meaning the song just implies the movement of bees around the crest of the sirisa flower which are worn by women. Nati gives an erotic note to this where the bee represents a passionate lover kissing his beloved.  Structure of Sanskrit drama is identified in five stages, called Avasthas or states of mind in plot movement. The five Avasthas are â€Å"Aarambh or the beginning, Yatna or the effort (to bring out the rasa), Prapthyasha or the prospect, Niyatapti or the removal of obstacles, Phalagam which refers to obtaining the desired result† (Sanskrit drama – introduction). In Sakuntalam the linearity of this structure can be traced. Aarambh or the beginning is the Nandi or the invocation and the subsequent prologue, Yatna is to be seen at the point where Dusyanta and Sakuntala falls in love and their romance intertwined in the sentiments of sringara, both vipralambha and samyoga, Prapthyasha could consist of the events beginning from Sakuntala’s separation from Dusyanta, including the curse of Durvasav until Niyapati which comprises the straightening out of all the conflicts faced by the hero and the heroine. Finally Phalagam is the happy ending of the play which is the possible reunion of the major characters. The microcosmic world created by the dramatist includes the semi dramatic world- Purvaranga, comprises the music, performance, dance followed by the Nandi and Prastavana and the completely dramatic world i.e.; the play proper. There is thus a transition of the audience from the world of everyday reality to a dramatic world of the play proper. This is accomplished with the introduction of music and dance, the invocation or Nandi and the hinting within the Nandi through the speeches of the sutradhara and other minor characters. The play proper is meta-drama with reference to the prastavana or prologue. The concept of meta –drama or play within a play gives rise to the idea of the multiple roles of the sutradhara. In Sakuntalam, the sutradhara is the stage director as well as the creator and he holds the thread of the play and the action by doubling his identity as the director and the hero. In Sakuntalam, Dusyanta is the alter ego of the Sutradhara. Dusyanta, a king of the lunar race, happens to see sakuntala in the course of his hunting expedition and falls in love with her at first sight itself. This leads to their marriage according to the gandhrava rites. The story then proceeds to Dushyanta’s life as a king oblivious of the existence of his son. Sakuntala, who is cursed by sage durvasa, goes to the king but Dusyanta is unable to recognize her. Later however, the king remembers everything at the sight of the signet ring that he had given her. The play ends on a happy note of a possible reunion of the hero and the heroine. Kalidasa has however made a few additions to the story of sakuntala in the Mahabharata. The simple and quite unromantic account in the Mahabharata, is transformed thus. In the Mahabharata, sakuntala herself narrates the history of her birth to the king and their marriage is not a problem to them. Kalidasa created two characters, Anasuya and Priyamvada to make this entire situation more romantic and charming. The innocent and simple life of sakuntala and her maidens and the frankness of their minds are presented at the very beginning of the play proper to enhance the beauty of the play. Another deviation from the original is that sakuntala agrees to marry Dusyanta in the gandharva form of marriage on the condition that the son born to them should be recognized as the heir to his throne. Yet kalidasa with his imaginative genius weaves a tale so beautiful that the original is almost forgotten. â€Å"The curse of the sage Durvasas, the loss of the ring in the tirtha, and the consequent forgetfulness of the king are all a result of kalidasa’s creative excellence.† (Kale 47) The last two acts are purely original though. .u65e56c55b5d61f0c757ba20a88915713 , .u65e56c55b5d61f0c757ba20a88915713 .postImageUrl , .u65e56c55b5d61f0c757ba20a88915713 .centered-text-area { min-height: 80px; position: relative; } .u65e56c55b5d61f0c757ba20a88915713 , .u65e56c55b5d61f0c757ba20a88915713:hover , .u65e56c55b5d61f0c757ba20a88915713:visited , .u65e56c55b5d61f0c757ba20a88915713:active { border:0!important; } .u65e56c55b5d61f0c757ba20a88915713 .clearfix:after { content: ""; display: table; clear: both; } .u65e56c55b5d61f0c757ba20a88915713 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u65e56c55b5d61f0c757ba20a88915713:active , .u65e56c55b5d61f0c757ba20a88915713:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u65e56c55b5d61f0c757ba20a88915713 .centered-text-area { width: 100%; position: relative ; } .u65e56c55b5d61f0c757ba20a88915713 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u65e56c55b5d61f0c757ba20a88915713 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u65e56c55b5d61f0c757ba20a88915713 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u65e56c55b5d61f0c757ba20a88915713:hover .ctaButton { background-color: #34495E!important; } .u65e56c55b5d61f0c757ba20a88915713 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u65e56c55b5d61f0c757ba20a88915713 .u65e56c55b5d61f0c757ba20a88915713-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u65e56c55b5d61f0c757ba20a88915713:after { content: ""; display: block; clear: both; } READ: Flowers For Algernon EssayApart from the deviations and the structural implications like the Nandi and the prasthavana, other features of Sanskrit drama are clearly exemplified in Sakuntalam. Temporary union, separation and reunion are typical of Sanskrit plays. The first three acts of Sakuntalam could be associated with temporary union. The hunting expedition, the invitation of the hermits to Dusyanta for keeping guard in the hermitage for a few days and the love followed by the consummation of it are the three events in â€Å"ascending† order found in the first three acts. (Kale 50) Then the descent begins. The separation of the lovers and the consequent curse and loss of memory constitutes the misery of the characters. The curse of Durvasas which becomes the main reason for the separation happens in the fourth act. It develops throughout the fifth and the sixth act where there is a culmination of the pain in separation. This end when the story reaches a high point in the seventh act, where Dusyanta goes up to heaven to regain sakuntala. According to M.R Kale, Sakuntalam does not appear to have been written with the strictest attention to all canons of Sanskrit dramaturgy; only the main lines as laid down by Bharata and other old writers, have been followed. There is the benediction (Nandi) and the Bharatavakya as in the other plays. At the end of the prelude, Dusyanta who is a hero of the Dhirodatta class begins the play. Their union in marriage is the focus and the whole plot is to be rallied towards achieving this goal. On a general note, Sakuntalam is said to be the most widely read work of Kalidasa, like Raghuvamsa. It is a love drama belonging to the class of Rupakas which is known as ‘Nataka’. It is said to be highly elegant in language and style and consists of beautiful similes and comparisons. â€Å"The metres are fairly shorter and musical.† ( Kale 53) The solid proof of the plays superior nature in its language and story is the very fact that it has been translated into various languages across the globe invariable of the limitations it might face in terms of tradition and culture reflected in the plot. The play however is indicative of the various conventions of Sanskrit drama and the structure of Sanskrit drama is more or less followed showing justice to the story in Vyasa Mahabharata. Bibliography Primary source –  Ed.by. B. Stoler Miller. Sakuntala and the Ring of Recollection. Kalidasa.  Secondary source   Thapar. Romila. Sakuntala Texts, Readings, Histories.Columbia University Press.New Delhi, 1999. Print.  M. R. Kale. The Abhinjanasakuntalam of Kalidasa.Motilal Banarsidass.Delhi.1969.Print.